Telegraph 29 January 2022

Technology that allows archaeologists to make a millimetre-perfect replica paves way for a deal with British Museum, says Greek ambassador. The plan to copy the section of the Parthenon frieze in the British Museum comes from the Institute for Digital Archaeology (IDA), which created a full-size replica of Syria’s Palmyra Arch which was blown up by Isis in October 2015.

To read this article in full, visit The Telegraph.

Ta Nea 31 January 2022

Yannis Andritsopoulos, UK correspondent for Ta Nea published an aricle on Monday:'New proposal for 3D copies of the Sculptures. The international Institute of Digital Archaeology is willing to make exact replicas with the ultimate goal of exhibiting them in the British Museum, as reported in ‘Ta Nea’ by the IDA’s director Roger Michel and the Greek Ambassador in London, Ioannis Raptakis.'

Speaking to ‘Ta Nea’ the head of the scientists who inspired the project explained that the innovative method developed by his team could create copies of the sculptures, which may convince the British Museum to return the fragment sculptures  in Room 18 to Greece. A move that is "justifiable and will be of benefit to both countries."

 "I want to see Boris Johnson and Kyriakos Mitsotakis shaking hands and smiling. There is a long history of cooperation between the two countries, which must continue. That's why we offered to make these copies. I think the British will realise that it is time for the Parthenon sculptures to return home. Nothing would make me happier than seeing them reunited in Athens," notes Roger Michel.

Initially, the Institute's scientists intend to "clone" a metope from the south side of the Parthenon located in the British Museum, which represents the struggle between a Lapithe and a centaur. "We're going to show people what this technology can do," Michel explains. This will take about three months and cost £50,000-70,000, a cost that the Institute itself will cover. "Then, we aspire to reproduce the entire parthenon frieze."

The Oxford-based institute has pioneered a technique known as 3D Machining. First a digital image is created using photogrammetry, then a robot-operated machine uses chisels in the same way as a human sculptor to carve a copy of the original.

"We will procure marble identical to the one used by Phidias," explains the director of the Oxford-based Institute, who will ask the British Museum to allow his team to scan the Sculptures on display in London.* 

The aim of the Institute is to exhibit the entire Parthenon frieze at the United Nations headquarters in New York and other cities of the world, until they are "installed" in London, if the British Museum allows it. "We hope the Museum will embrace our initiative and exhibit the copies, to facilitate the reunification of the surviving pieces in Room 18 with those in the Acropolis Museum.

"I am optimistic that the reproduction of the frieze will act as a symbol of Greek-British friendship and will lead to a gesture of goodwill that will correct a mistake that was made two centuries ago."

The Director of the Institute calls on the British Prime Minister to support his initiative. "Mr Johnson has been a great supporter of our work. Thanks to him, the copy of the Arch of Palmyra in Trafalgar Square was exhibited. I believe he can support us now. People change their minds and I think there's a chance it will help this call for the reunification also."

Speaking to ‘Ta Nea’, Greece's Ambassador to London Ioannis Raptakiswelcomed the Institute's initiative, which was inspired by his own intervention during an event in the British capital last Friday. "It is one step closer to meeting the respectful request for the return of the Sculptures to Greece. Prime Minister Kyriakos Mitsotakishas put a number of proposals on the table. It would be amazing, if the British government were to take the initiative to correct this injustice."

"The new technology allows the manufacture of exact copies. I believe that the British Museum should present these copies in its collection. It is time to allow the reunification of the Parthenon Sculptures. It would be a magnanimous act of the British people and would be a recognition of our historic debt to Greece," Michael Wood, professor of history at the University of Manchester and member of the British Committee for the Reunification of the Parthenon Sculptures (BCRPM), told ‘Ta Nea’.

To read the original article in Greek, follow the link to Ta Nea.

* In 2012, the BM gave Niall McLaughlin Architects permission to scan the frieze in Room 18  

The Sunday Post's Ross Crae wrote an article on the reunification of the Parthenon Marbles, to read the article published on Sunday 12 December, kindly follow the link here. 

Isabel Ruffell, professor of Greek drama and culture at Glasgow University, reflects on the Parthenon Marbles. She is quoted as saying: “It is morally indefensible for them to be in London. It’s bizarre that you’ve got all these bits from the same building all over Europe.

These are iconic images of profound significance to the people of Greece. Their removal belongs to the smash-and-grab period of classical archaeology, which is intertwined with our colonial past, and we need to face up to that.

You’ve got these really high stakes pieces of sculpture that matter a great deal to one of our fellow European countries and it seems slightly peculiar that we’re not giving them back. It’s really quite childish in a way.”

She, too, believes the Acropolis Museum in Athens would be the best place to show the marbles in all of their glory. “From an educational point of view, the British Museum display is really unhelpful,” she said.

“The Panathenaic frieze is inside-out, and the other frieze elements dislocated in other ways. The display in Athens, which is waiting for their return, will display the surviving material in a way that is as close as possible to the original layout.

“It is a fabulous museum. It has really good displays of some of the other stuff that was on the site so you get a much better sense of what it was like – it was incredibly crowded. It’s not just the edited highlights, you see the whole lot. A lot of museums have big aesthetic treasures completely divorced from context.

“Having them in this austere white room in the British Museum is a very strange, misleading way of looking at it.

“As someone who has benefited from the school trip to London in my time, it is very educational and useful but you could do that with plaster cast or loans of material. I think museums are quite co-operative on the whole these days, so these kinds of things are not unprecedented, loan deals and plaster casts and so forth.

“If the goal here is to provide a resource to people to learn, which is what it should be, then there are ways of doing it without having to do the ‘it’s mine, you can’t have it back’ kind of thing.”

Professor Isabel Ruffell has now joined BCRPM as a member and we're delighted to welcome her.

Two letters in the Guardian's letter's page, Wednesday 01 June 2022. Could we prefix the headline with #WednesdayWisdom?

It is dishonourable for the British Museum to keep the Parthenon marbles.

It should make no difference whether the Parthenon marbles were “removed from the rubble” or not. They must be given back. If our neighbours’ house is on fire while on holiday, and we rescue their valuables, we should surely give them back when they return. To keep them would be dishonourable.
David Simmonds
Woking, Surrey

As a secondhand bookseller, I arrived at the home of Harold Plenderleith shortly before he died in 1997 to buy books. He had been chief conservator with the British Museum, and I made the mistake of asking him for his views on repatriation of the Parthenon marbles (Greece rebuts British Museum claim Parthenon marbles were ‘removed from rubble’, 23 May). “Never!” he replied, “Never! We looked after the marbles when they would have been destroyed [by pollution?] had they stayed in Athens.” His vehemence tired him so much that he had to go back to bed. I assumed that this was the line taken by all staff at the time, and daren’t ask about the notorious scrubbing incident that took place while he was a junior in the early 1930s.

Shortly after, Glasgow Museums returned a ghost dance shirt to the Sioux community and my friend, the poet Anna Crowe, wrote a poem on it including the words: “We still believe some form of words, / or ritual will come between / us and another’s anger. Not seeing / that our invisibility’s what’s required.” Those at the British Museum still struggling to retain the Parthenon marbles should take heed.
Margaret Squires
St Andrews, Fife

Janet Suzman, our Chair was on ERT TV's 9 o'clock news on Saturday 06 March 2021. The interview took place following on from the article that was published in Ta Nea by UK Correspondent Yannis Andritsopoulos that morning. Janet emphasised that all like minded, profound people, hope to see the sculptures removed by Lord Elgin and currently housed in the British Museum's Room 18, re-joining their surviving halves in the Parthenon Gallery of the superlative Acropolis Museum.

Janet added in her press statement to Yannis Andritsopoulos of TA NEA that: "the fact that George Clooney, and an increasing number of thoughtful people in the public eye, would wish to see the Parthenon Marbles reunited with their other halves in the Acropolis Museum is a measure of how aware they are of the justice of such an event. Were it to be achieved it will be the pressure in the public sphere both of respected individuals with high profiles, and a groundswell from the museum-going populace at large that will eventually persuade a great institution like the British Museum to shift its stance. These sculptures belong uniquely to an edifice that still dominates the skyline of Athens and all of Western thinking. They stand at the very heart of Greece’s cultural patrimony. Claiming a spurious ownership is not something such a respected treasure house can continue without feeling a bit foolish, above all because there exists no absolute proof of that ownership. The Museum has more than enough fascinating objects to survive the gesture with its universalist head still held high."

Professor Paul Cartledge as Vice-Chair of the BCRPM and the IARPS added:"We warmly welcome George Clooney's continued supportfor the reunion of the Parthenon Marbles. What is needed now is a supreme generosity of internationalist spirit and moral courage. Our campaign has recently been accompanied by a large wave of international support from various anti-colonial movements calling for the repatriation of cultural treasures. For centuries, colonial powers and their merchants have plundered or individualised, officially or informally, these treasures, either for purely personal gratification or as a means of national self-evolution - or both."

