Greek Tourism Minister Olga Kefalogianni welcomed Stephen Fry to Athens for the launch of his latest book 'Odyssey: The Greek Myths Reimagined'. 

Speaking at the Acropolis Museum alongside Minister Kefalogianni and Professor Stampolidis, the Director General of the museum, Stephen Fry stressed the importance of Britain working together with Greece to find a mutually agreeable solution for the return of the sculptures, currently housed at the British Museum in London. He pointed to recent examples of international collaboration, such as the return of the Fagan fragment from Sicily and the Pope’s donation from the Vatican Museum. We would add that there was an earlier return, the 

Stephen Fry’s calls for the return of the Parthenon Marbles began in 2011, continuing the efforts of his late friend, journalist Christopher Hitchens, who passed away that same year. Christopher Hichens wrote and was in London for the 3rd edition launch of 'The Parthenon, A Case for Reunification' in May 2008 at Chatham House, organised by BCRPM. The third edition is dedicated to BCRPM founder, James Cubitt and funds to publish this edition were raised by BCRPM and George Bizos with the South African Committee supporting the reunification of the Parthenon Marbles.

BCRPM member, Christina Borg, interviewed Christopher at the 3rd edition book launch. To read that interview follow the link here.

To listen to Stephen's words during his Athens visit, visit YouTube. During this clip Professor Stampolidis the Director General of the Acropolis Museum is also speaking and reminds us all of the huge contribution that UNESCO's ICPRCP has made to raising the the plight of the divided Parthenon Marbles at international level. This was initiated over four decades ago by the then Greek Minister of Culture, Melina Mercouri and since 2021 including consecutive meetings of the ICPRCP, the recommendations made have added pressure to both the UK government and the British Museum, to begin dialogue and find a way forward. 

The great news is that dialogue did begin between PM Mitsotakis and the British Museum in 2021, and continues. 

Articles on Stephen Fry's Athens visit also in eKathimerini, ProThema and GTP.

Jon Sleigh’s What Are Museums For? is one of a newish series from Bristol University Press in the vein of OUP’s Very Short Introductions or Bloomsbury’s 33&1/3. Other titles interrogate animal rights, the Olympics, philanthropy, and prisons; I’m looking forward to reading the volumes on music, journalism, and monarchy. Sleigh talks to people from the Ashmolean and British Museums alongside those from provincial collections (in the UK and Commonwealth) and niche museums dedicated to single topics and places. For those engaged with history and heritage, this book might turn out to be a bracing read. It was for me. In many cases the message is that museums are not “global [hubs] of scholarship, open to all”, to quote Neil MacGregor in Charlotte Higgins’ recent Guardian long read, but oppressive, uninviting spaces that force their visitors to submit to their intellectual authority and version of history. For example, I was content to view Classical antiquity in its Mediterranean context. I hadn’t really dealt with the possibility that its appropriation by 19^th Century imperialists prevents a great many people from having a positive emotional reaction to its artefacts.

That said, the overwhelming impression from Sleigh’s interviewees is that museums ought to be for everyone. These curators and museum staff may express it in different ways, but it’s clear that certain institutions, particularly those whose collections originate in Wunderkammern or the Grand Tour, have work to do to fulfil that ideal. There doesn’t seem to be dogma in museology beyond thoughtfulness and willingness to listen – this is a read gloriously removed from the rhetoric of culture wars – though it takes as much work again to prove to people that the work has been done, let alone get them into your museum in the first place. This gently provocative book often zooms out to imagine how museums and their collections may be viewed subjectively by the society that visits them, rather than as part of state apparatus to which people are subjected when they visit. The British Museum’s resemblance to a classical temple is more than superficial. Sleigh insists that “museums are not neutral. They were never intended to be.” The so-called universal museums are not important in this book and so little of it is relevant to the case of the Marbles. With Jon Sleigh and his interviewees, we’re among friends: as far as the author is concerned, they’re in the wrong place.

Sleigh also makes the point that, “at its inception… men were the expected primary audience within a patriarchal structure”, which makes one think not just of Archer’s painting of the temporary Elgin Room in 1819, which contains 16 men and four (accompanied) women, but also of Elgin’s initial display of the sculptures in the “shed on Park Lane”, alongside nude boxers – alas, no painting of this, so the gender split in the audience must remain a mystery.

This thought-provoking book repeatedly talks about museums catering for the past, present, and future in varying proportions – a means of inspiring how a newly-opened museum might behave. Speaking personally, there’s a lot of performative jargon which I had to work quite hard to understand, but its ethics are sound. What’s clear is that the niche museum is the future (that’s my interpretation, not Sleigh’s), and not just because it’ll be increasingly inappropriate to acquire and hoard collections from global sources. The universal museums are already isolated, and the breadth of their collections hasn’t resulted in the intended insights, comparisons, or levelling up (call it what you will) but rather encourages gatekeeping. Intersectionality is the way forward, but of visitors, not collections. Sleigh draws a direct line between BM founder Hans Sloane and 80s individualism:

The singular nature of where a museum can start from is vividly seen in Sloane himself – his wealth, his art[istic] taste, his social interactions, political decisions, and wishes are still to this day[sic] functioning today within UK democracy…

This is shortly followed by a quote from former BM director David M. Wilson:

Each generation makes its own contribution to the museum, and often it is the actions of individuals that change its course.

To me, that has shades there being “no such thing as society”.

There are a few more uncomfortable truths at play here – for example, digitising of collections increases accessibility for some constituencies while establishing barriers to others. Sleigh’s experts are big on the idea of placing their collections in a context that is relatable to the audience, particularly in collections where the audience may have lived experience of the exhibits: the example given is Matt Smith’s porcelain piece Happy Union, displayed in Liverpool’s Walker Art Gallery, which sits among the 19^th Century chintz but is charged with the legalisation of same-sex partnerships in 2013. The Marbles’ original context, that of 4^th Century Athenians, is unattainable, despite Alma-Tadema’s best efforts. But as we always rebuffed those who point out that they can’t be reattached to the Parthenon: their display in an airy gallery within sight of the temple, in Attic light, is a pretty good compromise, and a damn sight better than their gloomy cell in Bloomsbury.

There are ghostly traces of old arguments on both side of the Marbles debate in What Are Museums For? You don’t have to believe in the supernatural to enjoy Ghosts of the British Museum: A True Story of Colonial Loot and Restless Objects. It’s not clear if author Noah Angell does, though some of his interviewees certainly do. Ghosts exist insofar as the human belief in them does, in our culture and those of the ancient worlds whose artefacts populate our museums. The supernatural conceit is a clever means of exploring colonial legacies in archaeology, science, cultural trafficking, and tourism. This is best proved in Angell’s chapter on the caryatid in Room 19, which covers similar ground to AE Stallings’ superior 2023 Hudson Review article (a book-length version of which, Frieze Frame, is about to be published): contemporary Ottoman feelings about the sculptures and Elgin’s agents, the structural groaning of the remaining caryatids for their lost sister, and the debate of 1816 on the government’s prospective purchase of Elgin’s collection. The BM’s more durable arguments for retention of the sculptures are pricked and punctured, and as such this chapter would be a good digested read to bring the uninitiated up to speed if they don’t have time for Stallings’ much longer investigation.

