TAN The Art Newspaper 23 November 2021

Martin Bailey reports on the classified documents on the sculptures from the Parthenon, compiled in 1991. 

David Miers, became British Ambassador in Athens in 1989 and in 1991 organised a visit to Athens for the then Conservative arts minister Timothy Renton. After this visit, David Miers wrote a report for the Foreign Office which was passed on to the Office of Arts and Libraries (a precursor to the government’s culture department). In this report the UK Ambassador referred to the Parthenon Marbles as an "issue on which we can never win: the best we can do is to keep our heads down as far as possible: and avoid using defensive arguments here in Greece which will sound hollow in Greek ears.”

“For instance I do not think the argument about the trustees of the museum is a very good one for use here. The Greeks know that we could legislate [to allow deaccessioning] if we wanted: the problem for them is that we don’t want [to].” 

A separate letter in the file argues that the Marbles would be safer in London than Athens. A foreign office official wrote that the British government cited “environmental concerns as further reasons for keeping the Marbles in their controlled environment in the British Museum”, in view of “severe air pollution in Athens”.

Then in 2009 the Acropolis Museum opened, and  this year the British Museum has closed Room 18 for maintenance. Reports of the leaking glass roof began in December 2019 and in January and February 2020 heaters where placed in this room whilst in the summer months, the fire exit door was left open for ventilation, underlining the lack of climate controls. This year's closure of Room 18 continues.

During his meeting with Prime Minister Johnson, Greece's Prime Minister Kyriakos Mitsotakis pointed out that Greece still holds the UK government responsible for the continued presence of the Marbles in the British Museum.

To read the full article, please follow the link here.

Telegraph 26 November 2021

The Telegraph article cites The Art Newspaper article quoting the British Ambassador to Greece, Sir David Miers, admitting that the UK would not win the argument on the division of the Parthenon Marbles between Athens and London.

The Telegraph also picks up on a letter written by Johnson in 2012 when he was Mayor of London, where he admits that the sculptures from the Parthenon "should have never been removed from the Acropolis."

Saturday 27 November 2021, TA NEA

UK Correspondent Yannis Andritsopoulos interviews Denis MacShane and writes about the opportunity to reunite the sculptures when Tony Blair became Prime Minister.

Denis MacShane goes on to add that he'd met up with George Osborne at a recent function and the matter of the sculptures was raised, however George Osborne, just into his position as the new Chair of the British Museum, was 'full of contempt'.

George Osborne as part of the establishment will no doubt feel that he can be dismissive on this issue and follow the well rehearsed example of successive British Museum Directors and Chairs of the Trustees.

When Hartwig Fisher described the continued division of the Parrthenon Marbles as 'creative', the media world exploded, and when Prime Minister Boris Johnson met with Prime Minister Mitsotakis failing yet again to accept the UK governments responsibility, the media world found more letters and documents to prove that this dismissive attitude by the UK Government is not new. And yet times are changing. Where will the UK stand as more museums are doing their best to return artefacts removed from countries of origin where the voice of that nation, at that time, was not to be heard? History doesn't have to be rewritten for old wrongs to be put right, for there are cases when we can do better than just roll out contempt.

George Osborne made his first official speechduring a dinner held at the British Museum by the Trsutee on Wednesday 24 November. And in reading it, one can but conclude that there will be no visionary changes at the British Museum, with the exception of the new Museum in Nigeria to house the Benin Bronzes.This museum is designed by architect David Adjaye.

Chairman of the British Museum, George Osborne announced a new chapter for the British Museum, one that reimagines the museum. A masterplan costing £1 billion, aimed at making the British Museum, "the global museum of common humanity" with more details to be revealed next spring. 

The British Museum is also looking to change the way that it engages with communities whose treasures the museum holds in trust.

In The Times today, George Osborne insisted that the collections would not be permanently broken up, but that “some of our greatest objects” would return to their countries of origin if common ground could be found: “My message is: if you’re ready to find the common ground, then so are we.” The article goes on to highlight that the  "Western sculpture galleries will be transformed, while some of the Greek revival architecture of the building will undergo restoration. George Osborne also promised a programme of rebuilding, and a museum powered by a new energy system to make it “a net zero carbon museum — no longer a destination for climate protest but instead an example of climate solution.”

This follows the unveiling at the Freud Museum on Tuesday of a 3D replica of the chariot horse head, of the goddess Selene. The replica created by the Institute of Digital Archaeology (IDA) was crafted from the same marble that all of the Parthenon sculptures were made. Roger Michel of the IDA hopes that the precision of this replica will sway the BM to support the reunification of the sculptures that have survived, and in so doing, respond to the global community's wishes to view them in the Acropolis Museum.

