The Great London:
Greece

The British Government is refusing to negotiate with Greece about the return of the so-called Elgin Marbles despite a request to do so from the United Nations, a decision that could prompt Athens to begin legal action for the first time.

British campaigners likened the UK’s stance to “clinging on to stolen booty for dear life” and contrasted it with the “generous act” of returning the sculptures to help a friendly country on the brink of economic collapse. Youth unemployment has hit 50 per cent and suicide rates have soared amid a crisis so severe the Financial Times has warned Greece could turn into a “quasi slave economy”.

In 2013, the United Nations Educational, Scientific and Cultural Organisation (UNESCO) invited the UK to take part in mediation about the marbles, created 2,500 years ago to decorate the Parthenon temple in Athens. Then last year it asked for a response by 31 March.

However a Government source said the UK “won’t be able to make any significant announcement this side of the [May] election”.

A motion calling for the UK to reply to Unesco and move to return the marbles is to be filed in the House of Commons on Monday.

The failure to respond in time could prompt Greece to abandon decades of diplomacy and take legal action, possibly in the European Court of Human Rights. A team of lawyers in London, including leading QC Geoffrey Robertson and Amal Clooney, wife of actor George, is preparing a “book-length” document setting out the options.

A source who has advised successive Greek governments said the main problem was finding a court to take jurisdiction in the case, but once that hurdle was overcome “then the lawyers are saying there is about a 75 to 80 per cent chance of success”.

The marbles are regarded as some of the finest works of art in history and a symbol of the birth of Western civilisation. Some sculptures were taken to Britain by Lord Elgin in controversial circumstances just over 200 years ago when Greece was ruled by the Ottoman Empire.

Dr Elena Korka, director of antiquities at the Greek Culture Ministry, said the central issue was “reunifying these exceptional, outstanding and most important sculptures, which belong as an integral part of a unique symbolic monument for the whole world”.

“This is the essence of it, making something which exists today as whole as it can be… this is what the public wants, every poll shows it. It’s such an important issue. Even if Greece didn’t ask for it, the whole world would,” she said.

She said if the British authorities relented it would be “a day of true joy, not only for the monument itself but I think for the value of the gesture for the sake of co-operation”. “It would definitely help the [public] morale. It would be a huge boost,” she said.

Asked about the prospect of legal action, Dr Korka said Greece was “still so much into the process of mediation that we’re not thinking of the next step”. “We haven’t exhausted the possibilities so let’s not go so fast,” she said.

She added that the UK’s silence since 2013 was “not so polite really”.

David Hill, chairman of the International Association for the Reunification of the Parthenon Sculptures in Australia, said there was a “growing appreciation even among people who are timid about the prospect of litigation that we have reached the point of last resort if this UNESCO gambit fails. The diplomatic and political strategies of the last 30 years have not produced any progress at all.”

Polls have consistently showed strong support in Britain for returning the marbles. In November, a survey for The Times found there was a two-to-one majority in favour.

Andrew George, chairman of Marbles Reunited and Liberal Democrat MP for St Ives, said: “One of our friends is down on their uppers and we can offer something to them that might make their lives easier and give them a lift, which can only be good for their economy.

“It would be a generous act which would improve Britain’s standing in the world. At the moment we look rather grubby… like we are clinging on to stolen booty for dear life.”

He said he planned to lodge an early day motion in the Commons tomorrow calling 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”.

The British Museum, which denies Elgin stole the marbles, argues that it “tells the story of cultural achievement throughout the world” and the Parthenon sculptures are “a significant part of that story”. It regards itself as “a unique resource for the world” with visitors able to “re-examine cultural identities and explore the complex network of interconnected human cultures” within its walls.

“The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries,” it says.

The Department for Culture, Media and Sport said it would “respond in due course” to UNESCO.

Author: Ian Johnston | Source: Indpendent [March 07, 2015]

A private citizen’s group called the “Athenians’ Association” said on Thursday they filed a lawsuit at the European Court of Human Rights against the United Kingdom over the removal of the Parthenon Marbles by Lord Elgin in the 19th century, the association said in a press conference in Plaka on Thursday.

The association, which opened in 1895 and among whose aims is to research the history of Athens and help preserve of its cultural monuments, said the decision was taken after its board was informed about Britain’s refusal to participate in a mediation procedure, as part of the UNESCO Intergovernmental Committee for Promoting the Return of Cultural Goods in the Country of Origin.

“The reason we disclose our action today is because not only was the suit not rejected [by the Court], but it was officially lodged and recently the Court requested clarifications, which presages that it will reach the courtroom,” the member of the association’s board, Stratis Stratigis said at the press conference.

Stratigis has been entrusted with monitoring the legal aspect of the suit, and is also responsible for coordinating the actions and contacts that will be needed in Greece and abroad.

He said the Athens Association has been following the issue closely for years and when it realized in March 2015 that Britain had rejected even its participation in the mediation procedure, it decided it was an opportunity to appeal before the European Court of Human Rights in Strasbourg as a private association, independently from the State.

Stratigis also clarified that this move by the association does not affect in any way Greece’s right to sue when it chooses at a national or international court.

“Besides, the issue of recovering architectural elements recognized by UNESCO World Heritage monuments which have been stolen is ongoing,” he said. “It is therefore in the country’s interest to keep the issue alive in international public opinion and periodically update on the issue with appropriate actions,” he added.

According to the association’s press release which followed the press conference, its founding members comprised of descendants of the Athenians who stood up against the destruction of the Parthenon by Lord Elgin. It also said that one of the very first actions undertaken by the Association was an event organised in 1896 to commemorate the liberation of the Acropolis from the Ottoman Turks.

During the event, the association’s deputy chairman, Professor Theodossios Venizelos (1821-1900) said the Parthenon was “a place of daily worship, the holy of holies, a life good for our ancestors and that the Athenians strongly protested against the despoilment of the Acropolis’ extant statues by Elgin.”

Source: ANA-MPA [February 19, 2016]

The following is an open letter circulated yesterday (May 14) by Alexis Mantheakis, Chairman of the International Parthenon Sculptures Action Committee, on the recent developments in the Parthenon Sculptures issue:

Dear All,

The recent snub by the British government to UNESCO's offer to mediate in the issue of the Parthenon Sculptures dispute and the arrogant wording directed at the Greek government's often repeated offer to negotiate the matter by discussion confirmed our position that Britain never had the intention to enter into good faith discussions. As we had said in recent fora,  the only road we saw to possible success was one of legal action, with a direct and dynamic confrontation with Whitehall.

The recent response by Britain dissolved any illusions we had regarding the powers in the UK to be brought to do the right thing,  and to right a historical wrong.  We too had hoped that Britain would succumb to worldwide public opinion to correct an outrage,  the stripping and vandalising of the Parthenon of 60% of its famous millenia-old  Sculptures ,  a crime committed when Greeks were under occupation and unable to defend their archaeological heritage and national symbols of identity.

