Britain's Myers Museum has returned 454 ancient artifacts to Egypt, according to Bloomberg.

The artifacts, which include beaded necklaces and bronze coins, had been removed from Egypt between 1972 and 1988, after antiquities trafficking was banned in 1970, said Hussein Al-Afuni, a head of Egypt's Red Sea antiquities department, in a statement.

The Myers Museum is a collection of ancient Egyptian decorative arts, which is part of Eton College, in Windsor, west of London.

Since 2002, Egypt has recovered some 5,000 ancient Egyptian artifacts that were taken out of the country.

President of the Republic Karolos Papoulias, on a state visit to Finland, expressed hope that the Parthenon Marbles, which are currently in the British Museum, will soon be placed "in the spot awaiting them", a reference to the New Acropolis Museum that will be inaugurated next month.

The Greek president addressed a seminar on the Parthenon Marbles on Wednesday evening at the University of Helsinki, organised by the Finnish Committee for the Restitution of the Parthenon Marbles, which was set up last year as part of the International Association for the reunification of the Parthenon friezes.

The need for the return of the Marbles was stressed by Committee's president, former Finnish ambassador to Greece Ole Norrback, an archaeologist, the director of the New Acropolis Museum, Dimitris Pantermalis, as well as noted Cambridge professor and chairman of the British Committee for the Reunification of the Parthenon Marbles Anthony Snodgrass.

The speakers, both during their addresses and a preceding press conference, noted that they had recently brought up the issue of the Marbles' return in the British House of Commons, while Prof. Pantermalis reiterated that replicas of the Parthenon Marbles already in the British Museum could supplement the original Marbles if the latter were returned to Athens and displayed at the new Acropolis Museum, erected 400 metres from the Acropolis.

In a brief greeting, Papoulias stressed that the Committee's efforts are proof that the return of the Marbles was not the cause of just one country, but an international cause, just as the message of the Acropolis regarding "the moderation and human scale in all our activities" is a universal one.

Prof. Norrback, the second longest-serving minister in Finland between 1979 and 1999, before leaving politics to become a diplomat, said the hosting of the 2012 Olympic Games by London provided the UK with a unique opportunity to act in accordance with international agreements and contemporary reasoning, by announcing the return of the Parthenon Marbles to Athens.

"This would be a perfect combination of the noble principles of antiquity and modern-day application of the Olympic Spirit, and such an action would display genuine respect for other civilisations and their cultural legacies," Norrback stressed.

Later, Papoulias and Finnish President Tarja Halonen, who is also a proponent for the return of the Marbles, inaugurated a photo exhibition on the Acropolis restoration works and of the New Acropolis Museum, after which Papoulias hosted a reciprocal reception in honor of Halonen.

Greece has vigorously campaigned for the return of the priceless 5th century BC Parthenon Marbles -- friezes and other structural parts of the Parthenon -- from the British Museum.

The Marbles, which date from between 447 BC and 432 BC, were removed from the Parthenon -- the temple dedicated to the ancient goddess Athena that crowns the Acropolis -- by notorious British diplomat Lord Elgin in the early 19th century with the tacit permission of local Ottoman overlords then ruling in the area.

Elgin had crews slice off the friezes and other parts of the impressive Parthenon temple, shipping then off to England before being forced to sell them off to the British Museum.

Work in progress. Crews working outside the New Acropolis Museum on Makriyianni Street. The much-awaited museum is scheduled to open its doors next month. (Photo: Nikos Bardopoulos)

The celebrations for the inauguration of the New Acropolis Museum are set to last four days. Though festive in spirit, they will be far from the extravaganzas envisioned by previous culture ministers. Essentially, the celebrations, which start on June 20, will act as a platform for a wide-ranging meeting on both a political and a scientific level.

In the meantime, Greek Culture Minister Antonis Samaras is working on the project on a daily basis.

