I had my first doctor's appointment this week. It was nothing serious, just a routine checkup. Visiting the doctor here in Ecuador is much different than visiting a doctor at the Kaiser hospital I used to go to in Sacramento. At Kaiser patients are pushed in and out of the examination room as fast as possible. An assistant would ask me all the preliminary questions, take my blood pressure, and enter all the data into a computer. I would usually get about 5 minutes to actually talk to the doctor. They would answer my questions, but there was always a sense of urgency, like they were half way to their next patient.

The doctor I saw here works at one of the "best" clinics in Loja, and is also Lucho's best friend's brother-in-law. Since he is a friend he greeted me with a kiss on the cheek (a very common greeting here in Ecuador). I'm sure that was the first time I've every kissed my doctor on the cheek! Then he ushered me in to his office which was a combination office/examination room. He conducted the entire examination himself, took his time, and asked me lots of questions. I didn't feel rushed at all. I guess it used to be like this in the States in "old days", before skyrocketing health care costs made everyone become more "efficient". The best part of the doctor's appointment was making the payment. The cost of the visit - $25.00.. can't beat that!

Clouds over London

Clouds by Tomas Saraceno

VIA «Olympic clouds»

Every city throughout the United States has been impacted by the recent economic recession. The combined forces of the credit crisis and the foreclosure crisis led to plummeting home prices in every region of the country. The ripples were felt from San Francisco condos to homes for sale. However, some metropolitan areas were able to avoid the worst of the turmoil and are now emerging from the mess faster than the rest of the country.

The recovery is swiftest in those areas that didn’t have as much of a housing price run up to begin with, either because the economy in those areas has stayed healthy or the economy has been limited for decades and residents have adapted or left. The top recovering areas also had lower rates of sub-prime and negative amortization loans financed in the years leading up to and during the crash.

In December of 2009, Forbes Magazine released a list of the number of loans that were foreclosed upon in the 100 largest metropolitan areas in the United States. Forbes then calculated the percentage of loans that were descending into further delinquency versus those that were improving.

For example, the number of foreclosed homes in Austin was examined to see which loans continued towards the path of complete default versus those which inched their way back towards normalcy. The lower the rate of deterioration was for a given area, the higher their corresponding ranking with regard to recovery.

1. Harrisburg-Carlisle, Pa.
2. Austin-Round Rock, Texas
3. Ogden-Clearfield, Utah
4. Buffalo, NY
5. Knoxville, Tennessee

Source: Forbes, Francesca Levy (12/09/2009)

The Pennsylvania region of Harrisburg, and the Austin area of Texas were rated the best, followed by Ogden, Utah and Buffalo, NY. The homes seem to be recovering quite well as that region came in fifth in the study.

VIA «Top 5 Recovering Real Estate Markets in the U.S.»

Innovative embodiment

The Western technologies and East culture

VIA «Public health services high technologies»

Real brilliant

VIA «Symbol of illusory love»

The Unique Cultural Center

In Ávila (Spain) are opening a new cultural center Centro Niemeyer constructed under the project of well-known Brazilian architect Oscar Niemeyer.

Oscar Niemeyer Presents...

The spiral staircase begins outside, at ground level, then deduces in premises and further into the attic hall. The unique design is only a part of the future complex, the project is in expectation of the gradual grandiose realization.

Organizers hope that the unusual object will represent itself as a magnet for the best samples of world culture, planning development of talents, knowledge and various niches of creative activity.

Except art showrooms and speech auditorium, in Centro Niemeyer are provided: the cinema hall, rehearsal rooms, conference halls and public zones. The author's plan — the centre opens doors into culture in all its directions, forms, traditions and styles: music, theater, cinema, exhibitions in the open air, live conferences and various educational programs.

VIA «Unique Cultural Center [Ávila, Spain]»

Mailboxes today

VIA «Modern mailboxes for your correspondence»

The Berg Growth

Category: Best Integrated Campaign Led by PR;
Advertiser: MILA/JAKOB TIGGES;
Product/Service: CORPORATE COMMUNICATION.

You desire most what you can’t have. Berliners have it all: world class museums, night clubs, parks, lakes, the sea at a two hour drive - the only thing impossible for flat Berlin remains a veritable mountain; which doesn’t mean we can’t have one… when Berlin’s senate called for ideas in an architectural competition for Berlin’s famous Tempelhof airport we seized the opportunity.

