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The Parthenon Marbles: The Case for Reunification
The most powerful case yet made for the return of the Parthenon Marbles
The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off his debts.
This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens.
The opening of the New Acropolis Museum emphatically trumps the British Museum's long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. With contributions by Nadine Gordimer and Professor Charalambos Bouras, The Parthenon Marbles will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion.
From the Trade Paperback edition.
The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off his debts.
This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens.
The opening of the New Acropolis Museum emphatically trumps the British Museum's long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. With contributions by Nadine Gordimer and Professor Charalambos Bouras, The Parthenon Marbles will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion.
From the Trade Paperback edition.
150 pages, Kindle Edition
First published July 13, 1987
38 people are currently reading
634 people want to read
About the author
Christopher Hitchens
162 books7,892 followersChristopher Hitchens was a British-American author, journalist, and literary critic known for his sharp wit, polemical writing, and outspoken views on religion, politics, and culture. He was a prolific essayist and columnist, contributing to publications such as The Atlantic, Vanity Fair, Slate, and The Nation.
A staunch critic of totalitarianism and organized religion, Hitchens became one of the most prominent public intellectuals of his time. His book God Is Not Great: How Religion Poisons Everything (2007) became a bestseller and solidified his place as a leading figure in the New Atheism movement. He was equally fearless in political criticism, taking on figures across the ideological spectrum, from Henry Kissinger (The Trial of Henry Kissinger, 2001) to Bill and Hillary Clinton (No One Left to Lie To, 1999).
Originally a socialist and supporter of left-wing causes, Hitchens later distanced himself from the left, particularly after the September 11 attacks, when he became a vocal advocate for the U.S. invasion of Iraq. His ideological shift, combined with his formidable debating skills, made him a controversial yet highly respected figure.
Hitchens was also known for his literary criticism, writing extensively on figures such as George Orwell, Thomas Jefferson, and Karl Marx. His memoir, Hitch-22 (2010), reflected on his personal and intellectual journey.
In 2010, he was diagnosed with esophageal cancer but continued to write and speak publicly until his death in 2011. His fearless engagement with ideas, incisive arguments, and commitment to reason remain influential long after his passing.
A staunch critic of totalitarianism and organized religion, Hitchens became one of the most prominent public intellectuals of his time. His book God Is Not Great: How Religion Poisons Everything (2007) became a bestseller and solidified his place as a leading figure in the New Atheism movement. He was equally fearless in political criticism, taking on figures across the ideological spectrum, from Henry Kissinger (The Trial of Henry Kissinger, 2001) to Bill and Hillary Clinton (No One Left to Lie To, 1999).
Originally a socialist and supporter of left-wing causes, Hitchens later distanced himself from the left, particularly after the September 11 attacks, when he became a vocal advocate for the U.S. invasion of Iraq. His ideological shift, combined with his formidable debating skills, made him a controversial yet highly respected figure.
Hitchens was also known for his literary criticism, writing extensively on figures such as George Orwell, Thomas Jefferson, and Karl Marx. His memoir, Hitch-22 (2010), reflected on his personal and intellectual journey.
In 2010, he was diagnosed with esophageal cancer but continued to write and speak publicly until his death in 2011. His fearless engagement with ideas, incisive arguments, and commitment to reason remain influential long after his passing.
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Displaying 1 - 29 of 29 reviews
September 20, 2017
Before I make my case I'm afraid I must become "that horrible person on the internet and loudly type the words "FIRST!" before I actually write something of significance.
In my defense the reason I sat down to finish this book, apart from the fact that it was a book by Christopher Hitchens and therefore worth reading, was the fact that I appear to be the only person who has taken the time to write an actual review for this book.
What business do I have, a citizen of the United States, entering into the conversation about the Parthenon Marbles, sometimes and unfortunately referred to as the Elgin Marbles? This is a decent question and in fact I'm not sure I have any business at all in the debate, that is until I finished this book. Hitchens manages to digest the discourse which surrounds the statues and relics that once adorned the Parthenon in Athens until Lord Elgin, a cultural ambassador from Great Britain, "removed" the marbles from the building and thus started a century long debate about who rightfully owned the marbles. Along with tracing the discourse about the debate, he takes the time to dissect each and every argument explaining what is fair and what is fallacy. And, finally, Hitchens makes a final argument for the restoration argument, which is namely that the Marbles belong to Greece in a museum in Greece and that this action is not just about national pride, but ultimately a demonstration of humanity.
