The British Museum is considering three further overseas loans from the Elgin Marbles – but a reluctance to entertain the sculptures’ return to Greece is set to provoke renewed anger in Athens.

Last year the British Museum allowed part of the Marbles to leave the country for the first time when it lent the headless statue of Ilissos, a Greek river god, to the State Hermitage Museum in St Petersburg.

Greece, which is seeking to reclaim ownership of the 2,500-year-old sculptures removed from the Parthenon in Athens in the 19th century by Lord Elgin, described the Russia loan as “provocative”.

A current request from the British Museum for a key antiquity from the Museum of Cycladic Art in Athens for a forthcoming exhibition on classical sculpture has been delayed, in what is being seen as retaliatory move by the Greek authorities.

The work has been requested for the show, “Defining Beauty: the Body in ancient Greek Art”, which opens in March.

The delay is ascribed to “tensions” with the Greek government, despite friendly curatorial relations between the two institutions – the British Museum currently has 24 items on loan to the Cycladic museum.

However the chances of securing the loan in time for the exhibition may be harmed by the news that the British Museum is seriously entertaining bids for further Elgin Marbles loans to museums outside of Greece.

“Three serious bids are being considered,” The Art Newspaper reports, including one informal loan request made before the Hermitage deal was revealed.

New York’s Metropolitan Museum of Art, Berlin’s museums and the Louvre in Paris are the kind of institutions which “stand the best chance of success” when formal loan requests are submitted, the art title suggested.

The British Museum would expect any museum to which it lends the Parthenon sculptures to “be generous in responding to loan requests” made in return by the London body. Requests for single sculptures will be more favourably received, it is suggested. Bids are also expected from the UK’s regional museums which could expect huge interest in displaying items from the famous collection.

The Museum confirmed that further loans from the Elgin sculptures are being considered. A spokesman said: “Museums around the world have shown interest in requesting to loan from our set of Parthenon sculptures, and we always welcome these conversations. The Trustees will consider any request for any part of the collection to be borrowed and then returned, subject to the usual considerations of condition and fitness to travel and this has always been made clear to the world.”

Further Marbles loans will inflame tensions with Athens. Antonis Samaras, the Greek prime minister, described the loan of the Parthenon sculpture to the Hermitage as “an affront to the Greek people”.

Some of the Marbles will be moved from their permanent display to the temporary exhibition gallery for the British Museum’s March show, including the pediment sculptures of Ilissos, which will be returning from Russia, Iris and Dionysos.

However time is running out to strike an agreement with the Museum of Cycladic Art for the work that the London museum is seeking. The British Museum spokesman said: “We have requested to borrow one object from Greece and await the official response. The Museum has very positive working relationships with colleagues in Greece and lends extensively to museums in Greece including 24 objects on loan to two temporary exhibitions at the Museum of Cycladic Art in Athens.”

The Athens museum declined a request to comment. A source said: “The museum is happy in principle to lend the work but the Greek government is stalling on the paperwork.”

Greece refuses to recognise the British Museum’s ownership of the sculptures, which make up about 30 per cent of the surviving decoration from the Parthenon.

Author: Adam Sherwin | Source: The Independent [January 06, 2015]

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]

The reopening was brought forward in what officials said was a response to the destruction of priceless artefacts by Islamic State group jihadists in the northern city of Mosul.

"We have been preparing to reopen for the past couple of months, the museum should be open to everyone," Qais Hussein Rashid, the deputy tourism and antiquities minister, told AFP.

"The events in Mosul led us to speed up our work and we wanted to open it today as a response to what the gangs of Daesh did," he said, using an Arabic acronym for the IS group.

On Thursday, the jihadists who have occupied the second city of Mosul since June last year released a video in which militants smash ancient statues with sledgehammers in the city's museum.

Militants are also seen using a jackhammer to deface a colossal 40-tonne Assyrian winged bull in an archaeological park in Mosul.

The destruction sparked global outrage, calls for an emergency meeting of the UN Security Council and fears over the fate of other major heritage sites in areas under IS control.

The Mosul destruction was the worst disaster to strike Iraq's treasures since the national museum in Baghdad was looted in the chaos that followed the toppling of Saddam Hussein.

The pictures of jihadists gleefully hacking away at treasures dating back several centuries before Christ drew comparisons with the 2001 dynamiting by the Taliban of the Bamiyan buddhas in Afghanistan.

Hunt continues

One jihadist speaking to the camera claims they are destroying them on religious grounds because the statues are symbols of idolatry.

