A home fit for stolen treasures

Acropolis museum displays antiquities in modern structure, but awaits the return of Elgin Marbles
Athens is chockablock with museums and historical sites – after all Greece is the cradle of Western civilization. But the jewel in the crown of touristic Athens is the new Acropolis Museum.
Some 30-plus years, countless delays and at least $210 million in the making, the ultra-modern structure was designed by Swiss-born architect Bernard Tschumi to rest at the foot of the Acropolis and house the treasures of that most famous of ancient Greek sites.
The museum is also intended as a political cudgel with which to beat Britain. Between 1801 to 1812, an Englishman, Thomas Bruce, the seventh earl of Elgin, took marble sculptures from the Acropolis during a period in which Greece was a vassal state of the Ottoman Empire. Among his spoils was roughly 40 per cent of the Parthenon frieze, a masterful 160-metre piece of sculpture that ringed the upper part of the Parthenon and depicted a great religious procession. Lord Elgin eventually sold these plundered marbles to the British Museum, where they reside to this day.
The fact that the British continue to hold these treasures of Greek antiquity has been denounced Greece’s politicians, and the construction of this new Acropolis museum, which opened to the public at the end of June, is intended as a riposte to the British Museum’s claim that it couldn’t possibly return the Elgin Marbles to Greece because the country had no proper site to display them. In fact, the Greeks felt so strongly about the subject that they arranged to fly in a delegation of foreign journalists, myself included, to take in their new showpiece.
British essayist and cultural gadabout Christopher Hitchens has long agitated for the return of the marbles to Greece. In a New York Times comment piece shortly before the opening of the museum, he declared that the British Museum’s central objection was no longer operative: “The Greeks have now excelled themselves in creating a place worthy of its breathtaking contents,” he declared, adding, “It is impossible to visit Athens and not yearn for the day when Britain decides to right (its) ancient wrong.”
Despite the fanfare surrounding the museum’s opening, however, Britain continues to reject Greek demands. In a curious public relations gambit, the British Museum recently offered to loan some of the marbles back to Greece on the condition that the Greek government acknowledge permanent British sovereignty over Lord Elgin’s loot. Greece rejected the offer.
“Sooner or later, the marbles in the British Museum will find their natural homes,” said the Acropolis museum’s director, Dimitrios Pandermanlis, during the opening festivities. “Of this I am certain.”
As for the museum, Hitchens was correct to pronounce it an impressive edifice. Built atop ancient habitations revealed during the building’s construction – and now visible through a transparent glass floor – the New Acropolis houses three floors of the most striking of Greek antiquities.
The first two display free-standing marble statues of men, women and horses set amid full-length windows of thick glass. The effect is to introduce abundant natural light into the galleries, softening the brutalist concrete employed by Tschumi. Among the highlights of the lower floors are the caryatids, five oversized female statues that formerly supported the porch at an Acropolian temple. An empty space has been pointedly set aside for the sixth statue, which is in the British Museum.
But the focal point of the museum is the Parthenon Gallery, located on the top floor. The gallery is a glass chamber sitting at a seemingly strange angle that bears no relation to the rest of the museum; in fact, it was designed to face the Parthenon itself, 244 metres away. Here, all of the Parthenon sculptures have been assembled for the first time, with plaster reproductions filling in the sections currently housed at the British Museum. The purpose of the top floor is to display the frieze in its original configuration and in some semblance of its true context. The effect is powerful, with the Acropolis in clear view of its greatest treasures.
“We didn’t build this for the sake of the British,” Greek Cultural Minister Antonis Samaras told the media in late June before the museum’s opening. “But look around. Does this not negate the argument that Athens has no place good enough to house the Parthenon Marbles?”
Indeed, with this new museum and other welcome changes made in Athens over the past few years (including a new subway system, and large portions of the old town converted to pedestrian zones), the city rebuts those who would whisper that Athens is still not a worthwhile travel destination.
(Article from The Montreal Gazette)


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  1. In principle, I agree that the Parthenon sculptures (the so-called Elgin Marbles), should be returned to Athens and housed in an appropriate venue. The question is : is the New Acropolis Museum an appropriate home for the Parthenon sculptures, by the ancient Greek master sculptor, Pheidias ? The statues in question are amongst the noblest, most beautiful and most renowned of all human works of art; is it then appropriate that they should be housed in a building which, in your own words, features, and I quote : “the brutalist concrete employed by Tschumi” ? The answer, obviously, is “No”.

    Furthermore, the New Acropolis Museum is a structure totally out of scale with the urban fabric of the city around it. By ‘out of scale’ is meant that it totally overpowers the buildings around it, both in terms of sheer size, mass and architectural character, with its, quote : “brutalist concrete” surfaces.

    Not only that: internally, the multiplicity of round reinforced concrete columns (“pilotis”) completely overshadow and dominate those sculptures which are already placed in the Museum.

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