After Gadhafi, Hope for Modernity

While there are no classical pieces of earth-shattering importance—a fair amount of Libya's classical heritage made its way to Italian and other European museums during the Italian occupation—there are vibrant, dynamic mosaics of daily life from the ancient cities of Leptis Magna and Sabratha, many centered around fishing and sea creatures, and important panels from the arch of Septimius Severus at Leptis Magna.

The mosaics compare with the best in Tunisia, with tiny fragments that capture light and allow for great naturalism. But the Roman glass on show is mediocre, and even if the empty cases that once held jewelry and other small artifacts were full, they would not compare in extent with the holdings of the Metropolitan Museum of Art in New York, not to mention the Italian museums. The Islamic artifacts are substandard, which probably reflects the fact that Libya was a backwater for most of the postclassical period.

The well-traveled foreign visitor will be most thrilled by the pieces from Libya's indigenous civilizations, mainly unfamiliar to Westerners. There is a fascinating bijou third-century mausoleum and panels of bas reliefs from Ghirza, south of Misrata, whose endearingly naive depictions of animals and foliage show a fusion of local and Greek art.

There are also artifacts from the mysterious Garamantian desert empire, thought to be a Berber civilization. Work is still being done on the remote desert sites where these objects were found. The exhibits on Libya's rich prehistoric heritage only hint at its splendor and importance. The vast desert covering most of the country below the Mediterranean coast contains some of the world's finest prehistoric rock art—represented here mainly by photographs and reproductions—along with shards of the indigenous pottery and the 5,400-year-old mummy of a 7-year-old girl found in the Acacus Mountains in 1958.

Libyan cultural and educational institutions usually have a Rip Van Winkle quality, with decades-old signage, little Web presence, and an insular orientation—and the museum is typical. Libyans are not big on maintenance, and many of the light bulbs were out when I visited.

But Ms. Howasi is quick to note that most of the improvements she hopes for are cosmetic. In her opinion, the museum does not need a major cash infusion. She did not ask for foreign help. (That is much more necessary to conserve Libya's neglected archaeological treasures, as Saleh Alagab, head of the Department of Antiquities, has noted.) Ms. Howasi's attitude, which is common here, reflects the pride and self-confidence of a people who won their freedom with their own blood. And the fact that the museum's treasures were respected by the revolutionaries is an encouraging sign for Libya's future.