To read the Ta Nea article (in Greek), please follow the link here. 

Many other outlets picked up on this story including The Art Newspaper that also carried Janet Suzman's letter in their March 2021 edition.

It’s a bit disappointing that such a factually doubtful argument is sketched in by Jonathan Sumption about the Parthenon marbles, in complete contrast to his nice assessment of the travails of English National Opera, where a grossly unfair and skinflinty case has been put by ACE in wrenching this marvellous opera organisation limb from limb.

These scupltures were removed without express permission from the occupying power by Lord Elgin, Britain’s ambassador to the Ottoman court, who wanted them to adorn his Scottish pile. The museum in Athens which Sumption airily dismisses was expressly built to house them, is gloriously modern, and is directly opposite the Parthenon so the visitor will at long last be able to make visual sense of where the figures stood before being hacked off the building by Elgin’s clumsy workers.

UNESCOhas voted as one to have them returned to their home turf. The Hellenic Republic itself has committed to have them returned the moment it gained its independence from Ottoman rule. Nor can the British Museum claim to have cared for them with curatorial exactitude; in Duveen’s day they had them scrubbed with wire cleaners to restore ‘whiteness’ to the Pentelic marble thereby removing the precious patina that had protected them.

Besides that destructive gaffe, Room 18 leaks and had been closed for a year and it has no air conditioning so cold and heat are always wafting through these rooms. And by the bye, there are far more than just 'three sadly deteriorated panels' in that Acropolis Museum, there is also the other half of the matchless pedimental figures and they deserve to be seen as a whole. Not to mention the frieze and the metopes. 

As to the hysterical slippery slope scenario that Jonathan Sumption fears, the Greeks are not asking for a single piece bar the British Museum’s ill-gotten Parthenon marbles. I don’t know what special hot-line he might have to lament the loss of all the world treasures he cites, but apart from the Benin Bronzes, Rosetta Stone, Hoa Hakananai'a,  we have not heard of any decimatory demands from elsewhere. Those museums that have opted to return seminal cultural objects taken in colonial days will have shown an openness of mind that the BM might well emulate in this instance.

I suggest former Judge Jonathan Sumption sticks to opera as his pet subject, and leaves Greek sculpture to its own battles.

+ PS: London: the British Museum displays around half of the surviving works: 56 blocks of frieze (247ft), 15 metopes (panels) and 17 pediment figures.
Athens: the Acropolis Museum displays 40 blocks of frieze, 48 metopes and 9 pediment figures. Fragments from the same pieces are in London and Athens. One can’t help wondering if Jonathan Sumption would perhaps enjoy his Rheingold more if he watched the first half in London and flew to Bayreuth during the long interval for the second bit?

Jonathan Sumptions article ( 'The cringing self-abasement of Britain’s museums') was published in The Spectator on 25 February 2023. Janet Suzman's response was sent into the publication to both the letters section and editorial. No part of Janet's response was published.

From Janet Suzman
Chair: British Committee for the Reunification
of the Parthenon Marbles (BCRPM)
1st January 2024

It really is very dispiriting that eminences like Lord Sumption (Sunday Times Dec 31st 2023) still make so many wrong assumptions. (Sorry). Here are some of them:

He fails to find a difference between a bas relief (the frieze, running round the perimeter of the building) and the 3D sculptures (metopes and pedimental figures). He can’t see why those pedimental figures make a stunning triangular pedimental shape when placed together, quite lost by enforced separation. The half of the extant frieze not in Bloomsbury is in Athens.

He avers that Lord Elgin obtained a ‘decree from the sultan authorising him to remove the sculptures.’ No such document has ever been found, only a permit (a ‘firman’) from a high official in Constantinople allowing him to retrieve ‘qualche pezzi di pietra’ already fallen down (it is an Italian copy) and to make drawings of pieces out of reach. Elgin, who kept a careful record of his expenses, bribed functionaries at every level to turn a blind eye to his crude attack on an already fragile building. Tourists reported shocking falls of precious metopes and such smashing to pieces, and a disdar – a guard at the time – was described as weeping at the mayhem inflicted on the building.

Elgin commandeered a ship of the line to transport his booty to Britain – so, taxpayers’ money – and had every intention of displaying the pieces at Broomhill, his Scottish seat, and none of sharing them with the public. Only when bankrupted after his rich wife left him did he turn to the British Government for a hasty sale.

Yet what’s done cannot be undone, and what matters now is a solution to a modern moral maze and not an old blame-game. And yet, Lord Sumption widens his argument to justify how artifacts have always voyaged to distant lands for our enlightenment. But this avoids the point; these Parthenon Marbles are sui generis. Elgin took far more than those cut off the Parthenon, but Greece is not asking for the caryatid he stole from the Erechtheum, nor is it asking for the Winged Victory of Samothrace from the Louvre.

In 2019 at a conference in Athens, I was invited into the then President’s rooms in his official residence where he took care to explain to me that Greece is proud that Hellenic pieces are in the Louvre (apart from Parthenon pieces…) and proud that around the world Greece’s treasures are displayed. “Let me be clear: we want only those pieces that Elgin took off the Parthenon itself”, he told me. The Greeks first claimed those Marbles when it was freed of Ottoman rule and became the Hellenic Republic in the 1830s. Melina Mercouri cast a spotlight on that claim in the 1980’s. Boris Johnson, when he was still an honest scholar, wrote a spirited article for the Oxford Union paper pleading for their return to the land of Achilles. The world is today more aware of cultural plunder than during colonial times. The British Museum is the only major museum in the world staying silent about its often ill-gotten contents. All of UNESCO is aware of this silence and is finding it embarrassing.

Sumption seems unmoved that panels from Duccio’s altarpiece are divided between nine museums, as if it might be diminished in some way were the whole to be displayed as Duccio intended. That altarpiece is a separate inspiration, whereas the Parthenon marbles are part of the very fabric of the building; it is one thing, conceived and carved as one thing. Alexander Herman (‘The Parthenon Marbles Dispute; Heritage, Law, Politics’ – Hart, Bloomsbury, 2023) makes this point: ‘Because we live in democratic times, we tend to have a predilection for remnants that connect us to the Athenian prototype. For this reason the Parthenon as a symbol continues to dominate’.

After two hundred years in London and badly displayed in a grey gallery in Bloomsbury since the 1960s, the Marbles have done their work of enlightening Europe to the glories of the ancient world. The United Kingdom is second to none in classical scholarship; the British Museum has millions of other ancient artifacts in its collections, and wonderful objects are promised for exhibition by the Greeks themselves to compensate for the (inevitable) return. George Osborne, Chairman of the BM Trustees, is embarking on an important act of international co-operation.

As to numbers, only one sixth of the 6 million annual visitors that enter its portals visit the Duveen Galleries. Approximately that same number passes through the Acropolis Museum in Athens, and why, one wonders, should not a Greek child be as astounded as a British one at the god-like figures caught in a high wind off Mount Olympus, and be as proud as Punch that his distant ancestors were so utterly brilliant with white stone? Why should the Greek people not thrill to such visions? They might be as far down the line as the Druids are to the English, but just listen to the fuss if half of Stonehenge had been nicked and plonked in Potsdamerplatz.

To read Lord Sumption's article, 'The Elgin Marbles weren’t stolen — Greece is just exploiting our weakness' follow the link to The Times.

A trustee of the British Museum has confirmed the institution is in talks with the Greek government about the disposition of the Parthenon Marbles, but has told Al Jazeera that a deal may be elusive.

“There is certainly movement, but it is being overhyped,” said Mary Beard, professor of classics at Cambridge University and a trustee since 2020.

“I think something is really happening … There have been discussions between [board of trustees chair] George Osborne and [Greek premier] Kyriakos Mitsotakis,” she told Al Jazeera.

“There is real desire to do something. After 200 years, surely we can get somewhere better than where we are,” Beard said. “Is the problem going to be resolved? I’m not sure.”

Read the artucle aptly entitled: "Rumours of Parthenon Marbles’ return ‘overhyped’, experts say"

The British Museum claims Elgin “was granted a permit” to “draw, measure and remove figures”. But critics say he stretched that to remove far more than was intended.

“Among the bribes Elgin is known to have given is 100 pounds to the Kaimacam [district governor] in Constantinople to release the second shipment [of Marbles], and an amount to the Disdar [fortress commander] in Athens equal to 35 times his annual salary. Elgin documented all expenditures because he was financed by his in-laws,” said Elena Korka.

 An Economist survey in 2000 found that two-thirds of British MPs would vote for the Marbles’ return if a motion were tabled.

A Sunday Times survey in August 2022 found that 78 percent of Britons would return the Marbles, and a poll this month by the Evening Standard found a clear majority of 53 percent of Britons favouring their return – more than the majority that voted for Brexit.

“There’s a very important change in the UK in public opinion and individuals who have an opinion on the matter, from the entire political spectrum, who now openly argue in favour of the marbles’ reunification, recognising their uniqueness,” said Mitsotakis.