At the time Tempelhof enjoyed unprecedented public attention due to the public row over its future use that had even led to a plebiscite. Our proposal to just imagine and pretend the most beautiful of all mountains on the site of the “mother of all airports” instead of adding another mediocre housing project might be rejected by grey administrators, but would fascinate many people as much as it fascinated us. We speculated on The Berg’s potential to emancipate from the competition to become a topic in its own right.

VIA «The Berg»

Live Growing Jewelry

VIA «Bouquet on a finger»

The magnificent formula

VIA «Shampoo-conditioner for care UGG»

Smooth operator: Shane Warne as he was in 2005 and how he now looks six years on
The cricketer, who has built up a reputation as a stereotypical macho Australian 'bloke', appeared to be wearing make up to boost his looks.
He had his eyebrows shaped into a definite arch, perhaps styled by his own girlfriend, together with a goofy smoothed over hairstyle.
Also noteworthy was his distinctly smoother looking face, particularly the area around his eyes with the disappearance of his crow's feet.
You old smoothie: Shane Warne's altered appearance has led to speculation from some observers
Posed up: The couple, who have been dating since last December, looked smart in their outfits
In recent weeks observers have noted that the cricketer's formerly weathered, rough and ready appearance has altered somewhat thanks primarily to his weight loss, though he has rubbished any suggestion of surgery.
Last week, cosmetic surgeon Dr Shahab Mahdi told the Daily Star: "The difference in Shane's appearance is dramatic. In my opinon it looks as though he has had a facelift.'
His army of followers are not convinced either, accusing Shane of having a little help in the anti-ageing department.
The morning after! Shane Warne didn't look like he was recovering from a hangover today while strolling around London
Making a statement: Elizabeth opted for an animal-print gown which featured a long trailing train
One fan took to Twitter, saying: 'He looks like a waxwork, all plucked and sculptured.'
Another blogger from the social networking site wrote: 'How much surgery has shane warne had? Lol, the male version of jordan!'
However the 41-year-old bowler defended himself, retaliating with: 'Questions re faclift/ Botox etc are absolute rubbish.'

Home and dry: Liz Hurley wears Shane Warne's dinner jacket as they arrive back at her Chelsea home
New look: The cricketer has shed his rough and ready image for a more dapper, smooth look
The sportsman is believed to have lost around 22lbs over the last few months, largely due to his girlfriend's influence.
In fact, Shane has now completely changed the way he thinks about food, as he showed on his Twitter page when he asked his followers for advice on what to eat.
He tweeted: 'Feel like a hot pie with copious amounts of sauce with crinkle cut chips!! What the best pie?'
Stunning: Princess Beatrice and Princess Eugenie attended the event with their mother Sarah Ferguson
Hosts for the night: Sir Elton and partner David Furnish pose for photographers inside the party
But Shane then added just minutes later: 'NO Shane!! 78kg is target currently 82.5. Settle on a protein shake with an apple and banana - sob.'
In the fashion stakes Elizabeth stuck to her usual formula in a floor-sweeping animal-print gown.
She admitted to her Twitter followers earlier in the day that she had been struggling to decide what to wear.
She wrote: 'Off to Elton & David's White Tie & Tiara Aids fundraiser. Can't decide which dress......'
Meanwhile, Shane looked sharp in a black tuxedo which highlighted his recent weight loss.
Elizabeth and Shane looked happier than ever as they attended the ball, keeping their arms around each other and smiling for photographers.
And, in a recent interview, Shane said he was looking forward to spending more time with his gorgeous girlfriend.
Smile, Boris! Becker and wife Sharlely 'Lilly' Kerssenberg arrive at Sir Elton's Windsor home for the annual event
He said: 'She's a lovely lady. We get on really well and I'm spending a lot of time in England this summer, working for Sky.
'We'll wait and see what happens between Liz and I - but at the moment things are great.'
Earlier in the day, Shane was photographed arriving at Elizabeth's London home with a huge grin on his face and carrying a bag of golf clubs.
Elizabeth, 46, announced in December that she had split from husband Arun Nayar, after pictures emerged of her kissing cricketer Shane Warne in a hotel in London.
Following the pictures' publication, both Hurley and Warne hastily issued statements revealing that their respective marriages had been over for some time.
Since then, the new couple have been making headlines for their on/off romance, rendezvous in Australia and India and tabloid rumours of his alleged infidelity.
Elizabeth married Indian textile heir Nayar at Sudely Castle, near Winchcombe, Gloucestershire, in March 2007 - and had a traditional Hindu wedding at Umaid Bhawan Palace in Jodhpur, India.