BCRPM's quote of 2012, continues to hold true today as it did a decade ago: 'the Parthenon Gallery in the Acropolis Museum is the one place on earth where it is possible to have a single and aesthetic experience simultaneously of the Parthenon and its sculptures. It is time for the UK to enter into dialogue with Greece about the terms of, and conditions under, which the return of these sculptures could be facilitated.'

More on the news regarding the refurbishment of the British Museum by Cristina Ruiz in The Art Newspaper from Thursday 03 November and followed on Friday 04 November, by Tessa Solomon in ARTnews.

22 August 2019 during a State visit to France, Greece's Prime Minister Mitsotakis asked President Macron for the loan from the Louvre of a metope.This request was made for Greece's bicentennial independence celebrations in 2021. The Louvre would, in return, receive a collection of bronze artefacts from Greece. 

Paul Cartledge, professor of Greek Culture at the University of Cambridge and the vice chairman of the British Committee for the Reunification of the Parthenon Marbles and the IARPS (International Association) commented to The Art Newspaper: " We hope for and expect much more: the reunification in the Acropolis Museum of all bits of the Parthenon held in museums outside Greece—not only [the sculptures] from the British Museum. The Greek government will certainly reciprocate most handsomely with spectacular loans, such as those going to the Louvre no doubt will be.”

To read The Art Newspaper article, please follow the link here.

On 22 March, Alexander Herman wrote an article also in The Art Newspaper explaining the difficulties that surround recognition and admission of title. If the British Museum were ever to consider a long-term loan of the pieces, Greece would need to first accept that the trustees hold title, an acceptance successive Greek governments have never been willing to make.

"But title need not be so contentious. Perhaps the Greek government could accept the simple premise that the trustees hold title under English law, but go no further? This would not have to relate to the circumstances of acquisition in Athens. It need only be a recognition that a run-of-the-mill Act of Parliament settled the question of English title back in 1816. Likewise, the British Museum would need to understand that title is a nationally derived right and does not automatically guarantee rights at an international level. This could perhaps allow the parties to put the question of title aside" writes Alexander Herman.

While a loan might not result in Greece's long awaited permanent restitution, it would bring some pieces back to the Acropolis Museum, where they would be seen by millions in their original context with views to the Parthenon, which still stands. Marking a memorable event and breaking of the deadlock by starting a dialogue between London and Athens.

Read more on this article here.

31 August & 01 September Helena Smith reported in the Guardian and Observer that Prime Minister Mitsotakis would be looking for a loan from the British Museum to coincide with Greece's bicentennial independence celebrations in 2021.

Prime Minister Mitsotakis explained that “given the significance of 2021, I will propose to Boris: ‘As a first move, loan me the sculptures for a certain period of time and I will send you very important artefacts that have never left Greece to be exhibited in the British Museum’.”

Adding: “Of course our demand for the return of the sculptures remains in place. I don’t think [Britain] should be fighting a losing battle. Eventually this is going to be a losing battle. At the end of the day there is going to be mounting pressure on this issue.”

There are 21,000 known archaeological sites in Greece,” said the culture minister, Lina Mendoni, a classical archaeologist. “We have 10 times more than we can possibly exhibit. Almost every day something valuable is found. We want to export these cultural assets.”

Read the updated Guardian (04 September 2019) article here.

March 2021

On Tuesday 02 March, a four hour 'History Matters' Conference Webinar took places under the auspices of the Policy Exchange and culminated in the final session, a conversation between Sir Trevor Phillips and Oliver Dowden, Minister of Culture, Media and Sport.

There were speakers during the webinar that highlighted the value of listening to the voices, bringing in the viewpoints of those voices to the display materials of museums and institutions. Oliver Dowden howerver  was very robust in asking cultural instittiions not to bend to any pressure groups but to cotinue to preserve Britain's rich heritage: to 'conserve and retain', 'to own our past and enhance collective understanding'.

And yet, the question always remains the same. Why would a nation request the return of artefacts to the country of origin if it did not think it had a valid reason? And as we continue to live in a challenging 21st centrury, we also continue to reflect on the merit of such requests, on a case by case basis.

In this month's The Art Newspaper, a letter by our Chair Dame Janet Suzman, which continues to urge the British Museum to listen to the voices and to spell out the history of the collection in Room 18, so as to allow the visiting public to make up its own minds too.