To begin with, the official inaugural event will not be defined by its artistic qualities. It is slated to be a state dinner that will incorporate various artistic infusions. It will be a get-together of very high-ranking guests, including presidents, prime ministers, ministers and members of royal families.

Although actual details of the opening ceremony are a closely guarded secret, some reports have suggested that the guestlist is very long - Michelle Obama's name, among others, is rumored to be on it. Though the US first lady's invitation has not yet been confirmed, it is almost certain that officials from all 27 European Union member states are being invited.

A number of guests have already forwarded their RSVPs, including European Commission President Jose Manuel Barroso, who visited the museum recently and was reportedly impressed by what he saw. Another guest is European Parliament President Hans-Gert Pottering, as well as Egyptian President Hosni Mubarak and his wife, Susan.

Among other select guests are Charles, Prince of Wales, and Queen Sofia of Spain. Guests attending the June 20 inauguration are scheduled to participate in a guided tour of the museum, before attending the state dinner set to take place on the large terrace of the new museum's restaurant area, which offers a splendid view of the Acropolis.

Also on the guestlist are a number of scientists, museum directors and heads of other cultural organizations, as well as members of the media, all of whom are scheduled to visit the new exhibition space following the official inauguration.

Samaras's new plan steers clear from over-the-top artistic fiestas as well as commandeering an enormous amount of advertising space for the museum's publicity campaign - while some ads have already been scheduled, they are within a more general, cost-cutting framework.

From day one, Samaras has made it very clear that he does not want the museum's opening to be associated with any kind of financial waste. There might even be a surprise or two as far as the overall cost is concerned, as this might not exceed 2.5-3 million euros.

Meanwhile crews are working feverishly both inside and outside the museum area designed by Bernard Tschumi and Michalis Fotiadis, while the surrounding areas have also been transformed, sparking positive reactions, even from those who had previously expressed reservations. On Makriyianni Street, crews are placing paving stones and the pavement is growing in size to the great benefit of pedestrians.

Following the demolition of several more neoclassical houses, the museum seems to have acquired more space and appears less stuck between the residential buildings and the Weiler residence.

There are, however, a number of loose ends, beginning with the museum's organization. The positions of president and general manager have yet to be filled, while members of staff must also be hired. Some reports suggest that ministry officials are looking at Dimitris Pantermalis, president of the Organization for the Construction of the New Acropolis Museum, to become the new museum's president. This and more will be announced by Samaras at a later date.

A century and a half ago, Athens was a humble, forgotten city of about 8,000 people. Today one out of every three Greeks packs into this city of about 4 million.

Athens has been famous for its sprawl, noise and pollution. My advice has long been to see the big sights, then get out. But visiting it recently to research a new guidebook, I've seen a dramatic change. The city has made a concerted effort to curb pollution, clean up the streets and make them pedestrian-friendly, spiff up the museums, build a new airport and invest in one of Europe's better public-transit systems.

Even with its new look, the Greek capital still has its "big three" sights: the stunning Acropolis, the Ancient Agora just below and the remarkable National Archaeological Museum. But coming in June is the opening of a fourth big sight -- one that will stoke a battle over Greece losing her marbles more than 200 years ago (more on that later).

To many, the most important ancient site in the Western world is the Acropolis, rising gleaming like a beacon above the gray concrete drudgery of modern Athens. This is where the Greeks built the mighty Parthenon -- the most famous temple on the planet and an enduring symbol of ancient Athens' glorious Golden Age from nearly 2,500 years ago.

The major monuments of the Acropolis survive in remarkably good condition. While the Persians, Ottomans and British were cruel to the site in the past, the greatest dangers it faces now are acid rain and pollution. Ongoing restoration means that you might see some scaffolding, but even that can't take away from its greatness. I like to go late in the day, as the sun goes down, when the white Parthenon stone gleams a creamy golden brown.

While the Acropolis was the city's ceremonial showpiece, it was the Ancient Agora that was the real heart of classical Athens. For some 800 years, it was the hub of all commercial, political and social life and home to many of the city's religious rites.