New love? Glee star Matthew Morrison arrived hand-in-hand with a mystery woman
The ceremonies were attended by numerous celebrities, including Sir Elton John, who gave the bride away.
Announcing her separation from Arun, Liz tweeted: 'Not a great day. For the record, my husband Arun & I separated a few months ago. Our close family & friends were aware of this.'
She added: 'Painful, sad days. Arun & I separated for private reasons but FTR he has been a great father to our son Damian & will always be in his life.'
Date night: Noel Edmonds and wife Liz Davies arrive at the estate
Brunettes have more fun: Alexa Chung and Nancy Del'Ollio were among the invited guests
Dressed in black: The Girl With The Dragon Tattoo star Noomi Rapace arrives
Hours later, Shane, 41, took to his own blog to confirm that his tumultuous marriage to wife Simone was also over.
In a statement he said: 'Sadly and unfortunately, Simone and I split up a while ago, our close friends and family were informed at that time.
'It is a private matter so we did not make it public. We remain friends and will continue to be good parents.'
A notorious philanderer, Shane split from Simone, the mother of his children Brooke, 13, Jackson, 11 and Summer, 8, after a string of affairs, including a notorious sex text scandal in 2000 which saw him stripped of his Australian vice-captaincy.
Casual wear: Earlier in the day Elizabeth was seen out shopping while Shane later popped around to her house carrying his bag of golf clubs
Let me in! Shane rings the doorbell as he waits for Elizabeth to buzz him in
source: dailymail

VIA New face, new man: Shane Warne plays smooth-faced English gent as he accompanies Elizabeth Hurley to Elton John's White Tie and Tiara Ball

Indeed, with his black hair, curled form, and bared teeth, the ancient canine has stood ready for almost 2,000 years to discourage intruders from setting foot in the Domus of the Tragic Poet, supported by the famous inscription 'Cave Canem' or 'Beware of the Dog'.

Now, this universal symbol of the city that was preserved under the ash of Mt. Vesuvius in 79 AD has been restored and returned to the public eye in the archaeological remains of Pompeii.

Years of rain, mud, dirt and neglect were gradually cleaned away to bring him back to public viewing just in time for the dog days at the end of July.

The work on the mosaic canine is just one in a series of measures aimed at restoring and protecting Pompeii, a UNESCO World Heritage Site, for future generations, said Culture Minister Dario Franceschini.

In a post on his Twitter feed, he wrote: "Offered to the public the splendid new staging of Cave Canem". "(At) #Pompei, every day a proud step forward," wrote the minister.

The canine mosaic is now protected beneath a transparent cover designed to allow full public viewing of the mosaic mutt, with his great sense of movement as well as the realism and attention to detail that has made it one of the world's best known of the Pompeian masterpieces. Other restored works as well as extended tourist routes through the archaeological site should also be offered soon, officials suggested.

Work has been continuing at Pompeii, which for decades was neglected and even plundered due to slack security and poor protection.

At some points, the United Nations even threatened to withdraw its UNESCO World Heritage Site designation unless adequate money was invested to restore and protect Pompeii.

But, slowly things seem to be turning around.

In March Pompeii's largest house - Villa dei Misteri, famous for its frescoes of the cult of Bacchus - reopened after a two-year restoration and a three-month closure for work on its paving.

"We have behind us a year of extraordinary work," Franceschini said at that time.

"We have closed three work sites while another 13 have been opened, nine contracts have been started and we have hired 85 people". Almost precisely one year earlier, Franceschini pledged the Italian government would catch up on delays in restoring the Pompeii archaeological site and treat completing the ambitious 105-million-euro Great Pompeii Project as a "national challenge".

"The challenge of Pompeii is a challenge for the nation," Franceschini said, reiterating the importance of the Great Pompeii Project, aimed at safeguarding the unique site.

The European Commission, involved in funding the project, has insisted that the restoration work must be completed by the end of 2015.

There is some urgency.

In April 2014, heavy rains led to several reports of collapsed walls at the Pompeii site, soon after UNESCO warnings that the miraculously preserved ancient city could "completely fall apart" and lose its world heritage status unless urgent action was taken.

