Most readers of ANTIQUITYw ill have heard of the Pergamon Museum at Berlin; its opening was the chief event of the centenary celebrations of the German Archaeological Institute (see Mr R. G. Collingwood's note in ANTIQUITY, 1929, III, 339). Those, however, who have not actually seen it can hardly realize what an outstanding achievement that museum already is, even in its present unfinished state; nor perhaps do they know that the Pergamon reconstitutions do not stand alone. There are similar reconstitutions of other classical buildings and also of Middle Eastern remains. About five large rooms are at present opened, and their contents represent the high-water-mark of museum-craft in Europe, and are an objectlesson to the world ; but to me their significance seemed even deeper, marking the triumphal emergence of a new craft. I have seen many museums, but here for the first time in my life I felt completely satisfied. The ideal aimed at seemed to have been achieved; there was nothing to find fault with. Here at last was a thoroughly honest attempt to reconstruct ancient masterpieces of architecture, and to exhibit them without irrelevant distractions. The technique of exhibition achieves its end through simplicity and common sense. The lighting is admirable ; the floors of marble slabs (pink in the Altar-room and white or grey elsewhere) are thoroughly pleasing ; the walls are delightfully bare, with nothing but the briefest of labels carved in admirable lettering. The effect of the whole is over-whelming .
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