The latest declaration by the new minister of culture in the UK continues with the hard line of his predeccesors, namely that "The marbles were legally acquired according to the laws of the time. " So Mr Minister were 3 million African slaves, captured,  transported and sold,  "according to the laws of the time." Opium too was purchased and sold, in tons "according to the laws of the time". Those who did not agree to buy your opium had two wars declared on them,  and so China paid with the loss of Hong Kong and a treaty to buy your Indian grown opium.  This, Mr Minister, is NOT that time.  We are disputing your CURRENT possession of symbols of our heritage, removed from Athens and held by you in a totally government financed and controlled museum institution (all the board is appointed directly, or indirectly by the UK government or by the Queen).

This,  though,  is not the issue.

One more British government acting like  an infant  petulantly hugging another child's toy,  saying "It is mine, mine!"  is understandable,  because there is no home-made item that can compare in beauty,  artisanry,  historic or other value to those created  by a superior ancient civilisation.  We may understand the feeling,  and commiserate,  but that does not justify the possession of the looted Greek scultures taken from the Parthenon.  There is no justification for it.  We sympathise with the situation the British Museum is in,  but our sympathy doesn't extend to giving up iconic and defitive items of our heritage,  nor did our illustrious and talented predecessors in Ancient Athens build the Parthenon to have its facade torn off and damaged  by a British ambassador to decorate his Scottish residence. The Parthenon was built by Pericles and the Greek city states to commemorate the victory of Greek civilisation against the very type of barbarity  and lack of respect that Elgin indulged in 2300 years later.

The British position is well known and is in keeping with how official Britain has acted in the last few centuries.  To win in a contest the basic rule MUST be to understand your opponent and create your game strategy around this knowledge.

Anyone who has studied British history and politics will know that Britain NEVER,  but NEVER,  gives anything back unless forced to do so.  India, Cyprus,  as well as dozens of colonies of the Empire,  and other possessions acquired without the consent of the people, often with great bloodshed caused by British troops were only given back by Britain after a bitterly contested conflict,  on the field of battle,  in courts,  or with a series of extended non-violent political actions by those who had lost their heritage,  freedoms,  or historical archaeological treasures.  Britain today in its museums and in the Tower of London still holds numerous purloined and pillaged items as well as those taken by reason of  military superiority from a vanquished foe defending himself on his own soil.  The Kohinoor Diamond in the so called Crown Jewels  taken from a defeated 15 year old prince in India, is but one example. Manifest Destiny demanded it.  We oppose this way of thinking.

This lengthy introduction,  and I will apologise,  was to emphasise my conviction that dialogue for the return of the Parthenon Marbles, after so many valiant and polite efforts by Greece,  and its overseas friends in all walks of life,  is not a viable option,  and only  incurable romantics or people without an understanding of the official British character and its limitations can insist that this dead end is the road to the Restitution in Athens.

The problem is not the obduracy and intransigence of British officialdom.  It is a given, and we have to act  with that in mind.  It is with the very knowledge of the historic failure of Greek diplomacy,  both cultural and political,  and that of our own self-financed voluntary Parthenon organisations, to bring about the return, that it was encouraging when the Greek government,  that for 40 years has not asked Britain officially for the Sculptures return,  not long ago decided to involve an experienced and prestigious British legal firm Doughty Street Chambers led by George Robertson QC,  to represent our interests and to write a report regarding  what options were open for Greece to act.

Overall public awareness of the issue and additional sympathy for the Greek case was given very welcome boosts,  human nature being what it is,  by declarations of public support by celebrities such as George Clooney,  Matt Damon and others,  while a visit to Greece by Mrs Clooney with her senior colleagues at the UK law office created a media frenzy and a heightening of public interest in the Parthenon issue.  The Doughty Chambers law group produced a 140 page confidential report for the Greek government describing,  as leaked to the press,  5 options.  The one considered to have the highest chance of success was,  and this is no surprise to us,  for Greece to go immediately to the  European Court of Human Rights where,  according to the report,  there was  the greatest chance of a Greek legal victory.  The lawyers were specific: it is  now or never,  if the opportunity is  not to be lost with issues such as statutes of limitations in the near future killing Greek chances of recovery of the items through international court decisions.

In Greece,  as we all know there is a new government,  and the report was delivered to them.  With the understanding of the British penchant for intransigence,  fortified by the recent snub to UNESCO, and the history of failed attempts,  the new minister had a detailed road map in his hands,  to move forward,  with of course the support of millions around the world and at home.  Expecting his decision to do this,  using the British law firm and their international expertise and experience in cross border cultural issues we were stunned to hear the announcement of Under Minister Mr Nickos Xidakis,  a former journalist,  who announced,  in more words than these,  that " We will not go against Britain in court... This is a matter to be settled politically and diplomatically...this issue will be settled, bit by bit over, time..."

Looking at what the minister said let us examine the  viability of his declared course of action over that which the British lawyers and we ourselves at IPSACI believe,  and we all want the same thing ,  the return of the Parthenon Sculptures.

A) Mr Xidakis rejects the expert opinion of the British legal experts.  Claiming we may lose in court.  But for 200 years we have lost! We can only win,  or if we lose here, we can initiate a new legal action in another court.

B) Mr Xidakis says the issue can be won diplomatically.  The question is,  after 200 years of failed  diplomatic initiatives, is the government of Mr Xidakis in such a powerful international position to impose a solution using diplomacy? Does he know of Greek diplomats who can force Mr Cameron to sign a new law allowing/directing the Return of the Parthenon Sculptures?

C) Mr Xidakis told the press that the issue should be dealt with "politically" .  This is indeed one way countries settle disputes.  The assumption by lay persons like myself,  on hearing the Minister,  is that Greece at this moment has the political clout to bring the British Museum to its knees and to force Mr Cameron to sign the document of repatriation of the Sculptures to Athens. With all our goodwill towards Mr Xidakis, where does he draw this feeling of current Greek political power and superiority over Britain from?

D) Finally the minister says that this issue is being slowly resolved, "little by little".

But it has already been 200 years from the stripping of the friezes and metopes and Britain has not moved one centimetre in the direction Greece demands!

If the minister does not tell us why he feels his/our  government has the diplomatic and political power to solve the issue,  I very much fear that his position looks like a hot potato shifting of the issue to a future government because of  reluctance to take the bull by the horns,  as recommended by the UK lawyers, and get into court with his British counterpart.(Apologies for the mixed metaphors!)

I have a great fear that we are about to lose the Parthenon Sculptures for ever, and that the work of all our organisations, ministries,  diplomatic missions,  our volunteer supporters, and decades of dedicated work by people such as yourselves around the world, and in Greek and international  organisations are about to be lost down the drain.

I therefore beg those who believe that we must recommend to Minister Xidakis and his staff to listen to the recommendations of people and experts who know the issues well,  and understand the mindset of those walking the halls of Russell Square and Westmister,  to express their concern to the authorities in Greece.

Thank you for your patience in reading this long analysis of where I believe  we are today,  in view of the recent, and disturbing developments.

Best to all,
Alexis Mantheakis
Chairman of the International Parthenon Sculptures Action Committee Inc.
Athens office.
www.ipsaci.com
+(30)22990 47566

The Greek government has finally acknowledged that the British Museum is the lawful owner of the “Elgin Marbles”. That, at least, is the logical conclusion of the recent news that Greece has dropped its legal claim to the Parthenon Sculptures.