The great works of Ancient Greece serve as the inspirational foundation for Western Civilization, and Hitchens argues effectively that if society is going to continue to find inspiration in such marvels as the Parthenon Marbles, then it must accept that the appropriation and usurpation of another person's culture simply for the sake of saving-face is not only absurd, it's hypocritical and sets a dangerous precedent. The Marbles belong in the museum in Athens beside the ruins of the Parthenon not just because they are Greek in origin, but because they are demonstrations of the real working power and imagination of Humanity.
This century-old argument reveals a great deal of unfortunate racism, radicalization of rhetoric, and simple stubbornness due to nationalistic pride. The case for reunification isn't just about a building in Greece, it's about recognizing the claims of other people's and doing right the abuses of previous generations. The return of the Parthenon Marbles is a chance for humanity to learn from the errors of the past, and reaffirm the ideals of humanity which is always about the recognition of justice and the equal dignity of the human race.
In my defense the reason I sat down to finish this book, apart from the fact that it was a book by Christopher Hitchens and therefore worth reading, was the fact that I appear to be the only person who has taken the time to write an actual review for this book.
What business do I have, a citizen of the United States, entering into the conversation about the Parthenon Marbles, sometimes and unfortunately referred to as the Elgin Marbles? This is a decent question and in fact I'm not sure I have any business at all in the debate, that is until I finished this book. Hitchens manages to digest the discourse which surrounds the statues and relics that once adorned the Parthenon in Athens until Lord Elgin, a cultural ambassador from Great Britain, "removed" the marbles from the building and thus started a century long debate about who rightfully owned the marbles. Along with tracing the discourse about the debate, he takes the time to dissect each and every argument explaining what is fair and what is fallacy. And, finally, Hitchens makes a final argument for the restoration argument, which is namely that the Marbles belong to Greece in a museum in Greece and that this action is not just about national pride, but ultimately a demonstration of humanity.
The great works of Ancient Greece serve as the inspirational foundation for Western Civilization, and Hitchens argues effectively that if society is going to continue to find inspiration in such marvels as the Parthenon Marbles, then it must accept that the appropriation and usurpation of another person's culture simply for the sake of saving-face is not only absurd, it's hypocritical and sets a dangerous precedent. The Marbles belong in the museum in Athens beside the ruins of the Parthenon not just because they are Greek in origin, but because they are demonstrations of the real working power and imagination of Humanity.
This century-old argument reveals a great deal of unfortunate racism, radicalization of rhetoric, and simple stubbornness due to nationalistic pride. The case for reunification isn't just about a building in Greece, it's about recognizing the claims of other people's and doing right the abuses of previous generations. The return of the Parthenon Marbles is a chance for humanity to learn from the errors of the past, and reaffirm the ideals of humanity which is always about the recognition of justice and the equal dignity of the human race.
February 14, 2012
Based on the slender size of this book, I was expecting a fairly general overview. I was profoundly wrong - Hitchens and the authors of the opening and closing essays examine issues relating to the Elgin Marbles in great depth and detail, providing analysis of the political, artistic, and moral components of issues relating to repatriation. Hitchens is especially dismissive of the various slippery slope arguments proposed by opponents of returning the materials to Greece/Athens, and of what he perceives to be an especially British hatred of setting unfortunate precedents. He lays out a number of compelling reasons for returning the marbles, and additionally provides reasons that he believes this is an exceptional situation that won't set a problematic precedent. I think it would be interesting to hear what his perspectives would be in an era where people seem much more aware of looting, the destruction of historical/archaeological treasures, and repatriation issues specifically related to Holocaust victims. I found the book well-reasoned and well-argued, and very persuasive.
February 20, 2012
A slender book, but a case well made. Hitchens' excellent arguments for reunification and against its opponents is accompanied by an excellent summary of the restoration and rescue works under way and interesting prefaces and introductions from the various editions.
September 30, 2023
Hitchens, one of the best English-language essayists of the late 20th century (today he's been succeeded by the likes of Ta-Nehisi Coates and George Packer), wrote a lot of key texts regarding Greece and Cyprus. Hitchens' exposé of the Parthenon Marbles controversy, which uncovers the vapidity of Lord Elgin's criminal looting at the Parthenon, and the utter emptiness of the argument of the British Museum in keeping the Parthenon sculptures, is the definitive account of this ongoing problem. It's deeply shocking that in 2023, the British Museum has still failed to return the marbles to Greece. This book is padded by several essays on the context of the Parthenon, which are interesting, but it's Hitchens' essay which is the artistic and rhetorical masterpiece on display.
