The Russian Committee for the Return of the Parthenon Marbles is a members of the IARPS and their President, Irina Korobina, presents their committee's new video entitled "Battle for the Parthenon Marbles". To watch it,  please follow the link here.

Below the text that forms part of this video with the presentation made by Irina Korobina.The presentation is in Russian with English subtitles and Irina has kindly supplied us with the English text for the article below.

Lord Byron: The Pilgrimage of Childe Harold

XI.

But who, of all the plunderers of yon Fane
⁠On high—where Pallas linger'd, loth to flee
⁠The latest relic of her ancient reign—
⁠The last, the worst, dull spoiler, who was he?
⁠Blush, Caledonia! such thy son could be!
⁠England! I joy no child he was of thine:
⁠Thy free-born men should spare what once was free;
⁠Yet they could violate each saddening shrine,
And bear these altars o'er the long-reluctant brine.

The act of Lord Elgin caused outrage and condemnation from the very beginning. Lord Byron, a fellow countryman of Lord Elgin, in his poem the Pilgrimage of Childe Harold, frankly called Elgin's act theft and barbarism. It is often suggested that Elgin's goal was to save and preserve the Parthenon sculptures. However, in one of the archives there is a letter in which Lord Elgin boastfully writes: "I have taken out of Greece as many antique values as Napoleon never dreamed of."

I don't think we care about his motivations today, or whether he was a saviour or a robber. It is important for us that the Parthenon, which is for all humankind a symbol of harmony, a symbol of the architectural, artistic and living environment that all humankind throughout history recognizes as the ideal that gave rise to classical art, this symbol has been desecrated and violated. Its most valuable fragments, without which it is impossible to preserve the harmony of integrity, were broken out and taken to another country, where they are still located. Half of the Parthenon's marble sculptures are in the British Museum, in London, and smaller fragments have spread all over the world. And all progressive humanity declares: they must be returned to their native place! Fragments of the Parthenon must be returned to Athens!

The debate about whether Lord Elgin's act was a saviour's mission or barbarism began in British society during his last expedition to Greece, and this debate continues till now.

Back in the 80's of the last century, the famous Greek singer and Minister of Culture Melina Mercuriofficially announced the policy of "insistent return" of the marble sculptures to the Parthenon. In November 2005  the IARPS (International Association for the Reunification of the Par-thenon Sculptures) was created. Today it includes 21 countries, including a very active British Committee. Their appeals have been made since 1983, with statements,  petitions and articles requesting the return of the Parthenon's treasures. In particular, there is also a Russian Committee, which I agreed to become President of because for us, who were students of the Moscow Architectural Institute, the Parthenon and the culture of Ancient Greece are the 'cradle of world culture', including the Russian architectural culture. Russian Classicism and Neoclassicism, the highest examples of Russian architecture of the 18th, 19th and early 20th century, would not have been possible without the Parthenon.

International committees of  the IARPS are actively campaigning for the return of the sculptures - they conduct educational work, organize lectures, exhibitions, but most importantly, they express the position of the cultural community of their countries. It is clear that today the return of the Parthenon's sculptures may not be the main concern of Russians who are going through economic and other crisis. But this is just a first glance. In the culture of different countries, in architecture and art, sometimes incredible phenomena occur. Something that becomes important for all humankind. And it is naive to think that these masterpieces belong only to one country. They belong to the world - all of humanity is interested in ensuring that these 'Points of Power' that inspire everyone are preserved as closely to how they are best understood. And it is immoral, even criminal, to keep them divided... to destroy them, to break out pieces of them, to take them somewhere, to build new temples for them in other countries... this is a manifestation of barbarism and lack of elementary culture, which are is wrapped with beautiful words about salvation, preservation, etc.

The argument on the part of the British, who for many years have categorically refused all Greek requests, is precisely that they care for and preserver world heritage… They have a large scientific and custodial culture, they have a mission to be saviours of other countries heritage and culture. But in 2009 there was an important development - the Acropolis Museum was opened, which was designed by Bernard Tschumi and was the result of 4 international architectural competitions. The world recognition of this Museum is ranked 8th in the top ten museums* in the world, which shows that not only Britain has great specialists and scientists, not only Britain can preserve the treasures of world heritage.

The architectural composition of the Acropolis Museum is unique. The space itself develops vertically and symbolizes the ascent of the Acropolis mountain, which is crowned by the Parthenon. And the composition is such that the  highest level exhibits the friezes, metopes and pediments of the Parthenon. Those parts that are still in the British Museum have been replaced in the Acropolis Museum with plaster copies.