Little survives in the Agora from the classical period. Other than one very well-preserved temple and a rebuilt portico, it's a field of humble ruins nestled in the shadow of the Acropolis. But that makes it a quiet, uncrowded spot to wander and get a feel for the ancients. Romantics can't help but get goose bumps as they kick around the same pebbles that once stuck in Socrates' sandals, with the floodlit Parthenon forever floating ethereally overhead.

North of the city center is the world's best collection of ancient Greek art, the National Archaeological Museum. It takes you from 7000 B.C. to A.D. 500 on a beautifully displayed and well-described sweep through Greek history, from prehistoric and Mycenaean artifacts through the evolution of classical Greek statuary.

This museum now has a worthy competitor -- the New Acropolis Museum, slated to open in June. It's a world-class space, custom-built to showcase the Parthenon sculptures, along with truckloads of other artifacts, all complemented by modern exhibits. And the state-of-the-art building itself is worth a look, as the boldest symbol yet of the post-Olympics vision for Athens.

The new museum also serves as a sort of 21st Century Trojan horse, intended to lure the famous Elgin Marbles (the Parthenon sculptures) away from London's British Museum. In the early 19th Century, the British ambassador to the Ottomans, Lord Elgin, got permission to strip marble panels from the Parthenon and take them to England.

For years, the Greeks have asked for the marbles back, and for years, the Brits have responded with claims that Greece can't give them a suitable home. And yet, now that this state-of-the-art facility is ready and waiting, it still seems unlikely that the marbles will be returned any time soon. Britain is reluctant to give in, for fear of setting a precedent ... and getting "me, too" notices from Italy, Egypt, Iran, Iraq and all the other nations who'd like the missing pieces of their cultural heritage back. But even without the Elgin Marbles, this new museum will be worth the wait, capturing the timeless splendor of ancient Athens in an ultramodern building.

Athens is more than a showcase for its past. Take some time to smell the skewered fast-food souvlaki, whether by wandering through the touristy Plaka district, browsing through the Monastiraki flea market, or exploring the Psyrri neighborhood, the cutting-edge place to go for night life and dining.

The narrow, winding streets can be confusing, but you can't get too lost with a monument the size of the Acropolis looming overhead to keep you oriented.

Ministers are preparing to back a new law that would allow museums to restore artwork looted by the Nazis to Holocaust survivors and their descendants.

The Holocaust (stolen art) restitution bill would reverse legislation that bans national museums and galleries, including the British Museum, British Library and National Gallery, from disposing of items in their collections. Ministers have been promising to change the law for a decade and, after attempts to introduce a government bill collapsed, are preparing to support a private members' bill introduced by Andrew Dismore, the Labour MP for Hendon.

"I hope it will close another chapter from the Holocaust," said Dismore. "It means recognising a right that has been denied for decades. I suspect many people would be prepared to allow their artwork to stay in public collections but it's their right to decide what happens to it." The bill gets its second reading on 15 May.

The move has been prompted by a number of cases, including that of Arthur Feldmann and his wife Gisela. When the Germans invaded Czechoslovakia in 1939, the Feldmanns were evicted from their home, leaving a collection of Old Master drawings in Gestapo hands. Arthur died after being tortured by the Nazis in the Spilberk Castle prison in his home city of Brno. Gisela died in Auschwitz.

With the help of the London-based Commission for Looted Art in Europe, Feldmann's descendants proved that four of his drawings had ended up in the British Museum. The museum was prepared to return them to the family but was blocked by a high court judge. Instead the family negotiated a deal, including an ex-gratia payment of £175,000, that allows the drawings to remain in London.

Feldmann's grandson Uri Peled, 66, who lives in Israel, said that although he did not wish to have the items returned, the principle of the bill - allowing the rightful owner to make the decision about what to do with their art - was important.

"I am positive that Britain, a great democracy, will introduce such a law," he said. "We were very pleased to leave the drawings with them [the British Museum] for the memory of our grandfather."