We would add that public opinion has always favoured the reunification, especially amongst those that were told the whole story about the Parthenon Marbles removal at the start of the 19th century, by Lord Elgin. What has changed is museums around the world entering into talks between on the matter of returns and restitution of artefacts to their countries of origin. Museums are listening to what their publics want to see, and are looking to the future. 

Josh Murfitt is a photographer based in Edinburgh, specialising in fine art and cultural heritage photography and digitisation. In 2019 for his MA in Documentary Photography and Photojournalism at the University of Westminster, Josh created a photomontage aptly entitled 'A Creative Act'. At that time, Josh had been working in a museum part-time for around 4 years, and had become interested in the discourse surrounding historic museum collections, including the restitution of some cultural artefacts held in British museums. The case of the Parthenon marbles was (and still is), one of the most publicised of these.

Josh's photomontage works are based around the Parthenon sculptures in their current display setting at the British Museum, considering the history of their removal from Athens and the political and moral issues surrounding this. To make these works, Josh combined vintage tourist postcards showing scenes from the Acropolis with his own photographs made inside the Duveen Gallery, Room 18, at the British Museum. Whilst it directly references the case of the Parthenon sculptures, the series can be related to wider debates around museum collections, restitution, and legacies of the British Empire in that context.

North Frieze

Hermes

Selene

Explore more of Josh's exceptional work by visiting https://www.joshmurfitt.co.uk/ 

Many BCRPM knew and respected Labis Tsirigotakis. For four decades Labis' incisive journalism made its mark on the campaign to reunite the Parthenon Marbles.

"It was such a privilege to be standing behind him when in 2018 he interviewed the late Ian Jenkins, the then Senior Curator, Ancient Greece at the British Museum. The interview had been set up for the start of the Rodin exhibition (26 April to 29 July 2018). Labis and cameraman were met by a member of the British Museum's press team and immediately taken to the far end of the Sainsbury Exhibitions Gallery to see 'natural light' coming into this space. And yet for the Parthenon Marbles also exhibited alongside Rodin's own sculptures, lamentably the light was not comparable to the light of Attica," remembers Marlen Godwin. 

Over four decades, Labis had interviewed all five of BCRPM's Chairs alongside founder and Hon Secretary, the late Eleni Cubitt.

Dame Janet Suzman spoke with Labis in October 2016 reminding ERT viewers of when she first met with Melina Mercouri in London and how Eleni had invited Janet to support the campaign in the 80's.  

In June 2023, Labis brought a copy of his book, an autobiography aptly entitled: "Life Memories – From John Lennon to Nelson Mandela” and presented to BCRPM. The book is in BCRPM's library and will remain treasured.

Ekathimerini's article, 'Veteran Greek journalist Labis Tsirigotakis'', lists Labis' many achievements including the fact that he produced around 30 documentaries on Greek and international topics for ERT, several of which received awards in Greece and abroad. He was also honoured with the Botsis Foundation Award for objective journalism.

Our thoughts are with Sophia his wife, family and friends, at this very sad time.

The ultra-endurance cycling challenge "London-Athens on 2 wheels - Bring them back" in its second year, began at 5 am on Saturday 05 August, outside the British Museum gates. 

Cycling heroes: Vasiliki Voutzali (Greece), Steffen Streich (Germany & Greece), Christopher Ross Bennett (New Zealand), Paul Alderson (UK), and Dionisis Kartsambas (Greece), set off to cycle 3,500 kms to reach the Acropolis Museum in Athens.

Catch up on their daily challenges, the highs and lows by visiting their facebook page .

Before leaving, the BCRPM's Christopher Stockdale, Marlen and Tony Godwin, met with the cyclists in Room 18. Christopher presented a copy of his book 'Simming with Hero' to Vasiliki. 

In Room 18 meeting Christopher Stockdale, the first person to cycle from the British Museum to the Acropolis Museum in 2005. 

Fans in each corner of Room 18, trying to circulate the warm air. 

A flag that has been used in Room 18 sine the opening of the Acropolis Museum in 2005, shows the tip floor Parthenon Gallery of the Acropolis Museum , where the surviving halves of the sculptures not removed by Lord Elgin are displayed the right way round and with views to the Parthenon.

Vasiliki with a little help adds a few stickers outside the BM.

August, 05 at 5 am outside the British Museum gates, five cyclists begin a journey , an endurance journey in the hope that their efforts will add more pressure to the British Museum to reunite the Parthenon Marbles. The cyclists: Vasilki Voutzali (Greece), Steffen Streich (Germany & Greece), Christopher Ross Bennett (New Zealand), Paul Alderson (UK), and Dionisis Kartsambas (Greece) are making history too.

Christopher Stockdale, a retired GP from Solihull, and member of BCRPM swam for the marbles (2000 from Delos to Paros) and cycled in 2005. He admits cyclist was out of his comfort zone but the campaign for the reunification of the Parthenon Marbles is very much in Christopher's heart, although he was devastated not to be able to join the cyclists on this day.

This year the cyclists selected a number of segments along the route, stopping in Lille, France on their first night as the UK weather was a heady mixture of strong winds and heavy rains. Their first stop on day 2 was their intended first segment stop, Mons in Belgium.

Steffen and Vasiliki in Mons and.... at the Melina Mercouri St.

As Paul heads back to UK, Christopher carries on with Vasiliki, Steffen and Dionisis to Germany

Fom Belgium to Munich in Germany, and to Budapest in Hungary, segments 2 & 3

Bici Bavarese | Vintage & Moderne Rennräder in München

A warm welcome in Budapest!

From Hungary to Serbia and North Macedonia, arriving in Kastoria and Trikala.

Athens, today 17 August,  just 12 days from that cold, wet and windy 5th of August outside the British Museum. Christopher's time was 12 days, 3 hours and 18  minutes. We await the arrival of Dionisis tomorrow with a welcome from the Melina Mercouri Foundation, and a visit to the Acropolis Museum. 

Culture and conflict often coexist in an uneasy and paradoxical manner; culture being an essential part of conflict and conflict resolution. Culture makes people understand each other better. Conflict resolution acts as a healing balm providing interaction between the concerned parties and the hope to overcome barriers.

Taking away and damaging the cultural heritage of a society is tampering with its identity. The history of art looting is lengthy and continuous. It begins possibly with Jason and the Argonauts looting the Golden Fleece. It continues with the habit of the Romans of looting art from conquered cities in order to parade it through the streets of Rome, before putting it on display in the forum. In Byzantium, the Hippodrome was adorned with looted art, and during the Fourth Crusade in 1204 the Crusaders looted the city itself. Cultural spoils were taken back to Venice to adorn the cathedral of St Mark, among them, the four gilded horses of the Apocalypse that remain in the city to this day.

In the ancient world, cultural pillage was an act of state planned to demonstrate the supremacy of the conqueror and underline the humiliation of the defeated. By the nineteenth century, however, such actions had been joined by the claim of the acquiring country to be the true heir of Classical civilization. Thus, Napoleon’s victorious armies began concluding a series of treaties with conquered states across Europe that allowed them to usurp artworks to stock the Louvre Museum.

From the colonial era to the Second World War, wars have provided opportunities for art looting on a massive scale, and the restitution of stolen cultural artefacts remains a dispute around the world. The trafficking of stolen art has become as widespread as drugs and firearms.

Private looting has always occurred alongside with state sponsored plundering, although it has evoked more disapprobation. The vandalism of the Parthenon sculptures by Thomas Bruce, seventh earl of Elgin, British Ambassador to the Ottoman court is the most notorious one and remains the archetypal case of looted artworks repatriation demand for more than 200 years.

Since the second half of the 20th century, states have adopted legislative instruments to regulate the illicit trafficking and the return of improperly removed cultural objects as part of a wider effort to enhance the protection of cultural heritage.

Restitution of cultural objects unethically removed from their countries of origin is a today’s global question. Cases concerning the circulation of cultural property are increasingly settled through diplomatic relationships. Museums are institutions representing reconciliation and as such, they have the duty to act ethically.

Antiquities of particular importance to humanity that were removed from the territory of a State in a questionable manner in terms of legality, as well as in an onerous way, need to be returned on the basis of fundamental principles enclosed in international conventions irrespective of time limits or other restrictions. They also need to be returned on the basis of legal principles, customary rules, and ethics. This need is also dictated by increased ecumenical interest for the integrity of the monument to be restored in its historic, cultural, and natural environment. Nobody may fully appreciate these antiquities outside their context. A characteristic example in this respect is the Parthenon Sculptures.

Lord Elgin was a fatal figure in the history of the looting of Greek antiquities. In 1799, he was appointed British Ambassador to the Sublime Porte at Constantinople. A year earlier, Napoleon had invaded Ottoman Egypt, and Britain hoped to become the sultan’s main ally in reversing the French conquest. The dispatch from London of a well-connected diplomat descended from the kings of Scotland who had previously served as a British envoy in Brussels and Berlin was itself a gesture of friendship toward the Turks.

