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The Parthenon 2nd ed. We propose that you too familiarize Ukrainian and Russian women from our album for friendship and the creation of a family. I have zero information about these newer watches. dating elgin Hunt, who at the time resided in Bedford, was the last witness to appear before the committee and stated that he had in his responsible an Italian translation of the Ottoman original. Main articles: and The Parthenon Marbles acquired by Elgin include some 21 figures from the statuary from the east and west15 of an original 92 panels depicting battles between the and theas well as 247 feet or 75m of the which solo the horizontal course set above the interior architrave of the temple. Section of a frieze from the Elgin Marbles Athens Air pollution and have damaged the marble and stonework. There dating elgin still a few of what are termed mechanical models available, but they are few and far between. We are civil that you are with us. To establish the manufacture date of your movement, simply obtain the movement number then check it against the table, below. Although his original intention was only to document the sculptures, in 1801 Lord Elgin began to remove material from the Parthenon and dating elgin north structures under the supervision of Lusieri.
This article is about the ancient marble sculptures. Elgin Marbles Parthenon Marbles Artist Year c. They were originally part of the and other buildings on the. In 1801 obtained an official decree of a , from the , the central government of the which were then the rulers of. Elgin was also later approved by a second firman which allowed for the shipping of the marbles from the Piraeus. From 1801 to 1812, the Earl's agents removed about half of the surviving sculptures of the Parthenon, as well as sculptures from the and. The Marbles were transported by sea to Britain. In Britain, the acquisition of the collection was supported by some, while some others, such as , likened the Earl's actions to vandalism or looting. Following a public debate in Parliament and the subsequent of Elgin, he sold the Marbles to the British government in 1816. They were then to the , where they are now on display in the purpose-built. After from the Ottoman Empire in 1832, Greece began a series of projects to restore its monuments. It has expressed its disapproval of Elgin's removal of the Marbles from the Acropolis and the Parthenon, which is regarded as one of the world's greatest cultural monuments. Greece continues to urge the return of the marbles to Greece for their unification by diplomatic and political means. In 2014, offered to mediate between Greece and the United Kingdom to resolve the dispute, although this was later turned down by the British Museum as UNESCO works with government bodies, not trustees of museums. Before his departure to take up the post he had approached officials of the British government to inquire if they would be interested in employing artists to take casts and drawings of the sculptured portions of the Parthenon. According to a Turkish local, sculptures that fell were being burned to obtain for building. Although his original intention was only to document the sculptures, in 1801 Lord Elgin began to remove material from the Parthenon and its surrounding structures under the supervision of Lusieri. Pieces were also removed from the , the , the , and the. The excavation and removal was completed in 1812 at a personal cost to Elgin of around £70,000. Elgin intended to use the marbles to decorate , his private home near in Scotland, but a costly divorce suit forced him to sell them to settle his debts. Elgin sold the Parthenon Marbles to the British government for less than it cost him to procure them, declining higher offers from other potential buyers, including. Main articles: and The Parthenon Marbles acquired by Elgin include some 21 figures from the statuary from the east and west , 15 of an original 92 panels depicting battles between the and the , as well as 247 feet or 75m of the which decorated the horizontal course set above the interior architrave of the temple. As such, they represent more than half of what now remains of the surviving sculptural decoration of the Parthenon. Elgin's acquisitions also included objects from other buildings on the : a from ; four slabs from the parapet frieze of the ; and a number of other fragments of the Parthenon, Propylaia, Erechtheum, the Temple of Athene Nike, and the. The Acropolis was at that time an military fort, so Elgin required special permission to enter the site, the Parthenon, and the surrounding buildings. He stated that he had obtained from the a which allowed his artists to access the site, but he was unable to produce the original documentation. However, Elgin presented a document claimed to be an English translation of an copy made at the time. This document is now kept in the British Museum. Its authenticity has been questioned, as it lacked the formalities characterising edicts from the sultan. The document was recorded in an appendix of an 1816 parliamentary committee report. The report said that the document in the appendix was an accurate translation, in English, of an Ottoman firman dated July 1801. In Elgin's view it amounted to an Ottoman authorisation to remove the marbles. The committee was told that the original document