The surprise announcement came only 48 hours after Amal Clooney and the team at London’s Doughty Street Chambers sent the Greek government a 150-page report admitting that there was only a 15% chance of their success in a British court, and that Greece should consider pursuing the claim at the International Court of Justice. However, quite understandably, the Greek government has decided that what Clooney is really saying is that they have no case.

The Syriza government is keenly aware that British courts are recognized the world over for their experience in resolving international disputes, including those involving British interests and institutions. So, quite reasonably, the new Greek government has concluded that an international court will probably not reach a different conclusion. Nikos Xydakis, culture minister, has therefore announced that Greece will drop its legal claim and pursue “diplomatic and political” avenues instead.

This is unsurprising, as — contrary to the widespread misconception — there was nothing illegal about the way in which Lord Elgin saved the Parthenon Sculptures from acute ongoing destruction. The mauling had started when the Greek church smashed up a large number of the ancient temple’s carvings in the fifth century. The Venetians then blew up chunks of the building in 1687. And in the 1800s, when Lord Elgin arrived in Athens, the occupying Ottomans were grinding the sculptures up for limestone and using them for artillery target practice.

Elgin had intended to commission casts and paintings of the sculptures, but when he saw firsthand the ongoing damage (about 40% of the original sculptures had been pulverised), he acquired an export permit from the Ottoman authorities in Athens, and brought as many as he could back to safety in Britain. It was a personal disaster which bankrupted him, but it has meant that, since 1816, the British Museum has been able to share with its visitors some of the best-preserved Parthenon Sculptures in the world.

What is usually missing in the emotion of the Elgin Marbles debate is that the British Museum is a universal museum, which tells the story of humanity’s cultural achievements from the dawn of time. In this, the work of the Ancient Greek department is world leading, and part of a network of museum classicists — including those from the New Acropolis Museum in Athens — who work together collaboratively, sharing their knowledge and passion for the classical world with the widest possible public.

Coincidentally, the British Museum (the nation’s largest tourist attraction) is currently hosting a once-in-a-lifetime exhibition of Greek sculpture, drawing on its own collection and generous loans from other museums all over the world to showcase the evolution of ancient Greek ideas about beauty and the human body. In this breathtaking visual story of the march of classical ideas about aesthetics, the Parthenon Sculptures take their place, contributing eloquently to the state of sculpture in the golden age of Athenian carving under Pheidias.

The overarching misconception we need to get over is that museum objects belong uniquely to the country in which they were created. If that was so, the world should empty out its leading museums of the foreign artefacts they have purchased or been donated. Athens would be no exception in this, and would be required to return their extensive collections of Egyptian, Chinese, Islamic, and South American art.

Of course, it is an absurd idea. The world is manifestly enhanced by museums and their depth of specialised knowledge. They are, above all, educational places that enrich us all. The fact that half the surviving sculptures from the Parthenon can be seen in Athens, with the remaining half split between London, Berlin, Munich, Würzburg, Copenhagen, the Vatican, and — thanks to the British Museum — the Hermitage in St Petersburg earlier this year, ensures that the widest possible audience is able to experience for themselves the unique and bewitching ability of fifth-century Athenians to convert rough stone into warm, living flesh.

Another page has turned definitively in the story of the Parthenon Sculptures. The idea that Lord Elgin or Parliament did something illegal has finally been dropped, and not before time. Now the debate can proceed in a less antagonistic manner, and everyone can acknowledge that it is a question of politics, not looted artefacts.

As the world has recently discovered from the tragic destruction of Assyrian art at Nimrud, Mosul, and elsewhere in the Middle East, the planet’s heritage does not last unless someone looks after it. And so far, in the case of the Parthenon Sculptures (and indeed its holdings of Assyrian sculpture), the British Museum continues to do the world an enormous service

Author: Dominic Selwood | Source: The Telegraph [May 14, 2015]

Diplomacy rather than litigation will help Greece win its claim for the return of the Parthenon Marbles from the British Museum, Alternate Minister for Culture Nikos Xydakis said in an interview on Wednesday.

“On the one hand, you can’t file a suit over any issue, and, on the other, the outcome in international courts is never certain,” Xydakis said.

“The way to winning back the Marbles is diplomatic and political,” he said in response to a report by the British firm of cultural heritage lawyers Norman Palmer and Geoffrey Robertson, urging Greece to take swift legal recourse.

Source: Kathimerini [May 13, 2015]

Greece has not abandoned the idea of resorting to international justice to repatriate the Parthenon marbles and is investigating new ways in which it might bring a claim against the British Museum.

As campaigners prepare to mark the 200th anniversary of the antiquities’ “captivity” in London, Athens is working at forging alliances that would further empower its longstanding battle to retrieve the sculptures.

“We are trying to develop alliances which we hope would eventually lead to an international body like the United Nations to come with us against the British Museum,” the country’s culture minister, Aristides Baltas, revealed in an interview.

“If the UN represents all nations of the world and all nations of the world say ‘the marbles should be returned’ then we’ll go to court because the British Museum would be against humanity,” he said. “We do not regard the Parthenon as exclusively Greek but rather as a heritage of humanity.”

But the politician admitted there was always the risk of courts issuing a negative verdict that would wreck Athens’ chances of having the artworks reunited with the magnificent monument they once adorned.

“Courts do not by definition regard [any] issue at the level of history or morality or humanity-at-large. They look at the laws,” said Baltas, an academic and philosopher who played a pivotal role in founding Syriza, Greece’s governing leftist party. “As there are no hard and fast rules regarding the issue of returning treasures taken away from various countries, there is no indisputable legal basis.”

The move came to light as the world’s longest-running cultural row looks poised to intensify. Almost 200 years have elapsed since the British parliament voted on 7 June 1816 to purchase the collection from Lord Elgin, the Scotsman who as ambassador to the Ottoman Empire ordered the frieze to be torn from the Parthenon and shipped to England. Activists are counting down to what they call the “black anniversary”.

In London, only metres away from the British Museum, a huge billboard funded by campaigners in Australia this weekend showed six strategically placed words across a statue of classic nudity – and above a list of the vital contributions Greece has made to modern democratic life. The words read: “Please give us back our marbles.”

“There is no point any longer in taking the gentle approach because that has failed,” said Alexis Mantheakis, chairman of the New Zealand-based International Parthenon Sculptures Action Committee. “The British have never given anything back, be it colonies or artefacts, without pressure. To ignore that fact is to undermine the chances of any success in the campaign for the return of the Parthenon sculptures.”

Seen as the high point of classical art – a peerless example of beauty in carving – the antiquities were acquired for £35,000 on condition they be exhibited in the British Museum. Mortified, steeped in debt and determined to dispel rumours that he had exploited his post as emissary to plunder the Acropolis, Elgin reluctantly accepted. It had, all expenses considered, cost him nearly twice that he claimed.

But in a 141-page document of legal advice – the details of which have been leaked exclusively to the Guardian – QCs specialised in cultural restitution say Elgin clearly exceeded the authority, or firman, he was given when he ordered the treasures to be “stripped” from the monument. The lawyers, including the human rights expert Amal Clooney, insist that Greece could mount a strong case to win the marbles back.

“We consider that international law has evolved to a position which recognises, as part of the sovereignty of a state, its right to reclaim cultural property of great historical significance which has been wrongly taken in the past – a rule that would entitle Greece to recover and reunite the Parthenon sculptures.”