Running through both these books is something obvious and peripheral to the Marbles debate; that the current model of the world’s biggest museums is out of kilter with the way the wind is blowing. However, if the biggest museums are to get with the programme, they must look to Erik Olin Wright: they must be dismantled rather than destroyed. And they certainly mustn’t hunker down and stick their fingers in their ears.

Angell goes into greater depth elsewhere in the book, but his Greek-centric chapter mentions the pending case of former BM curator Peter Higgs’ selling of items from the museum’s collection, the same that triggered the resignation of director Hartwig Fischer and deputy director Jonathan Williamsin 2023. Curious to think that the collection’s continued similarity to a Wunderkammer and not a 21^st Century museum facilitated a scandal that may yet prove a catalyst in the marbles’ return to Greece. It will be no surprise to any of us that this is the only chapter of Angell’s book not to feature an interview with a British Museum employee past or present. It also lacks a single ghost.

The 11th birthday of the Acropolis Museum, 20 June 2020

On Saturday 20 June 2020 the Acropolis Museum celebrates 11 years and welcomes back its visitors. The Museum  re-open on Monday 15 June and has undertaken all the necessary measures for the protection of  its visitors.

On Saturday, the Museum will be open from 8 a.m. until 8 p.m. with a reduced entry (5 euro) to all exhibition areas. Additionally, visitors will have the opportunity to see the temporary exhibition ‘Chisel and Memory'. The contribution of marble craftsmanship to the restoration of the Acropolis monuments’, which will continue until 30 September 2020. The Museum's second floor restaurant will operate until 12 midnight .

Gallery talks held by the Museum’s Archaeologist-Hosts will commence this week. Visitors wishing to participate are required to wear a protective mask (not provided by the Museum) and to use the whisper guide system headsets (provided by the Museum to participants).

‘The lost statue of Athena Parthenos’

The Acropolis Museum brings to life, digitally, the statue of Athena Parthenos. Made of gold and ivory, this masterpiece was designed by Phidias for the Parthenon. The Museum invites  visitors on a walk of knowledge to find out more about its construction materials and techniques, its myths and allegories, its radiance and its adventures.
Greek: Every Friday at 1 p.m.
English: Every Friday at 11 a.m.
Duration: 50 minutes
Participation: Limited to 10 visitors per session. For registration, please refer to the Information Desk at the Museum entrance on the same day. First-in first-served.
Price: The general admission fee (€10) to the Museum  will cover this experience.

‘A walk through the Museum with an archaeologist’
Visitors have the opportunity to participate in evening walks through the Museum exhibition galleries, making unanticipated stops and various discussions, together with an Archaeologist-Host.
Greek: every Friday, at 8 p.m.
English: every Friday, at 6 p.m.
Duration: 60 minutes
Participation: Limited to 10 visitors per session. For registration, please refer to the Information Desk at the Museum entrance on the same day. First-in first-served.
Price: The general admission fee (€10) to the Museum will cover this walk and talk.

‘Walking in the ancient neighborhood of the Acropolis Museum’

Visitors are given the opportunity to wander through the archaeological excavation which stretches underneath the Museum, like a giant exhibit. They will be able to walk on the ancient neighborhood’s streets, take a closer look at the houses with their courtyards and wells, enter the heart of the impressive mansions with the private baths, examine the workshops with the water reservoirs, take a magical stroll through time and the daily life of the people who lived in the shadow of the Acropolis’ rock for over 4,500 years.
Greek: every Saturday & Sunday, at 1 p.m.
English: every Saturday & Sunday, at 11 a.m.
Duration: 45 minutes
Participation: Limited to 10 visitors per session. For registration, please refer to the Information Desk at the Museum entrance on the same day. First-in first-served.
Price: The general admission fee (€10) to the Museum is required (on Saturday 20/6 the general admission fee will be reduced to €5).

ACROPOLIS MUSEUM celebrates its 10th anniversary on Thursday, 20 June 2019

The Acropolis Museum celebrates 10 years of operation and throughout this period over 14.5 million local and international visitors have passed through its doors to enjoy the exhibits. The Museum publicly expresses its thanks to all of them. On the occasion of its ten years anniversary, the Museum invites visitors to the following key events:

Temporary exhibition ‘CHISEL AND MEMORY. The contribution of marble craftsmanship to the restoration of the Acropolis monuments’

11.06.2019 – 31.10.2019
Since opening its doors ten years ago, the Acropolis Museum has highlighted the close relationship between the sculptures it displays and the monuments from which they originate. It is with great pleasure that the Museum is hosting an exceptional exhibition of photographs of the marble craftsmen of the Acropolis at work. Imbued with a new curatorial spirit, the exhibition was initially organised by the Committee for the Conservation of the Acropolis Monuments and the Acropolis Restoration Service. The exhibition takes place in the ground floor Temporary Exhibition Gallery. Entrance will be free.

Lecture “The true colours of the Parthenon sculptures: evidence for traces of original polychromy and its interpretation”

Thursday, 13 June 2019, 7 p.m.

The Acropolis Museum will host a lecture of the Italian professor Giovanni Verri on the polychromy of the Parthenon sculptures, which has long been the subject of scholarly research and this debate has continued now for almost two centuries. Giovanni Verri is a Reader at the Courtauld Institute of Art, London. He holds a PhD in Physics from the University of Ferrara in Italy, and an MA in Conservation of Wall Paintings from the Courtauld Institute of Art in London. Throughout his career, he has endeavored to develop scientific techniques for the analysis of colour, in particular on Greek and Roman antiquities. The lecture will take place in the ground floor Auditorium and entrance will be free.

Music concert ‘Stavros Xarchakos – Instrumental’

Wednesday, 19 June 2019, 9 p.m.

The Acropolis Museum invites its visitors to a unique instrumental concert by the great Greek composer Stavros Xarchakos and an orchestra of eight renowned Greek soloists. Stavros Xarchakos and the orchestra will take visitors on a musical journey comprising familiar compositions of Stavros Xarchakos, Mikis Theodorakis, Vasilis Tsitsanis, Markos Vamvakaris and Manos Hadjidakis. On this day the Museum will extend its opening hours until midnight. Entrance will be free from 8 p.m. onwards.

10 Years Acropolis Museum Celebration

Thursday, 20 June 2019

On Thursday 20 June 2019, the Acropolis Museum’s birthday, entrance to the exhibition areas will be free from 8 a.m. until 8 p.m.

Friday, 21 June 2019

From Friday 21 June 2019 onwards, the archaeological excavation will be open to the public with the general admission fee ticket. The excavated area of 4,000 sq. meters comprises houses, workshops, baths and streets of an ancient Athenian neighborhood that existed from the classical to the byzantine years, in successive phases. This impressive archaeological site will soon be enriched with the most representative findings of the excavation. Architectural ruins will be organized in a unique exhibition set that sheds light on the everyday life of an ancient neighborhood that existed in the shadow of the Acropolis. On this day the Museum exhibition areas will be open from 8 a.m. to 10 p.m.