June 13, 2025
From the history of how the Parthenon Marbles ended up in London, to the social and ethical implications of their continued presence there, Hitchens lays it all out. He methodically dismantles every argument for keeping them in the British Museum, exposing them for what they are—empty justifications with no real weight. What makes Hitchens especially compelling is how he brings everything together: the facts, the context, the moral dimensions, and the opposing views. He gives you the full picture, and all the ammunition you need if you ever find yourself debating the issue.
April 25, 2010
Another great book by Hitchens on a subject most people should be able to agree upon: the Parthenon marbles belong in Greece not in England.
October 25, 2017
I was recently acquainted with the knowledge that Christopher Hitchens was one of the leading voices in the case of reunifying the Parthenon marbles and as a consequence of which I discovered his book.
Visiting, not long ago, the Parthenon and the Acropolis Museum, I was greatly attracted by the beauty and the elegance of the archaic marble art found at the vicinity of this ancient monument. This attraction led me to pursuing an expansion of my understanding of Phidias’ pedimental sculpture masterpieces, commissioned by the visionary leader Pericles some 2 500 years ago. The top floor of the Bernard Tschumi designed Acropolis Museum, which is aligned to the Parthenon, is dedicated to the long awaited reunification of the marble figures as most of the relics exhibited are plaster cast replicas of the originals which for the past 200 years are part of a imperialistic trophy exhibition at the British Museum. This, some may say, harsh conclusion I draw from all facts presented by Hitchens in this book which discusses the arguments aroused in Britain about the moral legality of the possession of the sculptures since the return of Thomas Bruce Elgin from Constantinople. The first half of the book is particularly painful - Hitchens reveals in a factual detail the unscrupulous acquisition of the Parthenon marbles by Elgin who, possessed by cupidity, tore off the frieze from the monument and it shipped it to Britain. The firman he was issued from the Ottoman authority at the time did not permit him to strip the sculptures and in a later correspondence Elgin himself admits that he had acquired the marbles without authorization. Most heartbreaking is that his intentions for their fate were far from noble, again revealed in another correspondence letter he expresses his desire to use the looted art as a decoration of his house.
Further in the book Hitches presents positions of various British intellectuals of the time expressing their concerns about the hideous act of appropriation of cultural and historical artefacts, especially in times of great vulnerability of the patron state. The author also expresses his strong positions against each of the arguments employed by the British Museum to defend its right of possession of the Parthenon marbles.
Reading Hitchen’s work, one cannot remain impartial to the subject of the Parthenon marbles reunification. The hellenic civilization has been a longtime donor of ideas and artifacts to Western modus operandi. Ideas, being so intangible, travel with the intention to be shared. Artifacts have a meaning only in the context of their original provenance. It is a fair claim to be made in restoring the contextual attributes of the site that had given us the protogenesis of democracy, especially when they have been saved/smuggled out in times of imperial occupation as a spoil for another imperial ambition.
For the sake of humanity and those of us who marvel astonishingly at the works of art should such a unique piece of ancient art remain amputated and torn apart? Others don’t think so. As a friendly act of generosity and solidarity the Vatican has returned the head of a young man from panel No 5 of the Parthenon frieze, the museum at Heildelberg has also returned the foot of a young man playing the lyre on panel No. 8, so has the Salinas museum in Palermo given back the foot of goddess Artemis.
Ancient Greek art is scattered all over the world and the modern Hellenic state has no other claims but to only reunify once again Phidias’ marble assembly, so to revive their brilliance and integrity in their birthplace of Athens where they were conceived, executed and adored.
