The Acropolis: Greece’s most famous monument weathers the crisis

by Sean McLachlan on


Visiting Greece and not visiting the Acropolis is unthinkable. Set atop a high rock overlooking Athens, the temples here were built primarily to honor the city’s patron goddess Athena in all her attributes. The buildings here are some of the best examples of Greek architecture and have had a profound effect on the architecture of all the Western world. While I have a preference for medieval sites like Acrocorinth, and I’ve visited the Acropolis before, I couldn’t help but go back.

The last time I was there was 1994, and a lot has changed. There has been a great deal of restoration and the world-class Acropolis Museum has opened up.

Here’s one attraction that the Greek government needs to preserve as it passes through its worst economic crisis since World War Two. People still flock here and it’s a major reason why Greece is an important tourist destination. Tourism accounts for 18 percent of the Greek GDP and tourist numbers went up last year. Several sources told me there were two reasons for this: budget-conscious Europeans are traveling closer to home and people are staying away from North African favorites like Tunisia and Egypt.

Even though sites like the Acropolis generate billions of euros a year in revenue, the Ministry of Culture survives on just 0.7 percent of the national budget, and that budget is shrinking faster than the supply of Greek olives I brought back from this trip. In the past year the ministry has seen its budget slashed by almost a third, with warnings of more cuts to come. Museums are already feeling the pinch and now ministers, archaeologists, and site directors are scrambling to find ways to maintain their their heritage. There are even plans to lease the Acropolis for film backdrops and photo shoots to help raise funds.

%Gallery-146241%This last bit is actually nothing new. Archaeological sites have always been available for rent, but costs were enormous and most projects were rejected out of hand. Now the Acropolis will go for the bargain-basement price of $1,300 a day for a photography session and about $2,000 a day for filming.

Despite Greece’s financial woes, restoration and conservation are continuing. Funds are still coming through from the government and from the European Union. The most visible is the restoration of the pronaos (front inner porch) of the Parthenon shown here in this image by flickr user dorena-wm, who obviously had better luck with the weather than I did. This image was taken last year and now there is considerably more scaffolding obscuring the front. The photo I took last Sunday is in the gallery.

At the Erechtheion, where Poseidon and Athena competed for possession of Athens, the interior of the famous south porch with its caryatid columns is screened off as the ceiling is cleaned with an innovative laser system developed specifically for this project. In ancient times it was believed that Poseidon, the sea god, struck at the ground here with his trident and a salty spring gushed forth. Athena created an olive tree, the first in the world. The Athenians judged that the olive tree was more useful and so dedicated their city to her. The city continued to honor the sea god, though, and the Erechtheion is devoted to his local aspect Erechtheus. Athens owed her power to her great navy, and so it was smart to honor the god who rules the waves, even if he did come in second place in the competition for the city.

No reconstruction was going on when I went, though. I took advantage of Sundays being free to revisit the Acropolis. It was low season and bitterly cold and overcast, but there were still large crowds exploring the ruins. One family from Crete entered at the same time I did and took the same route through the monuments. The father gave a long lecture about the place to his young son and daughter. It was heartening to see how much they enjoyed it. They asked questions, told him some things they’d learned in school, and were obviously having a good time. They took dozens of pictures and I offered to take one of them all together. That got us talking. The father’s English was limited, but his national pride was obvious even through the language barrier. As we talked, his kids went off to take more pictures.

The Acropolis Museum was opened in 2009 to much fanfare and became an instant success. Between between June 2010 and May 2011 more than one million and three hundred thousand Greek and foreign visitors passed through its doors. The museum explains the importance of the site from earliest times through the Classical era and beyond. It’s probably best to see this museum before you see the Acropolis as it will give you a much deeper understanding of that most historic of attractions.

To combat museum fatigue, take a break at the restaurant or café. Prices are remarkably reasonable and floor-to-ceiling windows give a splendid view of the Acropolis and two of its buildings-the Parthenon and the Sanctuary of Athena Nike.

The museum is not free on Sundays but that didn’t stop the crowds coming out in full force. The restaurant, café, and gift shop were all doing a brisk business. Most popular was the third floor, where a reconstruction of the Parthenon sculptures can be seen. As the labels make clear, most of these are plaster casts because between 1801 and 1805 Lord Elgin, the British ambassador to the Ottoman Empire that then ruled Greece, got permission to remove about half of them. As you can see from the display at the Acropolis Museum, he took the best ones. Now they are in the British Museum in London, while several other sculptures were taken by other antiquarians and ended up in other museums.

