PARTHENON (PROPAGANDA)

Revisiting the Parthenon after almost half a century was a bit of a disappointment.  There is a major multiyear reconstruction effort on-going, so that much of the site looks like as though a major industrial building effort is in process.  

While we were lucky to be there at the end of September, after the majority of the tourists for the summer had left, it was still quite crowded.  We could not help contrasting it with the peace and tranquility of the Greek remains in Sicily, at Agrigento and Selinunte (although they obviously lack the fine sculptures of the Parthenon).

Agrigento

Selinunte

Although the cranes and scaffolding detracted from the enjoyment, one has to appreciate the efforts of the Greeks to preserve this major monument of Western Civilization.  Much of the effort is aimed at correcting the well-meaning, but destructive, efforts of past restoration efforts where inappropriate materials were used (e.g. iron fixation elements – without the lead covering used by ancient Greeks to prevent the iron from corroding, expanding and splitting the marble).  They are also making it clear where non-original materials have been used with new material being white.

Over the ages, the Parthenon suffered from the usual vandalism by religious groups – Christians converted it into a basilica and a pilgrimage centre; the Muslims made it into a mosque.  But it was still largely intact with its roof in place until the devastation wrought by the Venetians (ironically now one of the greatest advocates of international preservation efforts - at least as far as Venice is concerned), nor the irreparable harm inflicted by Lord Elgin.

My disappointment with the Parthenon, was, however, more than offset by the magnificent new Acropolis Museum.  This must be one of the finest museums in the world.  It is also a masterpiece of propaganda – but more about that later.

The construction of the new museum was delayed and its design was changed because a significant ancient urban centre was discovered on the site.  Great efforts have gone into preserving these remains.  These can be seen under the approach to the entrance to the Museum and through glass sections of the ground floor.

The top of the Museum itself carefully mirrors the Acropolis and particularly the Parthenon itself. 

The Acropolis and the Acropolis Museum (top right)

The Parthenon is reflected in windows of the top floor of the Acropolis Museum

Sculptures from the way up to the Acropolis displayed on the ramp up to the main museum floors.  There is an immense amount of sculpture to see and it is presented thoughtfully. 

Currently there is an exhibition of the Archaic Colours – showing how the sculptures that we see as smooth white or beige marble were originally very colorful (maybe even a bit garish to our tastes).

Pride of place, of course, goes to the Parthenon itself and the Caryatids of the Erechtheion and here is where the understated but important propaganda begins. 

Five of the original Caryatids in the Acropolis Museum... with space left for....

...the one in the British Museum.

On the top floor in the part of the building that is exactly parallel to the Parthenon one finds the sculptures from the Parthenon Frieze and the Metopes as well as the East and West pediments.

As over half of the surviving sculptures are in the British Museum...

...and the Acropolis Museum has had to use casts of the stolen originals to put them in their far better setting....

...with the difference in color showing those that are original.

 The statues of part of the pediment in the British Museum....

...... and in the Acropolis Museum with a view of the Parthenon through the windows..

Without any single reference to the desire of the Greek people (and of most of the British people) to see the Elgin Marbles returned to take their place of honor in the Acropolis Museum, the point is very clearly made.