But officials and experts argue the IS militants are seen destroying the pieces that are too bulky to be smuggled and sold to finance their self-proclaimed "caliphate".

The 2003 plundering of the Baghdad museum, footage of which was beamed around the world at the time, has been compared to the 13th century Mongol sack of the city's library.

The museum was considered to host one of the world's greatest archeological collections.

Officials said Saturday that about 15,000 pieces were looted in 2003, of which 4,300 have been recovered.

"We are still tracking down more than 10,000 artefacts in markets and auctions. What we got back were the most important," Rashid said.

After cutting a red ribbon at an official ceremony, Prime Minister Haider al-Abadi said: "Today the message is clear from Baghdad, from the land of Mesopotamia.

"We will preserve civilisation and we will track down those who want to destroy it," he said.

'Happy day'

The Mosul museum, which UNESCO museology expert Stuart Gibson described as "a small jewel" constructed on the gardens of the former palace of King Faisal of Iraq, was also pillaged in 2003.

Archaeologists have expressed fears the jihadists would go on to destroy more heritage in the areas they control, possibly the Assyrian site of Nimrud and the UNESCO-listed ancient city of Hatra.

Abadi warned traffickers and buyers that Iraq and its partners would not relent in the hunt for looted artefacts.

"We have details on every artefact in Mosul, every piece is marked, and we will track down all the pieces smuggled by Daesh and the terrorist groups. We will track them down and all the world is with us."

Rashid said the reopening would help heal the wounds of the Mosul looting.

"We don't want February 26 to be a day of sadness and gloom... reopening the museum sends a message at home and abroad that it should be restored as a touristic and cultural institution," he said.

The museum is due to reopen to the public on Sunday. Tickets will cost 1,500 dinars (just over a dollar) for Iraqis, 10 US dollars for foreign Arabs and 20 for other foreigners.

"This is a very happy day," said Rashid.

"For the first time there's a whole generation of Iraqis who never knew what the national museum was. Starting tomorrow, kids and families will visit the museum to see the artefacts and touch them."

Author: Karim Abou Merhi | Source: AFP [February 28, 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]

“The museum has been closed for public since July 2013 and thus its showcases are empty. The masterpieces were transported to the antiquities ministry’s central storehouses at the start of the militant attacks in July 2013 while the other artifacts in the museum are safe in the basement of the building,” Sharaf was quoted by Youm7 Sunday.

The attack, which included mortar fire and a car bomb, has caused severe damage to the main entrance gate and the façade; one of the side buildings and several ceilings have collapsed and glass doors and windows have shattered, said Sharaf.

“The Antiquities Ministry has dispatched a technical committee to check the damage caused to the building and submit a recommendation report to save the artifacts,” he added.

The Arish National Museum was inaugurated by Egypt’s former first lady Suzanne Mubarak. It houses over 1,200 artifacts, discovered in the Sinai Peninsula and spanning all the eras of Egypt’s 5,000 year-old civilization.

Hisham Hussein, the head of the Sinai archaeological area, called on the Antiquities Ministry to transport all the artifacts in the museum’s basement to a safer place given that the museum is located next to the Al-Arish security directorate, a central point for militant attacks.

“I have previously called for the transfer of the artifacts at the museum following the October suicide blast, which targeted a security checkpoint in Sheikh Zuwayed and killed 30 military personnel,” said Hussein.

At least 161 artifacts of the Islamic Museum in Cairo were either totally destroyed or seriously damaged following a blast that mainly targeted the adjacent Cairo Security Directorate on Jan. 24, 2014.

Author: Rany Mostafa | Source: The Cairo Post [February 01, 2015]

The museum on Wednesday handed over seven rare artifacts that it acquired without museum officials realizing they were ill-gotten items. Agents from the U.S. Immigration and Customs Enforcement will take the items back to New York and, from there, eventually return them to the government of India.

U.S. customs agents say the items were taken from religious temples and ancient Buddhist sites, and then allegedly smuggled to the United States by an art dealer. The dealer, Subhash Kapoor, was arrested in 2011 and is awaiting trial in India. Officials say Kapoor created false provenances for the illicit antiquities.

Someone on vacation visiting the museum last year recognized the name of Kapoor's New York gallery as the source of a 2,000-year-old terra cotta rattle and contacted authorities, said Stephan Jost, the museum's director. Museum officials then pored over their records and determined six other Indian items had ties to Kapoor.

Kapoor donated one of the items and sold five to the museum, Jost said. One was a gift from someone else.

