Elgin Marbles

Lord Hannan of Kingsclere Excerpts

Thursday 14th December 2023 Lords Chamber

[Lord Hannan of Kingsclere (Con)]

My Lords, if there were a way of returning the marbles to the Parthenon itself, there would be no debate. It would have happened years ago. What Byron called the “wanton and useless defacement” would have been undone. Who could resist seeing those magnificent artefacts in their proper place—their solidity combined with this ethereal feel of their bare, bleached, marmoreal splendour; their realism, the flowing robes and flared horses’ nostrils none the less combining with this idealised beauty? But the argument is about moving them from one museum to another, and therefore it seems that this debate turns on what a museum is for. The clue is in the etymology—museums are there to channel the Muses, to elevate and ennoble the condition of visitors. The most pertinent questions to ask, with the display of any artefacts, are: where will they best be looked after? Where will they be most accessible to specialists, scholars and students? Where will people most appreciate their cultural impact? Where will the greatest number of people get to see them?

I think that I am right in saying the British Museum was the first public institution to use “British” in its title, yet it never saw its aspiration as being national. It always saw its role as being encyclopaedic—a collection of curios from every continent. This is more unusual than you might think; if you go to the museums in Copenhagen, Budapest or Prague you will find museums that tell the story of a particular nation and people. If you go to the museums in Washington DC you find even more ethnic particularism—a Chinese American Museum, an African American museum, a Museum of the American Indian and so on—but the British Museum never saw itself in those terms. Confident, at least in the 18th century in its foundation, it saw itself as a repository for the greatest works of mankind. Neil MacGregor, the museum’s director between 2002 and 2015, put it like this:

“The museum remains a unique repository for the achievements of human endeavour, and there is no culture, past or present, that is not represented within its walls. It is truly the memory of mankind”.


What overrides that claim? The main argument that one hears, and we have heard it in the debate now, is one of, if you like, a communal cultural claim—“We live in a particular area and therefore we have a right”. That is a notion that is difficult to reconcile with ownership and contract. Even if it were true—and I actually do not think that we are remotely connected to whatever Neanderthal people made the hand-axe that the noble Baroness, Lady Bennett, was talking about; there was an ice age in between and the place was completely depopulated—I have no idea whether the Greeks of today are related to the Greeks of the time of the Parthenon. We are told by Constantine Porphyrogenitus that there was massive demographic displacement in the meantime, but even if they are—even if the Greek Prime Minister could claim personal lineal descent from Phidias—so what? If the noble Baroness’s great-grandmother had bought her house from mine I would not be able to turf her out because of some prior claim, because contract and ownership count for something.

I happen to agree with what my noble friend Lord Lexden quoted Professor Mary Beard as saying—that if you want to play the game of identity politics, then 200 years of being debated in this Chamber and revered, argued over, sketched and painted in this country also establishes some claim—but I do not think that is really the relevant criterion. The relevant criterion is one of ownership and if, as my noble friend Lord Frost says, these are the foundation of western art, then free contract is surely the foundation of western civilisation.