Source: ANSA [July 21, 2015]

“The reconstruction of the mausoleums in Timbuktu is a fine example of the successful implementation of the decisions of the World Heritage Committee. Since the site was inscribed on the List of World Heritage in Danger in 2012, the World Heritage Committee has been working on this case,” said Maria Böhmer, Chair of the World Heritage Committee at the event. “We are deeply impressed by what has been achieved regarding the safeguarding of this incomparable World Heritage property. At a time when heritage is coming under attack by armed groups, the reconstruction of the mausoleums of Timbuktu gives us grounds for optimism.”

“Timbuktu is the symbol of a country that is recovering and regaining its self-confidence. It is the best answer we can give to violent extremists and a remarkable success story for the international community,” declared UNESCO Assistant Director-General for Culture Alfredo Pérez de Armiñán.

The Association for the Protection of Syrian Archaeology said the museum "suffered serious damage caused by two explosive-packed barrels dropped Monday by Syrian army helicopters."

The non-governmental organization published pictures of the museum, located in an ancient Ottoman caravanserai, showing entire walls once covered with mosaics collapsed into rubble.

It said that several mosaic panels had been damaged in the eastern portico of the museum, including at least two that were knocked off their display by the force of the blast.

Other pieces were damaged by shrapnel and the pictures published by APSA on its website showed large holes gouged into an oval mosaic with a zig-zag pattern.

The museum building and surrounding complex, including a historic mosque, were also badly damaged, according to the APSA, with pictures showing several pillars destroyed and sections of roof that had caved in.

Reached by phone in Damascus Saturday, the head of Syria's antiquities, Maamoun Abdulkarim, acknowledged the damage at the museum, but declined to say who was responsible.

This is "a new tragedy for Syrian heritage," said Abdulkarim and called for the country's museums to be "neutral zones" in the war.

"No one, from any side, should harm that which forms our country's history," he said.

The United Nations last year warned that nearly 300 sites of incalculable value for Syria and human history have been destroyed, damaged or looted in the country's conflict.

The warning, based on satellite imagery, followed repeated statements of concern from archaeologists and other experts about the damage being done to Syria's historic sites and the rise in looting of antiquities.

More than 230,000 people have been killed in Syria since the conflict began in March 2011 with anti-government demonstrations before spiraling into a war after a regime crackdown.

Source: AFP [June 20, 2015]

The two Buddhas of Bamiyan were constructed in the sixth century, at a time when the area was a site of pilgrimage and learning for Buddhists. Both Buddhas were carved out of sandstone cliffs and stood at well over 100 feet, and at one point painted and gilded. They managed to withstand the introduction of Islam to the region and the armies of Genghis Khan, but were unable to survive past the first year of the 21st century. The Taliban destroyed the Buddhas in March 2001.

“These idols have been gods of the infidels,” declared Taliban leader Mullah Muhammad Omar, in marking the statues for destruction. “First they fired at the Buddhas with tanks and artillery shells,” recalled one Afghan who participated in the attack. “But when that was ineffective, they planted explosives to try to destroy them.” When the Buddhas finally crumbled, Taliban fighters “were firing weapons into the air, they were dancing and they brought nine cows to slaughter as a sacrifice.” The monuments had endured for centuries, only to disappear in a matter of weeks.

Palmyra, a UNESCO World Heritage site, is one of the most important archaeological sites in the Near East, and one of the best preserved city-states in the world.

"In the face of current tragic upheavals in Iraq and Syria, every stone, arch and carved relief plays a greater historical and cultural role than it has in the past," said Julian Raby, the Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and Freer Gallery of Art. "Like the relief of Haliphat, each stone can remind a people of its past, and fashion identity both individually and collectively."

Once lush, wealthy and cosmopolitan, Palmyra ("the city of palms") was an oasis in the desert at the hub of trade between the Mediterranean, Mesopotamia, ancient Iran and Southeast Asia. Two millennia ago, its inhabitants constructed monumental colonnades, temples, a theater and elaborate tomb complexes, a significant amount of which survives today.

Dating from 231 AD, the limestone funerary relief sculpture depicts an elegant, bejeweled figure with both Roman and Aramaic artistic influences, reinforcing Palmyra's status between the Eastern and Western worlds.

The accompanying photographs were taken 1867-1876 by prolific photographer Fèlix Bonfils and provide the most complete visual record of Palmyra from the 19th century.

