In ancient Egyptian culture, cats were held in exceptionally high esteem, valued not only for their practical benefits but also for their profound spiritual and religious significance.

Their unique combination of utility and divinity positioned them as essential figures within Egyptian society, both in daily life and in the realm of belief.

Practically, cats played a crucial role in protecting Egyptian households and grain stores from rodents and snakes, thereby securing the community’s sustenance and economic stability.

Their natural hunting abilities made them indispensable to agrarian life, underpinning the essential regard Egyptians had for them.

Beyond their practical function, cats were deeply entwined with the spiritual and religious fabric of ancient Egypt.

The most prominent feline deity associated with cats was the goddess Bastet.

Initially a fierce warrior goddess, Bastet evolved into a symbol of home, fertility, joy, and protection.

Often depicted as a woman with the head of a domestic cat or as a full cat, Bastet represented nurturing and safeguarding qualities.

Her protective role extended over families and homes.

Bastet’s veneration revealed the spiritual dimension Egyptians attributed to cats, viewing them as embodiments of divine qualities such as love, light, and guardianship.

Complementing Bastet was Mafdet, one of the earliest feline-associated goddesses in Egyptian mythology.

Mafdet was portrayed as a feline or a woman with a feline head and was considered a protector who executed justice and warded off evil.

She played a critical role in maintaining order and safeguarding the judicial process by punishing wrongdoers and defending against malevolent forces.

Mafdet’s association with cats highlighted an early recognition of the special powers attributed to felines as defenders of righteousness and order.

Cats occupied a prominent place in Egyptian art, literature, and religious iconography.

They appear in tomb paintings, amulets, and sculptures, often serving as symbols of protection, fertility, and divine watchfulness.

For example, cat figurines and statues were frequently found near temples dedicated to Bastet, underscoring their sanctity.

Specific myths describe cats as intermediaries with spiritual realms, capable of negotiating with spirits or repelling evil influences.

Such stories and visual representations reinforced the dual role cats held as both practical protectors and spiritual guardians, intertwining everyday life with sacred symbolism.

Archaeological evidence further attests to the revered position of cats.

Excavations at Saqqara, especially those uncovering the largest embalming workshops from the Late Period (around 380–343 BC, 30th dynasty), revealed a specialized facility for mummifying sacred animals, including cats.

Tens of thousands of cat mummies have been discovered, along with numerous bronze, wooden, and faience cat statues and amulets, reflecting elaborate ritual care.

These finds indicate that cats were revered to the extent of being ritually preserved for the afterlife, a privilege typically reserved for humans or deities.

The proximity of these cat cemeteries to temples of Bastet demonstrates the integration of cats in religious worship and ritual practice.

The Egyptians’ veneration of cats extended to their mourning practices.

When a family cat died, the household often engaged in rituals expressing deep grief and respect.

One striking custom was the shaving of eyebrows, a visible and symbolic act marking mourning.

This practice likely signified a personal and public acknowledgment of loss, reflecting the cat’s status not as a mere animal but as a beloved and spiritually significant member of the household.

Eyebrow shaving underscored the emotional depth and sacred nature of human-cat relationships in ancient Egypt.

Modern psychological and anthropological scholarship offers further insight into why the spiritual bond between Egyptians and cats was so profound.

Contemporary interpretations suggest that cats served as living amulets and companions that symbolized vigilance, warmth, and protection against chaos and evil.

The trust and mutual care forged between humans and cats provided emotional security in a world where divine influences were paramount.

This relationship can be seen as a historical precedent to modern experiences in which cats are regarded as spiritual companions or soul mates, offering comfort and an almost mystical connection.

In sum, cats in ancient Egypt represented an intricate blend of the practical and the divine.

They were vital protectors of households and food supplies, while simultaneously embodiments of holiness and guardianship, deeply connected to powerful deities such as Bastet and Mafdet.

Their portrayal in art, literature, and ritual, their mummification, and the mourning customs surrounding their deaths all testify to a culture that viewed cats as sacred beings worthy of reverence and love.

This ancient veneration finds echoes in contemporary relationships with cats, where spiritual connections and emotional bonds continue to resonate, underscoring the timeless nature of the human-cat relationship.

In ancient Egyptian culture, cats were held in exceptionally high esteem, valued not only for their practical benefits but also for their profound spiritual and religious significance.

