Merry Wanderer of the Night:
More Stuff

According to the plans, the new museum will have to adhere to strict bio-climatic architectural standards and must be situated as far away as possible from the sea, in order to better protect the antiquities and the museum itself from the elements.

The new museum will occupy a space of at least 5,000 square meters and will feature all of the exhibits displayed in the existing museum, along with many other artefacts located on the island’s archaeological sites and in storage.

The funds for the construction plans were donated by the London-based International Foundation for Greece.

Source: To Vima [January 23, 2015]

"Tragedies are caused by differences and by a lack of tolerance. Glory be to Him who creates greatness out of difference and lets peace and reconciliation reign," they teach us.

The Parthenon Marbles, a group of sculptures, statues, inscriptions and architectural elements depicting scenes from Greek mythology, were once part of the Parthenon. Built in 5th century BC to honor Athena, the temple has become one of the most recognized symbols of Western Civilization and is regarded as the highest architectural achievement of the Ancient Greeks.

About half of the marbles were torn from the temple between 1801 and 1802 by the Earl of Elgin while Athens was under Ottoman occupation. According to most historians, Elgin received an official decree (firman) to remove sculptures. While the document no longer exists, a translation from an Italian copy suggests that Elgin was permitted to take “some stones”—not half of the carvings on the Parthenon. Some historians argue that Elgin never actually received the requisite permission for removal, as there is no documentary evidence that the firman existed. What is known is that the removal of the objects damaged the Parthenon, even if that was not Elgin’s intention. Then in 1816, the British Parliament purchased the marbles and presented them to the British Museum.

Lord Elgin’s actions have been disputed from the start

From the start, the legality and morality of Elgin’s actions have been disputed. Lord Byron was one of the most vocal critics of Lord Elgin, referring to him as a “plunderer.” Greece gained its independence in 1832, and in 1837, the Greek Archaeology Society was founded. At its first meeting, the president called for the marbles’ return. The Greek people regard the carvings as a symbol of their culture, heritage and past. In the same vein, art historians and archaeologists argue that the sculptures are integral to the ancient temple structures still standing in Athens. There is a call for the marbles to be unified as they were intended to be viewed. On the other hand, the British Museum asserts that the objects should be seen in a larger framework, presenting Greek art in a chronological narrative. The British Museum argues that the Parthenon sculptures are “integral to the Museum’s purpose as a world museum telling the story of human cultural achievement.” And after being housed in the museum for nearly two centuries, the carvings are a significant feature of British cultural identity. But, some view the sculptures’ placement in London as a sad reminder of British imperialism—an attempt to transform London into the “New Athens” in the way that Napoleon tried to convert Paris into the “New Rome.”

The British Museum opened in 1759, a few years before the Hermitage. They are two of the first great museums of the Enlightenment, established for the public benefit, educating and exposing the masses to art. These encyclopedic museums aim to present visitors to a variety of cultures and exhibit art in a broader context, providing a sense of a shared human cultural heritage. However, is this the best context for art? Is it proper to remove a work from its original cultural setting, losing its context? While millions of people visit the British Museum each year, it is still disheartening to view the marbles in London after learning that their removal damaged one of mankind’s crowning achievements.

Moral solution is to return the marbles

The British Museum claims that the removal of the objects saved them from destruction, as they were not being protected at the time. However, times have charged; if the marbles are returned to Greece, they will be in a museum. (Interestingly, the marbles were damaged while under the custodianship of the British Museum where conservators used harsh cleaning agents on them.) Greece has built the New Acropolis Museum featuring state-of-the-art design and technology which ensures protection of its collection. What’s more, the New Acropolis Museum is a mere 300 meters from the Acropolis, allowing the marbles to be seen as intended—basking in the Greek sunlight. To fully appreciate the artistic and historical significance of the friezes, they should be viewed in their context of the Acropolis mount, a hillside covered with art venerating the gods watching over Athens.

As an attorney, my position is troubling: Greece does not have a strong legal argument for restitution. If Lord Elgin did not receive the proper permit for the marbles’ removal, then the British Museum could not have purchased legitimate title. However, there are time limitations for bringing suit. The Greek government has been aware of the removal for nearly two centuries now, and they never filed suit against Elgin or the British Museum. The statute of limitations may stop any lawsuit from moving forward. Still, while the legal answer may not support restitution, the moral solution is to return the marbles. The carvings are a symbol of the Greek people—their violent removal distanced the objects from their legitimate home.