The advice – provided at the request of the country’s former centre-right coalition but previously only made public in summation – amounts to a toolbox of how Athens could pursue its claim to the classical masterpieces. Greece could either bring the UK before the European court of human rights, or the UN cultural body Unesco could apply for an advisory judgment by the international court of justice. Court action could prompt Britain, which has repulsed every entreaty to date, to agree to arbitration or mediation.

“The legal case is strongly arguable, both under international customary law and provisions of the European convention. [Greece] would stand a reasonable prospect of success.”

But the lawyers also counsel that Athens should move fast in pursuing litigation. Mired in its longest recession in modern times, many fear the cash-strapped country would not have the means to take such action.

The advice, which took almost a year to draft, was reputedly financed by a Greek shipowner sympathetic to the cause.

“Unless the claim is brought fairly soon, Greece may be met with the argument that it has ‘slept on its rights’ too long for them to be enforced,” the lawyers argue, adding that even if initial litigation failed it would not be the end of the fight.

“If Greece does fail, it will very likely be on technical ‘admissibility’ grounds, which will have nothing to do with the merits of its claim. A case lost on a legal technicality can often be fought again.”

Author: Helena Smith | Source: The Guardian [May 08, 2016]

An incredibly rare gold crown estimated to be more than 2,000 years old was found in a tattered cardboard box under a retiree’s bed in England.

The elderly man— who wants to remain anonymous— says he inherited it from his grandfather and had put it away with other “stuff” he had accumulated over the years.

The perfectly preserved gold wreath, used in Ancient Greece to crown athletic and artistic competitions, as well as in religious ceremonies, could be worth more than $200,000, according to auctioneers who plan to put the item up for sale.

According to Guy Schwinge, the auctioneer who was invited to the man’s house to have a look at items he wanted to auction, “It is notoriously difficult to date gold wreaths of this type. Stylistically it belongs to a rarefied group of wreaths dateable to the Hellenistic period and the form may indicate that it was made in Northern Greece. It is eight inches across and weighs about 100 grams. It’s pure gold and handmade, it would have been hammered out by a goldsmith.”

Gold wreaths like the one found were meant to imitate the wreaths of real leaves that were worn in Ancient Greece in religious ceremonies and given as prizes in athletic and artistic contests.

They usually depicted branches of laurel, myrtle, oak and olive trees, which were symbolic of concepts such as wisdom, triumph, fertility, peace and virtue.

Due to their fragile nature, they were only worn on very special occasions. Many were dedicated to the Gods in sanctuaries or placed in the graves of royal or aristocratic people as funerary offerings.

Bits of dirt embedded on the wreath suggest this one was buried at some point, according to London’s Daily Mail, which first reported on the find.

Most date to the Hellenistic period (323BC to 31BC), which this one is also thought to date from, and show the exceptional skill of goldsmiths at that time.

Some were made during earlier periods but the wreaths became more frequent after Alexander the Great’s Eastern conquests, when gold was more available in Greece.

The current owner’s grandfather was a great collector who was fascinated by archaeology and the ancient world.

Although his family do not know how he acquired it, it is likely he bought it sometime in the 1940s when he travelled extensively.

The man said: ‘I knew my grandfather travelled extensively in the 1940s and 50s and he spent time in the north west frontier area, where Alexander the Great was, so it’s possible he got it while he was there. But he never told me anything about this wreath.”

“I inherited quite a lot of things from him and I just put this to one side for almost a decade and didn’t really think anything of it. Recently I decided I needed to sort through things and called in Duke’s (auctioneers) to have look at some of the items he’d passed on to me.”

Author: Gregory Pappas | Source: The Pappas Post [May 28, 2016]

Culture Minister Aristides Baltas decided that Athens will no longer claim the return of the Parthenon sculptures from the British Museum in fear that Greece might lose the legal battle.

Speaking to the parliamentary committee on educational issues, Baltas said, “We will not proceed with legal claims because we are at risk of losing the case.” The committee is working on a draft bill for the return of cultural artifacts that have been illegally removed from Greek soil.

Former culture minister Costas Tasoulas called the handling of the issue “unacceptable.” Tasoulas had made an effort to pursue the return of the Parthenon sculptures using the legal advice of a British law firm.

The British law firm gave the document of their counsel to the Greek Embassy in London which was forwarded to the ministry of culture. The ministry of culture ignored the counsel and refused to accept it.

It should be noted that the total cost of the legal advice came to 200,000 English pounds, an amount that was paid by a Greek living in London who preferred to remain anonymous.

The fact that Amal Clooney was part of the legal team that came to Athens, gave the issue great publicity and drew international sympathy for the Greek argument. In fact, Tasoulas said, at the time the issues was raised, three British lawmakers stated in British Parliament that the marbles should return to their place of origin.

Greece argued that the sculptures should return to Athens to “join” the remaining marbles in their natural habitat and be exhibited at the Acropolis Museum with the rest of the sculptures so that the world admires them as a whole.

Tasoulas said that Baltas’ decision is defeatist and presumes that Greece will lose the case in international courts when in fact the country has a solid argument and international support in its favor. He further said that the defeatist attitude enhances the argument of the opposite side.

Author: A. Makris | Source: Greek Reporter [December 09, 2015]

The 5th of October 2015 is the centenary of the start of the First World War’s Salonika Campaign, when a large Allied army arrived at the port of Thessaloniki (Salonika) in northern Greece.

The video below introduces both the Salonika Campaign and the British Salonika Force archaeological collection at the British Museum. The collection was formed as a result of trench digging and other military activity in Macedonia. The initial offensive in autumn 1915 failed and so British and French forces dug themselves into the rich archaeological landscape around Thessaloniki.

Various archaeological finds were gathered by both the British and French armies in temporary museums in Thessaloniki and after the end of the war they were despatched, apparently with the agreement of the Greek government, to London and Paris. Significant finds, such as the warrior’s grave on display in the British Museum, are described as well as the important personalities involved in the formation of the collection.

Archaeologists such as Professor Ernest Gardner, who had studied in Greece before the First World War, served in the army in intelligence roles but also found time to pursue their archaeological interests.

Source: The British Museum [October 05, 2015]

The first-ever legal bid to force the UK to return the Parthenon Sculptures to Greece has been thrown out by the European Court of Human Rights.

The court ruled that because the alleged theft of the sculptures from the 2,500-year-old Parthenon temple took place more than 150 years before the UK signed up to the human rights convention, it did not have the power to consider the lawsuit.

Campaigners for the return of the sculptures pointed out that the court had not made a ruling on the “merits of the case”.

The marbles were taken from the temple by the Earl of Elgin in the 1800s and he then sold them to the British Government in 1816 after running into financial difficulties.

At the time, Greece was occupied by the Ottoman Empire. Lord Elgin obtained a “firman”, a legal document, that apparently allowed him to take some stones but some believe it did not entitle him to cut sculptures from the building.

The marbles are regarded as some of the finest sculptures ever created and the Parthenon, built by the democratic Athenians after victory over the Persian Empire, is arguably the most important monument in Europe.

The Greek Government was given extensive legal advice from lawyers Amal Clooney and Geoffrey Robertson, but appears to have decided against taking Britain to court.