In the 21st century, the display of sculptural treasures has acquired a Museum format, it is important that this is the Acropolis Museum. But the removal of fragments of the Parthenon to other museums is unacceptable - the sculptures are taken out of context and deprived of their natural environment. This is an opinion that I share. It was expressed by historian, academics and more - the display of fragments from the Parthenon in the British Museum, humiliates them. They should be illuminated by the Acropolis. And the Acropolis Museum is the optimal place for them - it belongs to the Acropolis, forming a single whole with it. And there are all the conditions for perfect conservation. All conditions have been created at the highest level to ensure the safety of the priceless sculpture, which British colleagues and professional Museum workers around the world are happy about. If the British Museum delays the return of these great treasures, it will gain a reputation as a provincial, colonial, and regressive Museum.

I think that Parthenon problem has dragged on for a century, not only because Britain does not want to return the unique values that attract crowds of people from all over the world to the British Museum. Obviously, there is a great  many museums, many collections, and many countries that will make claims against each other. This fear is understandable. We in Russia have been discussing the Shchukin collection for many years... Professional museum workers are generally very careful about this issue. Throughout history, all the painful problems evolve. When we are too scarred to touch them - because an explosion may occur. I believe that we need to resolve this. I think that vicious and criminal decisions, as well as serious mistakes, must be corrected. And I believe that this will happen in future, because a culture was built on mistakes is like colossus on clay feet, which sooner or later will collapse. And it is better not to bring it to this collapse!

  * ranking as 8th on the list of the 2017 Travelers’ Choice Awards for Museums, recently released by travel planning and booking site TripAdvisor, in 2018 the Acropolis Museum ranked 6th

British Museum’s Parthenon gallery 10-month closure prompts concerns from Greek officials and campaigners

Βy Yannis Andritsopoulos, London Correspondent for the Greek daily newspaper Ta Nea, 09 October 2021 

To read the original article, follow the link here.

Six of the British Museum’s Greek galleries, including the museum’s display of the Parthenon Marbles, have been closed for almost ten months, prompting concerns from Greek officials and campaigners that wet and damp could damage the ancient artworks.

The museum was forced to close on 16 December 2020 when a national Covid-19 lockdown was put in place. It reopened on 17 May 2021, but some of its Greek galleries remained closed due to ‘essential repairs’.

Ta Nea Greek daily newspaper visited the museum last week and confirmed that a total of six galleries of Greek art have yet to reopen; Rooms 15, 16, 17 and 18 are closed due to "maintenance"; Rooms 19 and 20 are closed to "comply with social distancing measures".

The Duveen Gallery (Room 18) which houses the Parthenon Sculptures, has been closed since December 2020.

Its leaky roof has made news many times before.

In December 2018, the glass roof of Room 18 began leaking after heavy rainfall in London. Witnesses reported seeing water dripping just centimetres away from the west pediment figure of Iris. More recently, leaks were caused by a heavy rainfall on July 25th that flooded central London.

The Greek government as well as campaigners for the reunification of the Parthenon Marbles have expressed concern about the poor state of the rooms.

On August 15, the International Association for the Reunification of the Parthenon Sculptures (IARPS), which represents 21 national committees around the world, wrote to the British Museum Chairman Sir Richard Lambert, its Director Dr. Hartwig Fischer and its Trustees. To read the letter, follow the link here.

A copy of the letter was also sent to Prime Minister Johnson, the newly appointed Chair of the Trustees, George Osborne and the then Secretary of Culture, Oliver Dowden.

It said that “the planned reopening of the Greek rooms, postponed ‘until further notice’, after months of lockdown, is a deep worry,” adding that the “possible humidity problem (creates) a dangerous condition for the sculptures”.

It also called on the Museum to "reconsider its viewpoint on the continued division of the Parthenon Sculptures", noting that “there is a moral obligation to return and to reunify all the surviving Parthenon Sculptures in the Acropolis Museum with a direct visual contact to the Parthenon”.

"It is saddening that Room 18 has been closed ‘until further notice’," IARPS President Dr Christiane Tytgat told Ta Nea, adding that "the inappropriate climate conditions in the room are upsetting".

"I hope," she said, " that we do not have to wait another 22 years before we can admire the Parthenon Sculptures on display in London again, as it happened before, when the Duveen Gallery was hit by a bomb in 1940 and reopened only in 1962! Even if the Sculptures were then stored in a safe place and undamaged."