The British Museum has undercut its own argument with its own actions

In 2013, UNESCO requested that the British government enter mediation, and the deadline for a response is in March. In the meantime, the British Museum loaned one of the statues to the Hermitage. For years, the museum argued that it would not move the Parthenon Marbles because of their delicate nature, the risk being too great. The British Museum alleged that the carvings were safest in London. That argument has been undercut by the museum’s own actions. But what is most surprising is the recipient—especially amidst rising tensions between Russia and the U.S. and Europe. Russia has a poor reputation for handling plundered art. Russian officials are uncooperative in returning Nazi-looted art to rightful owners, claiming that objects seized during World War II are reparations for lost lives. It is ironic that the Hermitage should be the first to benefit from a loan involving the most hotly contested cultural heritage objects. The museum long accused of holding on to stolen Greek art is now loaning its inventory to a country that refuses to restitute stolen art. The Greek outrage is understandable.

The British Museum has unequivocally stated that it will not return the marbles to Greece but, maybe the country has some options. Just as Italy leveraged its vast collections and archaeologically-rich resources against American museums, perhaps Greece could do the same. Over the past decade, museums across the U.S. returned looted objects to Italy after Italian officials threatened to withhold all Italian loans. The fear of losing access to Italian objects pressured museums to comply with Italy’s demands. As Greece has a rich archaeological trove, bargaining may be successful. International fervor is rising over the dig at Amapholis, an elaborate burial site in Northern Greece that may contain the remains of a relative of Alexander the Great. Prohibiting British archaeologists to access the site and barring any finds from going to British institutions may be one way to apply pressure for the return of some of the Parthenon Marbles. This type of action is necessary. The Parthenon is not just cultural heritage, but a symbol of Greece and the glory of Athens.

Author: Leila Amineddoleh | Source: Forbes [December 23, 2014]

Invited guests, Archbishop of Thyateira Gregorios and Great Britain, Baroness Maddock,  Lord Luce,  and Lord Turnberg were among a few of the many guests welcomed by Baroness Berridge.  Before a packed room she opened the presentation speaking about the link between religious freedoms and the destruction of cultural heritage.

Sponsor and co-coordinator Tasoula Hadjitofi presented two 12th century looted frescoes taken from the Monastery of Aspinthiotissa in the occupied area of Cyprus, Kyrenia which she repatriated on behalf of Walk of Truth. She spoke about the loss of freedom, identity and human indignity that occurs with war and destruction of cultural heritage.

Mrs. Hadjitofi stressed the importance of engaging global citizens in lending their support to create a world of Peace. From refugee to protector of cultural heritage she engaged the audience on the importance of unity in combating the mass destruction of cultural heritage taking place in Syria, Iraq and Cyprus.

Prof. Dr. Willy Bruggeman, Chairman of the Belgian Federal Police Council, and former Deputy Director of Europol spoke of the need to make destruction of cultural heritage as a crime against humanity.

Baron Serge Brammertz, Prosecutor for the International Criminal Tribunal for the former Yugoslavia said, “It is imperative for international criminal tribunals to include destruction of cultural and religious heritage into their overall investigative strategies.

Professor Norman Palmer, a barrister practicing at 3 Stone Buildings, Lincoln’s Inn, London and a visiting professor of law at King’s College, spoke for the need for a sound legal approach should be complemented with diplomatic and other initiatives that help  us to restitute unlawfully removed cultural treasures.

The MP David Burrows, summarized the key points in a brilliant way and he and the Baroness will bring the findings to the House of Parliament and The House of Lords.

Author: Tasoula Hadjitofi | Source: Walk of Truth [December 17, 2014]

The sculptures are part of the collection popularly known as the Elgin Marbles which were acquired by Lord Elgin in the early 1800s when he was ambassador to the Ottoman court.

The British parliament purchased the art treasures in 1816 and gave them to the museum.

For the past 30 years, Athens has been demanding the return of the sculptures which had decorated the Parthenon temple on the Acropolis in Athens from ancient times.

"We deplore the categorical refusal by the British of UNESCO's invitation to launch a mediation process over the Parthenon sculptures housed in the British Museum," Greek culture minister Nikos Xydakis said.

"The British negativism is overwhelming, along with its lack of respect for the role of mediators."