was given to Ottoman officials in Athens in 1801. Researchers have so far failed to locate it despite the fact that the Ottoman archives in Istanbul still hold a number of similar documents dating from the same period. The parliamentary record shows that the Italian copy of the firman was not presented to the committee by Elgin himself but by one of his associates, the clergyman Rev. Hunt, who at the time resided in Bedford, was the last witness to appear before the committee and stated that he had in his possession an Italian translation of the Ottoman original. He went on to explain that he had not brought the document, because, upon leaving Bedford, he was not aware that he was to testify as a witness. The English document in the parliamentary report was filed by Hunt, but the committee was not presented with the Italian translation in Hunt's possession. The 1967 study by British historian William St. Clair, Lord Elgin and the Marbles, stated the sultan did not allow the removal of statues and reliefs from the Parthenon. The interpretation of these lines has been questioned even by non-restitutionalists, particularly the word qualche, which in modern language should be translated as a few but can also mean any. According to non-restitutionalists, further evidence that the removal of the sculptures by Elgin was approved by the Ottoman authorities is shown by a second firman which was required for the shipping of the marbles from the Piraeus. Many have questioned the legality of Elgin's actions, including the legitimacy of the documentation purportedly authorising them. Rudenstine's argumentation is partly based on a translation discrepancy he noticed between the surviving Italian document and the English text submitted by Hunt to the parliamentary committee. He further argues that the document was presented after the committee's insistence that some form of Ottoman written authorisation for the removal of the marbles be provided, a fact known to Hunt by the time he testified. Nonetheless, he did not explain why he had retained the translation for 15 years, whereas Elgin, who had testified two weeks earlier, knew nothing about the existence of any such document. English travel writer , an eyewitness, wrote that the , the Ottoman fortress commander on the scene, attempted to stop the removal of the metopes but was bribed to allow it to continue. In contrast, John Merryman, Sweitzer Professor of Law at and also Professor of Art at , putting aside the discrepancy presented by Rudenstine, argues that since the Ottomans had controlled Athens since 1460, their claims to the artefacts were legal and recognisable. The Ottoman was grateful to the British for repelling expansion, and the Parthenon marbles had no sentimental value to him. Further, that written permission exists in the form of the firman, which is the most formal kind of permission available from that government, and that Elgin had further permission to export the marbles, legalises his and therefore the British Museum's claim to the Marbles. The reference to 'taking away any pieces of stone' seems incidental, intended to apply to objects found while excavating. That was certainly the interpretation privately placed on the firman by several of the Elgin party, including Lady Elgin. Publicly, however, a different attitude was taken, and the work of dismantling the sculptures on the Parthenon and packing them for shipment to England began in earnest. In the process, Elgin's party damaged the structure, leaving the Parthenon not only denuded of its sculptures but further ruined by the process of removal. The issue of firmans of this nature, along with universally required bribes, was not unusual at this time: In 1801 for example, and his assistant Cripps, obtained an authorisation from the governor of Athens for the removal of a statue of the goddess which was at , with the intervention of Italian artist who was Lord Elgin's assistant at the time. Prior to Clarke, the statue had been discovered in 1676 by the traveller , and since then several ambassadors had submitted unsuccessful applications for its removal, but Clarke had been the one to remove the statue by force, after bribing the of Athens and obtaining a firman, despite the objections and a riot, of the local population who unofficially, and against the traditions of the Church, worshiped the statue as the Saint Demetra Greek: Αγία Δήμητρα. The people would adorn the statue with garlands, and believed that the goddess was able to bring fertility to their fields and that the removal of the statue would cause that benefit to disappear. Clarke also removed other marbles from Greece such as a statue of , a figure of , a comic mask, various reliefs and funerary , amongst others. Clarke donated these to the and subsequently in 1803 the statue of Demeter was displayed at the university library. The collection was later moved to the in Cambridge where it formed one of the two main collections of the institution. Lord Elgin began negotiations for the sale of the collection to the British Museum in 1811, but negotiations failed despite the support of British artists after the government showed little interest. The following years marked an increased interest in classical Greece, and in June 1816, after parliamentary hearings, the offered £35,000 in exchange for the sculptures. His point of view about the