Visiting, not long ago, the Parthenon and the Acropolis Museum, I was greatly attracted by the beauty and the elegance of the archaic marble art found at the vicinity of this ancient monument. This attraction led me to pursuing an expansion of my understanding of Phidias’ pedimental sculpture masterpieces, commissioned by the visionary leader Pericles some 2 500 years ago. The top floor of the Bernard Tschumi designed Acropolis Museum, which is aligned to the Parthenon, is dedicated to the long awaited reunification of the marble figures as most of the relics exhibited are plaster cast replicas of the originals which for the past 200 years are part of a imperialistic trophy exhibition at the British Museum. This, some may say, harsh conclusion I draw from all facts presented by Hitchens in this book which discusses the arguments aroused in Britain about the moral legality of the possession of the sculptures since the return of Thomas Bruce Elgin from Constantinople. The first half of the book is particularly painful - Hitchens reveals in a factual detail the unscrupulous acquisition of the Parthenon marbles by Elgin who, possessed by cupidity, tore off the frieze from the monument and it shipped it to Britain. The firman he was issued from the Ottoman authority at the time did not permit him to strip the sculptures and in a later correspondence Elgin himself admits that he had acquired the marbles without authorization. Most heartbreaking is that his intentions for their fate were far from noble, again revealed in another correspondence letter he expresses his desire to use the looted art as a decoration of his house.
Further in the book Hitches presents positions of various British intellectuals of the time expressing their concerns about the hideous act of appropriation of cultural and historical artefacts, especially in times of great vulnerability of the patron state. The author also expresses his strong positions against each of the arguments employed by the British Museum to defend its right of possession of the Parthenon marbles.
Reading Hitchen’s work, one cannot remain impartial to the subject of the Parthenon marbles reunification. The hellenic civilization has been a longtime donor of ideas and artifacts to Western modus operandi. Ideas, being so intangible, travel with the intention to be shared. Artifacts have a meaning only in the context of their original provenance. It is a fair claim to be made in restoring the contextual attributes of the site that had given us the protogenesis of democracy, especially when they have been saved/smuggled out in times of imperial occupation as a spoil for another imperial ambition.
For the sake of humanity and those of us who marvel astonishingly at the works of art should such a unique piece of ancient art remain amputated and torn apart? Others don’t think so. As a friendly act of generosity and solidarity the Vatican has returned the head of a young man from panel No 5 of the Parthenon frieze, the museum at Heildelberg has also returned the foot of a young man playing the lyre on panel No. 8, so has the Salinas museum in Palermo given back the foot of goddess Artemis.
Ancient Greek art is scattered all over the world and the modern Hellenic state has no other claims but to only reunify once again Phidias’ marble assembly, so to revive their brilliance and integrity in their birthplace of Athens where they were conceived, executed and adored.
October 24, 2015
As a result of Lord Elgin's crude and often destructive plundering of the Parthenon's marble friezes and statuary in the early 19th century which he eventually sold to the British Museum,they came to be known as the Elgin marbles. Hitchins' book summarizes the historical justifications given by the British Museum and government for their retention of the marbles, then refutes each one, making the strong case for their return to Greece. He rejects the term Eigin marbles, saying they are and always have been the Greek marbles and that they should go back to Greece. One of the persistent arguments made over the years has been that they are more safely housed in BrItain. With the completion of the new Acropolis Museum in Athens, that argument no longer has any validity, if it ever did, as anyone who has ever visited the new Acropolis Museum can attest.
In addition to the summary Hitchens writes of resistance to returning the marbles by the British and the various efforts by others to have them returned, a chapter by Robert Browning, Emeritis Professor of Classics at the University of London, describes the history of the Parthenon through its two and a half centuries of changes that included occupation by foreign powers, natural distasters, conversion to Christian and Muslim places of worship, and past as well as ongoing reconstruction efforts.
Anyone with an interest in this marvel of classic Greek art and architecture will find The Parthenon Marbles an informative and fascinating read. I recommend it to anyone planning to visit the Parthenon as it will make your visit much more meaningful and anyone else interested
in Greek art and history.
In addition to the summary Hitchens writes of resistance to returning the marbles by the British and the various efforts by others to have them returned, a chapter by Robert Browning, Emeritis Professor of Classics at the University of London, describes the history of the Parthenon through its two and a half centuries of changes that included occupation by foreign powers, natural distasters, conversion to Christian and Muslim places of worship, and past as well as ongoing reconstruction efforts.
Anyone with an interest in this marvel of classic Greek art and architecture will find The Parthenon Marbles an informative and fascinating read. I recommend it to anyone planning to visit the Parthenon as it will make your visit much more meaningful and anyone else interested
in Greek art and history.
September 19, 2015
Recently, I remember there being a story about the Parthenon Marbles in the press, but mainly because George Clooney's wife was involved as a lawyer. Other than that, I really hadn't heard this story before.