Agents are hailing the Honolulu museum for being the first U.S. institution to publicly and easily cooperate with the investigation, dubbed "Operation Hidden Idol," involving four arrests and the recovery of thousands of pieces worth a total of $150 million.

"Owning stolen stuff is not part of our mission," Jost said. "I'm not sure we've done anything heroic. We just want to do the right thing."

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]

Hirshhorn Museum (Washington)

Hirshhorn Museum soon will cardinally change appearance, and without especial and cardinal changes. The New York architects from bureau Diller Scofidio + Renfro will add an existing complex with two easy structures in the form of blue spheres which will allow a museum to open additional spaces during a season. The sphere on a roof precisely reminds eggs on a museum of El Salvador of the Distance.

The Unusual Museum in Washington

In one of spheres the audience on 1,000 visual places will take places. Through transparent walls of a sphere spectators can enjoy not only a show, but also possibility to peep for the visitors of a museum walking on galleries. In the friend, a smaller sphere on the size there will be a cafe.

Estimated cost of realization of 5 million dollars, now the project is in a stage of study of the concept. Under plans, pavilions will open in 2011 year. However, if statements Fine Arts Commission) be required and National Capital Planning Commission, realization will be postponed for couple of years.

VIA «Temporary Pavilion For the Hirshhorn Museum»

The museum is one of the city's main tourist sites, but in some areas, ancient wooden sarcophagi lay unprotected from the public, while pharaonic burial shrouds, mounted on walls, crumble from behind open panels of glass. Tutankhamun's mask, over 3,300 years old, and other contents of his tomb are its top exhibits.

Three of the museum's conservators reached by telephone gave differing accounts of when the incident occurred last year, and whether the beard was knocked off by accident while the mask's case was being cleaned, or was removed because it was loose.

They agree however that orders came from above to fix it quickly and that an inappropriate adhesive was used. All spoke on condition of anonymity for fear of professional reprisals.

"Unfortunately he used a very irreversible material — epoxy has a very high property for attaching and is used on metal or stone but I think it wasn't suitable for an outstanding object like Tutankhamun's golden mask," one conservator said.

"The mask should have been taken to the conservation lab but they were in a rush to get it displayed quickly again and used this quick drying, irreversible material," the conservator added.

The conservator said that the mask now shows a gap between the face and the beard, whereas before it was directly attached: "Now you can see a layer of transparent yellow."

Another museum conservator, who was present at the time of the repair, said that epoxy had dried on the face of the boy king's mask and that a colleague used a spatula to remove it, leaving scratches. The first conservator, who inspects the artifact regularly, confirmed the scratches and said it was clear that they had been made by a tool used to scrape off the epoxy.

Egypt's tourist industry, once a pillar of the economy, has yet to recover from three years of tumult following a 2011 uprising that toppled longtime autocrat Hosni Mubarak.

Museums and the opening of new tombs are part of plans to revive the industry. But authorities have made no significant improvements to the Egyptian Museum since its construction in 1902, and plans to move the Tutankhamun exhibit to its new home in the Grand Egyptian Museum scheduled to open in 2018 have yet to be divulged.

Neither the Antiquities Ministry nor the museum administration could be reached for comment Wednesday evening. One of the conservators said an investigation was underway and that a meeting had been held on the subject earlier in the day.

The burial mask, discovered by British archeologists Howard Carter and George Herbert in 1922, sparked worldwide interest in archaeology and ancient Egypt when it was unearthed along with Tutankhamun's nearly intact tomb.

"From the photos circulating among restorers I can see that the mask has been repaired, but you can't tell with what," Egyptologist Tom Hardwick said. "Everything of that age needs a bit more attention, so such a repair will be highly scrutinized."

Author: Brian Rohan | Source: Associated Press [Jabuary 22, 2015]

The footage, shot by German traveler Dr. Lothar Carlowitz, show the Nemrut ruins and excavations at the ancient city of Arsemia in the eastern province of Adıyaman. It is seen in the footage when the sculpture of Antiochus was discovered underground for the first time. The sculpture was cleaned and covered with a piece of cloth.

After the footage was publicly seen, Archaeology and Arts magazine editor Nezih Başgelen said he had used the sculpted head in a book that he had prepared. The footage shows the airfoil of a Turkish Airlines plane. The plane was included in the fleet on Nov. 18, 1946, and was out of the fleet by 1966, implying that the footage was shot sometime before 1966.

