The New Greek and Roman Galleries at the Metropolitan Museum of Art



What would the great Greek tragedians Aeschylus, Sophocles, and Euripides think if they could visit the New Greek and Roman Galleries at the Metropolitan Museum today? What about the philosophers Plato and Aristotle, the historian Herodotus, and the poet Apollonius Rhodius? What would they think? How would Pliny the Elder and his nephew Pliny the Younger react at the sight of the frescoes of the Boscoreale and Boscotrecase Villas in Pompeii? Would they quiver recalling the devastating eruption of Vesuvius that in 79 A.D. took Pliny the Elder’s life?
I can imagine the satisfaction written on the faces of the emperors Augustus, Caligula, and Caracalla at the sight of the marble effigies that have made their countenance and deeds immortal. Seneca, Cicero, Catullus and Ovid would certainly be grateful to us, citizens of the 21st century. They would thank us for the care in the way we conserve, worship and collect the works of art and daily objects that generations of connoisseurs have handed down throughout 3,000 years.

History consists in a succession of events. No one can modify its evolution, but one’s action can determine whether an event will be later remembered or forgotten. Similarly, art becomes immortal when it gains the consensus of art historians, collectors and dealers. It is an inevitable process and the only one that can ensure the transmission of a work of art across centuries; it is also the same that allows us today to benefit from such a precious artistic patrimony.

The Greek world’ s artistic finesse gained the immediate admiration of the Romans. Despite the fact they put an end to the Greek rule, the Romans are considered to be the first true amateurs and collectors of both the Classical and Hellenistic styles of Greek art. Although they offered an impressive example of architecture and urbanism to their successors, their figurative art did not reach the same originality of contents. (never reached the same originality as the Greek one). Indeed, most Roman sculptures tend to emulate and reproduce models from the Classical and Hellenistic periods; furthermore, Roman frescoes and paintings depict the deities and scenes of conviviality typical of Magna Graecia. In light of this, it is not surprising that the Roman copies of Greek works spurred the revival of Classicism in 18th century Europe.

Reacquired Artistic Dignity

On April 20, 2007, a sunny day framed what many have defined the most important event in the history of the MET: the reopening of the New Greek and Roman Galleries to the public. These were designed between 1914 and 1926 by architects McKim, Mead and White, and were converted into an upscale restaurant in the late 20th century. Today, after a fifteen year-long renovation, these spaces have reacquired the artistic dignity for which they were originally created.

This stunning exhibition accounts for over 35,000 pieces including marble statues and busts, bronzes, vases, utensils, precious gems and daily objects across 6,000 years of art history. The exhibition begins with objects from the Bronze Era, and continues chronologically with the Archaic, Classical and Hellenistic periods as well as Cypriot and Etruscan art. This historical path ends with the art of the Roman Empire spanning over 300 years. Surprisingly, most of the collection currently on view today has never been displayed to the public before.

The extensive Greek and Roman collection is showcased throughout a 20,000 square meter space, and offers an impressive variety of artistic subjects and media. Although labels next to each work give viewers relevant information and descriptions, the powerful visual impact and fine composition of some pieces require no explanation at all.
The majestic Ionic column from the Artemis Temple in Sardis, Turkey (300 B.C.) best exemplifies such impact. If its placement in the entrance of the Central Gallery confers it a special presence, it is only by standing in front of the statue, that visitors can realize its exceptional dimensions. Despite the fact that the section on display is only a third of the original twenty-meter column, visitors are deeply captured by its magnitude.

As one proceeds onto the neoclassical court, the elegance of three perfectly sculpted marble figures catches one’s attention. It is a depiction of the Three Graces: Aglaea "Splendor", Euphrosyne "Good Cheer ", and Thalia "Mirth”. The statue dating from the 2nd century A.C. is a copy of a Hellenistic work. The soft lines and perfect proportions of the Graces’ bodies suggest the canons of beauty of the times and evoke the festive atmosphere of Ancient Greece Symphosia.

An Eye to the Glorious Past

The scale of the statues and the solemnity of the Roman busts displayed in the Mary and Michael Jaharis Gallery and Leon Levy and Shelby White Court, take away from the noise of tourists and art aficionados visiting the galleries. Inevitably, the proud expressions and poise of brave warriors and glorious athletes captivate visitors. It is as if by moving toward these works of art, one gradually looses the perception of time and space. The noise starts to fade and one can almost hear the echoes from a far away battlefield.

Statues and objects become immediate conductors to a world that existed thousands of years ago. The marble, ivory, bronze and glass currently on display, once decorated the dwellings of past eras. Today, it is fascinating how one can touch a stone sculpted over 3,000 years ago and stand before a marble bust once admired by the Emperor Augustus. This embodies a fleeting concept of temporality and spatiality that thoughts and words can barely sustain. However, entering the New Greek and Roman Galleries is not a transcendental experience, instead it is a moment of real life worth an hour or a daylong visit. One in which a visitor, endowed with the curiosity of a child, can dream of an ancient journey lasted one thousand years.