It is amazing to me that after all this time, the marbles still haven't been returned to Greece. I'm obviously biased one way, but I find it difficult to see the other side's point of view.
Maybe someday they'll be returned. I do hope so.
It is amazing to me that after all this time, the marbles still haven't been returned to Greece. I'm obviously biased one way, but I find it difficult to see the other side's point of view.
Maybe someday they'll be returned. I do hope so.
April 23, 2020
The argument for the restitution of the Parthenon Marbles is compellingly made in this book. Although a short volume, Hitchens goes into great detail about the history of this cultural and artistic debate.
November 20, 2019
Excellent. As comprehensive and well-written as you'd expect from Hitch. Lays out the case for reunification and bats away the most common objections with aplomb. I feel outraged and sad, after reading it, that the Parthenon was pillaged in so unceremonious and arrogant a manner.
December 31, 2020
The Parthenon was built by Greeks and belongs to Greece. But it also, in a sense, belongs to the whole world.
-p14
What a glorious and incisive little book.
Lord Elgin, British Ambassador to the Ottoman Empire at the time, illegally sawed off half of the friezes and metopes of the Parthenon in 1801. He had them shipped by boat back to London. He clearly did not have the legal authority to do so at the time, despite post-facto dissembling.
He haggled to settle his personal debts by their sale to the British government, eventually resulting in their display in the British Museum for the last two centuries.
In that time, the Greeks have won their independence (200 years ago) and built a museum within 300 meters of the Acropolis specifically for the housing of these artifacts (<15 years ago).
The Parthenon marbles still reside in London.
The arguments for inaction have changed, but all have a common theme - they all are near-meritless.
The sale was illegal, and procured from an occupying power, by an interested party abusing his own power and position for personal gain.
There is no slippery slope analogy (this is a unique circumstance of a single piece of art literally being sawed in half and now is unable to be displayed in its whole).
The Greek government is not demanding any other art to be returned.
The unique place of the Greek culture (origin of logic, philosophy, ethics, etc.) and the most continuous national culture of any nation in Europe make this an egregious wrong, yet to be righted.
Also, this book made me nostalgic for another age (not so long ago!) when research was done in dusty library reading rooms, digging through the minutes of obscure museum boards or national archives. Hitchens did yeoman’s work in digging up wonderful quotes and documents.
He also has a command of the language that few can ever hope to attain. This all at age 37-8, when this was published.
If language, landscape, national consciousness and philosophic and artistic tradition do not amount to continuity, it is difficult to see what does.
-p103
-p14
What a glorious and incisive little book.
Lord Elgin, British Ambassador to the Ottoman Empire at the time, illegally sawed off half of the friezes and metopes of the Parthenon in 1801. He had them shipped by boat back to London. He clearly did not have the legal authority to do so at the time, despite post-facto dissembling.
He haggled to settle his personal debts by their sale to the British government, eventually resulting in their display in the British Museum for the last two centuries.
In that time, the Greeks have won their independence (200 years ago) and built a museum within 300 meters of the Acropolis specifically for the housing of these artifacts (<15 years ago).
The Parthenon marbles still reside in London.
The arguments for inaction have changed, but all have a common theme - they all are near-meritless.
The sale was illegal, and procured from an occupying power, by an interested party abusing his own power and position for personal gain.
There is no slippery slope analogy (this is a unique circumstance of a single piece of art literally being sawed in half and now is unable to be displayed in its whole).
The Greek government is not demanding any other art to be returned.
The unique place of the Greek culture (origin of logic, philosophy, ethics, etc.) and the most continuous national culture of any nation in Europe make this an egregious wrong, yet to be righted.
Also, this book made me nostalgic for another age (not so long ago!) when research was done in dusty library reading rooms, digging through the minutes of obscure museum boards or national archives. Hitchens did yeoman’s work in digging up wonderful quotes and documents.
He also has a command of the language that few can ever hope to attain. This all at age 37-8, when this was published.
If language, landscape, national consciousness and philosophic and artistic tradition do not amount to continuity, it is difficult to see what does.