German professor Karl Dörner was the first one who went to Arsemia, where the sculpture was found, in 1953, and the footage shows his excavations, so it is definite that the footage dates back to between 1953 and 1966. He worked there until 1986 and released a book about these excavations in 1987, but the head is not mentioned in his book.

File of the sculpture lost in the museum

Under the light of this information, we followed the traces of the sculpture to the Gaziantep Zeugma Museum. Museum officials told us they did not know how the sculpture had come to the museum and it was first registered in their inventory in 1995. The file on the sculpture was lost and could not be found in the museum archive.

Former directors of the museum said the sculpture’s head was seized in 1980s in the Gaziantep airport while being smuggled abroad by a German citizen and delivered to the museum by the police. But no one knows about this German citizen or the court process because the file is lost.

Now there are many questions to be answered: Where had this sculpture been kept for all these years? Who was this German in the Gaziantep airport? Was he in relations with the excavation team? Was it just a coincidence that German professor Dörner left Turkey after the sculpture was found? Was it normal that he did not mention such a significant piece of artwork in his book? Who destroyed or lost the file in the museum? Is there any connection between Carlowitz, who shot the footage, and those who seized the sculpture?

Author: Ömer Erbil | Source: Hurriyet Daily News [March 04, 2015]

In addition to incidents of damage, the residents of the areas with archaeological sites are regularly digging up the pharaohs’ graves, stealing and smuggling their belongings. This has become more common since the January 25 Revolution, when the security situation in the country deteriorated.

The latest incident, the damage of Tutankhamun’s mask, took place in August 2014 and is still causing controversy, since Tutankhamun was one of the most famous pharaohs. He became king around 1334 B.C. when he was 9 years old. His tomb, which was discovered in 1922, is of great importance to Egyptology, since the treasures inside the tomb were intact and the famous golden mask accompanied Tutankhamun's mummified remains. The discovery of his tomb contributed significantly in finding out how a royal tomb was prepared for a king’s afterlife.

Monica Hanna, an Egyptian archaeologist, told Al-Monitor that this was not the first time the officials responsible for ancient monuments acted with negligence. In 2006, the southern facade of the Saqqara pyramid was damaged and in 2007, damage was done to the city of Rosetta, which is also considered an important archaeological landmark, as well as to Al-Jayyousi Mosque.

Hanna considers these failures in properly dealing with the Egyptian artifacts and monuments during their restoration the result of 30 years of corruption.

“A crisis unit for monuments and artifacts must be formed. It should be supported by the army and police to confront secret prospecting at monuments as well as terrorist acts. This is resulting in the loss of incomparable treasures, similar to what happened in the Museum of Malawi, Museum of Islamic Arts and El-Arish [National Museum],” she said.

These museums witnessed acts of vandalism and looting. The Museum of Malawi was vandalized and 1,040 artifacts were stolen in August 2013. This happened at the same time as the violence that engulfed Egypt after supporters of ousted President Mohammed Morsi were dispersed at the Rabia al-Adawiya sit-in. On Jan. 24, 2014, the Museum of Islamic Arts, which was founded in 1903 and included Islamic art in its different stages throughout history, was destroyed in a terrorist explosion in front of the Cairo Security Directorate.

El-Arish National Museum also suffered damage following terrorist operations targeting the Egyptian army and police forces in North Sinai on Jan. 29.

What is both surprising and ironic is that there are 14,000 security guards to protect the Egyptian artifacts, but they are not actually trained to preserve the monuments that are being stolen on a daily basis, according to Hanna. The discussion of the damage to Tutankhamun’s mask did not end, despite the decision by the minister of antiquities to investigate the concerned officials. The situation escalated and resulted in public outrage expressed after experts at the Ministry of Antiquities announced they doubted the mask was the original piece, claiming it was a fake. Subsequently, the Egyptian government consulted German conservation expert Christiaan Eijkman to examine the mask and confirm it was the original piece.

Although the Federation of Egyptian Archaeologists described the damage to the mask as severe, the head of the federation, Abdul Halim Noureddine, told Al-Monitor that the mask — which is still on display in the Egyptian Museum — was not a fake but it was not handled in a way befitting its value. “Epoxy, the material that was used to fix the mask’s chin, is not recommended for restoration,” he said.

Noureddine attributed the repeated mistakes in restoring pharaonic monuments to two main factors. “Sometimes they are the result of the incompetency of the person involved in the restoration and sometimes they are the result of the ongoing conflicts within the monuments commission,” he said.

