The New Acropolis Museum in Athens, Greece officially opened June 20, 2009. Fortunately, I am currently in Greece working as Registrar for the Mt. Lykaion Excavation & Survey Project. The project maintains a blog at its web site and I encourage you to visit it for the lastest discoveries being unearthed.

This past weekend I was in Athens and had the distinct pleasure to visit the New Acropolis Museum. Slightly after 6pm on Friday evening I entered the Museum and remained until 8pm, closing time. To complete my visit properly, I returned during siesta hour on Saturday afternoon as well. Last summer I had a sneak preview of the ground and first floor as these areas were open for a couple of hours in the morning for visitors.

I am impressed by the concepts of a Plexiglas floor revealing the excavations beneath which were necessary prior to the construction phase and by the ramp from the ground to first floor reflecting the pathway of the Great Panathenaia leading to the top of the Acropolis.

The processional way from the ground floor was decked with muli-leveled cases of artifacts recovered from the sanctuaries around the base of the acropolis. Inscriptions, reliefs, and other sculptures continued along the ramp’s path to a flight of stairs leading to the ceramic pediment sculptures of the archaic temple to Athena – the pre-Parthenon. At this point looking back down the ramp, one is struck by the mezzanine floating above but appearing to be suspended by the Caryatids or maidens from the porch of the Erechtheion.

Continuing from the pediment sculptures one enters a large open hall filled with colossal modern concrete columns interspersed with archaic kore, korai and other dedicatory sculpture. This floor includes architectural models and sculpture from the Propoylea, Erechtheion, and Nike Temple. Other Classical votives were displayed in cases in the load-bearing wall on the west end of the Museum. Along the glass-walled northern side of this floor are sculptures from the shrine of Artemis Brauronia and those from later periods. Tucked into the northeast corner were a few Mycenaean and Geometric remains as well; too tucked away?

Nevertheless, it was the sight of the Caryatids from behind that is one of the most memorable moments of my visit. I, like most other modern visitors, have never seen the back of the Caryatids because it was not only impossible to see that view in their original location supporting part of the roof of the Erechtheion, but when previously on display they existed in their own walled fish tank. Beautiful, absolutely beautiful is their thickly coiffed hair. Multiple braids are pulled around their skulls, then a fishbone braid down their back culminating in a thick tuff. Absolutely gorgeous!

The second floor led on one side to an overview of the archaic sculpture display and the other side hosted an aptly marketed gift shop and café that spilled onto an outdoor herbed-lined terrace with perfect view of the Parthenon aloft the great rock. The blue and white Parthenon ground plan placemats on the café tables were a perfect touch; if they were laminated and available in the gift shop I would have purchased them. I opted for the Parthenon ground plan notebook, short museum guide, and mouse pad of the back view of the Caryatids instead.

An engaging video greets visitors on the third floor. Alternating in Greek and English, it presents the history of the Parthenon outlining its various incarnations and pillages. It is the marble sculptural program of the Parthenon however that is the climax of the Museum. Completely laid out in orientation to one another are the Metopes, Frieze course, and Pediment sculptures that currently remain in Athens.

In many instances, especially in the case of the Metopes, casts from the pieces in the British Museum in London are included and clearly noted as such. To aid the viewer’s experience in understanding the fragmented compositions of the metopes and frieze are numerous drawings by artist Jacques Carrey completed in 1674 just prior to the 1687 explosion of the Parthenon by the Venetians while it was being used by the Ottomans as a weapons arsenal.

This superb installation allows not only more comprehensive understanding of the sculptural program but also allows a brilliant view of the Parthenon itself. Reflection and contemplation, awe and reverence, are inspired in this room with a view. Time will tell if all of the known fragments are united once again, within the shadow of its former glory.