The Greeks want their sculptures back. The British Museum says they took them with permission of the government that was then in power. Here is the official Greek position and here is the British Museum’s position.

The economic crisis has added a new dimension to the struggle to return the sculptures. While the plaster casts in the Acropolis Museum are very well done, seeing the real thing is always better. Getting them back would be a major coup for a country that has only had bad news for far too long, and it would help bring in much-needed tourism revenue. But with both sides dug in, it looks like the Greeks won’t be getting good news like that anytime soon.

Don’t miss the rest of my series: Our Past in Peril, Greek tourism faces the economic crisis.

Coming up next: The Athens War Museum

Greek museums face the economic crisis

by Sean McLachlan on

It’s not easy being the caretaker of Greece’s heritage these days. Greek museums are facing budget cuts, strikes, reduced staff, even loss of visitors due to riots. The National Archaeological Museum had many rooms closed during the peak tourist season last summer due to budget cuts, and strikes are regularly closing all publicly owned museums.

Take the Byzantine and Christian Museum in Athens. It collects the nation’s Medieval heritage, focusing especially on the glory days of Byzantium. When the Roman Empire split into western and eastern halves in 395 AD, the West fell apart within a century, but the East, known as Byzantium, survived for another thousand years. Byzantium produced a distinct and beautiful artistic style and preserved many Classical works that then became the inspiration for the Renaissance.

The museum was founded in 1914 in the palace of a French noble. For most of the twentieth century the displays didn’t change much and visitors tended to pass it by for the more famous Classical sights.

“It was a place only for scholars,” said Nikolas Constantios, an archaeologist and museologist who works there and showed me around the recently revamped permanent exhibition.

And what an exhibition! Some four hundred icons are on display. Richly embroidered church vestments stand next to colorfully painted manuscripts, gold coins, and day-to-day objects. It’s all laid out in an open, well-lit fashion that reminded me of the new Ashmolean in Oxford. This modern style replaced the old “cases filled with stuff” museum design and helps combat museum fatigue.

This ten-year revitalization project almost came too late. The money, half of which came from the Ministry of Culture and half from the European Union, was already earmarked when the crisis hit.

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“We were safe because we were almost finished,” Constantios said. “If the crisis had happened five years ago we would have had a lot of problems.

The final touches are due to be completed by May and include a public garden, gift shop, and cafe.

While the present looks rosy for this museum, there are some serious challenges ahead. Museum director Anastasia Lazaridou said the Ministry of Culture has cut the museum’s budget by 20 percent. She has had to let some of the staff go, especially short-term contractors whose work is important for their well-known conservation department, which remains the biggest in Greece.

“We will try to find money from the private sector and create a bigger network of collaborations with foreign museums to share expenses,” Lazaridou said.

With the recession, though, the museum has found getting large donations to be more difficult than it used to be. Tickets help–with the renovation visitors numbers are ten times what they were a decade ago–yet many of these visitors get in for free.

When I visited there was a typical crowd for the low season: three other tourists and several school groups. Entrance is free for under-18s. Luckily this situation reverses in the high season. Check out the photo gallery and you’ll see why the Byzantine and Christian Museum is getting on the map.

The Museum of the City of Athens is facing even greater challenges. Housed in the former royal palace of King Otto, the first monarch after independence from the Ottoman Empire, it’s situated close to the municipal government buildings. Several riots have occurred right outside their door and now many tourists avoid the entire neighborhood. Museum director Aglaia Archontidou-Argiri told me visitor numbers dropped 70 percent last year.

Luckily the museum is a private foundation so they are in no danger of closing, yet they’re scrambling to find money for extra programs. Last year they ran a free program teaching Greek culture and history to immigrants. It ran for six months and included students from the Roma, Georgian, Bulgarian, and other communities. Now they have no money to continue, but Archontidou-Argiri remains optimistic they’ll find the money somewhere.

Like with the Byzantine museum, many visitors are school groups, who come to see the displays illustrating the development of their city. While the museum charges them, it lets in kids for free if their families can’t afford the €2 ($2.63) entry fee. With the crisis worsening, this is becoming increasingly common. There is also a popular music and lecture series that attracts many locals, but it is also free.

So far these two museums are doing fairly well. Both have been lucky in their funding, but with the crisis tightening wallets all over Europe, the caretakers of Greek heritage have a tough job ahead.

Don’t miss the rest of my series: Our Past in Peril, Greek tourism faces the economic crisis.

Coming up next: Athens day trip: Acrocorinth!