Title:

Content: The world 's first Shanghai Museum to hold the first exhibition with cats
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SHANGHAI (Reuters) - The People's Square Pavilion of the Shanghai Museum held its first exhibition with pet cats on Saturday (July 27), and 200 pet cats entered the museum that night under the leadership of their owners, setting a precedent for comprehensive museums in the world, reflecting the strong demand for Chinese people to travel with pets.
Comprehensive surging news network, Oriental network and other reports, with the top of the pyramid: ancient Egyptian civilization exhibition held, the Shanghai Museum since Saturday regularly launched a total of 10 museum strange night activities, inviting visitors to bring pet cats to watch the exhibition.
After the event tickets went on sale, the first 200 tickets sold out in one second, and all tickets for a total of 10 events sold out in one hour.
Many members of the public with pet cats arrived at the Shanghai Museum at 5: 30 p.m. on Saturday to wait in line, and the kittens in attendance attracted many passersby to stop and take photos.
Many relics on display are related to cats, including cat mummies.
In ancient Egypt, the cat god Bastet was regarded as a symbol of guardianship and spirituality; the ancient Egyptians worshiped the cat god, which coincided with the current people's love for "meow".
According to reports, pet visitors must go to the regular pet hospital in advance to issue a cat immunization certificate and present it when entering the museum.
Only certain areas in the museum exhibition hall allow pet cats to be photographed, but they must use their own traction rope and chest back; other areas need to be placed in their own cat bags and cat carts.
The event also invites pet doctors, pet emergency vehicles, pet management teams and other on-site personnel to deal with emergency situations.
Staff at the museum also receive professional training on pet cats.
According to incomplete statistics, there are more than 1 million pet dogs and more than 1.2 million pet cats in Shanghai.
As more and more pets enter the public space, many public places have successively joined the ranks of pet friendliness, and higher requirements have been put forward for fine urban management.
Chu Xiaobo, director of the Shanghai Museum, said that the demand for pet owners to travel with pets is strong, and on the premise of ensuring safety and order, it is hoped that the museum can be opened in different ways to allow the audience to have a more diverse experience.
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Their unique combination of utility and divinity positioned them as essential figures within Egyptian society, both in daily life and in the realm of belief.

Title:

Content: The mummy of a pet: why and why did the ancient Egyptians do this?
1: 43
The Egyptians showed special respect for their pets, their love was so great that they wanted these animals to have eternal life.
After death, pets were mummified and went through a complex burial process.
In ancient Egyptian worldview, four-legged and feathered creatures were considered sacred, divine and influencing their destinies.
They occupied an honorable place in the pantheon, and the gods were often depicted with animal heads.
Mummification was an integral part of this religious practice, emphasizing the special status of these creatures in the eyes of the Egyptians.
The Egyptians mummified various animals, believing that their gods could take different forms.
For example, the goddess Bast, the daughter of Ra, was depicted as a cat or a woman with a cat ’ s head.
This goddess symbolized well-being, joy, love and fertility.
The Egyptians especially revered cats for their ability to exterminate rodents, which was critical for preserving grain stocks, then considered valuable as gold.
Cats have also earned the nickname “sunny eye ” due to their ability to see in the dark.
This property made them important symbols in Egyptian mythology.
Archaeological studies conducted at the ancient Egyptian necropolis of Qubbet el-Hawa have uncovered the burial of crocodiles, one of which has been preserved in the form of a practically whole mummy, providing a unique look at the ancient rites and veneration of animals in this culture.
Author Petr Deryabin
Petr Deryabin – journalist, correspondent of Pravda.Ru news service

Practically, cats played a crucial role in protecting Egyptian households and grain stores from rodents and snakes, thereby securing the community’s sustenance and economic stability.

Their natural hunting abilities made them indispensable to agrarian life, underpinning the essential regard Egyptians had for them.

Beyond their practical function, cats were deeply entwined with the spiritual and religious fabric of ancient Egypt.