The UN cultural agency had offered to mediate between Greece and Britain over the ancient artworks during a meeting in October 2014.

But Sir Richard Lambert, the director of the British Museum, said in a letter to Athens this week that the trustees "decided respectfully to decline this request".

He said UNESCO's role was to pursue and safeguard endangered cultural heritage and that "the surviving Parthenon sculptures, carefully preserved in a number of European museums, clearly do not fall into this category".

"We believe that the more constructive way forward, on which we have already embarked, is to collaborate directly with other museums and cultural institutions, not just in Greece but across the world."

Sir Richard said the British Museum wanted to continue exploring collaborative ventures directly with Greek institutions - "not on a government-to-government basis".

For his part, the Greek minister criticised Britain for viewing the dispute as just an issue between museums and not between states.

"We call on Great Britain to reconsider its position," Mr Xydakis said.

Source: AFP [March 30, 2015]

In a letter dated March 26, 2015, the museum’s trustees claimed they are retaining the friezes — sliced off the Parthenon by the notorious Lord Elgin — for British people … for the benefit of the world’s public, present and future.

The letter also cited trustees’ “honest respect for the organization” but also “the already good relationships with colleagues and institutions of Greece”,

Here’s the British Museum’s very “long-winded” response, signed by the chairman of the British Museum board of trustees, Sir Richard Lambert:

“I write on behalf of the Trustees of the British Museum, who at their meeting of 19th March 2015 considered the request put forward by the Greek Government that they should enter into a process of mediation, facilitated by UNESCO, on the subject of the Parthenon Sculptures in the British Museum. After full and careful consideration, we have decided respectfully to decline this request. We believe that the more constructive way forward, on which we have already embarked, is to collaborate directly with other museums and cultural institutions, not just in Greece but across the world.

The British Museum admires and supports the work of UNESCO, fully acknowledging the importance of its unique ability, as an intergovernmental agency, to address the serious issue of the threats to, and the destruction of, cultural heritage around the world. The Museum has a long history of collaboration with UNESCO, notably in Iraq in 2003-5, and is currently engaged with UNESCO in formulating responses to the crisis in Syria, including the illicit trafficking of antiquities. The Museum would wish always to align itself with UNESCO’s purposes in the preservation and safeguarding of the world’s endangered cultural heritage. However, the surviving Parthenon Sculptures, carefully preserved in a number of European museums, clearly do not fall into this category.

The British Museum, as you know, is not a government body, and the collections do not belong to the British Government. The Trustees of the British Museum hold them not only for the British people, but for the benefit of the world public, present and future. The Trustees have a legal and moral responsibility to preserve and maintain all the collections in their care, to treat them as inalienable and to make them accessible to world audiences.

In pursuit of this aim, the Trustees would want to develop existing good relations with colleagues and institutions in Greece, and to explore collaborative ventures, not on a government-to-government basis but directly between institutions. This is why we believe that UNESCO involvement is not the best way forward. Museums holding Greek works, whether in Greece, the UK or elsewhere in the world, are naturally united in a shared endeavour to show the importance of the legacy of ancient Greece. The British Museum is committed to playing its full part in sharing the value of that legacy for all humanity.

The potential of this approach can be seen in the British Museum’s current special exhibition Defining Beauty, the Body in Ancient Greek Art, which opened to the public today. Here some of the Parthenon Sculptures are displayed with other works that similarly show the intense humanism of ancient Greek civilisation, including masterpieces generously lent by museums around the world. Nowhere else in the world is it now, or has it ever been, possible to see these objects together. The aesthetic impact is considerable, and the intellectual content compelling. This seems to us to point the way forward, as an example of the great public benefit that arises from museums internationally using and sharing their collections in this way."

Meanwhile, the British government also addressed a letter to Alfredo Pérez de Armiñán noting their respect for UNESCO’s work in preserving cultural heritage and “providing a forum for the resolution of international disputes.”

“The issue of the Parthenon sculptures in the British Museum has been the subject of much discussion over the years both within the Committee and elsewhere, and while the UK is not formally a member of the Committee, officials from the Department for Culture, Media and Sport and the British Museum have regularly attended and sought to assist the Committee in its work,” the letter stated.

However, while the British government wishes to cooperate with UNESCO, they clearly state that they cannot agree to the Greek government’s request for the return of the Parthenon Marbles since they “were legally acquired by Lord Elgin under the laws pertaining at the time and the Trustees of the British Museum have had clear legal title to the sculptures since 1816.”