The engraving images are from Robert Woods' 1753 The Ruins of Palmyra, a publication that inspired the popular neoclassical architecture style in Britain and North America. Its image of an "Eagle Decorating an Ancient Roman Temple" was the model for the image on the seal of the United States, and its depictions of Palmyra's coffered ceilings shaped the ceiling of the north entrance of the Freer Gallery of Art.

The display will be on view indefinitely.

Source: Smithsonian's Freer Gallery of Art and Arthur M. Sackler Gallery [June 09, 2015]

When TOI visited the four villages — Rasoolpur, Patsal, Madanpura and Bandroli — where this ancient art is located, it found that almost 70% of the paintings had been destroyed, and only the efforts of a few persevering villagers had enabled the remaining specimens to somehow escape destruction. Dal Chand Dhuliya, an elderly resident of Madanpura, spoke for many villagers when he said, "We know that once these paintings are destroyed, they can't be recovered. We keep an eye on them at present, but for how long will they survive, and how long can we keep protecting them?"

The Archaeological Survey of India (ASI) amazingly has not done much to protect these paintings. When probed on why the agency has not initiated any action on preserving this heritage, ASI superintending archaeologist Bhuvan Vikrama said, "We will try and save the remaining works of art and are working on a proposal. It will be sent to the headquarters for approval."

Over 70% of the cave paintings have disappeared due to illegal mining.

The remaining paintings, some still shining out in colours of maroon and ochre, show ancient men domesticating cattle as well as engaged in hunting. Some of them depict animals like elephant and bull. The best specimens, though, are at Patsal where there are two sites locally known as Sita ki Rasoi and Nai ki Gufa. Sita ki Rasoi is a natural cave situated at a height of 150 feet where ancient men probably lived. Inside it, there is a depiction of a character that looks like a bison. At Nai ki Gufa, deer and sambar can be seen in the paintings.

M K Pundhir, medieval archaeologist from the Centre of Advance Studies in History, Aligarh Muslim University, testifies to the antiquity of this art. "The paintings are definitely from the Mesolithic period as they depict animals of four legs with smaller size and linear decoration which is how they were portrayed at that time."

Meanwhile, an ASI official said that the caves were first discovered in 1967 in Rasoolpur at one site and later at adjoining places around 1976. When queried as to why they were not preserved by the archaeological body then, the official response was that it should have been done, but the agency's focus was more on the monuments of the area.

Author: Aditya Dev | Source: Times of India [June 08, 2015]

Palmyra is the last place anyone would expect to find a forest of stone columns and arches. Travellers in the 17th and 18th centuries were repeatedly astonished by what they saw: a vast field of ruins in the middle of the Syrian desert, roughly half-way between the Mediterranean coast and the valley of the River Euphrates.

For anyone visiting, however, the key reason for the site's prosperity is immediately apparent: ancient Palmyra sits at the edge of an oasis of date palms and gardens.

It was as a watering place on a trade route from the east that Palmyra's story begins, and the very name Palmyra refers to the date palms that still dominate the area (the origin of its Semitic name, Tadmor, is less certain; a derivation from tamar - date palm - is favoured).

Palmyrene power

For such a remote city Palmyra occupies a prominent place in Middle Eastern history. From modest beginnings in the 1st Century BC, Palmyra gradually rose to prominence under the aegis of Rome until, during the 3rd Century AD, the city's rulers challenged Roman power and created an empire of their own that stretched from Turkey to Egypt.

The story of its Queen Zenobia, who fought against the Roman Emperor Aurelian, is well known; but it is less well-known that Palmyra also fought another empire: that of the Sasanian Persians.

In the middle of the third century, when the Sasanians invaded the Roman Empire and captured the Emperor Valerian, it was the Palmyrenes who defeated them and drove them back across the Euphrates.

For several decades Rome had to rely on Palmyrene power to prop up its declining influence in the east.

Unique attributes

Palmyra was a great Middle Eastern achievement, and was unlike any other city of the Roman Empire.

It was quite unique, culturally and artistically. In other cities the landed elites normally controlled affairs, whereas in Palmyra a merchant class dominated the political life, and the Palmyrenes specialised in protecting merchant caravans crossing the desert.

Like Venice, the city formed the hub of a vast trade network, only with the desert as its sea and camels as its ships.

Even so, archaeology has revealed that they were no strangers to the sea itself.

Palmyrenes travelled down the Euphrates to the Gulf to engage in seaborne trade with India, and even maintained a presence in the Red Sea ports of Egypt.

The wealth they derived from the eastern trade in exotic goods they invested in imposing architectural projects in their home city.

