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LONDON TOP ATTRACTIONS Westminster Abbey Steeped in history, the pillars of this great vaulted hall stand on the final resting place of the men and women who built Britain. Its great Gothic hall continues to play a part in the formation of the kingdom, having hosted nearly every coronation since 1308. Buckingham Palace Not the prettiest royal residence, but a must-see for the glimpse it affords of the modern life of the monarchy. The opulence of the state rooms open to the public provides plenty of wow factor, and don’t forget the collection of china and carriages at the Queen’s Gallery and Royal Mews next door. St. Paul’s Cathedral No matter how many times you have been before, the scale and elegance of Sir Christopher Wren’s masterpiece never fail to take the breath away. Climb the enormous dome, one of the world’s largest, to experience the freaky acoustics of the Whispering Gallery, and higher still for fantastic views across London. Tower of London The Tower is London at its majestic, idiosyncratic best. This is truly the heart of the kingdom—with foundations dating back nine centuries, every brick tells a story, and the ax-blows and fortunes that have risen and fallen within this turreted mini-city provide an inexhaustible supply of intrigue. British Museum If you want to journey through time and space without leaving the confines of Bloomsbury, a visit to the British Museum holds hours of eye-catching artifacts from the world’s greatest civilizations, including the Elgin Marbles, the Rosetta Stone, and the Sutton Hoo treasure. A Shakespeare’s Globe Theatre You can catch a Shakespeare play almost every night of the year in London. But standing on a floor of leaves and sawdust in a painstakingly re-created version of the galleried Tudor theater for which he wrote is a special thrill. Hampton Court Palace This collection of buildings and gardens so captivated Henry VIII that it became his favorite royal residence. Its Tudor charm, augmented by Wren’s touch, and a picturesque upstream Thames location make it a great day out—not even dour Oliver Cromwell, who moved here in 1653, could resist its charms. Tate Modern More of an event than the average museum visit, Tate Modern, housed inside a striking 1930s power station, is a hip, immensely successful addition to the London gallery landscape. Passing judgment on the latest controversial temporary exhibit inside the giant turbine hall has become almost a civic duty among art loving Londoners. National Gallery Whatever the collective noun is for a set of old masters—a palette? a canvas?—there are enough here to have the most casual art enthusiast cooing with admiration. When you’ve finished, enjoy pedestrianized Trafalgar Square on the doorstep of this collection. London’s Central Parks With London’s green spaces so broken up, it seems churlish to pick out only one. The four central parks are all within walking distance: pick St. James’s Park for fairy-tale views; Green Park for hillocks and wide boulevards; Regent’s Park for its open-air theater and the London Zoo; and Hyde Park for rowing on the Serpentine Lido. .

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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ

MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
Lord Elgin and the Ottomans: the Question of Permission

Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed.
Arcl0017 Greek Art and Architecture Ucl - Institute of Archaeology

ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission. ARCL0017 1. OVERVIEW&SCHEDULE Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art. This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future.
The Parthenon Sculptures Sarah Pepin

BRIEFING PAPER Number 02075, 9 June 2017 By John Woodhouse and Sarah Pepin The Parthenon Sculptures Contents: 1. What are the Parthenon Sculptures? 2. How did the British Museum acquire them? 3. Ongoing controversy 4. Further reading www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 The Parthenon Sculptures Contents Summary 3 1. What are the Parthenon Sculptures? 5 1.1 Early history 5 2. How did the British Museum acquire them? 6 3. Ongoing controversy 7 3.1 Campaign groups in the UK 9 3.2 UK Government position 10 3.3 British Museum position 11 3.4 Greek Government action 14 3.5 UNESCO mediation 14 3.6 Parliamentary interest 15 4. Further reading 20 Contributing Authors: Diana Perks Attribution: Parthenon Sculptures, British Museum by Carole Radatto. Licenced under CC BY-SA 2.0 / image cropped. 3 Commons Library Briefing, 9 June 2017 Summary This paper gives an outline of the more recent history of the Parthenon sculptures, their acquisition by the British Museum and the long-running debate about suggestions they be removed from the British Museum and returned to Athens. The Parthenon sculptures consist of marble, architecture and architectural sculpture from the Parthenon in Athens, acquired by Lord Elgin between 1799 and 1810. Often referred to as both the Elgin Marbles and the Parthenon marbles, “Parthenon sculptures” is the British Museum’s preferred term.1 Lord Elgin’s authority to obtain the sculptures was the subject of a Select Committee inquiry in 1816. It found they were legitimately acquired, and Parliament then voted the funds needed for the British Museum to acquire them later that year.
American Journal of Contemporary Hellenic Issues