In her letter, Janet concludes:"We think it is both fair and vital that the full story of these stellar carvings in the British Museum’s huge collection of world treasures is properly told. They are, and have been for well over a century, of prime importance to the people of the Hellenic Republic of Greece."

Respect.

To read the letter you can follow the link herealso. Below this month's The Art Newspaper's Letters page.

British Museum interim Director, Sir Mark Jones interviewed two weeks ago in The Times, explaining how he has dealt with the consequences of the British Museum thefts. He set a target of five years for the BM’s complete collection, eight million objects, to be catalogued online, each with an image. With 60% of the BM's objects already digitalised, this target will be met.

Ten of the recovered stolen items are to be featured in a new BM exhibition called 'Rediscovering Gems', which opens on Thursday, 15 February 2024. 

From theft of artefacts to the call for the British Museum to give back some of the contested items in its collection.

“It’s true that I find the legal situation of contested objects, and the historical justification for retaining them, much less interesting than consideration of their current and future benefits,” Jones says. "What we should really be thinking about is where these objects are going to create the most interest, where they are best going to engage people.”

We certainly concurr with that last sentence. The Parthenon Gallery in the Acropolis Museum is the one place on earth where it is possible to have a single and aesthetic experience simultaneously of the Parthenon and its sculptures. 

Read the full interview with Sir Mark Jones in the The Times.

Gareth Harris from The Art Newspaper also wrote quoting Sir Jones' response in The Times  with his reply to the question of if he were "still the BM’s director in a couple of years’ time, could he envisage supervising an arrangement to return the Elgin [Parthenon] Marbles to Greece?”

“Yes,” Jones said. “I could easily imagine a relationship between us and the Acropolis Museum [in Athens] that included mutual loans. Why not? They have some rather fabulous objects as well.”

Greece has been offering to loan antiquities to the British Museum in return for the reunification of the sculptures in Athens, for over 24 years.

On the 20th of June, eight supporters for the reunification of the Parthenon Marbles including for the firrst time, the Chair of the British Committee Janet Suzmann, stood outside the British Museum, handing out leflets and repeating slogans: BM Come Clean, Reunite the Parthenon Marbles, Tell The Story,Time is Now, Renite the Marbles in the Acropolis Museum in Athens. In the queue to get into the BM there were those that were looking forward to seeing the sculptures from the Parthenon too. They emerged disappointed. The Parthenon Galleries were closed.

The telephone call to the museum on the Monday, the 21st of June to ask how long the closure would last was met with: "not long, as the sculptures are a popular treasure of the museum." When asked when to call back, the reply was 'in a week's time'. That week became 8 weeks and then the article in the Art Newspaper: 'Is it raining again in the British Museum’s Parthenon gallery? A leaking roof has delayed the reopening of seven galleries of Greek art', written by Cristina Ruiz and published this Wednesday, 11 August 2021.The article was updated today, Friday 13th August to include a statement by Greece's Minister of Culture & Sport, Dr Lina Mendoni.

The statement from Minisiter Mendoni can be read in the Art Newspaper article, as well as on the official Greek Ministry's portaland below:

"This is not the first time that photographs have been published revealing that the conditions for exhibiting the Parthenon Sculptures at the British Museum are not only inappropriate, but also dangerous. In September 2019, when similar photos were published, we had stressed that these images fully strengthen the legal, ongoing and non-negotiable request from Greece for the reunification of the sculptures. The Parthenon Marbles, one of the greatest monuments of Western civilisation, must return to their homeland."

The leak that occured on 21 December of 2018 was questioned by Ta Nea's UK Correspondent Yannis Andritsopoulos and published in an article in January 2019, where he asked the Director of the British Museum, Hartwig Fisher, this question: 'There were several media reports last month regarding a leak in the Duveen Gallery where the Marbles are housed. As you can imagine there was a negative reaction. What’s your explanation about what happened?'

Dr Fisher's reply was: "We had a tiny leak in one area of the roof in the Parthenon Sculptures’ galleries. A small quantity of rain entered the gallery, but did not touch any of the Sculptures and this was fixed right away."

As the leak was fixed right away and was only 'tiny', 2 years and 5 months later, another leak? And why is this one taking months to repair ? With no date for when Room 18, the Parthenon Galleries at the British Museum, might be re-opening.

Many question the climate controls of the gallery even when there are no leaks. In the winter large blow heaters are positioned in the room to provide heating and in the hotter summer months, the Fire Exit doors are kept open for ventilation.