Title:

Content: As before, cats were used to ward off evil spirits: try it yourself
Where did the idea that cats ward off evil spirits come from?
1: 39
Since ancient times, cats have been famous for their mystery and special abilities.
In the world of folklore and legends, they often act as protectors against evil spirits and evil forces.
In antiquity and the Middle Ages it was believed that cats have a special sacred gift that helps them protect their homes and their owners from unfavorable energies.
In Egyptian mythology, cats were considered sacred animals associated with the goddess Bastet.
They were depicted as defenders of the home, as well as patrons of the family.
In medieval Europe, cats were often associated with magic and witchcraft, leading to their persecution during the Inquisition.
However, among the peoples of Scandinavia and Great Britain, cats were often seen as a symbol of protection from evil spirits.
In Scandinavian mythology, cats were considered companions of warriors and guides of souls of the dead on Asgard.
They were also supposed to be able to see hidden worlds and predict the future.
In the English folklore tradition, the black cat was considered a symbol of good luck and protection from evil spirits.
In medieval England, it was even believed that the owners of black cats have a special charm and protection from misfortune.
In Scotland, it was believed that if a black cat visits a house, it brings good luck and well-being to the family.
Traditions and legends about the protective power of cats are preserved in the modern world.
Many people still consider their furry friends not only faithful companions, but also mystical guardians, able to scare away evil spirits and bring harmony to the house.
Author Ilya Panferov
Ilya Panferov — freelance correspondent of Pravda.Ru

The most prominent feline deity associated with cats was the goddess Bastet.

Initially a fierce warrior goddess, Bastet evolved into a symbol of home, fertility, joy, and protection.

Often depicted as a woman with the head of a domestic cat or as a full cat, Bastet represented nurturing and safeguarding qualities.

Title:

Content: The cat becomes the goddess Baxter! 2 Meow to look: Are you also suffering?
Editorial Center / General Report
2022-09-02 13: 35: 40
In Egyptian mythology, Bastet is the goddess of the head of the cat, also known as the goddess of the cat, the goddess of pregnancy and childbirth, who was once a goddess of war, and slowly transformed into the guardian of the family, symbolizing the warmth and joy of the family.
And the Japanese master uses "simple one thing", so that their two black cats into the goddess Bastet, they look at each other high and low, as if to comfort each other: "It seems that you can not escape the master's claws ah ~".
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On the 1st, the Lord posted a message saying that he put a fruit net on his cat ’ s head to make it look noble and cute, and his wife laughed and said that he was like the Egyptian goddess Bastet. Soon after he ate the marrow and made another cat change, and two black cats forced to become goddesses, one standing on a higher cupboard, with the door as the center. They look down at each other, and they look at each other with a thousand words in their eyes.
Netizens reply "My cat also has imitation haha", "round eyes are so cute", "Sorry, I did the same thing to my parents' cat" XDD "," My dog has been played by my wife before, but it looks good (laughs) ".
(Editor: Li Huiting)
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Her protective role extended over families and homes.

Bastet’s veneration revealed the spiritual dimension Egyptians attributed to cats, viewing them as embodiments of divine qualities such as love, light, and guardianship.

Complementing Bastet was Mafdet, one of the earliest feline-associated goddesses in Egyptian mythology.

Mafdet was portrayed as a feline or a woman with a feline head and was considered a protector who executed justice and warded off evil.

Title:

Content: Cat Cold Knowledge ｜ 4 Mysterious Legends of Black Cats Are Black Cats a Symbol of Good Luck or Bad Luck?
Author: Wang Meow Planet
Published: Updated:
Black cats are a symbol of bad luck.
If you have an IG, follow us!
Take a look at the mysterious legends of the four black cats!
▼ ▼ ▼ The Mysterious Legend of the Black Cat ▼ ▼
+ 13
Are black cats really cute?
The black cat looks very mysterious, in fact, super caring and loving, like to stay close to the slave.
A black cat is a tiger cat.
Tiger spotted is a characteristic of cats, not a breed, and can be called a tiger spotted cat with stripes and markings.
Look and see ~ Black cats are not necessarily all black, and some of their hair is brown in the sun!
Black cats are a symbol of auspiciousness in Japan!
Peach Blossom: Single women with black cats can make love smoother!
Black cats are the most powerful.
Black cats are different everywhere.
Taiwan: Unlucky
The older generation thought that the black cat with white feet would jump over the body and the body would rise.
China: Escape from Evil Town
The house is haunted, and black cats are invited to walk around the house to help ward off evil spirits.
Ancient Egypt: The Protector of the Black Cat
The ancient Egyptian goddess "Bast" is a cat's head, and at night will be transformed into a black cat to protect the human body and drive away the evil spirit.
Italy: Death is near.
Legend has it that if a black cat is seen lying on a patient ’ s bed, it means death is near.
Although there are many mysterious legends about black cats, they are actually very cute and close to people!
Further reading: The cat immediately meows after defecating is to invite the cat owner to enjoy it?
5 reasons behind it.
+ 16
[This article is reproduced with permission from Wang Meow Planet.]
You may be interested

She played a critical role in maintaining order and safeguarding the judicial process by punishing wrongdoers and defending against malevolent forces.

