The Bardo is today one of the
most seminal museums in the world. Its renown results from
the quality and the variety of its archaeological artefacts,
which are jewels stemming from a Tunisian History enriched
by many millennia and many civilizations. Meanwhile, the
building itself does not lack interest.
 Built
in the second half of the Nineteenth century, this space
was to fulfil
a palatial aim rather than a cultural function; however,
in 1882, it became
a museum, the Alaoui museum, so baptized after the name
of the sovereign of the time, Ali Bey (1882-1902). It knew
a lucky transgression
of use which enabled it to become a highlight of culture
and civilization.
In 1899, the authorities of the time added to it a second
space, the small
palace which was going henceforth to house the collections
of Islamic
art. Owing to their architectural quality, these two palaces
are today part
and parcel of the national museum.
Fitted up for the purpose of their new destination,
these buildings went 
through some modifications; however, they preserved their
initial,
fundamental stamp. Drawing on the architectural canons of
Tunis city blending diverse trends, notably Maghrebi, Turkish
and Italian influences , the Bardo included numerous rooms
with different functions, as many spaces which are characterised
by their conviviality and by the originality of their ornamentation.
So is it with:
* the reception room
with its large dome with sixteen sides of carved wood painted
in iridescent colors on a golden back-drop;
* the large covered patio and its ceiling from
which hang four chandeliers hooked on pendants donned with
plaster-cast ornaments;
* the music-room with
its ceiling decorated with floral motives and with its two
galleries, one reserved for the ladies - the princesses
-, the other for the musicians; this one being sustained
by white-marble small columns inlaid with red marble fillets;
* the private apartments where predominates a
wall decor made of coatings finely cut in plaster forming
interlacings, meanders, knot-works and foliages, as many
motives achieved according to the technique so-
called "nakch Hdida";
* the faïence panels which cover different
walls, these are genuine tableaux admirably executed…
 Thus,
owing to its conception, to its decor, the museum of Bardo
is also a full-fledged historic monument!
Let's get down now to the collections and to the splendors
housed and exhibited in these spaces! What else can be said
except that some of them are simply unique, exceptional!
Take the mosaic for instance! Certainly, one
finds there the most important collection in the world; well
what splendor! Let's close our eyes one moment and visualise
the procession of these images emerging from the depth of
History through a tessellation worked up by the hands of African,
Tunisian artists; History, mythology, religion, daily life,
as many teeming themes and scenes in a great iridescence of
colors and tints! Here is Virgil writing the Aeneid; there
is Ulysses fastened to the ship's mast!. What rhythms, those
of time (the four seasons or the zodiac signs), those of men
(scenes of daily life, work, hunting, leisure - gladiatorials,
circus games…), those of culture! Who does not admit
it ?
Of course, the Bardo conceals many other collections
and other artefacts which belong to the Tunisian material
culture combined to all times, from Prehistory down to nowadays.
All of them bear full witness of a plural, open and conciliatory
Tunisia! There, too, History drops like pearls with the unfolding
of the works; the stations are many ranging from the 40.000
year-old Hermaïon of el-Guettar (a primitive temple)
to the ethnographic collection relating to daily life in modern
Tunisia !
more information about the national museum of
Bardo.
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