The potential return of the Bayeux tapestry to France has sparked considerable controversy. Many argue that the tapestry, likely crafted in Canterbury by British women, is an essential piece of British heritage that commemorates a pivotal moment in British history. As such, its rightful place is in the British Museum, where its display is fleeting, often leading to a hurried experience for visitors eager to view this medieval masterpiece. The prevailing sentiment is that this significant artifact should remain in Britain, perhaps under the guise of a long-term loan.
This sentiment may reflect concerns held by the British Museum regarding a possible loan of the famed Elgin, or Parthenon, marbles to Greece. Recently, Greek Prime Minister Kyriakos Mitsotakis made an argument likening the situations of the Bayeux tapestry and the Parthenon marbles, stating that both works were created as cohesive pieces meant to be appreciated in their entirety. He contended that it was time for the marbles to be returned to Athens.
British Museum director Nicholas Cullinan seemed to acknowledge this perspective, suggesting that a loan of the Bayeux tapestry might pave the way for discussions regarding the Parthenon marbles, which have been part of the museum’s collection since 1816.
Historically, the museum’s leadership has been perceived as protective of British imperial legacies. This was evident in the 1980s when then-director Sir David Wilson had an infamous confrontation with Greece’s culture minister, Melina Mercouri, who publicly demanded the return of the marbles.
The ongoing debate has often resembled an unseemly dispute over trivial possessions. Public sentiment appears to favor the return of the marbles to Greece, with many Britons supporting their repatriation.
A notable development occurred in 2022 when George Osborne became the chair of the museum and initiated dialogue with Athens, even hosting a public debate on the issue. However, the purpose of these discussions seemed unclear—was it merely an exchange of classical artifacts, or did it imply the definitive reunification of the Parthenon sculptures within the new museum in Athens? The latter option seems logical, given the artistic significance and cultural identity tied to the Parthenon.
Since then, political and diplomatic challenges have complicated the prospects of the marbles’ return. The Greek government has made it clear that any agreement must not imply recognition of British ownership over the marbles. However, achieving this would require legal changes. Former Prime Minister Boris Johnson, initially a proponent of returning the marbles, reversed his stance while in office. Current Prime Minister Rishi Sunak has also shown reluctance to amend the law, indicating a preference for the marbles to remain in the UK.
Interestingly, Andy Burnham, who had previously advocated for the marbles’ return during his tenure as culture secretary, has also shifted his position. Burnham had once sponsored a bill to facilitate their return, and as recently as 2023, he called for their repatriation with no conditions attached, suggesting that culture could reshape Britain’s global image. However, he now appears to align with the current political climate, indicating a reversal similar to that of Johnson and Sunak.
The core issue remains the ambiguity surrounding the terms of a potential loan. Compounding the situation, the British Museum plans to loan two minor fragments of the Parthenon to an upcoming exhibition in Frankfurt, a move that has angered Athens and led to its refusal to lend its own fragments for the same exhibit, fearing contamination. As a result, negotiations have once again reached an impasse.
This ongoing dispute is disheartening. The Parthenon and its sculptures are integral to Western cultural heritage, and their restoration to their original context should be a shared goal among historians and archaeologists. The behavior of museum leaders, focused on hoarding artifacts rather than facilitating shared cultural experiences, is disappointing. National museums often accumulate vast collections yet fail to grant public access to them.
During my time as chair of the National Trust, I attempted to persuade institutions like the Tate Gallery to share artwork that remained in storage. The response was typically a firm refusal, as if these pieces belonged solely to the institutions and not to the public.
Leaders like Johnson and Burnham have called for action against these practices but have faltered when in positions of power. This stalemate has persisted long enough. Greece should reconsider its fixation on formal ownership, while the British Museum ought to send its 17 pediment sculptures to Athens on an indefinite loan. Such an act would foster a sense of unity and celebration across Europe.
Simon Jenkins is a columnist for the Guardian.