To read more on the Acropolis Museum's new exhibition space, check the article by Helna Smith in the Guardian.

Tonight dignitaries gathered at the Acropolis Museum to celebrate its 13th anniversary and  to welcome two exquisite Panathenaic amphorae from  the Royal Ontario Museum (ROM), Canada.

Των Αθήνηθεν άθλων

These Panathenaic amphorae, crafted over 2,500 years ago, were vessels filled with oil that would have been given as a prize to the victors of contests held during the festival of the Great Panathenaia. One side is decorated with the figure of Athena Promachos and the other with scenes related to the games for which they were given as prizes. The two vessels from the Royal Ontario Museum will be exhibited in the top floor, glass-walled, Parthenon Gallery, relating with the great temple’s frieze, where Pheidias and his collaborators artfully carved the Panathenaic procession.

To read more on this exhibition which celebrate the 13th anniversary of the Acropolis Museum, follow the link here.

Professor Dimitrios Pandermalis (1940-2022)

On 14 September 2022, the Acropolis Museum lost a loved one: Dimitrios Pandermalis, Emeritus Professor of Classical Archeology at the Aristotle University of Thessaloniki. His greatest contribution was the creation of the Acropolis Museum, serving as Chairman of the Board of Directors of the New Acropolis Museum Construction Organization from 2000 to 2019 and as Chairman of the Board of Directors of the Acropolis Museum from 2009 to 2022.

The Acropolis Museum contains not only the beauty of the ancient Greek world but also the soul of its creator and we will always remember him with love and gratitude. The Museum held a 40-day memorial service at the Holy Church of Agios Georgios and Agioi Anargyros Makrygianni and on the same day an olive tree was planted in memory of its late President, which welcomes visitors at the entrance of the Museum on Mitsaion Street.

The Museum's Board of Directors named the Amphitheater after its late President and instituted the "Dimitrios Pandermalis" Classical Archaeology Scholarship Programme. For the anniversary of the Acropolis Museum, on Tuesday, June 20, 2023, the Youth Orchestra of Dion will offer visitors a free musical tribute to Greek poetry set to music, respectively dedicated to the memory of Prof. Dimitrios Pandermalis.

Artistic events and collaborations

Over the last two years, the Museum has offered its visitors a multitude of artistic events and experiences:

• Dance performances in the exhibition spaces in collaboration with the National Opera (MicroDances Athens, 9-10 October 2021).

• A musical evening for International Women's Day in the Parthenon Hall with the theme "The strange goddesses of the Parthenon" and a presentation of the work of poets of antiquity, with music by Lena Platonos and interpretation by Maria Faradouri, a collaboration with the Marianna V. Vardinogianni Foundation (08 March 2022).

• Musical events in the forecourt of the Museum with the participation of well-known performers, such as Natasa Bofiliou, in the context of the 1st Worship Music Festival, a collaboration with the Ministry of Culture & Sports and the National Opera (18-20 April 2022).

• Rachmaninoff Tribute in the Parthenon Hall, as part of the "Chamber Music in Museums" programme, in collaboration with the Athens State Orchestra (31 March 2023).

The Museum started a new collaboration with the Development and Tourism Promotion Company of the Municipality of Athens with its participation in the Athens City Festival, where it organized two tasting evenings in the restaurant combined with a guided tour of the exhibits related to ancient nutrition (12 May 2022 and 4 May 2023) and two jazz concerts on the restaurant terrace (16 May 2022 and 22 May 2023).

On the August Full Moon, the Museum offered its visitors an evening of Greek songs about the moon and film music by the Air Force Band (12 August 2022). During the festive season of Christmas, the Museum presented carols by the Children's Choir of the National Opera (22 December 2022) and the Women's Vocal Ensemble CHORES (28 December 2022), two events were held in collaboration with the National Opera. It also hosted the famous Wind Orchestra of the Music School of Ilium (19 December 2021) and, for traditional dances, the Rethymno Coat Dressers' Club of Crete (23 December 2021) and the Episcopal Club of Naoussa, Imathia Prefecture (30 December 2022).

Original thematic presentations

The Museum continues to offer free weekly themed presentations by its archaeologists, giving visitors the opportunity to discover interesting, often unknown, aspects of the ancient world. On the occasion of the action "Periodic or unexpected visitors" with works from Canada and the USA, the presentations "A celebration for Athena. The procession and games of the Great Panathenaians" (24 June 2022 - 21 April 2023) and "The world of work in ancient Athens" (05 February 2023 - 30 July 2023). In the presentation "Hidden Histories of Dispersion" (22 May 2022 - 29 January 2023), visitors discovered the adventures of smaller fragments of the Parthenon's sculptural decoration, beyond the sculptures found in the British Museum, but also of other Acropolis antiquities that are now scattered in other European museums.

At the same time, the themed "Saturday at the Museum with 20+1 masterpieces" continues until today, a special walk through the exhibition spaces that introduces visitors to ancient Greek art through myths and legends, beliefs and traditions, historical landmarks and human stories. During the summer months, the presentation "Walking in the ancient neighborhood of the Acropolis Museum", a fascinating journey through time, history and the daily life of the people who lived in the shadow of the Acropolis rock for more than 4,500 years, is offered. Visitors had the opportunity to attend this theme on 27-28 May 2023, in two extraordinary presentations as part of the pan-Hellenic anniversary event "Green Cultural Routes" organized by the Ministry of Culture and Sports.

Programmes for special audience groups

Responding to its role as a cultural organization at the service of society as a whole, the Museum implements actions and programs aimed at special groups of visitors, contributing to their social inclusion and reintegration. The Museum included in its activities regular programmes aimed at refugees and immigrants, encouraging their acquaintance and familiarization with the history and culture of the country that hosts them. At the same time, expanded cooperation with the Detention Centers of the country, offering online tours to groups of students of the second chance schools of the prisons, while carrying out programmes for special schools, structures for the treatment of the mentally ill and rehabilitation centers for people with addiction. In addition, collaboration with the Special Secretariat for the Protection of Unaccompanied Minors and the trainers of the Hospitality Structures for the planning and implementation of the inclusive action for unaccompanied minor refugees on the theme "Arts, craftsmen and professions in ancient Athens", which began in May 2023.

Schools

During the period June 2021 - June 2023, the Museum was visited by 139,740 schoolchildren from Greece and 92,802 schoolchildren from abroad. Many of them attended one of the 6 educational programmes offered by the Department of Educational Programmes. These programs are aimed at all levels of education, include attractive itineraries and are designed with modern museum-pedagogical concepts and an experiential approach. In addition, the Department offered another activity entitled "The 6th Grader at the Acropolis Museum" in collaboration with AMKE Aegea. For better communication between the Museum and schools, 2 seminars were organized for teachers of all levels of education entitled "Planning the visit to the Acropolis Museum" (25 November2022 and 09 December2022). For schools that are unable to visit the Museum, the Department of Educational Programmes recently created the "Museum in the School" programme, where schools can choose from 5 online programmes presented live by the Museum's archaeologists.