New series: Our past in peril, Greek tourism faces the economic crisis

by Sean McLachlan on


This is a sculpture of a fallen Greek warrior from the temple of Aphaia on the Greek island of Aigina. Made in the 5th century BC, it’s an important example of Early Classical Greek art. This was a time when Greek artists began imitating life with realistic poses and expressions.

We owe so much to the ancient Greeks–our ideas of art, architecture, democracy, philosophy, theater, and a lot more. When Greece was conquered by the Romans three centuries after this sculpture was made, Greek culture actually flourished, finding new outlets in the receptive and expanding Roman Empire. Horace once said: Graecia capta ferum victorem cepit (Captive Greece took captive her rude conqueror). The suffering yet proud face on this fallen warrior reflects Greek history–cycles of tragedy and triumph.

Suffering yet proud. That’s the impression I get of Greece these days. An economy in shambles, general strikes, people being forced to give up their children. At the same time, an increasing number of Greeks are going back to the land and sea to revitalize the traditional cornerstones of the Greek economy. Meanwhile, Greeks from all walks of life are taking to the streets to protest cutbacks that threaten their livelihood.

The cutbacks threaten our past too. Not the Greek past, our past, because Western civilization is based to a large extent on Greek civilization. Regular general strikes against the austerity measures imposed by the IMF mean that seeing the physical remains of our heritage has become a game of chance. A minister’s suggestion to lease the Acropolis and other ancient sites was treated with scorn one week, and approved the next. Three important paintings, including one by Picasso, were stolen from the Athens National Gallery because cutbacks had left only one guard on duty. And it can get far, far worse. Allowing Greece to fall would be like burning an attic full of family heirlooms and photo albums.

For the next week I’ll be in Greece interviewing museum curators, archaeologists, and regular Greeks about the problems facing our collective past. How are the strikes inhibiting access to museums and sights? How much are staff cuts reducing opening hours and the nation’s ability to conserve and restore our heritage? I’ll also be seeing, strikes permitting, some of the nation’s greatest monuments such as the Acropolis and Agora, as well as lesser-known treasures such as Mistra, briefly the capital of the Roman Empire, and the Crusader castle of Villehardouin.

Unfortunately, this sculpture will not be among them. It’s now the property of the Staatliche Antikensammlungen und Glyptothek in Munich, Germany. The same country whose banks currently own the second largest share of Greek national debt after France. The statue of the fallen Greek was taken by a German baron in 1811 when Greece was under the control of a different foreign power–the Ottoman Empire.

Next in the series: Athens nightlife: desperate pensioners on the hustle!

Photo courtesy Wikimedia Commons.

Are there lost pyramids in Bosnia? Probably not.

by Sean McLachlan on


For several years now, European archaeologists have been in a furor over a supposed lost civilization in Bosnia that built the biggest pyramids in the world. Scholars have dismissed the claims, made by Bosnian-American businessman Semir Osmanagic, as pseudoscience, yet he’s getting funding from the Bosnian government and was just granted permission to excavate over the objections of the country’s archaeological establishment.

Osmanagic is convinced a large hill overlooking the town of Visoko near the Bosnian capital Sarajevo is a pyramid from an lost civilization dating to about 12,000 years ago, when the region was experiencing the Ice Age. The hill is indeed roughly pyramid-shaped, at least the half that faces the town. The other half is a bit lumpy. In fact, if you look at it with Google Earth, it doesn’t look like a pyramid at all. Geologists say it’s a natural formation and that there are several like it in the region; Osmanagic says many of those hills are pyramids too.

To prove his point Osmanagic set up the “Archaeological Park: Bosnian Pyramid of the Sun” and since 2005 has been fighting for permission to excavate. The permit was granted, but then it was revoked for fear the excavations could damage an existing archaeological site on the top of the hill. This is a medieval fort with Roman foundations built atop a Neolithic settlement. Now permission has been granted again and the work will continue.

A victory for independent science against the narrow vision of academia? Not necessarily.

Looking at the photos on Osmanagic’s website on the pyramids in Bosnia, I don’t see anything indicating there’s a pyramid there. Most of the supposedly worked stone looks like other natural formations I’ve seen, the so-called “secret tunnels” could be from any era, and the few examples of obviously worked stone could just as easily be medieval. In fact, Byzantine records say there was a town here in the Middle Ages and it has not been found. The Bosnian pyramid team may be destroying a real archaeological site in order to create a fake one.Some of Osmanagic’s actions seem a bit fishy too. He claimed to have assembled a team of experts to work on the site and give him advice, including famous Egyptologist Dr. Zahi Hawass, but many of them said they had never agreed to work on the site. Some of them said Osmanagic never even contacted them.