As well as competing in geopolitics, the British were rivalling French for access to whatever remained of the great civilizations of antiquity. Elgin seizes the opportunity for personal gain to acquire a huge collection of antiquities. His attention was focused primarily on the monuments on the Acropolis (the Parthenon topmost) which were very difficult of access and from which no one ever had been granted permission to remove sculptures.

His marriage to a wealthy heiress, Mary Nisbet, had given him the financial means to sponsor ambitious cultural projects. While traveling through Europe en route to Constantinople, he recruited a team of mostly Italian artists led by the Neapolitan painter Giovanni-Battista Lusieri.

Their initial task was to draw, document and mould antiquities in the Ottoman-controlled territory of Greece. The initially cloudy mission of Elgin’s artistic team culminated in a massive campaign to dismantle artworks from the temples on the Acropolis and transport them to Britain. By using methods of bribery and fraud, Elgin persuaded the Turkish dignitaries in Athens to turn a blind eye while his team removed those parts of the Parthenon, they particularly liked.

Elgin never acquired the permission to remove the sculptural and architectural decoration of the monument by the authority of the Sultan himself, who alone could have issued such a permit. He simply made use of a friendly letter from the Kaimakam, a Turkish officer, who at the time was replacing the Grand Vizier in Constantinople. This letter, handed out unofficially as a favour, could only urge the Turkish authorities in Athens to allow Elgin's men to make drawings, take casts and conduct excavations around the foundations of the Parthenon, with the condition that no harm be caused to the monuments.

On 31 July 1801, the first of the high-standing sculptures was hauled down. Between 1801 and 1804, Elgin's team was active on the Acropolis, stripping, hacking off causing considerable damage to the sculptures and the monument. Eventually Elgin’s team detached half of the remaining sculpted decoration of the Parthenon, together with certain architectural members such as a capital, a column drum and one of the six caryatids that adorned the Erechtheion temple, as they could not found an available ship to take all six away! “I have been obliged to be a little barbarous,” Lusieri once wrote to Elgin.

London and Athens now hold dismembered pieces of many of the sculptures. Large sections of the Parthenon frieze, an extraordinary series of relief sculptures depicting the procession of Greater Panathenaia, the most important festival held in honour of the city’s divine patroness Athena, numbered among the loot.

Of the 97 surviving blocks of the Parthenon frieze, 56 have been removed to Britain and 40 are in Athens. Of the 64 surviving metopes, 48 are in Athens and 15 have been taken to London. Of the 28 preserved figures of the pediments, 19 have been removed to London and 9 are in Athens.

The shipping of these precious antiquities to Britain was fraught with difficulties. One ship sank and the sculptures, after prolonged exposure to the damp in various harbours, eventually arrived in England three years later. In London, they were shifted from sheds to warehouses, because Elgin had been reduced to such penury by the enormous costs of wages, transportation, gifts and bribes to the Turks, that he was unable to accommodate them in his own house. So, after the mortgaging of the collection by the British state, he was obliged to sell the Parthenon Sculptures to the government, for £35,000—less than half of what Elgin claimed to have spent. Finally, the British Government transferred the Sculptures to the British Museum in 1817. In 1962, they were placed at the Duveen Gallery. Even after they arrived at the British Museum, the sculptures received imperfect care. In 1938, for example, they were “cleaned” with an acid solution.

Prior to the transaction a Committee was appointed to consider the purchase and the evidence, it gathered was placed before Parliament. A debate took place, where many voices expressed their scepticism and disapproval. Even thoughts about the return of the Marbles were expressed for the very first time. Hugh Hammersley, a Member of Parliament, first raised the question in the House of Commons. Strenuous objections were heard outside Parliament as well, the most impassioned being that of Lord Byron, a poet and fellow member of the Anglo-Scottish aristocracy. Elgin was denounced as a vandal in sonorous verses by Lord Byron.

Contrary to Elgin’s stated fears, the sculptures that remained in Athens did not vanish. After 1833, when the Ottomans left the Acropolis and handed it to the new nation of Greece, the great citadel and its monuments became a focus of national pride. Protecting, restoring and showcasing the legacy of the Athenian golden age has been the highest priority for Greeks since then.

The removal of the so-called Elgin Marbles has long been described as an egregious act of imperial plunder.

Not surprisingly, the British Museum has so far refused all requests to give up one of its most popular exhibits. The Parthenon sculptures have become the most visible, and notorious, collection of Acropolis artifacts still housed in museums across Europe, often with the justification that such objects are emblematic of European civilization, not just of Greek heritage.

The British Museum relies on the supposed legality of an Act of Parliament. The Trustees shelter behind the argument that it is the law – that they are entrusted with these artefacts and cannot divest themselves of them. In reality, as the late Eddie O’Hara, former MP and Chairman of the British Committee for the Reunification of the Parthenon Marbles (BCRPM) stated, “the government simply needs to legislate to say ‘yes, this is possible.’ – as they did with Nazi loot.”

Even this most difficult of disputes can be resolved with the support of both Museum of Trustees and the UK Government by amending the 1963 Act or by enacting separate legislation. An Act of Parliament could be an Act of Conscience! As Janet Suzman, Chair for the BCRPM declared, the Trustees of the British Museum must get their heads together and break the shackles preventing the just return of Greece’s precious heritage to Athens.

Today, the defenders of keeping the Parthenon Sculptures in the U.K. are looking increasingly lonely. A particularly important development in the long-running request marks both the transformation of British public opinion and the changing trend of museums for the repatriation of cultural treasures, together with the eloquent request for reunification by Greek Prime Minister, Kyriakos Mitsotakis, submitted to his counterpart, British Prime Minister Boris Johnson, during his visit in London last November.

Even, The Times, the flagship newspaper of the British establishment, made a historic turn to support the reunification of the Parthenon Sculptures: "Τhey belong to Athens, they must be returned”. The main article of The Times, in an unprecedented fashion, stating that it is like taking Hamlet out of the First Sheet of Shakespeare’s works and saying that both can still exist separately, recognizes the uniqueness of the Parthenon Sculptures!

This support for Greece's request is welcomed by all those that have reinforced the diplomatic route for the reunification of the sculptures, applying constant and methodical pressure and garnering assistance from the international community. It was preceded by the unanimous decision of the UNESCO Intergovernmental Commission for the Return of Cultural Property to Countries of Origin (ICPRCP), which at its 22nd Session on 29th September 2021, adopted for the first time, in addition to the usual recommendation, a text focusing exclusively on the return of Parthenon sculptures. This new text, acknowledging the intergovernmental nature of the subject, was in direct contrast to the British side, which has consistently argued that the case concerns the British Museum. The Commission calls on the United Kingdom to reconsider its position and hold talks with Greece.*

*quotation of the text presented by the Greek delegation to UNESCO's ICPRCP.

Last week, the Μuseum’s chairman George Osborne said: "I think there is a deal to be done – whereby the marbles could be shown in both Athens and London, and as long as there weren’t “a load of preconditions” or a “load of red lines”. Since then, a number of British Lawmakers have also voiced their support for the return of the marbles, and a group of scholars and advocates of the sculptures ‘demonstrated', at the British Museum on the occasion of the 13th birthday of the Acropolis Museum.

The Acropolis Museum’s director general, Professor Nikos Stampolidis, responded with a statement, in which he described the Parthenon Sculptures as representing a procession that symbolized Athenian democracy. “The violent removal of half of the frieze from the Parthenon can be conceived, in reality, as setting apart, dividing and uprooting half of the participants in an actual procession, and holding them captive in a foreign land,” Prof. Stampolidis said. “It consists of the depredation, the interruption, the division and dereliction of the idea of democracy. The question arises: Who owns the ‘captives?’ “The museum where they are imprisoned, or the place where they were born?”

A precursor to the return is the agreement between Italy and Greece. The “Fagan fragment” of the Goddess Artemis, became the first permanently repatriated marble fragment of the sculptures to be restored on the Parthenon frieze, from the Antonino Salinas Regional Archaeology Museum in Palermo, on June 4. It was taken at the same time as the forceful removal of the Parthenon Sculptures by Lord Elgin, and later sold to the University of Palermo.

Meanwhile European governments are rushing to announce policies to return cultural goods to their countries of origin. France returned 26 items, 16th and 17th century bronze art pieces, of unparalleled art to Benin last October, and Germany announced that it would return to Nigeria, the spoils of Benin. In April, Glasgow city council voted to return 17 Benin bronze artefacts looted in West Africa in the 19th century. The Belgian government as well, has agreed to transfer ownership of stolen items from its museums to African countries of origin. Lately, the Plenary Session of the 76th UN General Assembly adopted the decision promoted by Greece for the return of cultural goods to their countries of origin.

