“KLAOHI ZIS, THE CULT OF ZEUS IN UGENTO”            [seen the gallery]
from the history of its' discovery to its' housing in the museum

The occassion of the exhibition of the pillar- saint /stylite of Ugento has been , since its inauguration in 2002., a milestone event , heaping great success and accolades upon the civil museum where the exhibition is currently being housed. This extra- ordinary success has been due, firstly, to the historic and the artistic relevence iinherent in the display, and then secondly , as a result of the attention the return of the statue to the small Salentino centre, 40 years after its uncovering in 1961, has generated and received . To the aforementioned reasons must also be added the willingness to spread the ancient beauty that the piece, which goes back to the end of the 6th centuary A..D , radiates . National and international importance must also be given to an exhibit, which, already in its title , conveys the character of its Messapic originality:. The expression “ Klaohi Zis” is in fact a Messapic invocation translated as “ Listen Zeus” and finds its Latin equivelent as “ Audi Juppiter.”

The display is artriculated in three sections, which are dedicated respectively to:
• The archeological context of ancient Olan (modern Ugento).
• The statue of Zeus of Ugento.
• The cult of Zeus within the Messapic civilization.

The first part of the exhibition serves to revise the fundamental stages of the settling of Ugento up and until its founding in the Messapic Age which resulted in the phase under discussion. This was a cornerstone event in the Messapic control and administration of south Salento in ancient times, and then a central point in the Roman Age under the name of Uxentum.
By virtue of the exhibition of pieces obtained through many excavations which have taken place in the city and surrounding territories , and with information from diverse sources, coupled with graphic reconstucted illustrations and photographs , together representing the main constructive changes in evolutionary growth as well as social , urbanistic and economic shifts of the city centre.
The 2nd part will be exclusively dedicated to the exhibition of the bronze statue stylita (pillar -saint) Zeus rediscovered in Urgento in 1961.
Lying buried within a rectangular hole which is understood to have been a "capitello" ( capital - head or cornice of a pillar or column), which in ancient times supported it, it was uncovered during the laying of foundations for a house by the construction labourers who finally brought it into the light of day.
Produced towards the end of of the 6th centuary B.C., by a process of melted or fused wax, it is one of the few of such works still remaining to us today.
Standing just 74 cm in height it has the dignified and serene expression of a god , grasping within his
right hand rods of lightening, and in that of his left hand, and eagle. It was presented to its' faithful believers , displayed from on high upon a column , encrowned with a laurel wreath and roses..
Of an extraordinary beauty, which at the same time is rich in detail and fine workmanship, it is presented
with a gentle, kind and peaceful expression, most probably rendered on it by a craftsman from Taranto. An ever so slight twist of the bust, with extreme attention to each and every detail , gives the piece an exceptional apperance no matter from which vantage point the viewer stops to admire and to appreciate it.
The piece, being of priceless value and historical significance, illustrates the high level of contact and cultural exchange that The Messapic civilization, of which Urgento constituted one of the dominate centres, permitted the Ionic Seaside city of Taranto (the only Magnogrecian colony founded in Puglia in 706 A.D) to have with it .
Within the section there will be a number of illustrations and representations showing the fascinating history of the discovery of the bronze statue , the various phases of its' production in ancient times , as well as comprehensive illustrations of the diverse processes of its' restortation to its' present state. This final stage took a total of 10 years in its' full restoration of the statue which was undertaken at the Central Institution for Restoration in Rome.
The third section aims to contextualize the Bronze Statue within the Messapic cultural setting , bringing about many comparisons with other divinities worshipped within the same boundries, and with that of the other numerous representations of Zeus within MagnaGreece itself.
Certain reconstructions of the space and area in which the cult prevailed will be chronologically referenced from ancient times , in accordance with archeological Messapic discoveries , from Vaste to Cavallino, from Leuca to Oria.
The fundimental objective of all this , is to piece together a complete view or vision of the universe which revolved around Zeus of Ugento , reconstructing each fortunate and casual uncovering of each piece of the puzzle which makes up and forms part this fascinating story.
From casual to extra-ordinary events in its' discovery , and through painstaking research, it is sought to shed light upon , and to understand , that which brought the inhabitants of Urgento some 2500 years ago , to entrust their most intimate desires , hopes, wishes, needs and supplications , to this bronze Magnogrecian masterpiece.