Politics of Art: Greece’s Quest to Reclaim its Parthenon

By Barna Sólyom, Guest Writer

Since its independence from the Ottoman Empire, Greece has been trying to regain its various historical artifacts from foreign powers that ruled over it. This struggle’s symbolic focus is the main building of Athens’ Acropolis, the Parthenon, specifically its decorative elements and pieces. These statues are up to 2,500 years old and were the fortress’ main sight until the early 19th century. The British Empire’s then-ambassador to Ottoman-controlled Greece was Thomas Bruce, more famously known as Lord Elgin, under whose con-

“ by his contemporaries, even in the United Kingdom, most famously by Lord Byron, who even wrote a passage dedicated to it in Childe Harold’s Pilgrimage (1812):

Lord Elgin’s action set an infamous precedent, as cultural vandalism --- when cultural treasures are illegally taken from one country to another, was named after him: elginism. His action, of course, was not the first of its kind; for thousands of years, it was a “common” practice during conflicts to pillage. Nor was it the last act of elginism.

Why are the marbles not back in Greece yet?

When Greece gained inde-

Cold is the heart, fair Greece, that looks on thee, Nor feels as lovers o’er the dust they loved; Dull is the eye that will not weep to see Thy walls defaced, thy mouldering shrines removed By British hands, which it had best behoved

To guard those relics ne’er to be restored. Curst be the hour when their isle they roved, And once again thy hapless bosom gored, And snatched thy shrinking Gods to northern climes abhorred!” trol around half of the Parthenon was removed and transported to London, where he later sold the marbles to the British Museum. This action was already heavily criticized pendence in 1832, the government immediately started campaigning to retrieve the artifacts, as the Acropolis is one of the most important symbols of the Greek national identity. However, the historical circumstances did not allow Greece to have a large influence on the British Empire, which was in its prime, having the largest overseas empire the world has ever seen. After the two world wars, the balance of power shifted, and the United Kingdom lost a lot of its former might and hard power. However, this change in influence did not change the artifacts’ situation because the British Museum Act of 1963 prevented the institution from permanently removing objects from its collections. Thus, by U.K. law, the museum can not give back the marbles. The 1983 National Heritage Act also considers them national heritage, further strengthening the British side, whose argument assumes that the sculptures were purchased legally. Consequently, the ownership is lawfully under the museum’s for 200 years. However, Greece suggests that the sculptures are in the United Kingdom due to plunder and vandalism, as their seller basically took the statues and shipped them away, thereby denying the legality of the museum’s purchase. Greece also commonly refers to UNESCO’s multiple rulings against elginism and cultural vandalism, such as the 1954 Hague Convention, the 1970 Convention, the 1972 Convention, and the 1995 UNIDROIT Convention. International pressure also mounts on the British Museum to return other objects, further strengthening the Greek argument, as other artifacts like the Benin Bronzes have been repatriated. With the Vatican returning three parts of the Parthenon to Greece last December, all eyes are on Britain to make a similar conciliatory move.

The debate is not solved yet; both sides defend their argument, not just on the museum level but even in higher political positions. In January, U.K. Prime Minister Rishi Sunak said the country is seeking a constructive solution. However, the government’s position has not changed on the topic, and Greek Prime Minister Kyriakos Mitsotakis put the Parthenon’s reassembly as one of his primary goals for his re-election campaign this year. The Deutsche Welle reports that discussion between the two parties is open. Still, a sudden position change is unlikely — a short-term loan from the British Museum is the foreseeable solution.