removal of the Marbles from Athens is also mentioned in his narrative poem , published in 1812, which itself was largely inspired by Byron's travels around the Mediterranean and the between 1809 and 1811: 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 from their isle they roved, And once again thy hapless bosom gored, And snatch'd thy shrinking gods to northern climes abhorred! In 1810, Elgin published a defence of his actions which silenced most of his detractors, although the subject remained controversial. Notable supporters of Elgin included the painter. A public debate in Parliament followed Elgin's publication, and Elgin's actions were again exonerated. Parliament decided to purchase the marbles for the nation in 1816 by a vote of 82—30 for £35,000. They were deposited in the British Museum, where they were displayed in the Elgin Saloon constructed in 1832 , until the was completed in 1939. Crowds packed the British Museum to view the sculptures, setting attendance records for the museum. East Pediment Prior damage to the marbles was sustained during successive wars, and it was during such conflicts that the Parthenon and its artwork sustained, by far, the most extensive damage. In particular, an explosion ignited by gun and cannon-fire bombardment in 1687, whilst the Parthenon was used as a munitions store during the , destroyed or damaged many pieces of Parthenon art, including some of that later taken by Lord Elgin. It was this explosion that sent the marble roof, most of the walls, 14 columns from the north and south , and carved metopes and frieze blocks flying and crashing to the ground, destroying much of the artwork. Further damage to the Parthenon's artwork occurred when the Venetian general looted the site of its larger sculptures. The tackle he was using to remove the sculptures proved to be faulty and snapped, dropping an over-life-sized sculpture of and the horses of 's chariot from the west pediment on to the rock of the Acropolis 40 feet 12 m below. War of Independence The was used as a munitions store by the during the 1821—1833 which ended the 355-year Ottoman rule of Athens. The Acropolis was besieged twice during the war, first in 1821—22 and then in 1826—27. During the first siege the besieged Ottoman forces attempted to melt the lead in the columns to cast bullets, even prompting the Greeks to offer their own bullets to the Ottomans in order to minimize damage. Elgin Elgin consulted with Italian sculptor in 1803 about how best to restore the marbles. Canova was considered by some to be the world's best sculptural restorer of the time; Elgin wrote that Canova declined to work on the marbles for fear of damaging them further. To facilitate transport by Elgin, the columns' capitals and many metopes and frieze slabs were either hacked off the main structure or sawn and sliced into smaller sections, causing irreparable damage to the Parthenon itself. One shipload of marbles on board the British brig Mentor was caught in a storm off in southern Greece and sank near , but was salvaged at the Earl's personal expense; it took two years to bring them to the surface. British Museum Tools used for the cleaning of the Elgin marbles. The artefacts held in London suffered from 19th-century pollution which persisted until the mid-20th century and have suffered irreparable damage by previous cleaning methods employed by British Museum staff. As early as 1838, scientist was asked to provide a solution to the problem of the deteriorating surface of the marbles. The outcome is described in the following excerpt from the letter he sent to Henry Milman, a commissioner for the. The marbles generally were very dirty... I found the body of the marble beneath the surface white. The application of water, applied by a sponge or soft cloth, removed the coarsest dirt. The use of fine, gritty powder, with the water and rubbing, though it more quickly removed the upper dirt, left much embedded in the cellular surface of the marble. I then applied alkalies, both carbonated and caustic; these quickened the loosening of the surface dirt... I finally used dilute nitric acid, and even this failed. The examination has made me despair of the possibility of presenting the marbles in the British Museum in that state of purity and whiteness which they originally possessed. A further effort to clean the marbles ensued in 1858. These mistakes have caused discolouration. I shall endeavour to remedy this without, however, having recourse to any composition that can injure the surface of the marble. Yet another effort to clean the marbles occurred in 1937—38. This time the incentive was provided by the construction of a new Gallery to house the collection. The tools used were seven scrapers, one chisel and a piece of stone. They are now deposited in the British Museum's Department of Preservation. The cleaning process scraped away some of the detailed tone of many carvings. According to , the surface removed in some places may have been as much as one-tenth of an inch 2. Nonetheless, he pointed out that the prime cause for the damage inflicted upon the marbles was the 2000-year-long weathering on the Acropolis American archeologist , in a newspaper article, wrote that techniques similar to the ones used in 1937—38 were applied by Greeks as well in more recent decades than the British, and maintained that Italians still