To hear the position of officials at the Egyptian Ministry of Antiquities regarding the repeated mistakes during the restoration of valuable Egyptian monuments, Al-Monitor spoke to the chairman of the central administration for maintenance and restoration, Gharib Sunbul. He said that indeed an error occurred during the restoration of Tutankhamun’s mask.

He said that the restoration expert who used epoxy had succeeded in restoring 90% of the piece, while the remaining 10% showed serious flaws due to the excessive use of this material on the mask, which is made of pure gold. For the mask to be put on display again quickly, the restoration had been done in haste, which resulted in the complete distortion of the archaeological piece.

The government official denied accusations regarding the restoration work of the Saqqara pyramid, “The only mistake there was that the person involved in the restoration did not preserve the randomness in which the ancient Egyptians placed the rocks, and we are working on fixing this,” he said.

Sunbul admitted that a significant issue occurred during the restoration of the city of Rosetta, but that was when the Egyptian monuments commission was affiliated with Minister of Culture Farouk Hosny, before the January 25 Revolution.

Perhaps the fact that an Egyptian government official admits the negligence in previous restoration work of Egyptian archaeological sites is proof that there is a real crisis in preserving the pharaonic heritage. However, at the same time it could be a promising start to handle such crises and find suitable solutions.

Author: Walaa Hussein | Source: Al-Monitor [February 05, 2015]

In an early day motion, Lib Dem MP Andrew George will urge the government to make moves towards "reuniting" them with those in the Acropolis Museum.

The marbles, once part of the 2,500-year-old Parthenon temple, but removed by Lord Elgin 200 years ago, are held in the British Museum.

Greece insists they were taken illegally and should be returned.

In his early day motion, Mr George will call for the government to "demonstrate that Britain is prepared to... reunite these British-held Parthenon sculptures with those now displayed in the purpose-built Acropolis Museum in the shadow of the monument to which they belong, the Parthenon in Athens".

Mr George chairs the Marbles Reunited organisation, a campaign group which lobbies for the sculptures to be sent back to Greece.

The group is calling on the UK government to respond to an invitation issued in 2013 by the United Nations cultural agency Unesco concerning mediation over the future of the marbles.

Thomas Bruce, the seventh Earl of Elgin, became British Ambassador to the Ottoman Empire in 1799.

In 1801, he negotiated with the Ottoman Turks, who then controlled Athens, to remove statues from the Parthenon.

Elgin, an art lover, claimed the sculptures were better off in Britain than the perilous environment he found them in.

Neil Macgregor, director of the British Museum, told the Evening Standard: "Elgin rescued some of the greatest things ever made, so the world can enjoy them."

"The greatest things in the world should be... shared and enjoyed by as many people in as many countries as possible."

When questioned about it in 2013, Prime Minister David Cameron said: "No, I certainly don't believe in 'returnism', as it were. I don't think that is sensible.

"I think the right answer is for the British Museum and other cultural institutions in Britain is to do exactly what they do, which is link up with museums all over the world... to make sure that the things that we have and look after so well are properly shared with people around the world.

In December the British Museum loaned one of the Elgin Marbles for the first time to Russia for a display in St Petersburg's State Hermitage Museum.

The Greek Prime Minister at the time, Antonis Samaras, said the British Museum's decision was "an affront" to the Greek people.

Greece maintains that Lord Elgin removed the marbles illegally between 1801 and 1812, while the country was under Turkish occupation as part of the Ottoman Empire.

The items have remained in the British Museum ever since.

George Clooney's wife, lawyer Amal Clooney, has previously held talks with the Greek government as part of the ongoing campaign to have the sculptures returned from Britain.

Source: BBC News Website [March 09, 2015]

Since his 2012 appointment as head of antiquities in the midst of Syria s civil war, Maamoun Abdulkarim says just one thing has been on his mind -- avoiding a repeat of the kind of looting that ravaged Iraq s heritage after the 2003 invasion.

"The images of the looting of the museum in Baghdad and other Iraqi sites are always on my mind, and I told myself that everything must be done to avoid a repeat of that here," he told AFP.

Widespread illegal excavation and the destruction of artefacts and religious sites by jihadists from the Islamic State (IS) group have only added to the sense of urgency.

Before the Syrian conflict began in 2011, Abdulkarim was co-director of a French-Syrian mission working excavating the 700 so-called Dead Cities of northern Syria, which date back to Roman and Byzantine times.

Syria has been the home of many civilisations over the millennia, from the Canaanites to the Ottomans, and is rich in both artistic and architectural treasures.

Since his appointment, Abdulkarim and his colleagues have worked to protect Syria s heritage from a conflict that has killed more than 215,000 people.