Almost two months later, the Museum has not responded to the letter, which Dr. Tytgat described as "sad."

Dame Janet Suzman, Chair of the British Committee for the Reunification of the Parthenon Marbles (BCRPM), told Ta Nea: “I would be a happy person if Room 18 were permanently closed because those spectacular sculptures taken by the marauding Lord Elgin deserve to be reunited in the Acropolis Museum. No one can say for certain what remedial work is being done in the Greek galleries of the British Museum or for how long. The lack of climate controls in an old building are self-evident and has been questioned by BCRPM on other occasions: blow-heaters in winter, open exit doors in summer, leaking roof during the rainy season.”

“We urge the British Museum to stop repeating by rote the same mantra and to reunite those emblematic marble figures in the superlative Acropolis Museum, which has been built to the latest standards and allows visitors to view them in context with the Parthenon,” she added.

Professor Paul Cartledge, Vice-Chair of the BCRPM and Vice-President of the IARPS, told Ta Nea that he has found “the Trustees' failure to respond at all to the letter deeply disappointing - not at all the way to begin dialogueon this pressing cultural issue in a way fitting of its importance. Dismissing this very specific request is tantamount to not understanding the importance of cultural diplomacy. Time for the British Museum and the UK to join the 21st century, although it would have been good and great if they were to lead the way.”

Closed ‘until further notice’.

The website of the British Museum states that the Greek galleries are "closed until further notice", due to "regular maintenance works".

UNESCO recently expressed “concern that the Duveen Gallery of the British Museum is not currently open to the public due to essential repairs”, adding that it “looks forward to its reopening in due course.”

In his interview with Ta Nea, in January 2019, the director of the Museum, Dr. Hartwig Fischer, claimed that there was "a tiny leak" (in Room 18’s roof) which was “fixed right away ".

Lina Mendoni, Greece’s Culture minister has said that the conditions for exhibiting the Parthenon Sculptures at the British Museum “are not only inappropriate, but also dangerous”.

A British Museum spokesperson told Ta Nea that “there has previously been some water ingress in some gallery spaces closure”, adding that “there is no confirmed date for their reopening, but we are working towards later this autumn.”

The British Museum’s comment to Ta Nea in full:

“The Museum is an historic and listed building and there are ongoing infrastructure assessments across the site. We have a team of specialists who make regular checks across the Museum to monitor and ensure appropriate management of risks to the collection. The care of the collection and the safety of our visitors and staff are our utmost priority.

“The essential works being undertaken are part of a programme of building maintenance and conservation which will help enable future works on the Museum estate. Alongside these essential repairs, we are developing a strategic masterplan to transform the British Museum for the future. It will involve actively renovating our historic buildings and estate, improving our visitor experience and undertaking an ambitious redisplay of the collection in the years to come.

“Galleries 14 to 18 on the ground floor have been temporarily removed from the public access route. The Museum has undertaken a programme of work within these galleries and the scheduling of this work was delayed due to the impact of the pandemic on the Museum’s programme.

“Further works and surveys were undertaken this summer and these galleries are currently closed to ensure the safety of our visitors and the collection whilst these surveys are carried out. There has previously been some water ingress in some gallery spaces closure.

“There is no confirmed date for their reopening, but we are working towards later this autumn.”

Images below showing the closed door that has been temporaily erected across the entrance of Room 23 of the British Museu's Greek galleries. With a notice explaining that Rooms 12-18 are closed. Some of the galleries are closed for social distancing purposes with others closed for maintenance.

Photo credit: Yannis Andritsopoulos, London Correspondent for the Greek daily newspaper Ta Nea, 09.10.2010 

Dr Tom Flynn's tweet below echoes the thoughts of many millions across the globe that support the reunification of the Parthenon Marbles:

20 June 2019

The New Acropolis Museum was officially inaugurated on 20 June 2009 and celebrates this year 10 tremendous years of successful activity. It has grown to be one of the best museums in the world and has received over 14.5 million of visitors. Between 13 and 20 of June the Museum has organised a series of festivities to commemorate its anniversary, with as a major event – on June 20 – the opening of the archaeological excavation underneath the museum. The architectural remains of Late Antiquity (4^th-7^th century AD) excavated during the construction of the museum give an unrivalled insight into the everyday life of an ancient neighbourhood at the foot of the Acropolis. From 21 June 2019 , this new archaeological site will be open to the public.