AMERICAN JOURNAL OF Volume 11 Spring 2020 CONTEMPORARY HELLENIC ISSUES Unifying the Parthenon Sculptures George Vardas Still it survives Ruin’d but in its ruins beautiful William Haygarth.1 The English Romantic poet John Keats first encountered the Parthenon Sculptures in 1817 and through them saw a vision of a lost Hellenic world. In “awe-struck deference,” Keats proceeded to pen a sonnet, On Seeing the Elgin Marbles, his mind dizzy with swirling ideas and an “indescribable feud” within his soul as he wrestled with the “dim-conceived glories of the brain.” Keats contrasted his own mortality to "each imagined pinnacle and steep/Of godlike hardship", the great artistic achievement of immortal "Grecian grandeur" and a certain "magnitude" projected by the sculptures. In Ode on a Grecian Urn Keats’ sylvan historian could but only inquire, “What men or gods are these?" Commencing in 1801 workers engaged by the British Ambassador to Constantinople, the 7th Earl of Elgin, Thomas Bruce, by a combination of bribery of local Ottoman authorities in Athens and a dubious authorization (“firman”), began stripping more than one hundred sculptures and significant fragments consisting of pedimental figures, metope reliefs, and panels from the frieze from the Parthenon temple atop the Acropolis. Originally intended for his own private collection, Lord Elgin was forced under financial pressure to sell the sculptures to the British government, and in 1816 the Elgin Collection of Parthenon Sculptures became an exhibit at the British Museum in London where
The Parthenon and Its Sculptures

P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 The Parthenon and its Sculptures Edited by Michael B. Cosmopoulos University of Missouri–St. Louis iii P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typefaces Adobe Garamond 11.25/15 pt. and Lithos System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data is available. isbn 0 521 83673 5 hardback iv P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 Contents List of Figures page vii On Abbreviations and Transliteration xiii List of Contributors xv Introduction: The Methodological Framework of Parthenon Studies 1 Michael B.
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)

Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus.
The Case of the Parthenon Sculptures

University of North Florida UNF Digital Commons All Volumes (2001-2008) The sprO ey Journal of Ideas and Inquiry 2007 Looted Art: The aC se of the Parthenon Sculptures Alison Lindsey Moore University of North Florida Follow this and additional works at: http://digitalcommons.unf.edu/ojii_volumes Part of the Arts and Humanities Commons Suggested Citation Moore, Alison Lindsey, "Looted Art: The asC e of the Parthenon Sculptures" (2007). All Volumes (2001-2008). 34. http://digitalcommons.unf.edu/ojii_volumes/34 This Article is brought to you for free and open access by the The sprO ey Journal of Ideas and Inquiry at UNF Digital Commons. It has been accepted for inclusion in All Volumes (2001-2008) by an authorized administrator of UNF Digital Commons. For more information, please contact Digital Projects. © 2007 All Rights Reserved LOOTED ART: Art returning to Italy a number of smuggled artifacts, including the famous THE CASE OF THE PARTHENON calyx-krater by Euphronios. The J. Paul SCULPTURES Getty Museum in California also recently attracted attention as Marion True, the Alison Lindsey Moore museum’s former curator of antiquities, was accused of knowingly purchasing Faculty Sponsor: Dr. Candice Carter, looted artifacts. Rather than focusing on a Associate Professor of Curriculum and recent case, I concentrate on the Instruction (Elementary Education) controversy surrounding the so-called “Elgin Marbles.” This research project was intended Many artifacts which comprise private to contextualize both the historical and and museum collections today were possibly current controversial issues pertaining to stolen from their country of origin and illegally the Parthenon. The first section titled “The smuggled into the country in which they now Architectural and Decorative Elements of reside.
The British Museum: Losing Its Marbles? 18Th June 2016 by Naomi Warin

____________________________________________________________________________________________________ The British Museum: losing its marbles? 18th June 2016 by Naomi Warin The British Museum at sunset The British Museum is Britain’s most visited tourist attraction and certainly its most iconic museum. The Museum’s name indicates a home of national heritage, a collection of Britain’s most valuable and most famous historical items. Certainly, it holds some fantastic examples of British archaeology, including artefacts from the Sutton Hoo burial, the Lewis Chessmen from Scotland and the Lindow Man, a first century bog body found in Cheshire. Yet, despite this invaluable catalogue of British items, the vast majority of the Museum’s collections emanate from overseas. Alongside the Department of Prehistory and Europe, in which the above items are contained, the Museum also houses the departments of Egypt and Sudan, of Greece and Rome, of the Middle East, of Asia and, finally, of Africa, Oceania and the Americas. In fact, the British Museum styles itself as a universal museum, displaying artefacts from across the globe. Its former director, Neil McGregor, describes its mission as being ‘a Museum of and for 2 the World, making the knowledge and culture of the whole of humanity open and available to all.’ It is for this reason that the Museum aims to show such a diverse range of objects from every continent. By doing so, universal museums such as the British Museum and the Louvre in Paris provide valuable opportunities for comparison between civilisations. For example, it is possible to evaluate what people in different areas of the world were creating at any one time, and what similarities and differences there are in design.
BRITISH MUSEUM Information and Plans