Particularly successful was the educational activity "Ironing at the Acropolis Museum", a collaboration with the neighboring 70th Primary School of Athens. On 25 November  2022, the students of the 4th grade gathered in the gardens of the Museum where the archaeologists spoke to them about the importance of the olive and its oil in ancient Athens. the agronomist gave the students important information about harvesting, and the children enthusiastically picked the olives from the olive trees of the Museum. Then, with the help of the educational materials provided by the Department of Educational Programmes, they prepared in the classroom, and took on the role of tour guides to presented to their parents those exhibits of the Museum that tell stories about the olive and the oil in ancient Athens (12 March and 02 April 2023).

Families

The Museum offered families with children a series of imaginative programmes. On the occasion of the theme "The Power of Museums" during International Museum Day 2022 (18 May 2022), digital applications for children and adults were presented in the Museum premises. On the occasion of the theme "Sustainable Heritage" during the European Days of Cultural Heritage, visitors watched the programme "In the houses of the ancients... without television and internet" (24-25 September 2022) at the Museum's archaeological excavation. During the festive season of Christmas, families participated in the programmes "Audio-narratives of strange divine births" (29 December 2021 - 30 December 2021) and "Goblin... confusions" (28 December 2022 - 05 January 2023), which continues with success until today with the "Strange Creatures at the Museum" programme. The above celebratory activities are carried out in collaboration with the Information and Education Department of the YSMA, which in addition carries out 3 school programmes at the Museum,  including 2 seminars for teachers, and participated in the activity "The 6th Grade at the Acropolis Museum" in collaboration with AMKE Aegean.

Periodic reports

From 20 December 2022 until 02 April 2023, the Museum presented in the Hall of Periodical Exhibitions the exhibition entitled "Clothes of the Soul", with 70 emblematic works of the photographer Vangelis Kyris and the exponent of the art of embroidery Anatoly Georgiev. The exhibition, held under the auspices of A.E. of the President of the Republic Katerina Sakellaropoulou, was held with the kind support of the Marianna V. Vardinogianni Foundation and the cooperation of the National History Museum.

From 24 May 2023 through 04 June 2023, the Museum hosted the exhibition "A More Perfect Union: American Artists and the Currents of Our Time" organized by the US Embassy. in Athens in collaboration with the Art in Embassies programme of the U.S. State Department, under the auspices of the Ministry of Culture and Sports. The exhibition focused on issues of equality and freedom, with artworks by the most well-known contemporary American artists, including Bruce Nauman, Yoko Ono, Christine Sun Kim, Edward Ruscha and Carrie Mae Weems.

Unexpected visitors to the Museum

As part of the series of exhibition activities "Periodic or unexpected visitors", the Museum presented to the public works from other museums together with or independently of its exhibits. From 20 June 2022 to 23 April 2023, it hosted two fine art vases from the Royal Ontario Museum, Canada. These are two Panathenaic amphorae, the vessels that were filled with oil, and used to award prizes to the winners of the games of the Great Panathenaic festival. Their exhibition in the Parthenon hall gave them the opportunity to "converse" with the masterful frieze of the great temple, in which Phidias and his collaborators masterfully carved the Panathenaic procession of this Athenian celebration. As part of this exhibition, the Museum presented on 29 June 2022 a lecture by the Director of the Royal Ontario Museum (ROM), Mr. Josh Basseches, on the theme of transforming the museum experience at the ROM in the 21st century.

On 05 February, 2023, it welcomed three Attic pottery vessels from the Museum of Fine Arts, Boston, USA, with performances by artisans and professionals, which were placed in the new exhibition section "Officials and Professionals", in the Hall of the Ancient Acropolis, offering visitors a more complete picture of the of working people in ancient Athens. For "International Women's Day", he presented a work - a hymn to female beauty, "Venus in the Golden Bikini", a small statue depicting the goddess in stunning jewelry and a golden garment reminiscent of a "bikini". The work traveled from the National Archaeological Museum of Naples and was presented on the ground floor of the Museum from 08 March to 28 May 2023.

Documentation of archaeological collections

The Department of Archaeological Collections continues the documentation of the collections with research, new entries, explanations of terms (glossary), bibliographic references, photographs, and drawings of the 1,112 objects that are to be presented in the on-site exhibition of the Archaeological Excavation as well as for works of the Acropolis that are kept in archaeological warehouses. The documentation and posting on the website of the 63 copies of the sculptural decorations of the Parthenon that are in the British Museum, as well as other Museums, is complete, and currently preparation is underway to post the excavation objects as well. The purpose of posting on the website, in which 2,245 projects are currently registered, is to provide the general public with free access to the information on these artefacts. At the same time, the Museum published on its website the upgraded version of the online application www.parthenonfrieze.gr, with photos and descriptions of all the surviving stones of the frieze located in the Acropolis Museum and abroad. The upgrade of the application was carried out thanks to the excellent cooperation of the Museum with the Acropolis Monuments Maintenance Service, alongside the National Center for Documentation and Electronic Content-EKT.

Maintenance of exhibits

The Conservation and Casting Department completed the conservation or re-conservation work of 322 objects (sculptures, ceramics, metal and bone), with the main one being the conservation and change of the display method of the Kouros Akr statue. 596. Also, the cleaning programme with laser technology was completed, 3D scanning of exhibits was carried out and cleaning and maintenance work carried out in the excavation (floors, mosaics, frescoes and mortars). At the same time, the Department proceeded with the production of approximately 4,204 faithful replicas of Museum exhibits and scale replicas, and the application of high-precision patina with painted details to some of them. This production is made with the aim of making the copies available exclusively at the Museum's sales offices.

Renewal of the permanent exhibition

The continuous enrichment, and renewal of the permanent exhibition is for the Acropolis Museum is an important part of the museum's practice. For this reason, a series of corrective actions, mainly in the Hall of the Archaic Acropolis, are carried out in order to divide the exhibits into their thematic sections in a rational fashion. At the entrance of the renovated hall, the visitor is greeted by the two sphinxes of the Acropolis and immediately after the Musketeer. The concentration of the archaic architectural sculptures, the Maidens and the male statues in distinct sections - allows a better intake of the museum narrative and enhances the visitor's experience.