The well-preserved remains of edifices such as the great sanctuary of the Palmyrene Gods (generally known as the Temple of Bel), a grand colonnaded street and a theatre stand to this day.

Historical threat

What has been excavated has revealed a vibrant Middle Eastern culture with its own distinct sense of identity.

The Palmyrenes were proud to adorn their buildings with monumental writing in their own Semitic script and language rather than relying exclusively on Greek or Latin (which was the norm elsewhere).

Palmyra developed its own artistic style, and its own take on Classical architecture. Decorative patterns on its buildings and its inhabitants' styles of dress speak of widespread connections with east and west.

Chinese silks have been found adorning mummies in Palmyrene tombs. Theirs was a cosmopolitan culture with an international outlook.

Yet we still know comparatively little.

Only small parts of the site have been excavated. Most of the archaeology lies just beneath the surface rather than deeply buried, and it is particularly vulnerable to looting.

Like other sites in Syria Palmyra has undoubtedly been plundered during the present conflict. But given the track record of ISIS in Iraq there are reasons to fear systematic looting and destruction should Palmyra fall into their hands.

If that happens, a major chapter in Middle Eastern history and culture will be yet another casualty of this tragic conflict.

Author: Prof Kevin Butcher | Source: BBC News Website [May 15, 2015]

Dear All,

The recent snub by the British government to UNESCO's offer to mediate in the issue of the Parthenon Sculptures dispute and the arrogant wording directed at the Greek government's often repeated offer to negotiate the matter by discussion confirmed our position that Britain never had the intention to enter into good faith discussions. As we had said in recent fora,  the only road we saw to possible success was one of legal action, with a direct and dynamic confrontation with Whitehall.

The recent response by Britain dissolved any illusions we had regarding the powers in the UK to be brought to do the right thing,  and to right a historical wrong.  We too had hoped that Britain would succumb to worldwide public opinion to correct an outrage,  the stripping and vandalising of the Parthenon of 60% of its famous millenia-old  Sculptures ,  a crime committed when Greeks were under occupation and unable to defend their archaeological heritage and national symbols of identity.

The latest declaration by the new minister of culture in the UK continues with the hard line of his predeccesors, namely that "The marbles were legally acquired according to the laws of the time. " So Mr Minister were 3 million African slaves, captured,  transported and sold,  "according to the laws of the time." Opium too was purchased and sold, in tons "according to the laws of the time". Those who did not agree to buy your opium had two wars declared on them,  and so China paid with the loss of Hong Kong and a treaty to buy your Indian grown opium.  This, Mr Minister, is NOT that time.  We are disputing your CURRENT possession of symbols of our heritage, removed from Athens and held by you in a totally government financed and controlled museum institution (all the board is appointed directly, or indirectly by the UK government or by the Queen).

This,  though,  is not the issue.

One more British government acting like  an infant  petulantly hugging another child's toy,  saying "It is mine, mine!"  is understandable,  because there is no home-made item that can compare in beauty,  artisanry,  historic or other value to those created  by a superior ancient civilisation.  We may understand the feeling,  and commiserate,  but that does not justify the possession of the looted Greek scultures taken from the Parthenon.  There is no justification for it.  We sympathise with the situation the British Museum is in,  but our sympathy doesn't extend to giving up iconic and defitive items of our heritage,  nor did our illustrious and talented predecessors in Ancient Athens build the Parthenon to have its facade torn off and damaged  by a British ambassador to decorate his Scottish residence. The Parthenon was built by Pericles and the Greek city states to commemorate the victory of Greek civilisation against the very type of barbarity  and lack of respect that Elgin indulged in 2300 years later.

The British position is well known and is in keeping with how official Britain has acted in the last few centuries.  To win in a contest the basic rule MUST be to understand your opponent and create your game strategy around this knowledge.

Anyone who has studied British history and politics will know that Britain NEVER,  but NEVER,  gives anything back unless forced to do so.  India, Cyprus,  as well as dozens of colonies of the Empire,  and other possessions acquired without the consent of the people, often with great bloodshed caused by British troops were only given back by Britain after a bitterly contested conflict,  on the field of battle,  in courts,  or with a series of extended non-violent political actions by those who had lost their heritage,  freedoms,  or historical archaeological treasures.  Britain today in its museums and in the Tower of London still holds numerous purloined and pillaged items as well as those taken by reason of  military superiority from a vanquished foe defending himself on his own soil.  The Kohinoor Diamond in the so called Crown Jewels  taken from a defeated 15 year old prince in India, is but one example. Manifest Destiny demanded it.  We oppose this way of thinking.