Since regaining independence in 1832, successive Greek governments have petitioned for the return of the Parthenon Sculptures. Melina Mercouri, Greek minister of Culture, reenergized the repatriation campaign, by making a request in 1982 for the Greek government to return the Parthenon Sculptures to the UNESCO General Conference on Cultural Policy in Mexico.

The new Acropolis Museum of Athens, which opened in 2009, was built within sight of the actual Parthenon with the goal of eventually housing all the surviving elements of the Parthenon frieze. The Museum’s magnificent glass gallery, bathed in Greek sunlight and offering a clear view of the Parthenon, is the perfect place to reintegrate the frieze and allow visitors to ponder its meaning.

Greece's constant demand for the reunification of the stolen Parthenon Sculptures with the mutilated ecumenical monument is a unique case based on respect for cultural identity and the principle of preserving the integrity of world heritage sites.

As Professor Paul Cartledge, Vice President of BCRPM rightfully said: ‘The key word is ‘Acropolis’. The Parthenon, a UNESCO World Heritage site, derives its significance ultimately from its physical context. A good deal of the original building has miraculously been preserved and in recent times expertly curated. The gap between the Acropolis Museum’s Parthenon display and that in the Duveen Gallery of the British Museum is simply immeasurable. Over and against the alleged claim of legality, there is on our side the overriding claim of ethical probity. Times change, and mores with them.”

The United Kingdom can only benefit from the long-awaited gesture, not of generosity, but of justice. The reunification will finally be given its time.

*The article above formed part of a presentation that Sophia Hiniadou Cambanis gave at the Thessaloniki International Conference : “Art communicating conflict resolution: An intercultural dialogue” co-organized by the Municipality of Thessaloniki and the UNESCO Chair “Intercultural Policy for an Active Citizenship and Solidarity” of the University of Macedonia, on June 30th 2022.

**Sophia Hiniadou Cambanis is Attorney at Law and Cultural Policy & Management Advisor at the Hellenic Parliament

Friday 21 March was day one of a two day conference, the LSE Hellenic Conference 2025.

The first session included a thought provoking discussion between Margaritis Schinas, Vice President of the European Commission (2019-2024) with Spyros Economides. The Translatlantic Alliance and Europe's standing on the world stage, gave the audience plenty to reflect upon. Despite the challenges that Europe and the world face, there is hope. 

BCRPM remembers Margaritis Schinas' article on the Parthenon Marbles too.

The second session of Friday's conference was aptly entitled "Debate on Greek Cultural Heritage: the reunification of the Parthenon Marbles" and was graced by three speakers, two are members of the British Committee for the Reunification of the Parthenon Marbles: Mark Stephens CBE and Victoria Hislop. Roger Michel of the IDA. The moderator was Dr Tatiana Flessa.

Dr Flessa asked the speakers to start by outlining how they had come to support this cause. Mark explained that his legal background and interests saw him working on both the return of Aboriginal remains and Nazi looted art. Meeting with others that had been involved in the Parthenon Marbles case, he too felt strongly that this was a just cause. Victoria spoke of her childhood and as a regular visitor to the British Museum in the 60's and 70's how she had sat on the fence until Boris Johnson, the then PM declared in an interview that the sculptures held in the British Museum would never be returned (March 2021). Roger Michel remembered speaking with the Greek Ambassador pre Covid and explaining that exact replicas could be the answer to this long-running debate. 

Both Mark and Roger spoke at length about the legality of Lord Elgin's removal of the sculptures, not least the sale and the centuries of division. International law, British law and statutes of limitation were highlighted  but Roger wanted to question why the Charities Act rather than the Museum's Act had not been used to facilitate the reunification. Dr Flessa also gathered the thoughts of both Mark and Roger regarding good title and legal transfer.

Victoria was keen to emphasise that should the Parthenon Marbles be reunited, the British Museum would not be emptied. That it was time for the British Museum to look where it was in terms of public opinion and that reuniting the Parthenon Marbles would be the best thing that it could do as an institution that also prides itself on education and research.

Mark spoke about UNESCOand the UN, the resolutions passed regarding specific objects that ought to be returned to their country of origin. On the international arena when emblematic cases where return and restitution to their countries of origin is discussed, there is the greatest support for the reunification of the Parthenon Marbles.  

Roger quoted Castlereagh, one of the most distinguished foreign secretaries in British history, and yet it was Byron that criticised Castlereagh. Roger also added that art has its own rights.

Victoria has often imagined the day when the sculptures will finally arrive at the Acropolis Museum, declaring: "There will be great rejoicing in the whole of Greece - and a National Holiday declared.  In Britain, most will not even notice or care - there won’t be weeping in the street."

BCRPM wishes to thank the organisers and especially Maria Efthymiadou.

Watch the ERT news bulletin by Natasha Kantzavelou.

, is Italian and has been living and working in the UK for over 15 years. He teaches at the University of Southampton and with Prof. David Boyd-Carrigan co-founded 'Greece Needs Love'. The aim has been to raise money for art students in Greece and organise an exhibition for Greek artists in London - a Greek Art Biennale. An equally important aim was to join  the campaign to return the sculptures from the Parthenon currently housed in the British Museum, back to Greece and the Acropolis Museum.

On 01 July this year, Luca began his cycle run from Bloomsbury, London outside the entrance of the British Museum.

He was suffering with a summer cold and could barely speak but set off and 35 days and 8 hours later, he arrived in sunny Greece. He travelled through France and Italy crossing by ferry from Italy to Patras and cycling from the west Peloponnese to Athens. Difficult moments were plentiful but what will be a lasting memory for Luca, is the help and support he received from people along the way. All those that asked him what he was doing, were quick to say they too supported the reunification of these sculptures.

Generosity, fairness and respect are values that shape Luca's life, and he firmly believes that the best place to view the sculptures is in the Acropolis Museum. "The return of the marbles to Athens is a historic and moral obligation of us all" concludes Luca.

Deputy Culture and Sports Minister Angela Gerekou, congratulated Luca and presented him with a figurine replica of a dove from the Hellenistic period.

Luca had also decided, prior to starting his journey, that he would donate his bicycle to the Acropolis Museum. In Athens he met  Professor Pandermalis, President the Acropolis Museum.

There is no doubt as we followed Luca's progress with his Facebook and twitter posts that his infectious smile was catching all the way into Athens!

The campaign for the reunification of the Parthenon Marbles love affair with cycling began nearly a decade ago with Dr Christopher Stockdale MBE, a General Practitioner from the Midlands and member of the British Committee. After he retired in 2003, Chris cycled in spring 2005 from London to Athens to campaign for the reunification of the marbles - five years before the Acropolis Museum was opened. 

The fragments of the Parthenon sculptures that are exhibited in the British Museum have made headlines again, after an interview with British Prime Minister Boris Johnson in which he expressed his objection to the sculptures’ repatriation. Johnson’s refusal is of little consequence. The sculptures are not the responsibility of the British government but of the Trustees of the British Museum; it is their opinion that counts.

Thirty-eight years after the beginning of systematic efforts for the repatriation of the sculptures, the British Museum’s opposition to the reunification of all the remaining fragments in the Acropolis Museum has no substantial basis, neither moral nor scientific. Since 2009, the Acropolis Museum has been the ideal place for the exhibition of all the sculptures that once decorated the Parthenon. The website of the British Museum gives a shaky justification for the Trustees’ objection to the unification of the Marbles: “The Trustees of the British Museum believe that there’s a great public benefit to seeing the sculptures within the context of the world collection of the British Museum, in order to deepen our understanding of their significance within world cultural history.” In other words, viewing the sculptures of Pheidias along with the sculptures of ancient Egypt or Rapa Nui takes precedence over the integrity of a work of art.

This cannot be taken seriously. Imagine that the score of a lost symphony by Tchaikovsky was found and its sheets were scattered in private collections around the world; and imagine that the collector who is in possession of 60% of the score prefers to have the parts recorded on his sheets performed together with music from the Andes or China, instead of allowing the performance of the entire composition. The argument of the British Museum carries similar weight.

So, why does the British Museum insist on its position? The reason, admitted or not, is simple: If the British Museum were to bring the Parthenon sculptures to Greece in any way that might create any suspicion that they have been in its possession illegally, this would set a precedent and might call into question the legitimacy of its collections that were acquired before the establishment of international legal norms for the protection of antiquities and cultural heritage. This is why the British Museum does not rule out sending the Parthenon sculptures to Athens as a loan, but under one important condition: “that the borrowing institution acknowledges the British Museum’s ownership of the object.” For the British Museum, this is not a whim; it is a matter of survival. All Greek governments have declared that they will never acknowledge that the British Museum is legally in possession of the sculptures. Hence the deadlock.

Can Greece break the deadlock by raising legal claims for the return of the sculptures? Lord Elgin was in possession of an administrative document – a letter from the Kaimakam, superior administrative official of Istanbul, to the Ottoman authorities in Athens – when he removed the sculptures from the Parthenon; however, according to Turkish historians, such an act would have normally required a firman (a royal mandate or decree) from the sultan. Elgin claimed that he had been given a firman, but no such document was ever found. The problem is that when the British Museum acquired the Parthenon sculptures in 1816, following a decision by the British Parliament, there was no international law for the protection of cultural property, no Greek state, and no Greek laws for the protection of antiquities. To submit the matter to a British or an international court means accepting unpredictable risks.