Instead, the case against the UK was brought by the >Athenians’ Association, a cultural group, after the British Government refused an offer last year by UNESCO to mediate between Greece and Britain.

The British Government and the British Museum, where about half the surviving Parthenon sculptures are on display, insist the Earl of Elgin acquired them legally.

>In its ruling, which was sent to the Athenian Association last month, the European court said: “The Court notes that the marbles were removed from Greece in the early 19th century.

“In order to bring the matter within the temporal jurisdiction of the Court, the applicant has sought to rely on the refusal of the United Kingdom to enter into mediation with Greece concerning the return of the marbles and the continuing refusal to return the marbles.

“However, it is clear from the nature of the applicant’s complaints that its underlying grievance is the allegedly unlawful removal of the marbles from Greece. The removal having occurred some 150 years before the Convention was drafted and ratified by the respondent state, the applicant’s complaints would appear to be inadmissible.”

The judges also said the Athenians’ Association did not have “any right … to have the marbles returned to Greece”.

The Athenians’ Association’s legal representative, Vassilis Sotiropoulos, said the case was a “first step”.

He claimed the judgement could actually help the Greek Government take legal action in the future.

“Globally, this first statement of the European Court, historically the first court judgement, on the subject of the Parthenon Marbles highlights the points that Greece should focus on with particular attention in her recourse against the United Kingdom,” Mr Sotiropoulos said.

“This decision leaves open the possibility of a recourse submitted by Greece being proclaimed admissible, thus also indirectly offering precious expertise on how to handle the case henceforth.”

Andrew George, of the British Association for the Reunification of the Parthenon Sculptures, said the ruling did not affect the arguments in favour of sending the sculptures back.

“We’ve learned nothing from this. There’s been no test of the merits of the case, just that this is not the arena to resolve the justice or otherwise of the case,” he said.

“The UK Parliament effectively state-sanctioned the improper acquisition of the sculptures exactly 200 years ago this year.

“But this doesn’t make it a cause of pride for the British, nor does it make the act nor their continued retention either ethical or just.”

On 10 July, a cross-party group of MPs launched a >Bill to return the sculptures to Athens, where the Acropolis Museum was built specifically to house them within sight of the Parthenon.

The British Museum argues that it “tells the story of cultural achievement throughout the world, from the dawn of human history over two million years ago until the present day”.

“The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries,” it says.

“The Acropolis Museum allows the Parthenon sculptures that are in Athens (approximately half of what survive from antiquity) to be appreciated against the backdrop of ancient Greek and Athenian history. The Parthenon sculptures in London are an important representation of ancient Athenian civilisation in the context of world history.”

Author: Ian Johnston | Source: Telegraph [July 20, 2016]

In the summer of 430 B.C., a mass outbreak of disease hit the city of Athens, ravaging the city’s population over the next five years. In his History of the Peloponnesian War, the historian Thucydides, who witnessed the epidemic, described victims’ “violent heats in the head,” “redness and inflammation in the eyes,” and tongues and throats “becoming bloody and emitting an unnatural and fetid breath.” Patients would experience hot flashes so extreme, he wrote, that they “could not bear to have on [them] clothing or linen even of the very lightest description.” In the later stages of infection, the disease would end with “violent ulceration” and diarrhea that left most too weak to survive.

More than 2,000 years later, the Plague of Athens remains a scientific mystery. Thucydides’ account—the only surviving description of the epidemic—has been the basis for dozens of modern-day theories about its cause, including bubonic plague, cholera, typhoid fever, influenza, and measles. And in June, an article in the journal Clinical Infectious Disease suggested another answer: Ebola.

The article, written by the infectious-disease specialist Powel Kazanjian, is the latest in a string of papers arguing that Athens was once the site of an Ebola outbreak. The surgeon Gayle Scarrow first raised the suggestion in The Ancient History Bulletin in 1988. Eight years later, the epidemiologist Patrick Olson published a letter in Emerging Infectious Diseases, a journal of the Centers for Disease Control and Prevention, comparing the symptoms of the Athens plague to those of Ebola, which had broken out in the Democratic Republic of Congo (then Zaire) and Sudan in 1976. “The profile of the ancient disease,” he concluded, “is remarkably similar.”

But not everyone was on board with Olson’s theory. In a 1996 interview with the The New York Times, the epidemiologist David Morens argued that Thucydides wasn’t the most reliable source: Unlike his contemporary, Hippocrates, he wasn’t a physician, and many of the terms he used to describe the disease’s symptoms were ambiguous. For example, the ancient Greek phlyktainai could refer to either blisters or callouses. Noting Thucydides’ claim that the epidemic had originated “in the parts of Ethiopia above Egypt” (today’s sub-Saharan Africa), Morens also questioned how people with Ebola, a highly contagious and deadly disease, could make it all the way to Greece without dying along the way.

The duration of the Athens epidemic also presented another problem: At five years, it was much longer than any known Ebola outbreaks, the majority of which lasted less than a year. And finally, Morens asked, if Ebola had made it out of Africa millennia ago, why were there no other accounts of the disease re-appearing anywhere on Earth until 1976?

Unfortunately for both Olson and Morens, however, neither had a more concrete way to back up their arguments. Their efforts to identify the Plague of Athens, like all the other efforts before them, could only rely on the written record left by Thucydides, which made confirmation more or less impossible.

This, in a nutshell, is the challenge of ancient pathology: With DNA testing, it’s often possible to identify the cause of an epidemic that took place centuries or even millennia ago. Finding remains of those victims to test, though, is another story.

Sometimes, scientists get lucky. In 2001, for example, a mass grave was uncovered at a construction site in Vilnus, Lithuania. Based on uniform fragments found in the grave, the bodies were identified as belonging to soldiers in Napoleon’s army—somewhere between 2,000 and 3,000 of them, hurriedly buried during the retreat from Moscow. When a team of anthropologists examined dental pulp taken from the bodies, they found that around one-third of them had died of typhus, a finding confirmed by tests of dead lice found at the site (the disease is transmitted through lice). Researchers had long suspected that typhus had contributed to Napoleon’s eventual defeat, but because knowledge of the disease was scant during his lifetime, historical accounts alone had never been enough to confirm it.

For the Plague of Athens, it seemed like a similar turning point had arrived in 1994, when during excavations for a planned Athens metro station at Kerameikos, an ancient graveyard used from the early Bronze age through Roman times. The excavators uncovered thousands of previously undiscovered tombs—including a set of seemingly hurried, unceremonious mass burials dating to 430 B.C., the year of the Plague of Athens.

Control of the site was turned over from the construction company to the Greek Ministry of Culture, which handles the discoveries of ancient ruins. In 2000, archaeologists turned over three teeth found at the site to a University of Athens team led by Manolis Papagrigorakis, an orthodontist and professor of dentistry, for DNA testing. Examining the dental pulp found in the teeth, Papagrigorakis’ team ran tests for seven diseases that had previously been suggested by other scholars: plague, typhus, anthrax, tuberculosis, cowpox, cat-scratch disease, and typhoid fever. The only match they identified on all three teeth was with the pathogen for typhoid fever. The researchers published the findings from their analysis in the International Journal of Infectious Diseases in 2006.