BRITISH MUSEUM Information and Plans The British Museum is one of the great museums in the world, showing the works of man from all over the world from prehistoric to comparatively modem times. The displays in the galleries are the responsibility of the following Departments: Egyptian Greek and Roman Western Asiatic Prehistoric and Romano-British Medieval and Later Coins and Medals Oriental Prints and Drawings Ethnography The ethnographical collections are displayed at the Museum of Mankind, Burlington Gardens, London W l. A separate leaflet concerning this Department is available on request. Upper floor (35- 74) Prehistoric and Romano-British 57 Ancient Syria 35 Prehistory and Romain Britain 58 Nimrud Ivories 36 Man before Metals 59 South Arabia 37/39 Later Prehistory of Europe Egyptian 40 Roman Britain 60/61 Mummies Medieval and Later 62 Tomb Paintings and Papyri 41 Early Medieval Art 63 Daily Life in Ancient Egypt 42 Medieval Art 64 Pottery and Small Objects 43 Medieval Tiles and Pottery 65 Small Sculptures 44 Clocks and Watches 66 Coptic Art 45 Waddesdon Bequest 67 Prints and Drawings 46/47 Renaissance and Later Special Exhibitions 48 Modem Gallery Greek and Roman 49 Special Exhibitions 68 Greek and Roman Bronzes and 50 Coins and Medals Terracottas 2000 Years of British Coins 69 Greek and Roman Life Room 70 The Image of Augustus Western Asiatic 71 Sutton Hoo Treasure 51 Ancient Iran 72/73 Greek Vase Rooms 52 Ancient Anatolia 53 Neo-Hittite Landing Oriental 54 Ancient Babylonia—Royal 74 Special Exhibitions Tombs of Ur 55 Western Asiatic
Thinking About the Elgin Marbles Author(S): John Henry Merryman Source: Michigan Law Review, Vol

Thinking about the Elgin Marbles Author(s): John Henry Merryman Source: Michigan Law Review, Vol. 83, No. 8 (Aug., 1985), pp. 1880-1923 Published by: The Michigan Law Review Association Stable URL: http://www.jstor.org/stable/1288954 Accessed: 26/12/2009 11:06 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mlra. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Michigan Law Review Association is collaborating with JSTOR to digitize, preserve and extend access to Michigan Law Review. http://www.jstor.org THINKING ABOUT THE ELGIN MARBLESt John Henry Merryman * In the early nineteenth century, a British Lord removed much of the sculpturefrom the Parthenon and shipped it to England.
The Battle Over Ancient Artifacts

Issue 13 Volume 109 www.weeklyreader.com 0 1 . 1 f 1 o . k e 1 e w 0 ® Inside: Captain Sully’s Story Search Me? Who Owns The PThe Battle Osvert? Ancient Artifacts WORLD NEWS ROUNDUP 0 1 QUOTE OF THE WEEK . SPACE 1 “I almost drowned laughing 1 . QUEST when I saw this the first time.” 1 1 MOJAVE, Calif.—The —Julian Finn, of the Museum Victoria in Melbourne, 0 Australia, on seeing a small octopus scoop up and carry countdown to commercial a coconut shell for use as a shelter. Researchers believe Images spaceflight recently took this is the first evidence of tool use by an invertebrate. AP a giant leap forward. On December 7, Virgin Galactic unveiled Space- 3 ShipTwo, which is slated to become the first com- mercial passenger space- craft. Constructed in 4 secrecy over the past two years, the 60-foot-long 2 high flier is modeled after 1 SpaceShipOne, the space- craft that completed the om world’s first manned pri- vate spaceflights in 2004. om/Newsc Some 300 wannabe THE HORSE space tourists have put WENN.c down deposits on the GATHERERS $200,000 tickets. The 2 CARSON CITY, Nev.—Wild horses roaming the open hefty space fare will buy a plains are enduring symbols of the American West. 2.5-hour trip that includes However, thousands of mustangs may soon be headed five minutes in the to new homes farther east. On December 14, the U.S. weightlessness of space. Bureau of Land Management (BLM) approved the “There are enormous removal of 2,500 wild horses from federal ranges near windows, which no space- Reno, Nev.