The new exhibition section "Officials and Professionals" was also created, enabling the visitor to see with a different eye, not only the aesthetic beauty of the statues, but also the works of art, the people and the societies that produced them. At the same time, the exhibition was enriched with new works. In the Hall of the Archaic Acropolis, Kouros Akr was repositioned. 596, after the re-conservation and alignment of the trunk with the base, and the base of the laundromat of Plyntria Smikynthes (Akr. 607), the column of Simon the Gnapheus (Akr. 429) and the column with the statue of the Maiden ( Acc. 6503). The head of Homer (EAM 626), the head attributed to the orator Dexippus (EAM 581) and the architectural member with the relief symbols of Athena (Akr. 2444) were added to the north wing of the first floor. In addition, the Museum proceeded to change the lighting in the exhibition spaces of the first and third floors, creating better viewing conditions and highlighting charming details of the exhibits.

the base of the laundromat of Plyntria Smikynthes (Akr. 607),

the column with the statue of the Maiden ( Acc. 6503)

the orator Dexippus (EAM 581)

The head of Homer (EAM 626)

Reunification of the Parthenon's architectural sculptures

On 29 September 2021, a UNESCO Decision was made for the first time after 38 years of recommendations, recognizing the intergovernmental nature of the Greek request for the reunification of the Parthenon architectural sculptures. On 03 January 2022, the National Archaeological Museum returned to the Acropolis Museum ten fragments of the sculptural decoration of the Parthenon. On 10 January 2022, the "Fagan fragment" was returned from the A. Salinas Museum in Palermo. On 02 May 2022, UNESCO unanimously ratified the September 2021 Decision. On 29 May 2022, a nulla osta was issued by the Italian Ministry of Culture for the "Fagan Fragment" to leave Italy forever, as it had already been accepted by the Sicilian Authorities. On 04 June 2022, the definitive reunification of the "Fagan fragment" took place on the east frieze of the Parthenon at the Acropolis Museum.

This action paved the way for the final return of three fragments of the sculptural decoration of the Parthenon from the Vatican Museums, thanks to the decision of Pope Francis on 16 December 2022 to donate them to the Archbishop of Athens. On 07 March 2023, in the halls of the Musei Vaticani, the text of the agreement was signed between the representative of the Pope, Cardinal Fernando Vérgez Alzaga, the representative of the Archbishop of Athens and All Greece, Father Emmanuel Papamikroulis and the Minister of Culture and Sports Dr Lina Mendoni. On the same day, the Protocol of Delivery and Receipt of the three fragments was signed by Archbishop Hieronymos II and the General Director of the Acropolis Museum, Prof. Nikolaos Chr. Stampolidis. The fragments arrived in Athens on 10 March 2023 and were reunited with the Museum's exhibit on 24 March 24 2023.

Finally, on the occasion of the General Assembly of the International Association for the Reunification of the Parthenon Sculptures held at the Acropolis Museum on 15 September 2022, the Museum in collaboration with the Ministry of Culture, organised the international conference on "Parthenon and Democracy". Distinguished representatives of the international Committees for the Reunification of the Parthenon Sculptures participated.

Professor Paul Cartledge as Vice-Chair of IARPS and BCRPM, delivered at this Conference on 16 September 2022, in the Pandremalis Auditorium of the Acropolis Museum, his presentatioon, which was aptly entitled: ‘Just how democratic (in what ways, to what extent) was the (original) Parthenon?’

Museum attendance

This two-year period was extremely important, as the operation of the Museum proceeded without interruption, taking into account the limitations created by the relevant health protocols. The total number of visitors to the Museum were as follows: 2nd Semester of 2021 there were 483,445 visitors, 1st Semester 2022 there were 567,951 visitors, 2nd Semester 2022  there were 884,583 visitors, 1st Semester 2023 there were 831,987 visitors.

On Tuesday, 20 June, an evening of poetry set to music is to be dedicated to the Acropolis Museum's late president, Professor Dimitris Pandermalis.

On that day, the Acropolis Museum will have successfully completes 14 years of operation. Sadly Professor Pandermalis will not be there but we are reminded that he served as president of the board of the Organisation for the Construction of the New Acropolis Museum from 2000 until 2019, and also president of the Acropolis Museum board from 2009 until 2022.

Professor Pandermalis had been instrumental in highlighting the archaeological site at Dion, becoming attached to the area and its people. The music, performed by the Youth Orchestra of Dion, has been chosen as a tribute to Dimitris Pandermalis, and his love for the region, which was so important to him as an archaeologist.

The performance will take place outside the museum at 9 p.m. (21:00) with Nikos Patris as conductor, Alexis Kostalas presenting, and with the participation of Vasilis Lekkas, Gerasimos Andreatos, Zoi Papadopoulou and Babis Velissarios. Admission is free of charge.

BCRPM continues to remember Professor Pandermalis, and the memorable occassions he came to London. From announcing and launching the scheme for the then 'new' Acropolis Museum, to when he spoke at the RIBA with architect Bernad Tschumi. He was a friend of Eleni Cubitt's, and his passing was felt by us all.To read the tributes by a number of BCRPM members made at the time of his passing, follow the link here.

The Acropolis Museum strengthens its social and educational role by expanding its activities to special groups of visitors. Starting with immigrants and refugees and students attending correctional education, as well as adding to students that ‘visit’ the Museum online.

Especially designed programmes are addressed to people of different cultural backgrounds and experiences and encourage their familiarisation with Greek history and culture. Through some designated exhibits, participants learn about the Acropolis Rock and the great moments of its history, about art and the people who created it and they exchange views and experiences with the archaeologists that accompany them.

Additionally, the Museum offers virtual tours to groups of students attending Correctional Facilities schools. Through an online walk in the galleries and the most important exhibits, participants gain new experiences, cultivate their knowledge as they exchange opinions and thoughts.

Finally, the Museum created a new section in its website titled “The Museum at school” with online programme, in order to accommodate the needs of schools abroad and in remote areas in Greece. This section has also been enriched with digital applications that can be used in the classroom, making the lesson more engaging and interactive. In the same section, teachers can also find information about the Museum kits that continue to be available on loan for schools, but also the repository of educational material, from which they can draw information about the Acropolis and the Museum’s exhibits.

All above programmes are offered free of charge. For more information, visit: https://www.theacropolismuseum.gr/en/special-groups  and https://www.theacropolismuseum.gr/en/museum-at-school

Opening of the ancient city beneath the Acropolis Museum, the inauguration of the "Excavated Museum" by H.E. the President of the Hellenic Republic Katerina Sakellaropoulou.

This inauguration took place on Tuesday 25 June 2024 by the southern outskirts of the Museum's excavation site, the ancient city beneath the Acropolis Museum. It is here that an innovative environment has been created showcasing 1,150 objects, out of the thousands left behind by those that inhabited the area for more than 4,500 years.

The "Excavated Museum" is open to the public from Wednesday, 26 June 2024. The implementation of this new exhibition space was carried out with the support of the Bank of Greece.

“Over the past 15 years, it has become abundantly clear that the British Museum’s argument no longer holds,” Culture Minister, Lina Mendoni is quoted as saying in iefimerida. “The seamless integration of the Acropolis Museum with the rock and monuments of the Acropolis, its harmonious coexistence with both ancient and modern elements, and its role as an ideal setting for showcasing the masterpieces all contribute to its suitability for hosting the entirety of the Parthenon Sculptures that survive today.”

You can also read the speeches made by: Minister Lina Mendoni, the Governor of the Bank of Greece, Yiannis Stournaras and Director of the Acropolis Museum, Professor Stambolidis.

Photo credit: Studio Panoulis

The app, called “Chronos” after the mythological king of the Titans and Greek word for “time,” uses augmented reality to place the ancient impression of the site onto the screen, matching the real-world view as visitors to the Acropolis walk around.