“We have seen nothing to suggest that Greece’s purpose in seeking mediation on this issue is anything other than to achieve the permanent transfer of the Parthenon sculptures now in the British Museum to Greece and on terms that would deny the British Museum’s right of ownership, either in law or as a practical reality. Given our equally clear position, this leads us to conclude that mediation would not carry this debate substantially forward,” the British government added

The letters sparked a reaction from the Greek government. In a statement, Culture Minister Nikos Xydakis criticized the British officials’ “unwillingness to cooperate.”

“We are surprised at the ongoing effort to downgrade an interstate issue to an issue between museums,” he said, adding that the Greek government would continue its bid to repatriate the sculptures.

Greece has unsuccessfully campaigned for the return of the ancient sculptures that were removed from the citadel by Lord Elgin in the early 1800s. 

Source: Protothema [March 27, 2015]

But the 2,500-year-old treasures from present-day Iraq have become part of a thorny archaeological debate over how to handle historically significant relics thought to have been dug up in the fog of war by Mideast antiquities robbers.

Experts in cuneiform writing, one of the world's earliest scripts, say the collection of 110 cracker-sized clay tablets provides the earliest written evidence of the Biblical exile of the Judeans in what is now southern Iraq, offering new insight into a formative period of early Judaism.

The tablets, though, also tell a murkier story, from the present era, according to scholars familiar with the antiquities trade - a story of the chaos in Iraq and Syria that has led to rampant pilfering of rich archaeological heritage and a rush of cuneiform tablets on the international antiquities' market.

The collector who owns the tablets on display this month at the Bible Lands Museum Jerusalem, insists they were purchased legally, decades before that looting began. However, an ancient history scholar familiar with the artifacts disputes that.

Leading U.S. museums have pledged not to exhibit unprovenanced artifacts that have surfaced in recent decades, as part of an effort over the last decade to discourage illicit antiquities trafficking. But cuneiform inscriptions have emerged as a notable exception, with some arguing these relics would be lost to history if they did not make it into scholarly hands.

"We are not interested in anything that is illegally acquired or sneaked out," said Amanda Weiss, director of the Bible Lands Museum Jerusalem.

"But it is the role of a museum to protect these pieces," she added. "It's what we are here for."

The plundering of antiquities in the war-torn Middle East has become a primary concern for the archaeological community, and some archaeologists even compare satellite images of sites in Iraq and Syria to moonscapes, after antiquities robbers went through them.

Archaeologists claim the Islamic State extremists and militants from other groups are funding their activities in part through illegal trafficking of antiquities, and authorities worldwide have been taking action to try to stem the flow.

What first sparked awareness of the issue, archaeologists say, was a deluge of cuneiform artifacts on the Western antiquities markets after the first Gulf War in 1991.

In the years that followed, archaeologists estimate that hundreds of thousands of small clay tablets with cuneiform inscriptions made their way into the hands of dealers. Many contained incrustations, indicating they were "fresh out of the earth," said Robert Englund of the Cuneiform Digital Library Initiative.

An American scholar of ancient Jewish history familiar with the tablets on display in Jerusalem said they were purchased on the London antiquities market at the time when cuneiform artifacts were flooding the market, a strong indication that the items were looted. He spoke on condition of anonymity to discuss a potentially illegal activity.

London-based Israeli collector David Sofer, who loaned the cuneiform collection to the Bible Lands Museum, denied any foul play. He said he purchased the tablets in the United States in the 1990s from a person who obtained them in public auctions in the 1970s.

Sofer said a few tablets from the collection were displayed in a New York museum and a Los Angeles museum in 2013, and their import and export in the U.S. was properly reported to U.S. authorities. He would not name the two museums, or the person who sold them to him.

"These things would be lost, and wouldn't be recognized for what they are" if he hadn't bought them, Sofer said.

As common as cuneiform tablets are, few have been as celebrated as those on display in Jerusalem.

The tablets fill in a 130-year gap in the history of the Judeans exiled to Babylon after the Babylonian destruction of Jerusalem in the 6th century B.C., said Laurie Pearce, a cuneiform expert from the University of California, Berkeley.

The earliest of the tablets, which have dates inscribed on them, is from just 15 years after the destruction of the First Jewish Temple in Jerusalem, and the inscription suggests the displaced Judeans were more quickly absorbed into the Babylonian society than previously thought, said Pearce, who studied the collection.

