Robot sculptors creating near-perfect replicas of the Parthenon Marbles may provide the key to the long-running dispute over the ownership of one of the ancient world’s most contested treasures.
“My understanding is some significant portion of the Marbles will be ‘deposited’ in the Acropolis Museum. No one is ‘loaning’ these things, no one is talking about ownership at all. They will simply be deposited in the Acropolis Museum,” Michel continues.
“They came up with the word ‘deposit’ because that accurately describes what is happening here. It doesn’t insinuate that either party actually owns the objects. When they built the Acropolis Museum it was in anticipation of someday receiving these objects back. There are empty plinths ready for them.
“No one thinks the Greeks will be keen to let them go again, but they have other pieces the British Museum would be interested in exhibiting. The galleries they are coming from are in terrible condition and need to be rebuilt. This is not somewhere to house priceless objects.
“They will be going to the brand new, state-of-the-art Acropolis Museum, which could not be more beautiful or secure and also has this incredible vista of the Parthenon. It will be a tremendous upgrade in terms of their digs.
“Public opinion in Britain has always been that they should be returned to Greece, it is just a small group of the elite that has disagreed. Given the choice between years out of sight in a warehouse in Croydon or one of the world’s most beautiful modern museums, it is a no-brainer.”
YouGov polling last week showed 53 per cent of people supported the return of the Marbles to Greece, with just 24 per cent saying they should remain in Britain. But opponents remain very vocal. Speaking on Sky News, shadow chancellor Mel Stride claimed that when they were taken into possession by the museum “it was legitimate” and they were kept very safely.
“You give back the Elgin Marbles, does France have to give back the Mona Lisa to Italy? Where do you stop?” he asked.
But Michel argues that his copies would be better than the originals, with missing noses, amputated toes and mislaid fingers restored. Some of the sculptures could also be returned to their original appearance, painted in what may appear to modern eyes to be garish colours.
The ancient world was far from black-and-white, and classical statues were not white marble. This was partly a myth propagated to encourage the idea that white-skinned Europeans were in some way superior to the rest of humanity.
A test run to recreate the head of the horse that once pulled the moon goddess Selene’s chariot along the Parthenon frieze, one of the British Museum’s most popular exhibits, was declared a success when it was put on public display last year.
The British Museum has always insisted that it is forbidden by its constitution from “deaccessioning” (permanently removing) any items in its collections. This is why the form of words involved in any deal over objects such as the Parthenon Marbles is so important.
The museum also insists it is a “world museum”, not just a British Museum, and its collections are maintained for the benefit of all humanity.
In a statement, it said: “The museum has called for a new Parthenon partnership with colleagues in Greece and constructive discussions are ongoing. The British Museum enjoys a good professional relationship with the Acropolis Museum.”
As yet, no deal has been done to make a set of replica Marbles and display it in the British Museum. Michel claims the IDA is the only organisation with the skills, the technology and the funding in place. Watch this space.
The Telegraph, London
Simon de Bruxelles