AR after a wait, is set to affect a huge range of leisure activities. Memories of using it in June 2016 with Russell Darnely the then international liaison officer of the Australian Committee for the reunification of the Parthenon Marbles founded over four and half decades ago by Emanuel Comino. As we gathered for a commemorative event to mark 200 since the British government bought the sculptures from Lord Elgin, we also visited the British Museum with those that had attended the conference at Senate House. The then Chair of the British Museum Trustees Sir Richard Lambert did not allow those of us with the AR posters into the museum.  

Topkapi director Ortayli tours New Acropolis Museum

The director of the famed Topkapi Museum of Istanbul, Ilber Ortayli, was given a grand tour of the New Acropolis Museum on Tuesday by the latter's director, Professor Dimitris Pandermalis.

Ortayli arrived in Greece within the framework of an international science conference that will be organised in Istanbul by the NGO "Aegean State" late next month, where Ecumenical Patriarch Bartholomew will be the keynote speaker.

"From my visit to the Acropolis Museum, above all, I was impressed by its architecture for which I had been previously informed of. The style and technique of the museum are very close to the Enlightenment movement and highlight the recent findings of the Athenian Agora and the settlements around the museum in the best way possible... Due to comparison of the treasures found here and the treasures found in the British Museum, the so-called 'Elgin Marbles', one obtains a clear picture of what should be returned to Athens.

There is no reason for the sculptures to remain in the British Museum and this is why you must continue your effort for their return," the noted Turkish scholar said.

After the tour of the museum, Athens Deputy Mayor Sophie Mytilinaiou-Daskalaki noted that the conference will be held annually, one year in Athens and one year in Istanbul, to promote the principles of civilisation and communication channels "between two civilisations through a common culture".

The Kunsthistorisches Museum in Vienna in talks with the Acropolis Museum in Athens about reuniting two fragments from the Parthenon's northern frieze to be displayed in the Parthenon Gallery of the Acropolis Museum, with direct views to the Parthenon.

Austrian Foreign Minister Alexander Schallenberg held a news conference with his Greek counterpart Nikos Dendias. The talks, which Greek Foreign Minister Nikos Dendias mentioned in his presentation included the joint aim to raise awareness and to enhance effectiveness at international level in combatting illicit trafficking of cultural goods and in protecting cultural heritage. Minister Dendias went on to thank Minister Schallenberg about the talks regarding the two Parthenon fragments held in Vienna's Kunsthistorisches Museum.

The Vienna fragments include the heads of two elders from a sacred procession captured on the north frieze slab IX with the rest of the sculptures on either side located in Athens, as well as a rider from the north frieze.

Greece is naturally hopeful that Austria’s gesture will help with the on-going talks between Britain and Greece, also to reunite the Parthenon Marbles.

In 2022, Palermo, Sicily, Italy returned the “Fagan fragment,” a piece of sculpture from the Parthenon, to Greece permanently.

Then in December last year the Vatican Museums agreed to return three fragments, with the blessing of Pope Francis.

The Vatican gesture was described as a “donation” from the Pope to His Beatitude Ieronymos II, the Orthodox Christian archbishop of Athens and all Greece, and “as a concrete sign of the Pope's sincere desire to follow in the ecumenical path of truth.”

In March of this year, the reunification ceremony of the three fragments from the Vatican took place at the Acropolis Museum.

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."

The Acropolis Museum presents the complete union of the Parthenon frieze, the meaning of the continuous relief band running along the upper, outer part of the temple’s wall.

The frieze displays the procession of the greatest festival that took place in ancient Athens, the Panathenaia: 380 human figures, men and women, pedestrians, horse riders and charioteers, 200 animals and objects and offerings to the goddess Athena, protectress of Athens, all frozen in time attending her birthday eternally.     

This application is an upgraded version of the online application www.parthenonfrieze.gr. This version integrates new functionalities, making it accessible to all modern media and platforms, adhering the best practices and guidelines in web design and UI/UX (user interaction/user experience).

This excellent application gathers photographs and descriptions of all the frieze blocks preserved today in the Acropolis Museum and abroad. Both general public and scholars have the opportunity to gain a thorough view of this unique sculptural work of art, through mobile devices: mobiles phones, tablets and laptops. One can explore the Parthenon frieze through the thematic sections: 'The Parthenon', 'About the Frieze', 'Explore the frieze' and 'Thematic Tours'. In the first two sections, users can learn about the history, the design and construction of the frieze, while in the following two they can explore the frieze either block by block, or through thematic tours of its scenes.       

The application www.parthenonfrieze.gr was developed thanks to the fruitful collaboration of the Acropolis Museum, the Acropolis Restoration Service and the National Centre for Documentation & Electronic Content.

"I was deeply moved during a recent visit to the Acropolis Museum in Athens", writes Alfredo Cafasso Vitale. His article was first published in ekathimerini on Thursday 02 June 2022.

With the kind permission from Alfredo Cafasso Vitale, the remainder of the article can also be read below:

This fragment, which is part of the eastern frieze of the Parthenon, depicts a foot and a part of the peplos of Artemis, and was acquired in 1816 by the British consul in Sicily, Robert Fagan. After his death in 1820, it was sold to the Museum of the Royal University of Palermo and from there it was then passed to the Salinas Museum.

The top floor of the Acropolis Museum is a virtual reconstruction of the Parthenon, and the area has been designed, with its position and glass, to reflect, and to not only display this reconstruction, but to also visually link it to the original near 2,500-year-old structure on the Acropolis hill. The Fagan fragmentis now displayed in a glass case, within its place in the reconstruction and also looking out at the actual historical site.

I hope this trip paves the way for a much more important and long-awaited journey of the marbles from the British Museum, “stolen” in the early 1800s by Thomas Bruce, then made Lord Elgin, ambassador of Great Britain to Constantinople.

During the period of Ottoman occupation in Greece, Elgin apparently obtained the permission of the sultan to remove the marbles. These were then dispersed in different locations (the same Fagan fragment came directly from Elgin). Some marbles were lost at sea, during transport, but most eventually arrived at the British Museum.

This process, which is not, in some quarters, considered to be a valid and genuine method of acquisition, has triggered fierce international debates, and has initiated official requests for restitution of the marbles by various Greek governments.

The Nobel Prize winner Nadine Gordimer, in the preface to the splendid book by Christopher Hitchens, “The Parthenon Marbles,The Case for Reunification” underlined how the presence of the marbles in London represented the stone manifesto of British colonial arrogance, and how much the marbles belonged, representing their DNA in art, to the Greek people.

These sculptures by Phidias have been requested in vain for almost 40 years by various Greek governments (the first was Minister of Culture Melina Mercouri in 1984), and most recently by Prime Minister Kyriakos Mitsotakis in an interview on British television.

It should be noted that, as a student, Boris Johnson wrote, in an article in Oxford, “…it is evident to me, how much [these marbles] are woven into the Greek identity. It would be a wonderful thing if they could be returned.” Latterly, Ed Vaizey, former minister of culture of the Cameron government, recently stated that they should be in Athens.

The National Archaeological Museum of Athens has transferred its 10 fragments of the Parthenon to the Acropolis Museum, strengthening the reunification process and sparking a fresh discussion about the never dormant request for the return of the marbles.