Far from solving the mystery, though, Papagrigorakis’s team only muddled it further. In a letter to the editor in the same journal, zoologists from Oxford University and the University of Copenhagen argued that Papagrigorakis’s methodology was flawed because he failed to do a phylogenetic analysis (a way of examining evolutionary relationships) on the teeth. Using the DNA data published in Papagrigorakis’s study, they conducted their own phylogenetic analysis, concluding that the DNA of the tooth bacteria was related to, but not the same as, that of the pathogen for typhoid fever. “The Athens [DNA] sequence and typhoid would have shared a common ancestor in the order of millions of years ago,” they wrote.

The authors also suggested another possibility: that the DNA found in the teeth wasn’t from the Plague of Athens pathogen at all. “While we cannot exclude the possibility that the Athens sequence is a previously unidentified infectious agent,” they concluded, “it is quite reasonable to assume that the sequence is actually that of a modern, free-living soil bacterium, a possibility that could have been explored by extracting DNA from surrounding soil samples as additional negative controls.”

Papagrigorakis currently has a new study underway, using more modern techniques and a greater number of tooth samples, that he hopes will help to settle the debate. In the decade since he published his Athens study, advancements in DNA-sequencing technology have enabled scientists to answer a number of lingering questions about ancient epidemics, making new discoveries from very old tooth samples. In 2011, for example, scientists used teeth taken from bodies in one of London’s so-called “plague pits” to sequence the genome of the bacterium y. pestis, the source of the Black Death epidemic that had swept Europe in the 14th century. By comparing the old genome to modern-day strains, the researchers were able to reconstruct the bacterium’s evolutionary path over the centuries, finding support for the idea that the 14th-century pathogen was likely the root of the evolutionary tree leading to more recent outbreaks.

And in a 2014 study published in the Lancet Infectious Diseases, scientists were able to prove for the first time that the Plague of Justinian—which killed about 50 million people in Europe and the Byzantine Empire between 600 and 800 A.D.—was actually a strain of y. pestis, making it the first known outbreak. The team made its discovery by sequencing DNA from teeth taken from human remains that had been found in a German graveyard and dated to the time of the epidemic.

Even when ancient specimens are available, though, they may not be enough to identify a disease. Bacteria, like typhoid and plague, can be identified through DNA sampling, but this isn’t always the case with viruses. Many of them, including the viruses for Ebola, influenza, and measles, require an RNA sample for positive identification—and thus far, the oldest preserved RNA viral genome belongs to a 700-year-old specimen of caribou feces, much more recent than the Athens samples from in the 5th century B.C. The structure of RNA makes it much more unstable—and therefore more prone to degradation—than DNA, meaning that if the Plague of Athens was viral rather than bacterial, its source may remain a mystery.

“If Ebola virus was there, we will never know,” said Vinent Racaniello, a professor of microbiology at Columbia University professor and the host of the podcast This Week in Virology. “For that, we’ll need a time machine to bring us back to get samples.”

Partially due to these limitations, Kazanjian’s recent study doesn’t delve into dental-pulp analysis data. His argument is based on the similarity between the symptoms of the Plague of Athens and those of Ebola, an argument that he believes is strengthened by observations from the latest Ebola outbreak. The paper ends with a chart of the symptoms described by Thucydides, listed side-by-side against the symptoms of eight modern diseases that had previously been floated as possible explanations; of all of them, the symptoms for Ebola have the most overlap.

Even so, Kazanjian cautioned against referring to Ebola as a “probable” or even a “likely” cause. “The most accurate statement is that the cause remains unknown, and there are several possibilities,” he said, including that the Plague of Athens may have been a now-extinct disease with Ebola-like symptoms.

He also acknowledges the difficulty of making rigorous comparisons between Thucydides’s descriptions and modern-day medical knowledge: “I try not to get into the trap of saying what the most likely thing is,” he said.

But for Kazanjian—also a historian—solving the puzzle of the Plague of Athens is less compelling than exploring all the possibilities. The inquiry is “clearly fun to do,” he said, “no matter what your background is.”

Author: Simon Davis | Source: The Atlantic [September 16, 2015]

A cross-party group of MPs has launched a fresh bid to return the so-called Elgin Marbles to Greece on the 200th anniversary of the British Government’s decision to buy them — a move that campaigners said could help the UK secure a better deal during the Brexit talks with the EU.

The issue has long been a source of tension between, on one side, the UK Government and British Museum, where the 2,500-year-old marbles are currently on display, and, on the other, Greece and international supporters of the reunification of the Parthenon temple's sculptures.

About half the surviving sculptures were taken from the Parthenon in Athens by Thomas Bruce, the seventh Earl of Elgin, and later bought by the British Government after parliament passed an Act that came into force on 11 July, 1816. The other half are currently in the Acropolis Museum in Greece.

The circumstances in which Lord Elgin removed about the sculptures are disputed, with some claiming he effectively stole them while Greece was ruled by the Ottoman Empire.

>The Parthenon Sculptures (Return to Greece) Bill will be presented on the anniversary by Liberal Democrat MP Mark Williams, supported by Conservative Jeremy Lefroy and 10 other MPs from Labour, the SNP and Plaid Cymru.

Mr Williams said: “These magnificent artefacts were improperly dragged and sawn off the remains of the Parthenon.

“This Bill proposes that the Parliament should annul what it did 200 years ago. In 1816 Parliament effectively state-sanctioned the improper acquisition of these impressive and important sculptures from Greece.

“It’s time we engaged in a gracious act. To put right right a 200-year wrong.”

The sculptures are some of the finest ever created and the Parthenon is arguably Europe’s greatest monument. The French Romantic poet Alphonse de Lamartine once described it as “the most perfect poem ever written in stone on the surface of the earth”.

Greece has sought the return of the sculptures ever since victory in the War of Independence in 1832. During the war, Greek fighters even gave bullets to Ottoman soldiers besieged on the Acropolis because they were damaging the Parthenon by removing lead fittings to make ammunition after running out.

Andrew George, chair of the British Association for the Reunification of the Parthenon Sculptures, said the Parthenon sculptures were “some of the most remarkable antiquities on the globe” and people should be able to see them in one place.

They were also, he said, a national symbol of Greece.

“The issue has generated strong feelings in Greece and rightly so,” Mr George said. “We have to take seriously something which is clearly of great significance to the people of Greece.”

Polls have consistently shown that a majority of the British people support reunification. A poll for the The Times newspaper found the general public backed sending the marbles back to Greece by two to one. And an Ipsos-Mori poll found 69 per cent of those familiar with the issue were in favour of returning the sculptures, compared to just 13 per cent against.

Mr George said the case for returning the sculptures was stronger following the Brexit vote.

“If we are about the negotiate a decent trade deal with our European friends, the last thing we want to do is to show the kind of raspberries and two-fingers that [Nigel] Farage was displaying in the European Parliament the other day,” he said.

It would be in the British interest to demonstrate that leaving the EU “doesn’t involve us becoming inward-looking and xenophobic towards the EU, but more confident, more able to be gracious”.

“And there could be no better demonstration of that generosity and graciousness than to do what would be the right thing by the Greeks,” Mr George said.

Professor Athanasios Nakasis, president of the Hellenic branch of the International Council On Monuments and Sites, said allowing reunification would mean a lot for his country, but would also be welcomed around the world.