The history of the New Acropolis Museum goes back to the 1970s. The museum built on the Acropolis itself, whose initially construction dates to the 19^th century, was by then outdated and could no longer cope adequately with the large number of visitors. Moreover, important restoration and conservation works carried out on the monuments of the Acropolis from 1975 on rendered the exhibition space in the old museum too small to accommodate the sculptures that were being taken down from the various Acropolis buildings to preserve and conserve them from the urban pollution.

In 1976, less than two years after the restoration of democracy in Greece, President Constantinos Karamanlis conceived plans for the construction of a new Acropolis Museum and selected the site upon which the Museum was finally built, located in the historic neighbourhood of Makryianni, a natural extension of the south slope of the Acropolis hill. Between 1976 and 2000, no fewer than four architectural competitions were conducted, before the award finally went to the project by design architects Bernard Tschumi, Michael Photiadis and their associates.

The New Acropolis Museum is a three-storey building facing the Acropolis, a transparent construction of structural concrete, stainless steel and marble, with liberal use of glass for the facades and part of the floor. It achieves an interplay between the museum, where the antiquities of all periods of the Acropolis are on display, floating over the in-site excavation, and panoramic views on the Acropolis and the city. The concept of the building is ingenious, divided over four levels: the ground floor of the Museum is suspended on pylons over the archaeological excavation; a gentle slope ending up in a monumental staircase connects the ground floor with the first floor; the top floor or Parthenon Gallery is arranged around an indoor court and rotates slightly so that its orientation corresponds exactly to the orientation of the nearby Parthenon temple. The concept of the Acropolis Museum can thus be seen as an evocation of the topography of the Acropolis in ancient times: a Sacred Way leads visitors from the city up the slope of the Acropolis hill, then up the steps towards and through the Propylaea to the Parthenon.

The display of the artefacts in the Museum strengthens this image. The ruins of part of the ancient city of Athens are situated on the lowest level. The finds excavated on the slopes of the Acropolis in secondary temples, shrines and caves, are on display on the ground floor, along the gentle sloping path. The numerous sculptures and architectural fragments – most of them unique treasures of art – found on the Acropolis, including parts of the Archaic temples, the Erechtheion, the temple of Athena Nike and the Propylaea, are presented on the first floor and can be viewed from all sides. The ambient natural light in the exhibition rooms, changing throughout the day, particularly suits the sculptures on display. The top floor is dedicated to the surviving Parthenon sculptures in Athens, completed with plaster casts of the sculptures actually on display in the British Museum in London. This juxtaposition of original parts with plaster copies underlines the call for the return of the originals in the British Museum. The display in Athens (unlike that in the BM’s Duveen Gallery) is exquisite, the sculptures can be seen exactly as they were placed on the Parthenon, but in a lowered position for the convenience of the visitor. The glass enclosure provides ideal light and enables direct view on the context of the original environment of the Parthenon Sculptures.

The New Acropolis Museum is a thematic archaeological museum, geographically limited to the finds of the Acropolis, the slopes of the hill and its monuments, chronologically limited to artefacts dating from the earliest period to Late Antiquity. It is a “living” museum, constantly in motion and constantly replenishing its exhibition with new finds, as a result of the ongoing archaeological research and the restoration works conducted in the area by members of the Greek Archaeological Service.

In just 10 years, the Acropolis Museum has grown into a leading world museum, with a highly scientific programme, a very competent restoration and conservation department, a strong cultural-museological management, and a suite of dynamic projects for the future. Therefore, one can only regret the more deeply that not all surviving parts of the Parthenon Sculptures – a number of them are dispersed in other museums and collections besides the British Museum – are today reunited in this beautiful museum.

The most important collection of Parthenon Sculptures abroad is actually on – poor – display in the British Museumin London. They were “taken” by the British diplomat Lord Elgin with a view to decorating his mansion in Scotland, at the beginning of the 19^th century, at a time when Greece was under Ottoman rule. In the process several were destroyed. Financial problems too meant that he had to sell the Sculptures, which finally were purchased from Lord Elgin by Act of the British Parliament and entrusted to the care of the Trustees of the British Museum. The young free Hellenic State began negotiations for the return of the Sculptures as early as 1842. A crucial turning point came in 1984 when Melina Mercouri, then Minister of Culture, made a formal request to the British Museum for the return of the Sculptures to Greece and simultaneously a request to UNESCO, which was immediately entered on the agenda of the Intergovernmental Committee on the Return of Cultural Goods to the Countries of Origin. The claim from Greek governmental side for the return of the Parthenon Sculptures is regularly repeated, without reference to legality, but the stance of the British Museum Director and Trustees – a harsh ‘no’, without even a willingness to enter into formal discussions – remains unchanged until today.