-p103
September 9, 2024
This book is extremely thorough and most of the arguments are well-constructed. I have been in favour of reuniting the marbles in Athens for as long as I have had enough knowledge to form an opinion on them, but it was illuminating to really delve into the details behind their move to England and how they ended up in the British Museum. Spoiler: it was pretty freaking unethical, and this isn't even a case where people didn't realize the immorality of it until later. They very clearly knew how sketchy it was at the time. (Also, on a personal note, I despise the British Museum. It is one of the worst -- possibly the absolute worst -- museums I have ever been to, in terms of both curation and management. How it manages to possess the status of one of the most famous museums in the world rather than a national embarrassment to the United Kingdom baffles me. But that is besides the point).
My biggest issue with this book didn't come as a surprise, though. I'm not super familiar with Christopher Hitchens, but the little I've read of him gives me the impression that he was actually just straight-up mean, and this book did nothing to dissuade me of that opinion. His argument would be stronger if he could avoid the ad hominem fallacy -- you aren't likely to convince people you're right if part of your evidence is that they're idiots.
My biggest issue with this book didn't come as a surprise, though. I'm not super familiar with Christopher Hitchens, but the little I've read of him gives me the impression that he was actually just straight-up mean, and this book did nothing to dissuade me of that opinion. His argument would be stronger if he could avoid the ad hominem fallacy -- you aren't likely to convince people you're right if part of your evidence is that they're idiots.
December 6, 2022
You will too be equally amazed to take notice of the indefatigable reprinting of this booklet and the continued urge of possession in those retentionists. But Hitchens rested his case upon one simple fact: the right of possession had not been truthfully transferred to Lord Elgin, let alone the House or British Museum. This point can be amplified by the addition of counterattacks that the Greeks now have the Acropolis Museum and the ability to protect the Parthenon marbles; that in the name of integrity the British have no good grounds whatsoever to deprive the world, themselves included, of an artefact intact and in position. Granting the Scottish peer the benefit of the doubt, his mistreatment of the frieze and metopes was however hard to be shaken off. It does not take a woke teenager to tell that stealing something is wrong; calling it an act of mercy adds sinfulness to the already indigestible guilt. How sad it is that the adamant advocates are in their late life, yet the idea of restitution is still balked at. I am neither speaking from a radical nor Philhellen faction of society. It is the innate curiosity and the love of uniformity also shared by the ancient Greeks that prompts me to see the reunion of the Parthenon. So far, only in dreams.
June 20, 2022
As you’d expect from Christopher Hitchens, this book is well-argued and a thorough treatment of the history of the Parthenon Marbles. Even though it was originally published in 1987, it holds up well. After reading this, I think it would be hard to argue with a straight face that the marbles still belong in the British Museum. Indeed, Hitchens does a good job of refuting all the rationalizations people will still bring up today. I wouldn’t say it’s his sharpest writing, but it’s still undeniably his way of looking at the world.
The only bad thing about the book, really, is when you finish and realize that the injustice still stands. That’s the case at least as of 2022, but hopefully not much longer.
The only bad thing about the book, really, is when you finish and realize that the injustice still stands. That’s the case at least as of 2022, but hopefully not much longer.
July 26, 2021
Accurato ed interessante, questo saggio si propone di scovare ogni minuzia relativa all'annoso dibattito della restituzione dei marmi Elgin.
L'autore fa leva su ogni particolare per spingere il lettore ad appoggiare la sua - più che giusta - posizione, e lo fa tramite una ricerca completa, citando lettere personali e fatti documentati.
Ho particolarmente apprezzato lo slancio, la passione e la convinzione dell'autore.
Unico neo: all'avvicinarsi della fine del libro si comincia a percepire un senso di déjà vu, con argomentazioni già ampiamente discusse che ritornano a ripetersi in maniera forse ridondante.
L'autore fa leva su ogni particolare per spingere il lettore ad appoggiare la sua - più che giusta - posizione, e lo fa tramite una ricerca completa, citando lettere personali e fatti documentati.
Ho particolarmente apprezzato lo slancio, la passione e la convinzione dell'autore.
Unico neo: all'avvicinarsi della fine del libro si comincia a percepire un senso di déjà vu, con argomentazioni già ampiamente discusse che ritornano a ripetersi in maniera forse ridondante.
August 27, 2024
An in-depth investigation into the misappropriation of parts of the Parthenon,one of the most important buildings in the western cultural heritage. The latest part gets a bit boring as it shows letter after letter of important people that had a stake in the "Elgin Marbles". This is however a book that one must read if one is interested in the righting of historical wrongs that are the result of colonialism.