This lengthy introduction,  and I will apologise,  was to emphasise my conviction that dialogue for the return of the Parthenon Marbles, after so many valiant and polite efforts by Greece,  and its overseas friends in all walks of life,  is not a viable option,  and only  incurable romantics or people without an understanding of the official British character and its limitations can insist that this dead end is the road to the Restitution in Athens.

The problem is not the obduracy and intransigence of British officialdom.  It is a given, and we have to act  with that in mind.  It is with the very knowledge of the historic failure of Greek diplomacy,  both cultural and political,  and that of our own self-financed voluntary Parthenon organisations, to bring about the return, that it was encouraging when the Greek government,  that for 40 years has not asked Britain officially for the Sculptures return,  not long ago decided to involve an experienced and prestigious British legal firm Doughty Street Chambers led by George Robertson QC,  to represent our interests and to write a report regarding  what options were open for Greece to act.

Overall public awareness of the issue and additional sympathy for the Greek case was given very welcome boosts,  human nature being what it is,  by declarations of public support by celebrities such as George Clooney,  Matt Damon and others,  while a visit to Greece by Mrs Clooney with her senior colleagues at the UK law office created a media frenzy and a heightening of public interest in the Parthenon issue.  The Doughty Chambers law group produced a 140 page confidential report for the Greek government describing,  as leaked to the press,  5 options.  The one considered to have the highest chance of success was,  and this is no surprise to us,  for Greece to go immediately to the  European Court of Human Rights where,  according to the report,  there was  the greatest chance of a Greek legal victory.  The lawyers were specific: it is  now or never,  if the opportunity is  not to be lost with issues such as statutes of limitations in the near future killing Greek chances of recovery of the items through international court decisions.

In Greece,  as we all know there is a new government,  and the report was delivered to them.  With the understanding of the British penchant for intransigence,  fortified by the recent snub to UNESCO, and the history of failed attempts,  the new minister had a detailed road map in his hands,  to move forward,  with of course the support of millions around the world and at home.  Expecting his decision to do this,  using the British law firm and their international expertise and experience in cross border cultural issues we were stunned to hear the announcement of Under Minister Mr Nickos Xidakis,  a former journalist,  who announced,  in more words than these,  that " We will not go against Britain in court... This is a matter to be settled politically and diplomatically...this issue will be settled, bit by bit over, time..."

Looking at what the minister said let us examine the  viability of his declared course of action over that which the British lawyers and we ourselves at IPSACI believe,  and we all want the same thing ,  the return of the Parthenon Sculptures.

A) Mr Xidakis rejects the expert opinion of the British legal experts.  Claiming we may lose in court.  But for 200 years we have lost! We can only win,  or if we lose here, we can initiate a new legal action in another court.

B) Mr Xidakis says the issue can be won diplomatically.  The question is,  after 200 years of failed  diplomatic initiatives, is the government of Mr Xidakis in such a powerful international position to impose a solution using diplomacy? Does he know of Greek diplomats who can force Mr Cameron to sign a new law allowing/directing the Return of the Parthenon Sculptures?

C) Mr Xidakis told the press that the issue should be dealt with "politically" .  This is indeed one way countries settle disputes.  The assumption by lay persons like myself,  on hearing the Minister,  is that Greece at this moment has the political clout to bring the British Museum to its knees and to force Mr Cameron to sign the document of repatriation of the Sculptures to Athens. With all our goodwill towards Mr Xidakis, where does he draw this feeling of current Greek political power and superiority over Britain from?

D) Finally the minister says that this issue is being slowly resolved, "little by little".

But it has already been 200 years from the stripping of the friezes and metopes and Britain has not moved one centimetre in the direction Greece demands!

If the minister does not tell us why he feels his/our  government has the diplomatic and political power to solve the issue,  I very much fear that his position looks like a hot potato shifting of the issue to a future government because of  reluctance to take the bull by the horns,  as recommended by the UK lawyers, and get into court with his British counterpart.(Apologies for the mixed metaphors!)

I have a great fear that we are about to lose the Parthenon Sculptures for ever, and that the work of all our organisations, ministries,  diplomatic missions,  our volunteer supporters, and decades of dedicated work by people such as yourselves around the world, and in Greek and international  organisations are about to be lost down the drain.