I hope that the exchange program with Sicily will lead the way to a solution for the return of the marbles, which would, in turn, strengthen Greece’s cultural identity, and perhaps help reinforce it politically and economically. The country has been trying with all its strength and succeeding in re-emerging from the profound crisis of the last decade.

In another indication that perhaps the tide is turning in favor of the return of the marbles, the Musee des Civilizations du Quai Branly in Paris and the Berlin Ethnologisches Museum have initiated the return of African artifacts to Nigeria, improperly taken away during the colonial period from Benin City.

As a footnote, upon exiting the museum, I entered the metro, heading home, at the Acropolis station. Going down to the platform, I was greeted by the giant picture of Melina Mercouri in front of the Parthenon, wrapped in an elegant trench coat, a bundle of wild flowers in her hands, and an immense and radiant smile, which today seems even more radiant. The return process, dreamed of and initiated by her, seems to have perhaps gained some momentum.

‘200 + 20 years in captivity. The Parthenon Sculptures from Elgin to Boris’

Paul Cartledge spoke at the Culture Through Politics online event on Sunday 11 April 17:00 BST. His talk followed on from Professor Pandermalis, President of the Acropolis Museum and was made alongside other distinguised speakers. 

‘Decolonising’ the Elgin-Parthenon Sculptures

First, may I begin with a huge vote of thanks: above all to the ‘Culture Through Politics’ group for organising this exceptionally important webinar, but also to my very distinguished fellow-invitees, for their important contributions.

Second, let me say a word about the title of our public webinar debate: it alludes of course to a very specific and very special anniversary, a famous bicentenary. And as a Greek historian colleague of mine has acutely observed, you tell me what anniversaries you want to celebrate/commemorate and I will tell you who you are. ‘1821’, in other words, is for Greece collectively and for Greeks individually a magical year – their ‘1789’, if you like. Or, in a way, our – English - ‘1066’! For it marks the beginning of a new Hellenic identity, but not only Hellenic: in retrospect, we can see that it was only the first step on the road to political freedom and ultimately to democratic self-determination throughout the continent of Europe.

To me, however, as a historian of ancient/Classical Greece/Hellas, 2021 has another signification as a major anniversary year: it is the 2500th anniversary of what the Western world’s first historian, Herodotus of Halikarnassos, called τα Μηδικα, what we ancient historians call the Graeco-Persian Wars. As in AD 1821, so in 480-479 BC, democracy as well as freedom was at stake – as I have tried to show in a number of lectures both in Athens and online. And at the beating heart of that ancient Greek – and more especially ancient Athenian – achievement of victory and liberation there lay and there still lies a building, a unique and quite extraordinary structure, one that we today – not quite accurately – refer to for short as ‘the Parthenon’.

What I want to do in my allotted 10 minutes is try briefly to con-textualise what (Lord) Elgin and his cohorts did TO – that is, against – that building and structure in and around 1801. I do so in the hope – probably a vain hope – of bringing the UK’s current, classically-educated Prime Minister to a proper appreciation both of the enormity of that long ago act of vandalism and of what now urgently needs to be done with and FOR those Parthenon Sculptures that are currently not in Athens. Which brings me to …

Thirdly, my own chosen title: “‘Decolonising’ the Elgin-Parthenon Sculptures”. If I may, I shall begin with a little autobiography. I was born in 1947, so that by my early teens I was well aware of the – literal – decolonisation, the shedding of imperial possessions, that Britain was – under its then also classically-educated PNM, Harold Macmillan – in the process of beginning. India had already ‘gone’, ‘been lost’, to the British Empire, so the focus in and around 1960 was on the continent of Africa, and I was at first puzzled to hear that the very word ‘empire’ had become – in some, enlightened quarters - a ‘dirty word’, something to be spoken of with distrust if not contempt. As I entered my late teens – and Oxford University (to read Classics, pretty much the same degree as Macmillan read before me and Johnson read after me) – I became even more acutely aware that there was something called ‘the Third World’, encompassing huge swathes of Asia, Latin America and – of course – Africa. It seemed obvious to me that the ‘Third World’ did not exist as if by nature, but was the direct product of self-interested intervention and depredation, mainly economic but also cultural, by the countries of the ‘First World’.

By the time Melina Mercouri ,in the early 1980s, launched her campaign for the repatriation and reunification of what were then usually called ‘the Elgin Marbles’ in the British Museum, it was becoming clear to me that the fact that the British Museum held the Marbles of the Parthenon (and other Athenian monuments) was part of a broader, imperial or imperial-colonial story.

I became a very early member of the British Committee for the Restitution (now Reunification) of the Parthenon Marbles [BCRPM], as it became ever clearer to me that the ‘British Museum’ should really be known as the ‘British Imperial War Museum’. As regards specifically the Parthenon Marbles in the BM, this was not only because those Marbles had been acquired – stolen – when the British Empire was at its height and as part of a very dirty deal between Britain’s imperial representative in Constantinople and the local Ottoman authorities but also because the attitude of the British Museum Trustees towards their possession of the Marbles was – still, in the 1980s - precisely imperialist or colonialist: not only – in their view – had the Marbles been legitimately (as well as legally) acquired but also they thought the BM deserved to continue to hold them because, under the stewardship of the Trustees and the relevant Keepers and other curatorial staff since 1817, the intrinsic aesthetic and cultural value of the Marbles – the Marbles in London only, that is – had been somehow enhanced. Somehow, their stay in London was represented as so much part of the overall ‘story’ of ‘the Marbles’ that reunification of the ‘Elgin Marbles’ to Athens would somehow diminish them, all of the Marbles.

That indeed remained the status quo down to 2009 – when the entire BM colonialist-imperialist ‘narrative’ was disrupted, rendered null and void, by the foundation of the (New) Acropolis Museum (NAM), under the genial Directorship of Professor Pandermalis. A new justificatory strategy was therefore required by the BM’s Trustees, and they fell back on a supposedly decisive, and incontestable, distinction of hierarchy between ‘universal’ museums such as the BM and supposedly inferior (merely) local or national museums such as the NAM. All the while, the colonialist-imperialist line remained intact for the Trustees, who even invoked the ultimate absurdity that the Parthenon Marbles that were in the BM were better understood IN the BM – better there than anywhere else indeed, because they could be seen and appreciated in the context of all other ‘world’ cultures represented artefactually in that same (8 million…) collection. What the BM Trustees could not, however, either see or anticipate was that a big anti-colonial head of steam was building up, focused especially though not of course uniquely on artefacts looted from Africa.

I know a good deal about that anti-colonial head of steam because it has come to affect not only the Marbles but even my own discipline and profession of Classics, especially since the beginning of this year but not only since then by any means. In the very same decade that the BCRPM was founded (in 1983) scholars who were not actually Classicists began to put it about that Classics as a discipline was fundamentally flawed at its very roots and conception: it was at best an ethnocentric, at worst a racist and sexist, project of Western and male and white supremacy, rooted in the study of societies that were themselves based on slavery and generally sexist too. So, why bother to study two main ancient civilisations – the Greek and the Roman - that had so little that was admirable let alone imitable to offer us?