find them acceptable. The British Museum said that a similar cleaning of the in the was carried out by the conservation team of the American School of Classical Studies at Athens in 1953 using steel chisels and brass wire. According to the Greek ministry of Culture, the cleaning was carefully limited to surface salt crusts. Documents released by the British Museum under the revealed that a series of minor accidents, thefts and acts of by visitors have inflicted further damage to the sculptures. This includes an incident in 1961 when two schoolboys knocked off a part of a 's leg. In June 1981, a west pediment figure was slightly chipped by a falling glass , and in 1966 four shallow lines were scratched on the back of one of the figures by vandals. In 1970 letters were scratched on to the upper right thigh of another figure. Four years later, the dowel hole in a centaur's hoof was damaged by thieves trying to extract pieces of lead. Section of a frieze from the Elgin Marbles Athens Air pollution and have damaged the marble and stonework. The last remaining slabs from the western section of the Parthenon frieze were removed from the monument in 1993 for fear of further damage. They have now been transported to the New. Until cleaning of the remaining marbles was completed in 2005, black crusts and coatings were present on the marble surface. The technique applied on the 14 slabs that Elgin did not remove revealed a surprising array of original details, such as the original chisel marks and the veins on the horses' bellies. Similar features in the British Museum collection have been scraped and scrubbed with chisels to make the marbles look white. Between January 20 and the end of March 2008, 4200 items sculptures, inscriptions small objects , including some 80 artefacts dismantled from the monuments in recent years, were removed from the old museum on the Acropolis to the new Parthenon Museum. Natural disasters have also affected the Parthenon. In 1981, an caused damage to the east façade. Since 1975, Greece has been restoring the Acropolis. This restoration has included replacing the thousands of rusting iron clamps and supports that had previously been used, with non-corrosive titanium rods; removing surviving artwork from the building into storage and subsequently into a new museum built specifically for the display of the Parthenon art; and replacing the artwork with high-quality replicas. This process has come under fire from some groups as some buildings have been completely dismantled, including the dismantling of the and for the unsightly nature of the site due to the necessary and. Directors of the British Museum have not ruled out a temporary loan to the new museum, but state that it would be under the condition of Greece acknowledging British ownership. Rationale for returning to Athens Those arguing for the Marbles' return claim moral and artistic grounds. It was built to hold the Parthenon sculpture in natural sunlight that characterises the Athenian climate, arranged in the same way as they would have been on the Parthenon. Rationale for retaining in London A range of different arguments have been presented by scholars, political leaders and British Museum spokespersons over the years in defence of retention of the Elgin Marbles by the British Museum. It has been argued, however, that the case was not directly relevant to the Elgin Marbles, as it was about a transfer of ownership, and not the loan of artefacts for public exhibition overseas, which is provided for in the 1963 Act. In 2005 a new Act concerning the repatriation of ancestral remains allowed for the return of human remains to after a twenty-year battle with Australia. Another argument for keeping the Elgin Marbles within the UK has been made by J. Merryman, Sweitzer Professor of Law at and co-operating professor in the Stanford Art Department. He has argued that if the Parthenon were actually being restored, there would be a moral argument for returning the Marbles to the temple whence they came, and thus restoring its integrity. The Guardian has written that many among those who support repatriation imply that the marbles would be displayed in their original position on the Parthenon. However, the Greek plan is to transfer them from a museum in London to one in Athens. The sculptures which Elgin did not remove have been taken down and put into the new. Popular support for restitution Outside Greece a campaign for the Return of the Marbles began in 1981 with the formation of the , and in 1983 with the formation of the. International organisations such as and the , as well as campaign groups such as , , and stars of Hollywood, such as and , as well as Human Rights activists, lawyers, and the people of the arts, voiced their strong support for the return of the Elgin Marbles to Greece. American actor George Clooney voiced his support for the return by the United Kingdom and reunification of the Parthenon Marbles in Greece, during his promotional campaign for his 2014 film which retells the story of efforts to save important masterpieces of art and other culturally important items before their destruction by and the during. His remarks regarding the Marbles reignited the debate in the United Kingdom about their return to their home country. Public polls were also carried out by newspapers in response to Clooney's stance on this matter. An