The reunification of the Parthenon Sculptures in the Acropolis Museum in Athens is not only a claim made by Greece. It is supported by International Cultural Organisations and by individuals worldwide. The International Association for the Reunification of the Parthenon Sculptures (IARPS), founded in 2005 and consisting of 20 national committees, spread over 18 countries, supports the claim for reunification, in close collaboration with the Greek authorities, who do not wish to engage in litigation at this moment, but prefer a policy of cultural diplomacy. A policy line that the IARPS respects. New approaches are therefore necessary to reach a breakthrough in the dispute. As the Parthenon Sculptures were made for and constitute an intrinsic part of the Parthenon temple on the Acropolis – an emblematic building, symbol of Western Democracy and recognised as a World Cultural Heritage, it is above all, a moral obligation to return and to reunify all the surviving Parthenon Sculptures in the Acropolis Museum, where they are in direct visual contact with the Parthenon temple. Only in this way they can continue satisfactorily to fulfil their mission: testimony of the great craftsmanship of the ancient sculptors in the 5^th century BC and a reminder of the origins of Democracy.

Dr Christiane Tytgat

Historian - Archaeologist

President International Association for the Reunification of the Parthenon Sculptures

President of the Belgian Committee for the Reunification of the Parthenon Sculptures

Wednesday 29 January 2020 at the Acropolis Museum, the launch of the published proceedings of the 15 April 2019 International Conference: 'The Reunification of the Parthenon Sculptures'. The conference was held under the auspices of the President of the Hellenic Republic, Prokopios Pavlopoulos. A number of campaigning committees attended and some also spoke at the conference, including Professor Louis Godart, Chair of the International Association for the Reunification of the Parthenon Sculptures (IARPS), Dame Janet Suzman as Chair of the BCRPM and Professor Paul Cartledge as Vice Chair of the BCRPM.  

Both Professor Louis Godart as the Former Chair for the International Assciation and the current Chair Christiiane Tytgat, spoke at the event held on the 29th of January this year and their respective speeches can be read below. 

Chair of the International Association, Christiane Tytgat's address:

President of the International Association, Dr Christiane Tytgat's address at the launch of the Proceedings of the International Conference on the Reunification of the Parthenon Sculptures, held at the Acropolis Museum on April 15, 2019:
Your Excellency, Mr President, Your Excellency, Madam Minister, Dear Friends and Colleagues, Ladies and Gentlemen, first of all I would like to thank His Excellency, the President of the Hellenic Republic, Mr Pavlopoulos, the Minister of Culture and Sports, Dr Mendoni and the President of the Acropolis Museum, Professor Pantermalis for the honour of inviting me to be here with you today.

It is a great pleasure to be here again, in this wonderful Museum which celebrated its 10th anniversary last year with a series of events. Among these events, the key event was the opening of the archaeological excavation beneath the museum on the 20th of June 2019. Hence the Museum adds again an element to its precious wealth and shows, once again, that it is a museum always in motion, a museum that offers continually something new to its visitors. I wonder, how many other museums can say this without organising a temporary exhibition and bringing artefacts from elsewhere? Increasingly the Acropolis Museum evokes the image of the sacred rock: the Parthenon Room, at the top of the Acropolis Museum, which is waiting for more than 10 years to be completed, now dominates an ancient neighbourhood of Athens, as in ancient times the Acropolis was dominating the ancient city.

The conference "Reunification of the Parthenon Sculptures" was part of these anniversary festivities. I would add that after 10 years of the Museum's operation, it is a pity that we still have to hold another conference on this subject, however we can look at this in a positive way too. Many speakers from Greece, but also from all over the world made the journey to participate in the conference and show their interest in the issue of reunification. Each intervention embraced the issue from a different perspective, from the results of recent research and proposals for a solution to actions to keep the case in the news until we achieve our goal. The conference was resounding in its message, delivered so eloquently by so many speakers.

But "words are transient, yet the written texts remain forever". That is why it is very important that the Proceedings of the conference were published. There is also no better time to present them, since today begins the Year of Melina Mercouri, the great protagonist for the return of the Sculptures. We cannot honour her in a better way: her campaign for the return of the Parthenon Sculptures from the British Museum continues and her vision is more alive than ever.