By contrast, things are clear from a moral and scientific point of view. Elgin committed greedy and ruthless looting. Anyone who reads the reports of his agents about the brutal way in which the sculptures were removed from the Parthenon still feels the repulsion and indignation that Lord Byron expressed in his poem after his visit to Athens (1811).

Scaped from the ravage of the Turk and Goth,

Thy country sends a spoiler worse than both.

Survey this vacant, violated fane;

Recount the relics torn that yet remain:

“These” Cecrops placed, “this” Pericles adorned,

“That” Adrian reared when drooping Science mourned.

What more I owe let Gratitude attest –

Know, Alaric and Elgin did the rest.

That all may learn from whence the plunderer came,

The insulted wall sustains his hated name.

For today’s civilized world, it is of no relevance what document Elgin had or did not have in 1801. Today, priority must be given to the restoration of a work of art of emblematic significance to world culture. It is in this spirit that the motto of the international committees for the Parthenon sculptures is “Marbles United,” not “Marbles Returned.”

Given that the legal issue of ownership has not produced – and it is unlikely that it will ever produce – any results, it is time for another approach. The proposal is simple: The Greek Parliament’s Committee on Cultural Affairs should appoint a committee of Greek and foreign experts and generally respected figures who will approach the British Museum not on behalf of the Greek state, but on behalf of the Acropolis Museum, in order to examine the conditions under which the reunion of the sculptures will become possible. Since every Greek government would like to triumph over a success and every opposition would look for reasons to stigmatize the government, this committee should be appointed by an increased majority, in order to have cross-party support. In a period of increasing polarization, it would be a real gift to the Greek citizens to have an atmosphere of cross-party understanding on this issue.

Solutions can be found. For instance, the Collection of Antiquities of the University of Heidelberg was in possession of a small fragment of the Parthenon frieze. In 2006 the university did not “return” but “donated” it to the Acropolis Museum. The act of donation – the transfer of ownership from one museum to another – freed the university from any suspicion of illegality, and the fragment found its place in the frieze. There is a difference between a government’s claim for the return of stolen property and and a committee’s efforts to restore for all humanity a monument of universal importance. By shifting the focus from law to culture and from a dispute between a state and a museum to a cooperation between two museums, a new dynamic can be created. Otherwise, Greece will continue to have the right on its side and the British Museum the sculptures in its rooms.

Angelos Chaniotis is professor of ancient history and Classics at the Institute for Advanced Study at Princeton, NJ.

British Government 

An Australian woman who wrote to Queen Elizabeth requesting her to help return the Parthenon Marbles to Greece has received a reply from Buckingham Palace.

In the letter, obtained by Ta Nea, Greece’s daily newspaper, a palace official said that the Queen had taken “careful note” of the request to return the 2,500-year-old sculptures that Lord Elgin removed from the Acropolis temple.

Mary Drost OAM of Melbourne wrote to Queen Elizabeth on August 1, 2019, asking her to facilitate the return of the Parthenon Marbles to Athens “where they belong.”

“Your Majesty, I speak for the Greek community in Melbourne Australia. They appeal to you to arrange to return the Elgin Marbles to Greece where they belong. The Duke of Edinburgh, I am sure, would agree,” the letter reads.

The reply, written by a palace official, said: “Dear Mrs Drost, The Queen has asked me to thank you for your letter from which Her Majesty has taken careful note of the views you express regarding the Elgin Marbles.”
“I must explain, however, that as a constitutional Sovereign, The Queen acts on the advice of her Ministers and remains strictly non-political at all times. This is, therefore, not a matter in which Her Majesty would intervene,” the official added.

The letter, sent on August 21, 2019, was signed by Miss Jennie Vine, MVO, Deputy Correspondence Coordinator at the palace.

Mrs Drost, who has received the Order of Australia Medal, also sent a letter to the UK Prime Minister Boris Johnson asking him to facilitate the return of the Marbles.

“Dear Prime Minister, I speak for the Greek Community of Melbourne Australia and urgently request that you arrange for the Elgin Marbles that are now in the British Museum be returned to Greece where they belong,” the letter, sent on August 9, reads.

“This issue causes great anger among those of Greek origin. The Marbles should never have been taken, people say they were stolen. It would certainly put your name up high if you undertook to send them back, in fact take them back yourself. Think of the wonderful publicity you would get worldwide. Please give this serious consideration”.

Mr Johnson has yet to reply.

Asked what made her send these letters, Mrs Drost told Ta Nea: “I feel for the Greeks and their desire to see the carvings back where they belong, so I decided to write to the Queen and the Prime Minister as they are the two most important people in the UK. I felt sure the Queen would be interested, as her husband has Greek roots”.

Mrs Drost visited the British Museum twice this August. “When I was in the museum talking to the guard, he told me that the Duke of Edinburgh had come to see the marbles and commented that they were really like an Ambassador for Greece.”

“I really don’t know what the Duke meant, but I guess ambassadors do eventually go home, don’t they?” said Mrs Drost, adding that the guard also told her that “he thought it might be just the sort of thing Prime Minister Boris Johnson might enjoy doing.”

When asked to comment on Queen Elizabeth’s response, Mrs Drost said: “The Queen of course could not do anything, it is not in her power, but the letter showed that she was certainly interested, as I am sure her husband is.”

Mrs Drost lives in Australia where she is “dedicated to protecting Melbourne from inappropriate and excessive development, serving as Convenor of Planning Backlash Inc, a coalition of 300 resident groups across city coast and country.”

She has several Greek friends who have alerted her to the Parthenon Marbles reunification request. “Melbourne is a city that has a large Greek community. Years ago there was a joke saying that Melbourne was the largest Greek city in the world after Athens. So of course I heard about the Parthenon Marbles or the ‘Elgin Marbles’ as they are known, as it was Lord Elgin who ‘stole’ them and brought them to London,” she said.

“I go each year to Europe and of course have been in Athens and heard the mourning over the loss of so much of the ancient carvings that were taken to London.”

While in London, Mrs Drost met with Marlen Taffarello Godwin of the British Committee for the Reunification of the Parthenon Marbles. “We discussed setting up a big protest in the museum next year, demanding that the collection be returned to Athens,” she said.

This article was written by Yannis Andritsopoulos, London Correspondent for Ta Nea, Greece's daily newspaper, and published on 12 October 2019. 

Mary Drost visiting the BM in the summer of 2019, on 21 August with BCRPM member, Marlen Godwin

On the 15th of June this year BCRPM held a celebration of the Acropolis Museum's 15th anniversary in Room 18 and Chair Janet Suzman, with members Victoria Hislop and George Gabriel delivered a letter to the new director Nicholas Cullinan.

The reply from Nicholas Cullinan arrived just a few days later and did give all at BCRPM a boost of optimism.

Last Friday the Financial Times article by contributing editor Jan Dalley had an encouraging headline - British Museum chief Nicholas Cullinan:‘I start with the idea that everything is possible’. [Music to all of BCRPM's ears]

“If anyone tells me something isn’t possible, I’ll go all the more into making it happen.” Nicholas Cullinan tells Jan Dalley. The huge challenge ahead is that Nicholas Cullinan is overseeing the most ambitious museum reconstruction ever attempted — “a complete holistic transformation, top to bottom, inside out, buildings, collection, visual identity, ” rumoured to cost £1bn.

The startling statistics about Britain’s biggest cultural institution are no exaggeration, though: with around 3,500 rooms and some 8mn objects in its collection, it is, according to former trustee Antony Gormley, “[one of] the last unmodernised great museums in Europe”. Add to that its recent reputational bashing: last year’s scandal over thefts from the collection, perpetual arguments about sources of philanthropy and funding, and the seemingly insoluble conundrum about repatriation, in particular of the Parthenon Marbles.

The the case for the reunification of the Parthenon Marbles is the British Museum's most public and controversial debate is something that all those involved with BCRPM have felt for decades but again the mantra has been 'anything is possible'. Despite certain setbacks, the accomplished efforts by Greece at UNESCO's ICPRCP  over the decades has ensured that hope would not wane.

It was good to hear Lisa Nandy, Secretary of State for Culture, Media and Sport at the the recent Labour Party conference state that repatriation is on this government's agenda. At last!

Nicholas Cullinan is typically diplomatic, and typically optimistic, writes Jan Dalley, but for us as campaigners that's better than dismissive and superior.. We're still recovering from Hartwig Fisher referring to the division of the sculptures a a 'creative act'!