Whatever the long term prospects for the sculptures still in London (unnecessarily divided from the their surviving halves in Athens' Acropolis Museum), the lack of dialogue between two friendly nations, Greece and the United Kingdom, on this cultural matter, continues to be long overdue. All the efforts made by Greece since their independence over 200 years ago and at other key times, including in the 80's when the then Minister of Culture, Melina Mercouri visited the British Museum and vowed to keep campaining for ever or until the Parthenon Marbles were returned.

BCRPM began campaigning in 1983 and Emanuel Comino's Australian Committee started even earlier. The calls have not diminished and are echoed by the International Association supporting the Greek governments efforts. There is no time like the present to start a dialogue that would result in a long awaited reunification of a peerless collection of sculptures, which still belong to the Parthenon (as their name suggests).

The Parthenon still stands, with the Acropolis Museum in Athens offering an exceptional opporunity for all to see the sruviving pieces displayed the right way round, with direct views to the Parthenon. This context is one, which the ancients that created such an iconic building, would be proud to 'see' humanity respect.

Janet Suzman's commented on the current closure of Room 18: "Aware as we were of this, what is going on? Is the British Museum trying to Anglicise the Parthenon Marbles by covering them in damp? BCRPM is a little bit concerned. They would be much happier in that Attica light."

Additional statement made by Dr Mendoni, Greek Minister of Culture and Sport, 15 August 2021, in response to the conditions and ongoing closure of the Greek galleries in the British Museum:

"For decades, the main argument of the British, for the Parthenon Sculptures to remain in London, was that in the British Museum these masterpieces are exhibited in more suitable conditions than those that Greece could offer.

For 12 years, the Acropolis Museum in Athens, one of the best museums in the world, exhibits the Parthenon Sculptures in the most appropriate way, with direct views to the Parthenon itself. The sculptures in Athens await their final reunion with those illegally looted by Elgin. The British argument has long since been refuted.

Today, the conditions for exhibiting the Parthenon Sculptures at the British Museum are offensive and dangerous. The Sculptures cannot be expected to wait in Room 18 for the completion of the "masterplan" of the British Museum, which does not match those of the Parthenon Gallery, here in Athens.

Greece's constant and fair request for the return of the Sculptures to Athens is non-negotiable and today is absolutely relevant."

Martin Bailey wrote in The Art Newspaper on Wednesday, 10 May 2023, revealing declassified UK government documents showed the Foreign Office had been dismissive of the British Museum’s lobbying to retain the Parthenon Marbles in 1983. The year when a formal claim was first lodged, after Greece's then Greek culture minister, Melina Mercouri visited London and the British Museum. 

'The Foreign Office recorded that Mercouri argued that the Marbles “are an integral part of a monument that represents the national spirit of Greece”. Wilson responded that they are part of a museum which is a unique international institution that “should not be dismembered”. But the officials concluded that Mercouri “won the argument hands down”.'

Fast forward four decades, and the argument for the reunification of the Parthenon Marbles is as compeling today as it has been since the 19th century, and the first request made by Greece after gaining independence. 

Janet Suzman, BCRPM's Chair often speaks of what Melina was like when she first met her in London. "Melina was electric, she swept through Britain in the 80's and captured the hearts and minds of all those that understood the injustice of the removal of these sculptures, their sale to the government by Lord Elgin in 1816, plus their continued display in the British Museum as art pieces, not as a collection of peerless sculptures that will always be intrinsically connected to the Parthenon. A building, which after two and half millennia of history, wars and occupations, still stands proud on the Sacred Hill.

"We could be informed how exactly these stone figures came to be here in this cold gallery in London" suggests Janet Suzman. "Since no proof from the Ottoman Sultanate has yet been found permitting them to be taken from Greece, we could, at the very least, be told that fact. Otherwise we must assume the British Museum has a very tenuous hold on reality when it claims they were legitimately acquired."

"The BCRPM wants to see visitors to the British Museum enlightened, either by a leaflet made available in the Greek galleries, or cogent signage on the plinths themselves, with full information about their acquisition."

"The modern Hellenic Republic, free of the yoke of the Ottomans, desperately wants its cultural heritage - these perticular Parthenon scuptures - returned. For over two hundred years it has wanted them returned. The public deserves to know why; Lord Elgin chopped them off the Parthenon and stole them, silently and clandestinely, and they ought to be back in their own place, where the sun shines." Concludes Janet Suzman.

'In the name of fairness and morality' said Melina in 1986 'please give them back. Such a gesture from Great Britain would ever honour your name'.