Needless to say, there are defences – very good defences – available to those who believe (as I do) that Classics has a great deal that is positive still to offer us, and that a key part of that is a story about freedom and democracy, a story that has at - and as - its centre the Parthenon. In my ‘Salamis 2500’ lectures I always end with the Parthenon and its place within the entire Athenian Acropolis building programme of the second half of the 5th century BC. I do so because the Athenians decided democratically to have the Parthenon built, in a quite extraordinary way, as an overpowering symbol: both of what it meant to be Greek, as the Athenians of the 5th century BC understood that – free both personally (free from) and politically (free to), self-governing, and of what it meant to be democratic – that is, giving the lion’s share of the political power of self-determination to the demos of the Athenians, the poor majority of the empowered (free, adult, male) Athenian citizens.

Of course, we must not hide the many features of ancient Athenian democracy that we today would not choose to repeat – the exclusion of women, the exploitation of non-Greek slaves – but these must be understood within the context of those, very different times. The positives also need to be emphasised, unashamedly. Which is why it matters so much to me that ALL surviving sculptures from the Parthenon currently outside Athens – not only but especially those in the BM – should be returned and reunified in Athens. As regards the BM in particular, the case for reunification is not only scholarly, not only aesthetic, but also – and perhaps above all – ethical and moral. And in that regard it is above all anti-colonial: an attempt both to repair the damage both physical and metaphorical done by Britain’s colonial representative Elgin 200 years + 20 ago, and at the same time to make a progressive statement of anti-colonialism today. It is a unique case but also one that is completely in line with and in sympathy with other campaigns affecting other museums and other cultures for the repossession and reintegration of culturally identifying material artefacts.

Professor Paul Cartledge 

Taxiarches, Order of Honour, Greece

A.G. Leventis Senior Research Fellow, Clare College, Cambridge

A.G. Leventis Professor of Greek Culture emeritus, University of Cambridge

A number of masterpieces of ancient Greek theater are revived every week at the Acropolis Museum in Athens, as part of 'The Stones Speak' cultural programme. The theater performances feature texts of Greek ancient literature in three languages – Greek, English, French.

The performances will be held until the end of October 2019  at the Acropolis Museum every Friday, Saturday and Sunday from 11am to 1pm with free admission.

The ideas and symbols that Greece inherited in humanity and defined the history of thought and art, as well as heroes of the past, all come alive through the 'The Stones Speak' cultural programme. The aim is to highlight the Greek cultural heritage to the maximum including “The Preface to the Odyssey” (in a solo performance), excerpts from Pericles “The Epitaph”, from Sophocles’ “Antigone”, Aristotle’s “Rhetoric”, Palatine Anthology, Plato’s “Symposium” and the Homeric Hymn to Aphrodite. Especially at the Acropolis Museum will be the “Prayer on the Acropolis” by Ernest Renan.

With the presentation of the events at the Acropolis Museum, 'The Stones Speak' programme completes this year’s events, which began in July with the Byzantine and Christian Museum and continued in September at the Ancient Agora.

The 'The Stones Speak' is in its third year and is now established as an institution for Athens, honoured by the Greek Festival, which included them in its “Opening up to the City” programme.

The production of the 'The Stones Speak' was organized by “Smartconcepts”.

What really interests me is the apparent permanent intransigence of the Directors and Trustees [of the British Musem].These are not a collective body of 'idiotes', those aloof from public affairs, but intelligent, knowledgeable and articulate human beings.WHY do they not move? WHY is the decades old response always 'NO'.

Pericles would have been aghast at our lack of progress as a civilisation capable of change and altered thought. I am reminded that he said 'For we alone regard the man who takes no part in public affairs, not as one who minds his own business but as 'good for nothing'. Perhaps an inability to discuss and open fresh lines of dialogue with respect to the ongoing plight of the Parthenon Sculptures is just the same as not taking part.

The New Acropolis Museum approaches it's tenth birthday. We had hoped for success in 2004, then 2009 but still nothing, and again I ask WHY? What factor X beguiles and frustrates our efforts, the will of the British people and our Greek friends. What will stop the Trustees and successive Directors from ALWAYS saying 'NO' and encourage them to engage in productive dialogue.

Christopher Stockdale

Christopher has been actively involved in raising money for charities as well as campaigning for the reunification of the Parthenon Marbles. As a GP from Solihull, he swam from Delos to Parosfor the Parthenon marbles in 2000, he also cycled from the British Museum to the Acropolis Museum in 2005. He has also written a book, Swimming with Hero.

What can we say about the case for reunifying the Parthenon Marbles that has not been said a thousand times before? What more can we add to the numerous persuasive argumentsalready made for reuniting the dismembered components of Phidias's finest achievement? How many more times must we convene to reiterate the importance of restoring coherence to a work of art whose desecration at the hands of Lord Elgin damaged one of Greece's greatest gifts to the world?

The answer to these questions is that there will always be more to say about the case for reunifying the Marbles. There will always be new and ever more compelling arguments for reuniting them in Athens. And until that happens our generation and future generations will continue to convene and will go on reminding the British Museum of its moral duty to restore to these objects the dignity that Lord Elgin so rudely snubbed.The story the Marbles tell, is of a cultural moment that is a precious and irreplaceable part of our birthright as Europeans and the bedrock of our democratic ideals. That story loses much of its narrative charge while its components remain dispersed across different locations.

The Parthenon Marbles are more than just a work of art. They are more than a mechanism through which to increase the footfall of cultural tourism. They are more than a means by which to impose some meaning on the randomly accumulated collections of an encyclopaedic museum.

The reason the Parthenon Marbles transcend conventional museum categorisation is that they have the potential to demonstrate that in a time of global economic turmoil and geopolitical unrest cultural objects can unite us across national boundaries and remind us of our shared humanity. I say 'potential' because there is an irrefutable logic to the proposition that a united,coherent sequence of objects that speaks with such clarity of our shared background is more likely to foster unity among nations than a fragmented series of objects that continues to symbolise disunion and cultural rupture. For this process to begin, however, the dialogue between Greece and London must rise to a higher level based on mutual trust and generosity of spirit.

The Parthenon Marbles are unquestionably important within the cultural landscape, but they have become renowned for all the wrong reasons. While they should be celebrated for representing the zenith of the Periclean building programme of fifth-century Athens, instead they are more widely recognised as the most controversial and divisive objects in world culture. They should be peacemakers but we are not allowing them to take up that peacekeeping role. Thus they have become emblematic of the wider disputes between western museums and developing nations that have become known as the 'culture wars'. While the Marbles remain immured within the Stygian gloom of the Duveen Galleries where their true significance to European art and culture is so wilfully misinterpreted and misunderstood — our attempts to build harmony in the realm of cultural heritage will be impaired. The international museum community — but more specifically the British Museum — has the power to repair that rupture. The symbolic resonance of a unifying gesture of this kind could be profound and long-lasting.

Dr Tom Flynn

This extract is from a speech that Dr Tom Flynn made addressing a round table organised by the Swiss Committee for the Return of the Parthenon Marbles, held in the  European Parliament, Brussels, Belgium, on the 16th of October 2013.