So far, they have wrapped and stored some 300,000 items and thousands of manuscripts in secret locations protected from fires, shelling and floods.

The pieces come from 34 museums, including 80,000 items from Damascus alone.

Perhaps the most dramatic rescue yet was from the eastern city of Deir Ezzor last August.

After Mosul in neighbouring Iraq fell to IS in June, and the destruction began there, a decision was taken to evacuate the 13,000 artefacts remaining in Deir Ezzor.

Large parts of the city were in IS hands, but the airport and some districts remained under government control.

Yaarub al-Abdullah, the former director of antiquities for Deir Ezzor, said: "I worked for a week with two colleagues to wrap everything. We put it into a truck that came under heavy machinegun fire.

"We put the boxes on a military plane among dead and injured soldiers. It was terrible, but we managed it," added Abdullah, who now heads the National Museum.

Back in Damascus, Abdulkarim followed the operation with trepidation.

"I didn t sleep for a week after I took the decision to evacuate the artefacts," he said.

"If the plane had crashed, I would have lost three friends and gone to prison for losing 13,000 items," he said, with a smile.

He said an estimated 99 percent of Syria s museum collections had been preserved, thanks to his 2,500 employees, including those in opposition-held areas.

"They feel that protecting our heritage is a question of honour, like defending the honour of their mothers," Abdulkarim said.

But their work has come with a price: around a dozen of them have been killed in the conflict, including five during the course of their work.

Despite their best efforts, Abdulkarim fears thousands of artefacts have already been stolen across the country.

Even worse is the damage that has been done to 300 sites and 445 historic buildings.

In some cases the damage came in fighting. In others, it has come from illegal excavation, even with bulldozers, in places like Mari, Doura Europos, Apamee and Ajaja in the northeast, the Yarmuk valley in southern Daraa, and Hamam near Raqa in the north.

Ayham al-Fakhry, 39, fled his post as director of antiquities in Raqa in 2012, and laments the irreversible losses to Syria s rich heritage.

"Not only do you have the barbarity of the IS jihadists who destroy any representation of humans and Muslim mausoleums, but also the greed of mafia groups coming from Lebanon, Iraq and Turkey to buy pieces found by local residents," he said.

"They pay IS 20 percent of the estimated value and then the mafias take the objects to be sold in Europe or the Gulf," he said.

Despite international action to prevent smuggling antiquities from Syria, Abdulkarim and his colleagues say sanctions on Damascus have left them isolated.

"We felt like we had the plague," he said."Can there be an embargo on heritage? It belongs to the whole world."

Recently though, there have been signs of change, with invitations to Germany and France for directorate staff and an award in Venice for their work.

Abdulkarim urged the international community to rally around those in Syria trying to save their heritage.

"There must be a international mobilisation to save culture and civilisation. It s not just our responsibility, but a collective one," he said.

Author: Sammy Ketz | Source: AFP [March 27, 2015]

The golden funerary mask, seen Friday by AFP at the Egyptian Museum, showed the sticky aftermath of what appears to have been overzealous use of glue to fix the mask's beard in place.

A museum official, who spoke anonymously to avoid repercussions, told AFP the beard had fallen of accidentally when the mask was removed from its case last year to repair the lighting.

Museum head Mahmoud al-Helwagy denied that conservation workers had damaged the mask

"This is illogical and inconceivable," he told AFP. "These are conservation workers, not carpenters."

Antiquities Minister Mahmud al-Damaty also denied that the 3,000-year-old relic was treated carelessly.

"The job was done correctly," he told AFP, without explaining why curators needed to fix the mask.

Monica Hanna, an Egyptologist who inspected the mask, said what she saw had so shocked her that her group was taking the matter to the public prosecutor.

"We are presenting a complaint on mismanagement to the prosecutor tomorrow," said Hanna, from Egypt's Heritage Task Force, which has long battled mismanagement and looting of Egypt's legendary ancient artefacts.

According to the museum official, "there seems to have been a lapse in concentration and the mask hit the case and almost fell" when it was removed from its case.

"So (the curator) grabbed it in his arms to break the fall, and the beard separated," he said.

The long braided beard fit into the mask with a peg, and had been separated before, the official said.

"This mistake can happen. But what caused it to get worse? The curator was scared and he fixed it hastily."

The epoxy glue dried very quickly, said the official.

"You should use material (that dries slowly) and then support it, maybe over several hours or 24 hours, so you can fix mistakes," he said.