The Commission for Looted Art in Europe has helped to restore more than 3,000 items, including paintings, drawings, silver, books and manuscripts to their rightful owners over the past 10 years. However, experts expect the bill to apply to a relatively small number of items in UK museums. One such item could be Cupid Complaining to Venus, by Lucas Cranach, dated 1525. The painting, now in the National Gallery, was once part of Adolf Hitler's private collection but its ownership between 1909 and 1945 remains a mystery.

The legislation is being drafted to apply to "objects stolen between 1933 and 1945 by the Nazi regime" to avoid bids to repatriate disputed artefacts such as the Parthenon sculptures, Rosetta stone, Benin bronzes and Lewis chessmen.

Christopher Price, deputy chairman of the British Committee for the Reunification of the Parthenon Marbles, said: "It will give us publicity, even if it won't shift the law. It could lead to more discussions about possible legislation on other disputed objects."

Price said the issue was timely because the Greeks are preparing for the official opening in June of a new €129 Acropolis museum to showcase the Parthenon sculptures. The building has space for the pieces removed by Lord Elgin in the 19th century and sold to the British Museum.

The museum said it was the legal owner of the sculptures and there could be no comparison to Nazi loot.

The Department for Culture, Media and Sport said the principle of the bill "is very much accepted ... There will be attempts to broaden it beyond the Nazi era and one has to be aware of that and draft it in such a way that the risk is eliminated."
Stepping up the hunt

Despite commitments made after the second world war, hundreds of thousands of artefacts stolen by the Nazis have not been returned to their rightful owners. However, over the last decade, the UK - like other governments - has stepped up efforts to help Holocaust survivors and their relatives trace and recover lost arts of work. The major UK museums maintain databases of items in their collection where there are gaps in provenance from 1933-45, while not-for-profit organisations like the Commission for Looted Art in Europe helps families and institutions research and recover looted property. To resolve cases where ownership is disputed, the government set up a committee known as the spoliation advisory panel in 2000. The panel can recommend financial compensation, an ex gratia payment and that an item be returned to its owner - but in the case of the UK's 16 national museums and galleries it is currently powerless to enforce restitution.

London, Mar 29 : Ministers in Britain are all set to support a new law that would allow museums in the country to return artwork looted by the Nazis to Holocaust survivors and their descendants.

The bill, named the Holocaust (stolen art) restitution bill, would change the legislation that forbids national museums and galleries, including the British Museum, British Library and National Gallery, from disposing of items in their collections.

Despite commitments made after the Second World War, a large number of artefacts stolen by the Nazis have not been returned to their rightful owners.

However, over the last decade, the UK government has stepped up efforts to help Holocaust survivors and their relatives' trace and recover lost works of art.

And now, they are preparing to support a private members' bill introduced by Andrew Dismore, the Labour MP for Hendon.

"I hope it will close another chapter from the Holocaust," the Guardian quoted Dismore as saying.

He added: "It means recognising a right that has been denied for decades. I suspect many people would be prepared to allow their artwork to stay in public collections but it's their right to decide what happens to it."

The bill will go for its second reading on May 15.

The move comes in line with a number of cases in which artwork stolen by Nazis could not be returned to their owners or descendants of Holocaust survivors.

Over the past 10 years, the Commission for Looted Art in Europe has helped to restore more than 3,000 items, including paintings, drawings, silver, books and manuscripts to their rightful owners.

However, experts are hoping that the bill would apply to a relatively small number of items in UK museums.

The legislation is being drafted to apply to "objects stolen between 1933 and 1945 by the Nazi regime" to avoid bids to repatriate disputed artefacts such as the Parthenon sculptures, Rosetta stone, Benin bronzes and Lewis chessmen.

Christopher Price, deputy chairman of the British Committee for the Reunification of the Parthenon Marbles, said: "It will give us publicity, even if it won't shift the law. It could lead to more discussions about possible legislation on other disputed objects."