internet campaign site, in part sponsored by , aims to consolidate support for the return of the Elgin Marbles to the New Acropolis Museum in Athens. Noted public intellectual had, at numerous times, argued for their repatriation. In BBC TV Series S12E07XL , host provided his support for the return of the Elgin Marbles while recounting the story of the Greeks giving lead shot to their enemies, as the Ottomans were running out of ammunition, in order to prevent damage to the Acropolis. When asked how they would vote if a number of conditions were met including, but not limited to, a long-term loan whereby the British maintained ownership and joint control over maintenance the number responding in favour of return increased to 56% and those in favour of keeping them dropped to 7%. Both MORI poll results have been characterised by proponents of the return of the Marbles to Greece as representing a groundswell of public opinion supporting return, since the proportion explicitly supporting return to Greece significantly exceeds the number who are explicitly in favour of keeping the Marbles at the British Museum. Sculpture from the Parthenon's East Pediment The remainder of the surviving sculptures that are not in museums or storerooms in Athens are held in museums in various locations across Europe. The British Museum also holds additional fragments from the Parthenon sculptures acquired from various collections that have no connection with Lord Elgin. Select Committee on the Earl of Elgin's Collection of Sculptured Marbles. Report from the Select Committee of the House of Commons on the Earl of Elgin's collection of sculptured marbles. London: Printed for J. Volume III, Number 1. Archived from on 13 May 2009. Greece Cadogan Country Guides. Eugenie Sellers Strong: portrait of an archaeologist. Its iconic status was certainly helped by Lord Elgin's looting of the marbles... Greek Ministry of Culture. Retrieved 9 April 2015. Yet no researcher has ever located this Ottoman document and when l was in Instanbul I searched in vain for it or any copy of it, or any reference to it in other sorts of documents or a description of its substantive terms in any related official papers. Although a document of some sort may have existed, it seems to have vanished into thin air, despite the fact the Ottoman archives contain an enormous number of similar documents from the period. Who Owns the Past? Imperialism, Art And Restitution. New York: Cambridge University Press. International Journal of Cultural Property. Travels in various Countries of Europe, Asia and Africa Part the Second Greece Egypt and the Holy Land Section the Second Fourth Edition Volume the Sixth. Nafziger; Robert Kirkwood Paterson; Alison Dundes Renteln 1 November 2010. Clarke and Cripps greatly admired the statue, which weighed over 2 tons 1. They were lucky to obtain a firman from the governor of Athens with the help of the gifted Italian artist Giovanni Lusieri, who was at the time working for Lord Elgin. His chief prize was obtained at Eleusis, whence he succeeded in carrying off the colossal Greek statue of the fourth or third... Further, in open defiance of an iconoclastic Church, they retained an old statue of Demeter, and merely prefixing the title 'saint ' to the... Then, in 1801, two Englishmen, named Clarke and Cripps, armed by the Turkish authorities with a license to plunder, perpetrated an act... Demetra', was Eleusis, the former home of her most sacred rites in the Eleusinian mysteries. Archived from on 2 March 2014. Clarke who in company with J. Cripps also of Jesus College, Cambridge , was lucky enough AD 1801 to get possession of this colossus in spite of the objections of the people of Eleusis, and to ship it with great trouble. Sir Francis Ronalds: Father of the Electric Telegraph. London: Imperial College Press. Sir Francis Ronalds and his Family. Retrieved 22 February 2018. The Poetical Works of William Wordsworth. Archived from on 14 March 2008. Archived from on 3 February 2009. Greek Ministry of Culture. New information is presented about this lamentable episode. Retrieved 6 March 2010. Archived from on 18 June 2009. University of Chicago Press. They scraped and scrubbed and polished. They used steel wool, carborundum, hammers and copper chisels. But, in 1938, the kinds of tools used to clean the Elgin Marbles were routinely employed. The more pleased Duveen became as the workmen banged and scraped away, the more worried officials at the British Museum became. Archived from on 2011-07-26. Retrieved 6 March 2010. Archived from on 17 October 2007. Greek Ministry of Culture. Archived from on 4 March 2016. Archived from on 27 May 2007. Archived from on 28 September 2007. Archived from on 2013-01-26. Retrieved 5 March 2010. Archived from on 9 April 2014. Retrieved 18 June 2012. Retrieved 18 March 2013. Archived from on 31 December 2014. Retrieved 8 December 2014. The Parthenon 2nd ed. Archived from on 6 May 2012. The Return of Cultural Treasures 3rd ed. Cambridge: Cambridge University Press. London: Chatto and Windus. London: British Museum Press. Keeping Their Marbles: how the treasures of the past ended up in museums — and why they should stay there. Oxford: Oxford University Press. Archived from on 29 September 2008. Lord Elgin and the Marbles 4th ed. Oxford: Oxford University Press.
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