"Renovation work needs an adhesive that is easy to remove in case there is any damage, without leaving any traces."

Museum director Helwagy told the official MENA news agency that epoxy glue is used internationally to fix artefacts.

The death mask of the enigmatic boy king is one of the crown jewels of the museum, which also houses the mummy of Pharaoh Ramses II.

The museum used to attract millions of tourists before a 2011 revolt -- centred in nearby Tahrir Square -- brought down president Hosni Mubarak and unleashed four years of tumult.

Author: Mohamed El-Shahed | Source: AFP [January 23, 2015]

A site in the Central Anatolian province of Yozgat’s Sorgun district, which the ancient Hittites had used as a sculpture workshop, will be reorganized as an open-air museum by Turkey’s Culture and Tourism Ministry.

As part of the project, the Karakız, Kazankaya, Armutlu and Hapis Boğazı neighborhoods will be declared as first degree archaeological areas, according to local Mayor Osman Yılmaz.

The region was home to a large number of Hittite-era sculptures, some of which were unfinished, indicating that this may be why an atelier may have been located on the site, Yılmaz said.

“The first examination in this historical area was made in 1982 and it was taken under protection in 1987 as the Hapis Boğazı ruins. But no detailed work was conducted at the ruins until 2009, when the Yozgat Museum Directorate and Hittite University initiated joint works,” he added.

The mayor said there was a granite layer on a wide space in the region. “There are carved lion sculptures and pieces of various architectural structures in this area. We can see them over an area of 1.5 kilometers. We will preserve these artifacts in their original place and open them up to tourism,” Yılmaz said.

He added that the project, titled the “Open-Air History and Culture Park Museum,” would reorganize the area dating back to 1,200 B.C.

Following joint work with the Kayseri and Sivas Council of Monuments, the Culture and Tourism Ministry approved the project, Yılmaz said.  “The most important feature of this settlement is that it is close to Hattusha, the capital of Hittite in the center of Anatolia. There are relief sculptures in front of the big gates in the entrances of significant cities in Hattusha and its vicinity. There is a sculpture atelier here. The Hittites used granite materials in making massive sculptures. This place has historical importance,” he added.

Sculptures will be moved

Yılmaz said archaeological reports indicated that the area, where unfinished lion sculptures exist, served as an atelier in the Hittite era and many of the sculptures unearthed at Hittite settlements were made there.

As part of the project’s plans, the team made a change in the architectural plan of an area in the Karakız neighborhood and allocated it as an open-air museum.

“The sculptures in Kazankaya and Hapis Boğazı will be moved to a place in the Open Air History and Culture Park Museum. When the weather conditions is suitable, we will start moving the sculptures in spring, which is the first stage of the project,” Yılmaz said.

He also complained that treasure hunters had caused much damage to historical artifacts in previous year.

“Those who saw these sculptures made their own excavations in the region and damaged many of them. But with this latest project, these artifacts will be rescued from treasure hunters. This region is estimated to be the first sculpture atelier of the Hittites, and now it will be opened up to tourism,” Yılmaz said.

Source: Hurriyet Daily News [January 07, 2015]

The "unique" four foot marble statue is said to have been illegally dug up in Cyrene, a UNESCO world heritage site, before being smuggled to the UK in 2011, via Dubai.

It was uncovered in a west London warehouse by customs officials two years later and handed to the British Museum pending a court's decision over ownership.

District Judge John Zani, who is overseeing the case at Westminster Magistrates Court, was given a detailed analysis of the sculpture during a two hour viewing at the museum.

Accompanied by barristers, solicitors and his legal adviser, the judge carefully examined the statue as he was told stains and other evidence demonstrated that it was “definitely” excavated illegally from the ancient Greek colony of Cyrene.

The statue, which depicts a Greek woman wearing a hood and flowing gown, is said to be unparalleled besides a single comparable example in the Louvre. The woman wears two snake-like bracelets and carries a doll.

It hails from the third centuries BC, when it served as a grave marker.

Authorities in Tripoli have already launched a bid to repatriate the work of art.

A British Museum spokesperson said that as far as they were aware it was the first time a court had convened on the premises.

Jordanian, Riad Al Qassas, who does not reside in the UK, is accused of falsifying paperwork after telling customs that the sculpture came from Turkey, rather than Libya, and was worth £60,000, rather than between £1.5m to £2m.

He denies one count of knowingly or recklessly delivering a false document to HMRC on November 1 last year.