Melina's campaign is no longer the struggle of any one person or the Hellenic Government who made the first request to the British Museum for the return in 1842. The struggle was transferred - and rightly so - globally, since the Parthenon and its Sculptures are a world cultural heritage.

In 1981, the first Committee was established in Australia, headed up by its President Emanuel Comino. It remains very active to this day. Following Melina's passionate appeal to UNESCO in 1982, the British Committee for the Reunification of the Parthenon Marbles was founded in 1983. This was followed by the formation of many more committees worldwide.

At a conference organized in November 2005 by the Hellenic Government, 12 national committees established the International Association for the Reunification of Parthenon Sculptures (IARPS) with the aim of supporting the Hellenic Government in its repatriation efforts and the reunification of all the surviving parts of the Sculptures in the new Acropolis Museum. Since then, other new national committees have joined the International Association, most recently France (2016), Austria (2017), and - as strange as it may seem - the oldest committee from Australia (2018). In January 2020 we were delighted to also welcome the new Luxembourg committee.

Today, the IARPS has a total of 21 national committees spanning 19 countries. Every now and then a committee, like Russia in recent years, had fallen by the wayside but Moscow has given the committee a new impetus for the last six months and with great enthusiasm is organising its first lecture in February this year under the auspices of the Greek Ambassador in Moscow.

The IARPS works closely with the Greek authorities and supports the policy of cultural diplomacy, which Greece has been pursuing for years. The return of the Sculptures is a moral problem rather than a legal one. The International Association, which coordinates the activities of the national committees, observes that the public interest continues to grow, clearly illustrated by the continuously growing number of participants in our activities. The general climate helps us probably: the call for the repatriation of cultural heritage artefacts is global. There isn’t a day when a new article is not published and new activities are taking place. And in England, key voices grow louder too. Big museums are under pressure every day. So we are all optimistic that the time will come when theses museums will be able to do nothing less than return the stolen parts of the Parthenon to the place they rightfully belong: the Acropolis Museum in Athens, where one can see the sculptures by Pheidias on display in the best possible conditions, in direct visual contact with the Parthenon, where they are an integral part of. It would be a very happy coincidence if this would happen in 2021, the 200nd anniversary of the outbreak of the Greek War of Independence.

In conclusion, as Chair of the International Association and its 21 national Committees, I extend a very warm thank you to H.E. the President of the Hellenic Republic, Mr Pavlopoulos for his support over the years for the reunification of the Parthenon Sculptures.

 To read more about the conference held on 15 April 2019, click here.

Professor Louis Godart, Former Chair of the International Association (2016-2019)

The stars in the skies of Attica and Greece saw the birth of Western Civilization, just as they saw the watchman above the palace of Mycenae catch the first evidence of the fall of Troy, and as they witnessed the enthusiasm of Pericles and of all the Athenians, when after 480 BC the city reinvented democracy, and rebuilt the monuments of Acropolis, the only place in the world where spirit and courage dwell together.

These are the very stars that also witnessed Elgin's assault when without any respect from 1801 to 1804 he violated the sanctity of the Parthenon, the temple, a global symbol of Democracy.

Inside the Acropolis Museum there is the stele of Mourning Athena. She is standing in front of another small stele. She is not wearing her aegis breastplate, her helmet doesn't cover her face. Her spear has its point on the base of the stele. What did the sculptor want to tell us when in about 460 BCE he carved this masterpiece?

Athena is the goddess of the intellect. She is also the goddess who is ready at all times for battle.

I believe that the stele bore the names of those Athenians who died at Marathon, Salamis and Plataea. Mourning Athena is showing the Athenians respect for those who saved Greece and Western Civilization. In our midst, the notion that Democracy must always be fought for is being honoured. We must always be ready, like the goddess, with our spear close to hand if we want to defend something of value and distinction.

So anyone who loves Greece and democracy - the Parthenon being as I said a symbol of Greece - must fight for the repatriation of Pheidias' sculptures.

I do not forget that in 1940 England - glory to the pilots of the RAF - saved European democracy. That Churchill said at the time: "Never in the field of human conflict was so much owed by so many to so few." England cannot today fail to heed the cry of everyone in the world who wants the sculptures to be near to the temple of the goddess. Today a lot of people in England are fighting alongside us. We will help them.

I hope that soon the stars of the heavens of Greece will again see the goddess' marbles beside the sacred rock.