I therefore beg those who believe that we must recommend to Minister Xidakis and his staff to listen to the recommendations of people and experts who know the issues well,  and understand the mindset of those walking the halls of Russell Square and Westmister,  to express their concern to the authorities in Greece.

Thank you for your patience in reading this long analysis of where I believe  we are today,  in view of the recent, and disturbing developments.

Best to all,
Alexis Mantheakis
Chairman of the International Parthenon Sculptures Action Committee Inc.
Athens office.
www.ipsaci.com
+(30)22990 47566

The surprise announcement came only 48 hours after Amal Clooney and the team at London’s Doughty Street Chambers sent the Greek government a 150-page report admitting that there was only a 15% chance of their success in a British court, and that Greece should consider pursuing the claim at the International Court of Justice. However, quite understandably, the Greek government has decided that what Clooney is really saying is that they have no case.

The Syriza government is keenly aware that British courts are recognized the world over for their experience in resolving international disputes, including those involving British interests and institutions. So, quite reasonably, the new Greek government has concluded that an international court will probably not reach a different conclusion. Nikos Xydakis, culture minister, has therefore announced that Greece will drop its legal claim and pursue “diplomatic and political” avenues instead.

This is unsurprising, as — contrary to the widespread misconception — there was nothing illegal about the way in which Lord Elgin saved the Parthenon Sculptures from acute ongoing destruction. The mauling had started when the Greek church smashed up a large number of the ancient temple’s carvings in the fifth century. The Venetians then blew up chunks of the building in 1687. And in the 1800s, when Lord Elgin arrived in Athens, the occupying Ottomans were grinding the sculptures up for limestone and using them for artillery target practice.

Elgin had intended to commission casts and paintings of the sculptures, but when he saw firsthand the ongoing damage (about 40% of the original sculptures had been pulverised), he acquired an export permit from the Ottoman authorities in Athens, and brought as many as he could back to safety in Britain. It was a personal disaster which bankrupted him, but it has meant that, since 1816, the British Museum has been able to share with its visitors some of the best-preserved Parthenon Sculptures in the world.

What is usually missing in the emotion of the Elgin Marbles debate is that the British Museum is a universal museum, which tells the story of humanity’s cultural achievements from the dawn of time. In this, the work of the Ancient Greek department is world leading, and part of a network of museum classicists — including those from the New Acropolis Museum in Athens — who work together collaboratively, sharing their knowledge and passion for the classical world with the widest possible public.

Coincidentally, the British Museum (the nation’s largest tourist attraction) is currently hosting a once-in-a-lifetime exhibition of Greek sculpture, drawing on its own collection and generous loans from other museums all over the world to showcase the evolution of ancient Greek ideas about beauty and the human body. In this breathtaking visual story of the march of classical ideas about aesthetics, the Parthenon Sculptures take their place, contributing eloquently to the state of sculpture in the golden age of Athenian carving under Pheidias.

The overarching misconception we need to get over is that museum objects belong uniquely to the country in which they were created. If that was so, the world should empty out its leading museums of the foreign artefacts they have purchased or been donated. Athens would be no exception in this, and would be required to return their extensive collections of Egyptian, Chinese, Islamic, and South American art.

Of course, it is an absurd idea. The world is manifestly enhanced by museums and their depth of specialised knowledge. They are, above all, educational places that enrich us all. The fact that half the surviving sculptures from the Parthenon can be seen in Athens, with the remaining half split between London, Berlin, Munich, Würzburg, Copenhagen, the Vatican, and — thanks to the British Museum — the Hermitage in St Petersburg earlier this year, ensures that the widest possible audience is able to experience for themselves the unique and bewitching ability of fifth-century Athenians to convert rough stone into warm, living flesh.

Another page has turned definitively in the story of the Parthenon Sculptures. The idea that Lord Elgin or Parliament did something illegal has finally been dropped, and not before time. Now the debate can proceed in a less antagonistic manner, and everyone can acknowledge that it is a question of politics, not looted artefacts.

As the world has recently discovered from the tragic destruction of Assyrian art at Nimrud, Mosul, and elsewhere in the Middle East, the planet’s heritage does not last unless someone looks after it. And so far, in the case of the Parthenon Sculptures (and indeed its holdings of Assyrian sculpture), the British Museum continues to do the world an enormous service

Author: Dominic Selwood | Source: The Telegraph [May 14, 2015]