Dr Peter Higgs, curator of Greek sculpture at the British Museum, told District Judge Zani the statue looked “fresh” and had been excavated “fairly recently”.

Highlighting earth stains and marks from vegetation, he pointed to “small pickaxe” marks as the judge circled the statue, studying it closely in a tiny store-room.

A video of the viewing was later played in court.

Dr Higgs said: “The statue is a three-quarter length figure. It is a funerary statue that I believe comes from the region of Cyrenaica, in Libya, which was a Greek colony.

“The statue is thought to represent either Persephone, the goddess of the underworld...or it is meant to be someone who is dedicated to the goddess. I believe it is very unlikely to come from Turkey.”

Dr Higgs said the statue was one of a kind, adding that it was in “the top ten” of its class.

“I believe that the statue was definitely made in Libya, in Cyrenaica,” he added.

“I believe, as I said, it is one of the best examples of its type and is extremely rare.”

Andrew Bird, for HMRC, has told the court that documents suggest Al Qassas had only a marginal role in the export.

He claimed Hassan Fazeli, a Dubai businessman who has claimed the sculpture has belonged to his family collection since 1977, was behind the crime.

Mr Bird said the false documents were submitted by Hassan Fazeli Trading Company LLC, which is based in Dubai, and which was last year accused by New York prosecutors of illegally bringing five ancient Egypt artefacts into the USA.

Ben Watson, representing Al Qassas, indicated his client would be happy to hand over the sculpture to Libya if it was shown to originate from there.

Libya has been plagued by looting and cultural vandalism since the fall of Colonel Gadaffi in 2011, with the resulting power vacuum effectively ending the state-sponsored preservation of Libya's multiple Greek and Roman sites.

The expansion of Islamic State fanatics into North Africa has stoked fears that unique sites will be destroyed, mirroring shocking images from the IS-controlled city of Mosul in Iraq.

A British Museum spokesperson said that as far as they were aware it was the first time a court had convened on its premises.

Author: Victoria Ward | Source: The Telegraph [March 31, 2015]

Police estimated the value of the 5,361 vases, kraters, bronze statues and frescoes at about 50 million euros ($58 million). The works, from the 8th century B.C. to the 3rd century, were laid out Wednesday at the National Roman Museum and may go on public display.

Carabineri Gen. Mariano Mossa says it was "by a long shot the biggest recovery in history in terms of the quantity and quality of archaeological treasures."

They were found during an investigation into Basel-based art dealer Gianfranco Becchina, accused by prosecutors of being part of a huge trafficking network.

Source: Associated Press [January 21, 2015]

Expressing outrage at the damage to the precious artefacts dating back to the 2nd and 3rd century BC, the ASI warned the Ministry that the Museum would cease to exist “in the near future” if such a callous attitude continued.

While the damage to the right foot of the 2nd century BC figure of a Yakshi was noticed a few weeks ago, chips on the chest and belly of the “Lion Capital of Rampurva”, a unique specimen of Mauryan sculpture, were discovered last year. Two inspection reports, accessed by The Hindu, suspect the damage was caused by mishandling. “There is a definite damage above the right foot of the sculpture near the ankle. Though the museum staff are of the opinion it was caused by flaking, we did not feel so,” says the report on the Yakshi statue. “The dent is quite deep and abrasive as per standard norms of flaking.” A thorough investigation, it says, “is justifiable under the circumstances.”

The damage to the “Lion Capital of Rampurva”, unearthed by archaeologist Dayaram Sahni in 1907-08, was definitely due to faulty shifting, the report says. The experts who prepared the report were told that the authorities decided to shift this heavy sculpture in two pieces as was done earlier.

Sources said copies of the reports had been sent to West Bengal Governor Keshari Nath Tripathi. The damage came to public notice at a time when the Supreme Court is hearing a petition by the family of Sunil Kumar Upadhyay, preservation officer at the museum, who mysteriously disappeared from his rented apartment in the city on July 3, 2014, and been has remained untraced since.

Author: Shiv Sahay Singh | Source: The Hindu [March 26, 2015]

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]

A court in the capital Skopje convicted another six people Friday, including two more former museum officials, over the theft of 160 artefacts that was reported in November 2013.

At the time, police had said that the antiquities, which date from the 4th century AD and include gold and silver jewelry, were believed to have been sold abroad by an organized crime ring. The artefacts have not been located.

The theft from the 'Museum of Macedonia' in central Skopje occurred between November 2011 and October 2013.

All seven defendants denied wrongdoing, and appealed their convictions.

Source: The Associated Press [March 20, 2015]