August 29, 2024
The Parthenon Marbles offers a captivating exploration of one of the most significant artistic treasures of ancient Greece. Hitchens , as always, skillfully intertwines history, art, and cultural commentary, providing a profound understanding of the marbles' aesthetic and historical importance. The vivid descriptions and rich narratives bring the sculptures to life as only he can do.
June 29, 2025
To be clear, I only gave this 5-Stars because it's Christopher Hitchens and Hitchens deserves five regardless.
This brief case for the return of the Parthenon Marbles provides an excellent summary of their theft and the clearly amoral retention. Hell, if the Vatican has the fortitude to return their Parthenon pieces (2023) certainly the British can.
RETURN THE MARBLES GAMOTO
This brief case for the return of the Parthenon Marbles provides an excellent summary of their theft and the clearly amoral retention. Hell, if the Vatican has the fortitude to return their Parthenon pieces (2023) certainly the British can.
RETURN THE MARBLES GAMOTO
February 11, 2025
While the history of the Marbles is very interesting and I agree that they should be returned to Greece, Hitchens makes fairly reactionary arguments for it. With hindsight his later neoconservative turn isn't that surprising.
March 14, 2021
Informative but oddly-organized, and not as persuasive as I thought it would be.
April 4, 2023
Interesting subject matter that maybe could have been condensed to an article versus a book.
September 15, 2023
One of the best books on the Parthenon Marbles.
September 22, 2025
3.5 out of 5
May 8, 2016
Stylishly argued, authoritative & persuasive.
'It was never really possible for the BM to argue with a straight face that it had bought the marbles from Lord Elgin, or that he had purloined them in the first place, in the spirit of conservation. Engineered in reverse, a sort of half-hearted case could be confected, that the acquisitiveness of both parties had had an accidentally preserving effect. But this would no more confer the right to retain the marbles than would a claim, made by a neighbour in whose safekeeping valuables had been left, who then announced that by his accidental generosity he had quite incidentally become their sole owner.'
'Can we continue to justify an act - the amputation of sculpture from a temple - that would be execrated if committed today? And are there any standards, apart from national egoism or entrepreneurial reach, that should govern the apportionment of cultural property?'
'It was never really possible for the BM to argue with a straight face that it had bought the marbles from Lord Elgin, or that he had purloined them in the first place, in the spirit of conservation. Engineered in reverse, a sort of half-hearted case could be confected, that the acquisitiveness of both parties had had an accidentally preserving effect. But this would no more confer the right to retain the marbles than would a claim, made by a neighbour in whose safekeeping valuables had been left, who then announced that by his accidental generosity he had quite incidentally become their sole owner.'
'Can we continue to justify an act - the amputation of sculpture from a temple - that would be execrated if committed today? And are there any standards, apart from national egoism or entrepreneurial reach, that should govern the apportionment of cultural property?'
June 5, 2021
Any essay by Hitchens is always a pleasure reading, however this one idles much too consistently. The retention of the Elgin Marbles has been a classic argument for the past two centuries and poses nothing new if you know the history behind Lord Elgin's famous salvage. Hitchens will state the immutable struggles in place between public opinion and the British Museum's trusteeship since the time of Elgin. Still, this is classic Hitch - And does best to illuminate the author's intent and sincerity to western culture and democracy.
If you have rehearsed knowledge on the Acropolis and Parthenon you will find it a satisfying read. If not, the book is still a fantastic introductory to the Parthenon's history, it's predecessors and the ongoing current affairs of the matter.
If you have rehearsed knowledge on the Acropolis and Parthenon you will find it a satisfying read. If not, the book is still a fantastic introductory to the Parthenon's history, it's predecessors and the ongoing current affairs of the matter.
June 25, 2016
This is an argument which has continued longer than my lifetime and started long before my grandparents were born. I suppose I read this book to better inform myself on an argument I already feel is right and just. I saw the British Museum’s collection recently and was struck by how dismembered it is…I would love to visit the Acropolis Museum in Athens. The author acknowledges much of the argument "...is mired in repetition..." and I felt this affected my reading of the book at times but "The building and its sculptures were conceived and executed together. They will be better understood and appreciated if they can be seen together." In my lifetime? I can't feel so confident.
July 25, 2021
Book on how the British cut the marbles off of the walls and shipped them to British museums.
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