Title:

Content: Chairman of the Board of Directors and Editors
I'm sorry.
Mohamad Elbaz
Chairman of the Board of Directors and Editors
I'm sorry.
Mohamad Elbaz
"Abu Mengele."
What is the story of the idol Thoth in ancient Egypt?
The ancient Egyptians were associated with a number of symbols and living beings that they sanctified around them, and made them a special place in their hearts, and in their daily lives, and in the following lines we review the story of the idol "Thoth", who was sanctified by the ancient Egyptians and called him many titles.
Who is the idol "Thoth"
The idol Thoth, one of the most important divine symbols and was depicted with the body of an Adami and the head of an ibis or a bird of an ibis or a baboon, and the ancient Egyptians began to worship him from the prehistoric period and continued throughout ancient Egyptian history, according to the museum sector of the Ministry of Antiquities and Tourism.
His main place of worship originated from the city of Ashmonin in central Egypt, where he was described in the Book of the Dead as the writer of the justice of the Holy Synod and carrying in his hands the feather of writing and the ink bowl, and was seen as the "god of wisdom", and is better known as the idol of "science and medicine", and had a major role in the myth of Isis and Osiris because he helped to restore Osiris. Later, Horus obeyed the Scorpio ’ s healing.
Thoth was the mediator in the conflict between Horus and West and he lived through three conflicts between good and evil and always stood by the good and supported it.
Thoth...
A symbol of justice.
The ancient Egyptians considered Thoth a symbol of the judiciary and attributed to him that he taught the Egyptians writing as the writer of God is the source of rhetoric and the inventor of writing, arithmetic and astronomy, and is considered the deputy of Ra in the evening, and the first months of the Egyptian year was named "Tut" after the idol Thoth.
If you are a fan of antiquities, you can visit the Tell Basta Museum, which abounds with many artifacts depicting the idol Thoth in the form of a bird of ibis and a baboon, which was expressed by the ancient Egyptians of their great admiration and reverence for the idol "Thoth".

Mafdet’s association with cats highlighted an early recognition of the special powers attributed to felines as defenders of righteousness and order.

Cats occupied a prominent place in Egyptian art, literature, and religious iconography.

They appear in tomb paintings, amulets, and sculptures, often serving as symbols of protection, fertility, and divine watchfulness.

For example, cat figurines and statues were frequently found near temples dedicated to Bastet, underscoring their sanctity.

Specific myths describe cats as intermediaries with spiritual realms, capable of negotiating with spirits or repelling evil influences.

Such stories and visual representations reinforced the dual role cats held as both practical protectors and spiritual guardians, intertwining everyday life with sacred symbolism.

Archaeological evidence further attests to the revered position of cats.

Excavations at Saqqara, especially those uncovering the largest embalming workshops from the Late Period (around 380–343 BC, 30th dynasty), revealed a specialized facility for mummifying sacred animals, including cats.

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CultureEgypt

Egypt unveils ancient workshops used to make mummies

1 hour ago

Archaeologists in Egypt have revealed two workshops that were used to embalm people and animals. Tombs were also opened up, featuring walls that depict daily life and images of an ancient priest.

https://p.dw.com/p/4Rtaf

Egyptian antiquities officials on Saturday revealed that a research team had unearthed human and animal mummification workshops as well as two tombs in the ancient burial ground of Saqqara.

The discovery follows an excavation lasting around a year near the sanctuary of the goddess Bastet and catacombs of mummified cats in Saqqara, some 30 kilometers (roughly 18.5 miles) south of Cairo.

What did the archaeologists find?

The embalming workshops, one in which humans were mummified with the other used for animals, date back to ancient Egypt's 30th dynasty — which reigned about 2,400 years ago.

Egypt's tourism and antiquities ministry said that in one of the workshops, the researchers had "found several rooms equipped with stony beds where the deceased lay down for mummification."

At the end of each bed were gutters that appeared to be needed for the mummification process.

There was also a collection of clay pots nearby to hold entrails and organs, and an assembly of other instruments and ritual vessels.

An initial study of the second workshop suggested it was used to mummify sacred animals.

Also part of the discovery were the tombs of two priests, one dating back to the 24th century BC and the other to the 14th century BC.