“I think everyone would like to see a really exciting, innovative solution. No, solution is the wrong word — response. Something outside the usual framework . . . I’m starting with the idea that everything is possible, and we’ll deal with reality as it evolves. Let’s not start with the idea that certain things can’t be done.” Continues Nicholas Cullinan in his conversation with Jan Dalley. “Plans are taking shape." 

No doubt the discussions between Greece and the British Museum are ongoing but we continue to also hope that the UK government will take the lead in this matter by amending the Museum Act. Many have tried before and more will continue to do so.

As UK's PM Sir Kier Starmer continues to travel abroad, looking to establish the UK as a nation of possibilities, nurturing collaborations aimed at securing the UK a brighter future, then let the reunification of the Parthenon Marbles be that fine feather in his cap too. 

The new director of the British Museum, Dr Nicholas Cullinan in an interview with Richard Morrison for the Culture section of the Sunday Times, 15 September 2024.

“I’m going to lead the biggest transformation of any museum in the world,” Nicholas Cullinan declares. “Physically, our masterplan is a huge project. But intellectually, too, it’s an enormous challenge. Yes, fixing the roof is urgent. But if you’re going to address those physical problems you should also do something really exciting with the collections and the way we present them to the public.”

Music to our ears, as we have looked to the BM to embrace the 21st century and the continued call for the reunification of the Parthenon Marbles.

Read the full article by Richard Morrison.

Post the 2,000 thefts, then the controversial 50 million pound donation from BP earmarked for the BM's masterplan with the transformation of the building and the campaign for reunification of the Parthenon Marbles, now in it's 41st year, is Nicholas Cullinan leading the way to a brave new era at the BM? 

The decision to digitise the whole BM collection, all eight million items means, in the future, if an item is stolen and offered for sale, it will be easy to check it against the BM’s database. “But it also gives us an opportunity to create an incredible website that could reach well beyond the museum’s walls,” adds Nicholas Cullinan.

Last month five architectural teams were shortlisted to work on rethinking the galleries that include the rooms housing the Parthenon Sculptures, Rosetta Stone and mummies. 

“It’s really a giant restoration project. The western range is largely the original Robert Smirke building from the 19th century, with its beautiful galleries. But they can be made even more beautiful. And at the same time we have to rethink how we navigate visitors round and best display and interpret the collection.” Continues Cullinan in the Sunday Times as he also points out that the 1963 British Museum Act stops the museum from deaccessioning anything in its collection, even if it wanted to. “The more interesting aspect to think about now is how we can work in partnership with other museums round the world to lend or exchange items,” he says.

The Sunday Times asks whether “a friendly lending agreement [would] end the seemingly eternal squabble over the Elgin [Parthenon] Marbles?” Cullinan responds: “This is not me trying to dodge the question but that issue is not within my purview. It depends on other parties…The more interesting aspect to think about now is how we can work in partnership with other museums round the world to lend or exchange items.”



 

THE GUARDIAN 16 November 2021

On Tuesday, 16 November 2021 in the Guardian Peter Walker and Helena Smith wrote that it has long been the official UK position that any return is a matter for the British Museum.

The wider debate about museums returning artefacts taken from other countries during colonial times, has so far been resisted by the UK with the mantra of “retain and explain”. And that the British Museum’s consistent view is that the sculptures were acquired legally, with Elgin receiving formal consent from the Ottoman empire to remove the section of sculptures. “His actions were thoroughly investigated by a parliamentary select committee in 1816 and found to be entirely legal, prior to the sculptures entering the collection of the British Museum by act of parliament,” the museum says on its website.

BCRPM Vice-Chair Paul Cartledge was quoted in the same Guardian article saying that this amounted to “a sleight of hand”.

“It’s a nonsense,” he added. “Even if the trustees agreed to relinquish them, the final decision to rescind the act of 1816 which declared the Elgin Collection to be owned by the nation would legally have to go through the British parliament. There is no doubt that the pressure is building up for genuine, post-imperial reconciliation in the cultural sphere and Johnson is trying to evade it.”

To read thst article in full, follow the link here.

THE TIMES

  Josh Glancey of The Times tweeted on the same day about the British Museum's website statement:

And BCRPM member Benjamin Ramm replied 

Variations in the British Museum's statements, half truths on the information provided in Room 18, have left generations questioning what really happened bewtween 1801-1805 for Greece to have lost to another country half of its surviving Parthenon Marbles, with the Parthenon itself still in Athens.

A helpful video can be found on the Acropolis Museum web site.

GBNews 18 November 2021

On Friday vening BCRPM's member Professor John Tasioulas joined GBNews and took a pragmatic approach on the issue too.

Today, Saturday 20 November, Simon Jenkins wrote in the Guardian and the article headline reads: 'Give the Parthenon marbles back to Greece – tech advances mean there are no more excuses. To read the full article follow the link here. 

THE GUARDIAN 20 November 2021

Simon Jenkins pragmatic approach concludes: 'This issue, so important to the Greeks but not to the British, could be sorted out with goodwill in an instant. Precisely such a negotiation on the marbles was demanded in September by UNESCO, and rejected by Britain. If it requires a “perpetual loan” or an act of parliament, then get on with it. If money is required, raise it. Johnson is being feeble in fobbing off Athens’ request as not being under his purview. The museum is a state institution. Instead of keeping his promise and doing the right thing by the marbles, he has performed another U-turn and funked it.'

THE DAILY MAIL 20 November 2021 

Prime Minister Mitsotakis wrote in the Daily Mail and adds: "Now, given the Prime Minister has told me he would not stand in the way of Greece establishing a formal dialogue with the British Museum over the future of the marbles, I can only assume things will be different – that he will not obstruct any future agreement and, instead, the Prime Minister would seek to amend the relevant legislation to allow the sculptures’ return."

THE TELEGRAPH 20 November 2021

The Telegraph published a double page spread in the main section of Saturday's paper, witten by Gordon Raynor, with the headline questioning:'Could we be on course to lose 'our' Marbles?'

BCRPM's Chair Janet Suzman is quoted:"The British Museum is demonstrably behind the curve.Other world-class institutions have started returning items, so it's a bit smug for the British Museum to refuse to engage. It just keeps trotting out the same mantra it has clung on for the past 200 years. It's terribly impolite for them to just stay silent on this."

The British Museum's reasons for keeping the Marbles in London and divided from their surviving half in Athens is that: " there is a positive advantage and public benefit in having the sculptures divided bewtween two great museums, because in Athens they are seen against the backdrop of Athenian history and in London visitors gain insight into how ancient Greece influenced other civilisations."

Janet adds that this is just "childish, finders keepers stuff. They were forcibly removed, they were brought to Britain, they have excited the western world and classical scholarship went up. They have done their job and it's time for them to go home. It is a moral obligation.

She continues:" Anyone who goes to the museum in Athens can see, that is where they should be displayed. In the British Museum the experience is quite depressing."

To read the full article, visit the Telegraph.

More on this also in the Greek Reporter.

The return of the British Museum's Parthenon Marbles to Greece, according to Reuters' report on Sunday, may be possible 'even if the two sides cannot come to an agreement over who owns the sculptures'.

Greece's request for the return of the sculptures began shortly after independence. The more recent request was made by the then Minister of Culture, Melina Mercouri in 1983, when the Greek government formally asked the UK government to return the marbles to Greece and, in 1984, listed the dispute with UNESCO. The Greek government has always only requesed the return of the sculptures that Lord Elgin removed from the Parthenon at the start of the 19th century.

The Pope last year announced that he would donate three fragmented pieces from the Vatican Museums to Greece. The signing of the agreement took place in Rome on  Tuesday 07 March 2023.

Talks bewtween Greece and the British Museum have been going on since late 2021, and were disclosed when Prime Minister Mitsotakis came to London in November of 2022 to address the LSE.

The British Museum's Parthenon collection could be returned to Greece under a long-term cultural partnership agreement, Reuters reported on Sunday 12 March.

The plans, which have been discussed with Greek Prime Minister Kyriakos Mitsotakis and British Museum's Chair George Osborne, would see a rotation of Greek masterpieces offered to the British Museum, including some that have never been seen outside Greece*.(This was offered by Greece for the first time in 2000, 23 years ago!).

Such an arrangement could avoid the requirement for a change in the law to allow the British Museum to dispose of its artefacts, the same point raised in 2000 also.  And yet,  George Osborne has played down the prospect of a permanent return of the marbles, instead suggested an arrangement where the marbles can be shared by both museums and seen in London and Athens.

This story is set to run for a little longer.

Read the aricle by Liam Kelly, Arts Correspondent for the Sunday Times, and for those that read in Greek in Ta Nea, although there are paywalls.

Ioanna Kleftogianni in To Vima reflects on the thefts at the British Museum and speaks to Professor Paul Cartledge, Vice-Chair about the crisis in Bloomsbury, plus takes a statement from Janet Suzman, Chair of BCRPM.

The Vice-Chair of the British Committee for the Reunification of the Parthenon Marbles says the Greek government "behaved absolutely right"by not linking the thefts "to its long-standing and perfectly legitimate demand for reunification".