“Emotionally, the return of the marbles to the place where the rest of the monument resides would be a source of pride for Greeks, since the Athenian Acropolis is an important symbolic centre of the modern nation,” he said.

“From the perspective of the International Council on Monuments and Sites, the reunification of the scattered fragments of the Parthenon would be a positive development, since one of the fundamental principles of our organisation is that the integrity of monuments ought to be preserved, both internally and with respect to their historical contexts.”

The British Museum argues that it "tells the story of cultural achievement throughout the world, from the dawn of human history over two million years ago until the present day".

"The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries," it says.

"The Acropolis Museum allows the Parthenon sculptures that are in Athens (approximately half of what survive from antiquity) to be appreciated against the backdrop of ancient Greek and Athenian history. The Parthenon sculptures in London are an important representation of ancient Athenian civilisation in the context of world history."

Under David Cameron, the UK Government has remained opposed to allowing the reunification of the Parthenon sculptures, which would require an Act of Parliament to change the laws governing the British Museum.

In 2011, he joked, predictably, that Britain was not going to "lose its marbles".

________________________

PARTHENON SCULPTURES (RETURN TO GREECE) BILL

CONTENTS
1 Return of the Parthenon Sculptures
2 Amendment of the British Museum Act 1963
3 Other artefacts
4 Short title and commencement

A BILL TO Make provision for the transfer of ownership and return to Greece of the artefacts known as the Parthenon Sculptures, or Elgin Marbles, purchased by Parliament in 1816; to amend the British Museum Act 1963 accordingly; and for connected purposes.

BE IT ENACTED by the Queen’s most Excellent Majesty, by and with the advice and consent of the Lords Spiritual and Temporal, and Commons, in this present Parliament assembled, and by the authority of the same, as follows:

1 Return of the Parthenon Sculptures

(1)Ownership of the collection of artefacts known as the ‘Parthenon Sculptures’, or the ‘Elgin Marbles’, is transferred to the government of the Hellenic Republic, subject only to subsections (2) and (4).
(2)The artefacts comprising the collection in subsection (1) shall be determined by the Secretary of State by regulation.
(3)Before making a determination under subsection (2), the Secretary of State must consult—
(a)the Trustees of the British Museum,
(b)representatives of the Government of the Hellenic Republic, and
(c)any other person, body or institution that the Secretary of State believes to be appropriate.
(4)Subsection (1) has effect on the coming into force of an agreement between the Government of the United Kingdom and the Government of the Hellenic Republicin which terms are agreed relating to—
(a)arrangements for the suitable transportation of the collection determined under subsection (2);
(b)responsibility for the costs of such transportation;
(c)arrangements and conditions for the maintenance and display of the collection; and
(d)access to the collection for:
(i)experts
(ii)students, and
(ii)members of the public.
(5)The power to—
(a) make regulations under subsection (2), or
(b) enter into an agreement under subsection (4)
is exercisable by statutory instrument which may only be made after a draft of the  instrument has been laid before, and approved by a resolution of, each House of Parliament.

2 Amendment of the British Museum Act 1963 

(1)In section 5 of the British Museum Act 1963 (disposal of objects), after subsection (4) insert—
“(5)Nothing in this section may be interpreted as applying to an artefact that—
(a)has been determined to be part of the collection under section 1(1) of the Parthenon Sculptures (Return to Greece) Act 2016, or
(b)is under active consideration by the Secretary of State for determination as to whether or not the artefact is part of that collection.”
(2)In section 9 of the British Museum Act 1963 (transfers to other institutions) after subsection (1) insert—
“(2)Nothing in this section may be interpreted as applying to an artefact that—
(a)has been determined to be part of the collection under section 1(1) of the Parthenon Sculptures (Return to Greece) Act 2016, or
(b)is under active consideration by the Secretary of State for determination as to whether or not the artefact is part of that collection.”

3 Other artefacts

Nothing in this Act shall be interpreted as applying to any artefact forming part of a collection within a national museum or gallery other than the artefacts mention in section 1.

4 Short title and commencement 

(1)This Act may be cited as the Parthenon Sculptures (Return to Greece) Act 2016.
(2)This Act comes into force on the day after the day on which it receives Royal Assent.

________________________

Author: Ian Johnston | Source: Independent [July 11, 2016]

The new temporary exhibition “A dream among splendid ruins... Strolling through the Athens of travelers, 17th-19th century” was designed to provide an imaginary stroll through monumental Athens between the 17th and 19th centuries. Our companions on this stroll are the European travelers who undertook the “Grand Tour” to the capital city of Hellenism and who, inspired by the movement of Classicism, recorded the “splendid ruins” of its historical past.

Twenty-two illustrated travel publications and twenty-four original works of art — oil paintings, watercolors, and engravings from the Library collections of the Hellenic Parliament — offer landscapes, images, monuments, and specific moments from the Athens of travelers, feeding our imagination and setting starting-points for our own, personal readings. Thirty-five marble sculptures from the National Archaeological Museum, many of them presented here for the first time, converse with the travelers’ works, complementing their charming narrative of the city’s monumental topography. The museum experience is supplemented by music from the travelers’ homelands as well as by Greek music such as that recorded by the French composer and music theorist L.A. Bourgault-Ducoudray during his visit to Athens in 1874-1875.

The cultural environment in which European traveling flourished was directly linked to the intensification of the study of classical antiquity and systematization of archaeological research. Integrated into the same context is the formation of the first private archaeological collections and archaeological museums in Europe, as well as the dark side of traveling — the “mania” for antiquities and their plundering —, both of which increased the awareness of the newly-formed Greek state and led to the establishment of a national policy for the protection of antiquities and creation of archaeological museums.

The exhibition was organised with the cooperation of the Hellenic Parliament Library. Into the total of 76 exhibits are included works of sculpture and archive records from the National Archaeological Museum, along with etchings, paintings and illustrated editions from the Collection of Artworks and the Library of the Hellenic Parliament. Works of art on loan from the Museum of the City of Athens and the General State Archives of Greece also feature among the exhibits.

The exhibition is enriched with digital applications that enhance visitors’ sense of direction around the monumental landscape of the city, enable them to leaf through pictures of illustrated books on display, offer them the opportunity to glimpse into the everyday life of the city, as this comes alive with the aid of technology, and to reflect back, by way of images, photos and selected extracts from travelers’ texts as well as those of institutional representatives of the new Greek state, on the relationship people who lived then in Athens, permanently or temporarily, had with antiquities. The exhibition is accompanied by a scholarly catalogue in Greek and in English published by the Archaeological Receipts Fund.

Finally, this temporary exhibition can be seen as the precursor of an important approaching anniversary. In 2016, the National Archaeological Museum will celebrate 150 years since its foundation. The new exhibition of the National Archaeological Museum brings out the incipient cultural environment to which the Museum owes its foundation, while the long chronicle of the museum’s founding, character, history, and activities, so closely bound with the modern history of Greece, will be unravelled in a series of upcoming events.

The first one is now presented in a separate hall adjacent to the exhibition of the Travelers. It is a special visual installation the artistic curation of which was undertaken by Andonis Theocharis Kioukas. Enriched with music and film projections, the installation makes use of old showcases from the first years of the Museum’s operation, subtly making an effort to elucidate the secret thread that connects all those that the National Archaeological Museum carries in its entrails and transports through time functioning as an ark of concepts and universal values.