In an angry letter to Archaeology Magazine, Dr. Hawass wrote, “The discoverer of the “pyramid” in Bosnia, Semir Osmanagic, who claims that a hill near the Bosnia River is a man-made structure built before the end of the last Ice Age, is not a specialist on pyramids. His previous claim that the Maya are from the Pleiades and Atlantis should be enough for any educated reader.”

The claim has certainly created a tourist industry in the previously sleepy town, and it’s sparking interest in Bosnia’s past. So where’s the harm?

In an article in Science, Bosnian archaeologists lamented that funding and attention were going to the fanciful pyramid theory while the nation’s real heritage remains underfunded and underprotected. Some have even reported being threatened for speaking out against the project. The Bosnian Pyramids have become a matter of national pride for a nation still feeling the wounds of the bitter war of the 1990s. Osmanagic has made Bosnia the cradle of civilization, or as he terms it, “supercivilization”.

This is the sort of nationalistic chest-thumping that got the Balkans into trouble in the first place. Osmanagic is playing with fire.

The British Museum has great lineup for 2012

by Sean McLachlan on


Travelers to London this year will want to stop by the British Museum. Not only is it one of the top museums in the world, with huge collections from the Classical, Egyptian, Medieval, and pretty much every other period, it also hosts several temporary exhibitions every year. As a regular visitor to London I always make sure to see as many of these exhibitions as I can.

The first is Hajj: Journey to the heart of Islam (January 26–April 13). This show examines the pilgrimage to Mecca that is required of all Muslims. It looks at the major pilgrimage routes and how they’ve changed over time, how the Hajj is practiced today, and the city of Mecca itself. Historic artifacts are displayed next to contemporary artwork.

The Arabian theme will continue with The Horse: Ancient Arabia to the modern world (May 24–September 30). Having ridden Arabian horses, I have to say they’re the noblest animals on the planet and I’ll be sure to make it to this show to learn something of their origins. More than that, the exhibition looks at the horse’s role in society and its influence on Middle Eastern and European history. Items from the museum collection as well as loaned items will be on display, including the four-horse chariot from the Oxus Treasure, 1st–2nd century AD representations of horses from the ancient caravan site of Qaryat al-Fau in Saudi Arabia, and hi-res panoramas of recently discovered rock drawings of horses.

Shakespeare: staging the world (July 19–November 25) is bound to attract many of the Olympic visitors. The exhibition will look at how London was becoming a major world city during Shakespeare’s time. The British Museum has collaborated with the Royal Shakespeare Company in the exhibition’s design in order to accentuate the connections between the objects, Shakespeare’s writing, and performance.

One gallery I’ve always liked is the money gallery with its huge coin and paper currency collection. It’s often overlooked by visitors who only want to see mummies. Not surprising, considering how incredible the museum’s Egyptian galleries are. Now the gallery is being completely refurbished and reopening as the Citi Money Gallery in June 2012. It will look at the story of money from prehistory to the present. The museum says, “themes include the authority behind money, and the uses and abuses of it.” Sounds more relevant than mummies.

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In addition to the major shows, several smaller exhibitions are planned. These include Angels and ducats: Shakespeare’s money and medals (April 19–October 28), Picasso prints: The Vollard Suite (May 3–September 2), Chinese ink painting and calligraphy (May 3–September 2), The Olympic trail (title to be confirmed, June 1-September 9), Renaissance to Goya: prints and drawings made in Spain (September 2012 – January 2013).

The Asahi Shimbun Display, Room 3, just to the right as you come in through the main entrance, hosts exhibitions dedicated to a single object and its place in the culture that created it. From February 2-May 6 there will be a model of the Church of the Holy Sepulchre made of olive wood and mother-of-pearl in 17th-century Bethlehem. It was originally a pilgrim’s souvenir. From June 7-September 9 you’ll have a chance to see a riff on the Discobolus, the famous Roman marble statue of a discus thrower, yet another nod to the London Olympics. Instead of the usual naked athlete, it’s Mao-suited Discobolus by the contemporary Chinese artist Sui Jianguo. Purists can see the real statue in the Great Court nearby.

So if you’re in London, make sure to pop by the British Museum. After that, take an evening stroll through surrounding Bloomsbury and admire the Georgian architecture. It’s one of the nicest neighborhoods in the city.