The earliest belonged to Ne Hesut Ba, who was the head of scribes and priest of the gods Horus and Maat in the Old Kingdom's fifth dynasty.

Mohamed Youssef, director of the Saqqara archaeological site said the tomb walls were decorated with depictions of "daily life, agriculture, and hunting scenes."

The second tomb was carved in rock and features depictions of the deceased himself, a New Kingdom priest named Men Kheber, "in different positions."

It also contained a 1-meter-long (roughly 1 yard) alabaster statue.

Push for tourists pays off

Egypt's government has strongly promoted new archaeological finds to international media and diplomats in recent years in the hope that such discoveries will help attract more tourists to the country.

Cairo aims to revive an industry that suffered from political turmoil and that was battered by the aftermath of the COVID-19 pandemic and fallout from the conflict in Ukraine.

Economic data showed tourism revenues climbing to $7.3 billion in the second half of 2022, a 25.7% increase compared with the previous year.

rc/msh (AFP, AP)

Tens of thousands of cat mummies have been discovered, along with numerous bronze, wooden, and faience cat statues and amulets, reflecting elaborate ritual care.

These finds indicate that cats were revered to the extent of being ritually preserved for the afterlife, a privilege typically reserved for humans or deities.

The proximity of these cat cemeteries to temples of Bastet demonstrates the integration of cats in religious worship and ritual practice.

The Egyptians’ veneration of cats extended to their mourning practices.

When a family cat died, the household often engaged in rituals expressing deep grief and respect.

Title:

Content: Experts told where the expression “the cat cried ” came from
2022-11-12 13: 53
Language is unthinkable without phraseology.
Surely many of us have heard the expression “horse in apples ”,“ dog in the hay ”, “stupid as a goose ”.
The origin of the expression is easy to understand: cats were tamed thousands of years ago and lived next to people even more than other livestock.
The cat could also personify the gods: in Egypt, the goddess Bastet had the head of a cat, and in the Slavs, the god Veles could take the form of a cat.
Cats were always kept close to home, like mousetraps and amulets: the cat, according to legend, could negotiate with the spirits living in the places where they built a dwelling.
This is how the tradition of launching a cat first on a housewarming party was born.
From there, perhaps, and so close attention to these animals.
Of course, no one has ever seen tears in the eyes of cats.
Abundant secretion of eye fluid occurs only when the animal is sick.
At the same time, a similar phenomenon in cats is observed hardly more often than in other domestic animals, and why it was the cat who was honored to “cry ” about an acute deficiency, one can only guess.
However, there is another version, quite exotic.
It is associated with the so-called “difficulties of translation ”.
Here is a direct analogy with the "Jolly Roger", which was born as a result of the hearing of the English.
Perhaps the same was true of the Slavs.
In Arabic, there is the expression “qat nailaq, ” which literally means“ not enough money. ”
Probably, the Eastern peoples, which sharply ran out of the source of material goods, compared themselves with weeping animals.
This was as unthinkable as a sharp decline in income.
However, this version was not widely distributed.
Nevertheless, she has a right to life, especially since the crying cat and "kat nailak" have approximately the same meaning.
With the only difference that a crying cat symbolizes the lack of not only money, but also other things.
Posted by: Angelina Krent

One striking custom was the shaving of eyebrows, a visible and symbolic act marking mourning.

This practice likely signified a personal and public acknowledgment of loss, reflecting the cat’s status not as a mere animal but as a beloved and spiritually significant member of the household.

Eyebrow shaving underscored the emotional depth and sacred nature of human-cat relationships in ancient Egypt.

Title:

Content: Museum organizes events for visitors to see pet cats
July 29, 2024 07: 15
Eastern Network Television
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Visitors lined up at the entrance of the Shanghai Museum with their pet cats.
The Shanghai Museum recently held the "Top of the Pyramids: Ancient Egyptian Civilization Exhibition", in which the People's Square Museum opened on Saturday (27th), the "Museum Curious Night" held on Saturdays, a series of nine shows.
At the first event, about 200 spectators and cute pet cats gathered at the venue to watch the exhibition.
Before the launch, many visitors with pet cats were waiting in line at the entrance of the Shanghai Museum, and about 200 cats were dressed up to attend, attracting many passers-by to stop and take photos.
Among them, the hairless cat held by Ms. Huo attracted the attention of many passersby.
She said that in order to prepare for the exhibition, she specially took the cat downstairs for a walk two days before the event began to help the cat adapt to the multi-person environment.
Visitors can take photos with their pets in the Cat Temple area in the exhibition hall, and can also experience items such as "Giant Cat Sculpture Photo" and "Cat Claw Interactive Message".
In ancient Egyptian civilization, the mythical goddess of the cat's head, Bastard, was a symbol of conservation and spirituality, which matched the love of cats today.