The exhibition will run until 8th October, 2016.

Source: National Archaeological Museum [September 12, 2015]

It is lunacy to believe you own the moon, and no amount of tomato juice you spill into the sea will make its water yours. Yet we ask the question “who owns antiquity?” as if it were a sane one.

There is a reason for this. It’s the reason why Dennis Hope, founder of the Lunar Embassy and self-dubbed President of the Galactic Government, is no lunatic but an entrepreneur who has sold over 600m acres of “extraterrestrial real estate” to over 6m people. It’s the reason why Nestlé has rebranded itself as a corporate water steward, while bottling ground water at the expense of local communities.

It’s also the reason why today, on the 200th anniversary of the British parliamentary vote to purchase the sculptures that Lord Elgin sawed off the Parthenon, the British Museum continues to insist that its trustees are legally entitled to the sculptures. And it’s the reason why human rights lawyers, marshalled by Amal Clooney, have once again advised a Greek government unwilling to put forward a legal claim that it should take this museum to court.

‘Stones of no value’

In 1801, Elgin was the British Ambassador to the Ottoman court from which he obtained a limited license to collect “some stones of no value” from the Acropolis, with which to adorn his estate back in Scotland. The excised sculpted blocks were shipped back to the UK and in 1811, on the verge of bankruptcy, Elgin offered to sell them to the nation. Five years later, the state bought 15 metopes, 17 pedimental sculptures, and 80 metres of frieze for £35,000 (equivalent to at least £2.4m today, placed in the trust of the British Museum.

According the Guardian correspondent Helena Smith wrote: “Activists have been counting down to what they call the ‘black anniversary’“ (June 7 2016). Nothing could be further from the truth. Most activists agree that had the parliamentary vote to purchase not been won, the sculptures may well have ended up in the illegal art market and vanished without a trace. The real controversy surrounding the debate concerned the fact that the British government was willing to spend such a huge amount at a time of national famine.

But all that was then and this is now. Among other things, Greece is no longer a subject province of the Ottoman Empire. In 2009 the country opened the New Acropolis Museum, which has been specifically designed to display all of the sculptures, and currently displays plaster casts of the London marbles next to the original Athenian ones.

A recent British Museum press statement claimed that the Parthenon sculptures are “a part of the world’s shared heritage and transcend political boundaries”. Greece’s minster of culture, Aristides Baltas, similarly said that “we do not regard the Parthenon as exclusively Greek but rather as a heritage of humanity”. Yet the British Museum also asserts that the sculptures are “a vital element in this interconnected world collection” and the usually diplomatic Baltas was also quoted as saying:

We are trying to develop alliances which we hope would eventually lead to an international body like the United Nations to come with us against the British Museum.

Parthenon regained

The Parthenon marbles form an integral part of a larger whole, a temple dedicated to Athena whose frieze, metopes, and pediments variously depict her birth, the Panathenaic procession, the sack of Troy, and an array of mythological fights and contests.

There is no other example of a piece of art as crudely dismembered as the Parthenon, with even the heads and bodies of individual sculptures located in different countries (a few rogue pieces somehow ended up in the Louvre and other European museums which have yet to make any gestures of return). If the missing sculptures and fragments of this aesthetic travesty were to be reunited with those in the New Acropolis Museum, visitors could study them as one entire whole, with a direct view of the monument to which they belong.

The time is right for all surviving sculptures to be reunited under this single roof. They should be displayed, for free, in a joint Greek and British international museum. This bicentenary provides the perfect opportunity for the two nations to collaborate instead of bicker over ownership. The British Museum would be praised worldwide for all its actions, culminating in a collaborative partnership that genuinely benefits humanity. It is high time that ownership of the past became a thing of the past and we began to think in terms of joint custody instead.

Author: Constantine Sandis | Source: The Conversation [June 07, 2016]

For most of the last 45,000 years Europe was inhabited solely by hunter-gatherers. About 8,500 years ago a new form of subsistence -- farming -- started to spread across the continent from modern-day Turkey, reaching central Europe by 7,500 years ago and Britain by 6,100 years ago. This new subsistence strategy led to profound changes in society, including greater population density, new diseases, and poorer health. Such was the impact of farming on how we live that scientists have debated for more than 100 years how it was spread across Europe. Many believed that farming was spread as an idea to European hunter-gatherers but without a major migration of farmers themselves.

This week, an international research team led by paleogeneticists of Johannes Gutenberg University Mainz (JGU) publishes a study in the journal >Proceedings of the National Academy of Sciences showing that early farmers from across Europe have an almost unbroken trail of ancestry leading back to the Aegean.

The scientists analyzed the DNA of early farmer skeletons from Greece and Turkey. According to the study, the Neolithic settlers from northern Greece and the Marmara Sea region of western Turkey reached central Europe via a Balkan route and the Iberian Peninsula via a Mediterranean route. These colonists brought sedentary life, agriculture, and domestic animals and plants to Europe.

During their expansion they will have met hunter-gatherers who lived in Europe since the Ice Age, but the two groups mixed initially only to a very limited extent. "They exchanged cultural heritage and knowledge, but rarely spouses," commented anthropologist Joachim Burger, who lead the research. "Only after centuries did the number of partnerships increase."

Professor Joachim Burger, his Mainz paleogeneticist team, and international collaborators have pioneered paleogenetic research of the Neolithization process in Europe over the last seven years.

They showed a lack of interbreeding between farmers and hunter-gatherers in prehistoric Europe in 2009 and 2013 (Bramanti et al. 2009; Bollongino et al. 2013). Now, they demonstrate that the cultural and genetic differences were the result of separate geographical origins.

"The migrating farmers did not only bring a completely foreign culture, but looked different and spoke a different language," stated Christina Papageorgopoulou from Democritus University of Thrace, Greece,, who initiated the study as a Humboldt Fellow in Mainz together with Joachim Burger.

The study used genomic analysis to clarify a long-standing debate about the origins of the first European farmers by showing that the ancestry of Central and Southwestern Europeans can be traced directly back to Greece and northwestern Anatolia.

"There are still details to flesh out, and no doubt there will be surprises around the corner, but when it comes to the big picture on how farming spread into Europe, this debate is over," said Mark Thomas of University College London (UCL), co-author on the study. "Thanks to ancient DNA, our understanding of the Neolithic revolution has fundamentally changed over the last seven years."

Sedentary life, farming, and animal husbandry were already present 10,000 years ago in the so-called Fertile Crescent, a region covering modern-day Turkey, Syria, Iran, and Iraq. Zuzana Hofmanová and Susanne Kreutzer, the lead authors of the study, concluded: "Whether the first farmers came ultimately from this area is not yet established, but certainly we have seen with our study that these people, together with their revolutionary Neolithic culture, colonized Europe through northern Aegean over a short period of time."

Another study has shown that the spread of farming, and farmers, was not the last major migration to Europe. Approximately 5,000 years ago people of the eastern Steppe reached Central Europe and mixed with the former hunter-gatherers and early farmers. The majority of current European populations arose as a mixture of these three groups.

Source: Johannes Gutenberg Universitaet Mainz [June 06, 2016]