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Although the Nabataean kingdom became a client state of the Roman Empire in the first century BC, it was only in 106 AD that it lost its independence. Petra fell to the Romans, who annexed Nabataea and renamed it as Arabia Petraea.[11] Petra's importance declined as sea trade routes emerged, and after an earthquake in 363 destroyed many structures. In the Byzantine era, several Christian churches were built, but the city continued to decline and, by the early Islamic era, it was abandoned except for a handful of nomads. It remained unknown to the western world until 1812, when Swiss traveller Johann Ludwig Burckhardt rediscovered it.[12]

The interest that Roman emperors showed in the city in the 3rd century suggests that Petra and its environs remained highly esteemed for a long time. An inscription to Liber Pater, a god revered by Emperor Septimius Severus, was found in the temenos of the temple known as Qasr al-Bint, and Nabataean tombs contained silver coins with the emperor's portrait, as well as pottery from his reign. Emperor Elagabalus declared Petra to be a Roman colony, when he reorganized the Roman Empire towards the end of the 3rd century.[47] The area from Petra to Wadi Mujib, the Negev, and the Sinai Peninsula were annexed into the province of Palaestina Salutaris. Petra may be seen on the Madaba mosaic map from the reign of Emperor Justinian.

Burckhardt already spoke Arabic fluently, and was on his way to explore the Niger River when he heard stories of a dead city that held the tomb of the Prophet Aaron. He then became fascinated with finding the city. He then dressed himself up as a local, and only spoke in Arabic, bringing a goat with him with the intent of sacrificing it in honor of Aaron's Tomb. After one day of exploring, he was convinced that he had found the lost city of Petra.[54]

Petra is a site at the intersection of natural and cultural heritage forming a unique cultural landscape. Ever since Johann Ludwig Burckhardt[79] aka Sheikh Ibrahim had re-discovered the ruin city in Petra, Jordan, in 1812, the cultural heritage site has attracted different people who shared an interest in the ancient history and culture of the Nabataeans such as travellers, pilgrims, painters and savants.[80] However, it was not until the late 19th century that the ruins were systematically approached by archaeological researchers.[81] Since then regular archaeological excavations[82] and ongoing research on the Nabataean culture have been part of today's UNESCO world cultural heritage site Petra.[83] Through the excavations in the Petra Archaeological Park an increasing number of Nabataean cultural heritage is being exposed to environmental impact. A central issue is the management of water impacting the built heritage and the rock hewn facades.[84] The large number of discoveries and the exposure of structures and findings demand conservation measures respecting the interlinkage between the natural landscape and cultural heritage, as especially this connection is a central challenge at the UNECSO World Heritage Site.[85]

On April 15, 1958, a fire on the second floor destroyed an 18-foot-long (5.5 m) Monet Water Lilies painting (the current Monet Water Lilies was acquired shortly after the fire as a replacement). The fire started when workmen installing air conditioning were smoking near paint cans, sawdust, and a canvas drop cloth. One worker was killed in the fire and several firefighters were treated for smoke inhalation. Most of the paintings on the floor had been moved for the construction, although large paintings including the Monet were left. Art work on the third and fourth floors were evacuated to the Whitney Museum of American Art, which abutted it on the 54th Street side. Among the paintings that were moved was A Sunday Afternoon on the Island of La Grande Jatte, which had been on loan by the Art Institute of Chicago. Visitors and employees above the fire were evacuated to the roof and then jumped to the roof of an adjoining townhouse.[23]

In 1932, museum founder Alfred Barr stressed the importance of introducing \"the only great art form peculiar to the 20th century\" to \"the American public which should appreciate good films and support them\". Museum Trustee and film producer John Hay Whitney became the first chairman of the museum's Film Library from 1935 to 1951. The collection Whitney assembled with the help of film curator Iris Barry was so successful that in 1937 the Academy of Motion Pictures Arts and Sciences commended the museum with an award \"for its significant work in collecting films ... and for the first time making available to the public the means of studying the historical and aesthetic development of the motion picture as one of the major arts\".[62] 781b155fdc