The tablets include administrative documents such as land agreements, showing the Judeans were "integrated almost immediately," she added.

The Jerusalem museum says the tablets likely originate in today's southern Iraq, and reference common Judean names, including Netanyahu, the last name of Israeli Prime Minister Benjamin Netanyahu.

The topic of cuneiform artifacts still roils the archaeological community.

The American Schools of Oriental Research, an academic research association, bans scholars from publishing articles on artifacts illegally excavated or exported from their country of origin after 1970, when the U.N. adopted its policy against antiquities trafficking.

But in 2004, the association made an exception, allowing publications about cuneiform artifacts that have no record of how they were unearthed - under the condition that Iraqi antiquities authorities give their consent and that the artifacts are eventually returned to Iraq.

The exception was made because the esoteric wedge script writings are so valuable to historical study, said Eric Meyers of the association.

The policy is now again a point of contention in the field. Over the past year, scholars at the association have debated changing the policy again, with most experts leaning against publishing articles on cuneiform artifacts as these objects continue to hit the markets, Meyers said.

"It is a crisis in the region," he said.

Author: Daniel Estrin | Source: The Associated Press [February 12, 2015]

At the time, he was serving as the British High Commissioner during the Second Opium War when he ordered the advancement of the army. In retaliation for the imprisonment, torture and execution of almost twenty European and Indian prisoners he ordered the destruction of the palace and reduced it to smithereens. Known as China’s Ground zero, every Chinese school child is taught that the site once held the most beautiful collection of architecture and art.

Initially, the army’s intent was to plunder the palace. Fragments of the collection at the exquisite palace were “saved” as they were looted by troops that helped themselves to the porcelain, silks and ancient books. But mostly, they destroyed what they found. One witness wrote: “In body and soul they were absorbed in one pursuit which was blunder, blunder, plunder.”

Even Lord Elgin recorded the very horror he had ordered in his diary, when he wrote: “War is a hateful business. The more one sees of it, the more one detests it.”

That could have been the end of the cultural destruction, but What Lord Elgin hadn’t counted on was retaliation. The 20-membered delegation that had gone to negotiate Chinese surrender were taken prisoners and died an excrutiatingly painful death.

Had this not happened, the palace would still exist in half its glory, much like the Parthenon exists today following the 7th Earl’s passage through Athens. Instead, the 8th Lord Elgin responded to the executions by ordering the absolute cultural destruction of the palace. It took days and days of hard work to destroy the magnificent buildings that were part of the cultural heritage of the Chinese people.

27-year-old captain Charles George Gordon wrote: “We went out, and, after pillaging it, burned the whole place, destroying in a vandal-like manner most valuable property which [could] not be replaced for four millions. We got upward of £48 apiece prize money…I have done well. The [local] people are very civil, but I think the grandees hate us, as they must after what we did the Palace. You can scarcely imagine the beauty and magnificence of the places we burnt. It made one’s heart sore to burn them; in fact, these places were so large, and we were so pressed for time, that we could not plunder them carefully. Quantities of gold ornaments were burnt, considered as brass. It was wretchedly demoralising work for an army.”

Victor Hugo in his “Expedition de Chine” says: “Two robbers breaking into a museum, devastating, looting and burning, leaving laughing hand-in-hand with their bags full of treasures; one of the robbers is called France and the other Britain.”

He helped organize an auction where the spoils were sold to raise money for the families of dead or wounded soldiers. These days, many of these works sit in all kinds of private and public collections. The Chinese feel resentment, much like the Greeks feel when considering the theft of the Parthenon Marbles.

For instance, seven of the zodiac heads that were part of the palace’s collection are in China, whereas the other five are sitting in foreign collections. The National Treasures Fund, affiliated to the Chinese Ministry of Culture, is seeking ways to track down the artworks and take them back to China, however the British museums show the same arrogance that their earls showed when destroying other culture’s heritage.

These days, Lord Elgin tells the BBC that it’s better to look forward than back all the time regarding the events of 1860, and the same could be insinuated for the Parthenon Marbles. It seems that arrogance and disregard for other culture’s can be considered the Elgin legacy.

Watch the dosumentary 'The Destruction of China's Yuanming Yuan (The Old Summer Palace)' on ArchaeoTube.

Source: Protothema [February 03, 2015]