Game changer. The timeless argument that "the Parthenon Sculptures are safer in the British Museum" is hotly contested, if not destroyed after the recent revelations, which fell like a bolt of lightning from the sky about the unknown number of lost antiquities that have been "stolen, destroyed or missing" from the British Musem's storerooms.

Two weeks after the British Museum's theft scandal was disclosed, there is still concern about the refusal to publish (as is customary in such cases), the list of the stolen artefacts, which allegedly also includes Greek antiquities.

Now the question is one: the theft of valuable objects from the British Museum and their sale via eBay, despite warnings since at least 2021, and does this upgrade Greece's claims?

The British press speaks of "systemic failures" in the British Museum, shocked by the other revelation of the days about the lack of listings for all objects held by the Museum.

The revelations caused global outrage and a domino effect of resignations (first the director Hartwig Fischer and then deputy director Jonathan Williams), following the earlier dismissal of the head of Greek collections, Peter Higgs. But do these dismissals and resignations reinforce the long-standing demand for the repatriation of the Marbles?

The quality of the exhibition in the Duveen Gallery and its physical condition are, admittedly, a cause for concern

It can proceed on a completely new basis, with a happy end for the Greek side – namely, the Parthenon Sculptures fully reunited, within the Acropolis Museum – the debate that began last autumn on this issue, between the Chair of the British Museum and former economy minister, George Osborne, the Greek prime minister, Kyriakos Mitsotakis, and the then minister of state and now foreign affairs, George Gerapetritis.

Questions posed by "To Vima" to the Chair of the British Committee for the Repatriation of the Parthenon Marbles (BCRPM), Dame Janet Suzman, and to the Vice-Chair,  one of the longest-serving members of the Committee, Professor Paul Cartledge.

The award-winning Shakespearean actress-legend says she is outraged: "The time has finally come for the British Museum to return the Greek masterpieces that were stolen. Patience is running out."

The leading modern Hellenist argues, modestly, that the theft scandal and the Greek request are two completely unrelated issues, hence, he adds, the Greek government "behaved absolutely correctly" by not linking the thefts "to its long-standing and absolutely legitimate request for the reunification of the Marbles", stressing that "no Parthenon Marble is ever in danger of being stolen and put up for sale on eBay".

And this despite the "very seriousness" of this recent scandal, which, as the former holder of the A.G. Leventis Chair at Cambridge University points out, raises for him "a series of anguished thoughts and questions":

"First of all, it turns the spotlight on the Museum, when it already answers or rather rejects other uncomfortable questions. Second, it raises questions about how quickly it discovered the thefts and reported them to the police. Moreover, it calls into question the role of the director, trustees and department heads – not just the then curators of the Greek and Roman Department. It reveals to the uninformed public the extent to which the vast majority of what the Museum holds has never seen the light of day. At the same time, it creates an air of suspicion throughout the institution, while violating and abusing public trust. And finally, it has damaged the very concept of the museum, especially that of the ecumenical museum."

Q: The Welsh, Mr Cartledge, are already demanding their own antiquities. Do you believe that the Greek government's request for the return of the Parthenon Marbles is now being put on a new footing? Has the claim that the Parthenon Sculptures are safe in the British Museum been debunked?

"Nope. The reunification of the Parthenon Sculptures and the theft of other objects from the collection of the British Museum are two completely separate questions and issues. The first is a moral, diplomatic, aesthetic, cultural issue. The second is a technical, managerial issue that the Museum must solve on its own. I am sure that no Parthenon Sculpture is in danger of ever being stolen by the British Museum and put up for sale on eBay. The quality of the exhibition in the Duveen Gallery and its physical condition are, admittedly, cause for concern, but this is a separate issue. Hence the Greek government behaved absolutely correctly by not making public comment on the thefts and therefore not linking its long-standing and perfectly legitimate demand for the Reunification of the Marbles – as some Greek media unfortunately did – with the recent theft case."

Q: The revelations about the theft were first made internally at the museum in 2021, while President Osborne was in discussions with the Greek prime minister. The British side made it public that there was talk of the possibility of a 10-year loan to Greece, a solution allegedly promoted by Mr. Osborne. Doesn't the scenario of the loan, which Mr. Osborne suggests, presuppose the acceptance that the sculptures are British-owned, which the Greek side does not recognize?

"There is indeed a contradiction. A rumour arose that there was talk of a 10-year loan, but it was officially denied by the Greek side that any kind of loan could ever be considered acceptable. And that certainly makes sense. A loan, legally speaking, implies acceptance of the ownership claim, which is exactly what the British side is claiming. But this claim, as international human rights lawyer Professor Catherine Titi very recently demonstrated once again, has absolutely no basis in international cultural property law, only in British domestic law, and is a claim that neither the Greek government nor the international community (UNESCO) recognizes.

Q: British law prohibits the British Museum from donating its exhibits other than Nazi loot and human remains. So, does the return of the Marbles to Greece require the adoption of a special law by Parliament?

"Yes. The British Museum is governed by the Museums Act 1963, which prohibits deaccession. And, yes, the reunification of the Parthenon Marbles would require both the change or withdrawal of the 1963 Act and, probably, the modification or repeal of the original 1816 Act of Parliament, according to which the then British government bought the Elgin Marbles, including the Parthenon Marbles, stolen by the former UK ambassador to the Ottoman Empire, Lord Elgin".

The Greek government should continue to exert diplomatic pressure aimed at encouraging the curators of the British Museum to persuade the British government to pass the necessary legislation

Obviously, the British Parliament would not withdraw a law in favour of Greek claims! I wonder if you would repeat today the view, expressed in 2022, that the Parthenon Sculptures will return to Greece "only when the UK will need a gesture against China or Turkey"...

"I meant that probably only in extreme circumstances would any British government, whether left or right or centrist, or an individual MP, put the issue of the reunification of the Marbles quite high on the parliamentary agenda, with probably MPs first and then the Lords voting in favour. As theoretical examples of such extreme conditions, I devised a situation in which the state of Greece would find itself threatened militarily or economically or culturally by active aggression, for example, by Turkey or China, so that the UK government and parliament wanted to make a huge gesture of solidarity.

You have argued that legal action, as has been seriously discussed in the past, is not a solution. Do you still share the view today?

"Based on past experience, this form of action has proven to be absolutely unsuccessful and counterproductive, because any 'legal' approach may appear to legitimise the UK government and the British Museum's claim to legal ownership of 'their own Marbles'. This only confuses and blurs the real issue, which is a moral one, not a question of legality."

So what can the Greek government do?

"It should continue to exert diplomatic pressure to encourage the Trustees of the British Museum to persuade the British government to pass the necessary legislation. Really,

Greece can do no more."

 To read the entire article, which was published on 04 September in To Vima, follow the link here. The article is in Greek.

Janet Suzman: "The time to reunite the Parthenon Marbles has arrived, patience is running out."

"The time has finally come to return the Greek masterpieces that were looted (...). Patience is running out," said Janet Suzman, Chair of the British Committee for the Reunification of the Parthenon Marbles (BCRPM) for six years, and nominated for an Academy Award for Best Actress, and a Dame for her services to drama, who became known to younger generations by also appearing in the popular Netflix series "The Crown".

She bluntly calls "shameful" the stance taken on the issue of the return of the Parthenon Marbles by the recently resigned deputy director of the leading museum, Jonathan Williams, whom she disapproves for his proposal to "share" the sculptures with the Acropolis Museum.

"The scandalous revelations of mismanagement" Dame Janet Suzman hopes will shake the British Museum's view that it is "one of its kind". And it sums up that "priority must be given to respect for the cultural heritage of other nations".

"It is with relative relief that we read of the resignation of the deputy director of the British Museum, Jonathan Williams, precipitated by the revelation of the shocking thefts, and the uncatalogued treasures of the British Museum," Janet Suzman, Chair of of the British Committee for the Reunification of the Parthenon Marbles told To Vima.

UNITED

"At the last UNESCO meeting they were all united against Jonathan Williams categorical refusal never to return the Parthenon Marbles. Jonathan Williams’ attitude was embarrassing. 

He also said that the Marbles were collected by Elgin, from the ground, where they had already fallen. A blatant lie. Elgin caused catastrophic damage to the great building by sawing the sculptures to remove them from the Parthenon to which they belonged," adds the Chair of the British Committee for the Reunification of the Marbles.

And three months later Jonathan Williams proposed a "Parthenon Partnership" with the Acropolis Museum, and the "sharing" of the sculptures. Knowing full well that sharing cannot be accepted by Greece, to which these sculptures belong both culturally and historically," concludes Dame Janet Suzman.

"We can only hope," she continues, "that the scandalous revelations of mismanagement will shake the British Museum's view that it is supreme, one of its kind. The time has come to return the Greek masterpieces that were stolen, with bribes, by a shadowy privileged aristocrat. Priority must be given to respect for the cultural heritage of other nations. Patience is running out," she concludes.