Although recent and ongoing excavations of the sanctuary of Apollo Delphinios in Miletus have prompted archaeologists to discuss anew the aetiological references to the same god and his altar at the end of the Homeric Hymn to Apollo, these discussions have yet to make any impact on literary scholars working on the poem itself. Indeed, we now know that in archaic Miletus an altar of Apollo Delphinios was erected, as in the hymn, directly upon a sandy beach beside a harbour and was probably the focus, as in the hymn, of some kind of sacrificial ritual, before the annual procession to another famous Panhellenic oracle of Apollo at Didyma. These new revelations provide an incentive for returning to the somewhat puzzling details in the scene on the beach at Crisa in the Homeric Hymn, with its agrarian offering and meal (both of roasted barley) followed by a paeanic procession of musician and singers. I will argue that the Milesian parallels allow us to see more clearly that, like the Delian episode at the start of the Homeric Hymn, the events at Crisa seem to reflect a shorter hexametrical hymn originally composed for a seaside sanctuary at Crisa and then later adapted, again like the Delian section, by a poet intent on praising Apollo as a Panhellenic deity, whose most important place of worship was Delphi. Such an argument leads, finally, to a positive assessment of the recent suggestion that the Homeric Hymn to Apollo does not have a bipartite structure (Delian–Delphic), as is usually assumed or argued, but rather a tripartite one (Delian–Delphic–Crisaean) that organizes the poem into three hymnic movements: birth, oracle, priesthood.