Modern psychological and anthropological scholarship offers further insight into why the spiritual bond between Egyptians and cats was so profound.

Contemporary interpretations suggest that cats served as living amulets and companions that symbolized vigilance, warmth, and protection against chaos and evil.

The trust and mutual care forged between humans and cats provided emotional security in a world where divine influences were paramount.

This relationship can be seen as a historical precedent to modern experiences in which cats are regarded as spiritual companions or soul mates, offering comfort and an almost mystical connection.

In sum, cats in ancient Egypt represented an intricate blend of the practical and the divine.

They were vital protectors of households and food supplies, while simultaneously embodiments of holiness and guardianship, deeply connected to powerful deities such as Bastet and Mafdet.

Their portrayal in art, literature, and ritual, their mummification, and the mourning customs surrounding their deaths all testify to a culture that viewed cats as sacred beings worthy of reverence and love.

This ancient veneration finds echoes in contemporary relationships with cats, where spiritual connections and emotional bonds continue to resonate, underscoring the timeless nature of the human-cat relationship.


The Elgin Marbles controversy centers on a collection of classical Greek sculptures originally part of the Parthenon in Athens, removed in the early 19th century by Lord Elgin, the British ambassador to the Ottoman Empire.

Greece regards the marbles as stolen cultural heritage and has persistently sought their return for over two centuries, emphasizing their significance as an integral part of Greek history and identity.

Conversely, the British Museum retains about half of the original Parthenon sculptures, having acquired them legally under British law of the period and confirmed by a 19th-century parliamentary committee.

The British Museum Act 1963 further restricts the permanent return of these artifacts.

From the UK perspective, key arguments include the legality of the acquisition, the museum’s role in preserving and displaying the marbles for a global audience, and the principle of universal access to culturally significant objects.

Greece challenges the validity of Elgin’s permission from the Ottoman authorities, labeling the removal as cultural theft, and insists the marbles belong in the Acropolis Museum in Athens to reunite the sculptures with their historical and architectural context.

Ethical considerations underline that historical acquisition practices during colonial times often ignored the cultural rights of source communities, prompting focus on respect for provenance and cultural integrity in contemporary archaeology.

Recent developments have included confidential discussions proposing a cultural exchange where the marbles could be loaned to Greece temporarily, balanced by loans of Greek treasures to the UK.

Despite diplomatic goodwill, UK government officials currently maintain the legal barriers to permanent repatriation.

Notable public figures and the Greek Prime Minister advocate for return as a gesture of cultural respect and diplomacy, indicating broader support outside formal politics.

The Elgin Marbles controversy centers on a collection of classical Greek sculptures originally part of the Parthenon in Athens, removed in the early 19th century by Lord Elgin, the British ambassador to the Ottoman Empire.

Title:

Content: LONDON (Reuters) - The historic Greek treasure of Elgin Marbles is nearing its return to its country of origin, 200 years after it was moved and ended up in the British Museum.
The Parthenon marble, seen as a symbol of freedom in Greece, was controversially moved out of the country by a British diplomat in a move that ignited a debate that lasted more than two centuries.
Greece has made repeated requests for the sculptures to be returned after they were controversially removed from one of the world ’ s most historic landmarks.
Prime Minister Rishi Sonak had been scheduled to meet his Greek counterpart Kyriakos Mitsotakis on Tuesday, but Downing Street canceled the arrangement and sent Deputy Prime Minister Oliver Duden instead.
The head of the British Museum, former Conservative Chancellor George Osborne, is pushing for a temporary loan to be returned to Greece, and is believed to have drawn up a deal.
But both Sonak and Labour leader Sir Keir Starmer say they will not support a change to the British Museum law that currently bars their return.
The museum said it was continuing "constructive discussions" about their possible return.
Gin Marble
The Algin marble is 17 sculptures that are 2,500 years old.
His pieces were part of a frieze that adorned the ancient Parthenon temple at the Acropolis in Athens, Greece.
The marbles make up about half of the 160-meter-long frieze of the Parthenon Temple, which is considered one of the greatest cultural monuments in the world.
These sculptures are seen as symbols of freedom in Greece, where they are known as Parthenon marble.
British diplomat Lord Elgin removed the sculptures from the majestic Parthenon temple in the early 19th century.
At that time, he was ambassador to the Ottoman Empire, which ruled Greece.
Beginning in 1801, Lord Elgin is said to have supervised the removal of the marble and shipped it to the UK in 170 boxes.
He is said to have claimed to have obtained permission from the Ottoman Empire to move the marble, but despite massive documentation from that period, nothing was found to support his actions.
In the United Kingdom, Lord Elgin received support and criticism, and sold it to the United Kingdom government in 1816 before the marble was transferred to the custody of the British Museum.
The beginning and evolution of the dispute
The controversy between Greece and Britain can be traced back to when the marble first arrived in Britain due to criticism of its removal.
In 1832, Greece gained independence from the Ottoman Empire before it began trying to recover sculptures and other works of art taken from the country.
In the early 1980s, the actress and then Greek Minister of Culture, Melina Mercury, reignited the campaign when she made it her mission to secure the return of marble sculptures.
In 1983, she met with the director of the British Museum, Dr. David Wilson, in London to demand the return of the sculptures.
She continued to press the museum and the British government until her death in 1994.
Despite other requests and high-level media coverage, no agreement was reached in the years that followed.
A new campaign
In 2009, Greece stepped up its marble recovery campaign after opening a new museum at the foot of the Acropolis Hill, hoping one day to house it.
In 2014, human rights lawyer Amal Clooney called on Britain to start talks with Greece over the return of the Elgin marble.
The lawyer, who is the wife of Hollywood star George Clooney, said: "This is an injustice that has been going on for a long time, in a world full of intractable conflicts."
In 2015, Greece ruled out any legal action against the UK over Elgin Marbles.
In May 2022, the so-called Fagan fragment — a piece showing the foot of the ancient Greek goddess Artemis seated — was permanently returned to Athens from a museum in Italy.
It was originally part of the eastern frieze of the temple dating back to the 5th century BC.
The British reaction
In 2022, there were calls to make it easier for UK museums to consider returning cultural objects, but the government rejected them.
Former Conservative culture minister Lord Vaizi also headed a new body aimed at returning Elgin marble to Greece.
The refusal came after then-Prime Minister Boris Johnson told the Greek prime minister during talks at Downing Street in 2021 that the sculpture issue was "a matter for the curators of the British Museum".
Then, at the beginning of December, George Osborne, the head of the British Museum, reportedly held secret talks with the Greek prime minister about the possibility of returning the marble sculptures.
Negotiations between former Treasury Secretary Osborne and Kiriakos Mitsotakis have been taking place in London since November 2021, according to the Greek daily Ta Nea.
The Greek prime minister has on numerous occasions called for the relocation of the sculptures, and even offered to lend other treasures to the British Museum in return.
A spokesman for Project Parthenon, a campaign advocating the return of marble sculptures, hailed the talks as a “positive sign ” that a“ win-win solution ” to the centuries-old debate could be reached.
Possible deal?
In December last year, Downing Street said there were no plans to change the law that prohibits the museum from disposing of objects in its collection except in very limited circumstances.
A spokesman for the prime minister said: “The Parthenon sculptures are legally owned by trustees and are practically independent of the government. ”
Last month, the British Museum issued a statement saying it would not dismantle its collection “because it tells a unique story of our common humanity, ” but added that it wanted to forge a new“ Parthenon partnership ” with Greece.
The talks in Westminster were used by former culture minister Lord Vaizi to press again for the return of the sculptures.
He said that the frieze in Athens "resembles a film that was cut in half and half of it was moved against the will of its owners to another country."
After cancelling the bilateral meeting between Sonak and Mitsotakis on Tuesday, the Greek leader said he was "disappointed".
Mr Sonak said the UK “has no plans to change our approach ” but“ did not ask him [Mr Mitsotakis] what short-term or new ideas have been put forward ”.
Starmer and Mitsotakis Meet
Opposition Labour leader Sir Kiir Starmer met Mitsotakis on Monday.
A source close to Labour leader Sir Kiir Starmer told the Financial Times he was unlikely to change the law if he won the next election.
"We are committed to the current law, but if a mutually acceptable loan deal can be agreed between the British Museum and the Greek government, we will not stand in the way."
Is the agreement possible?
The head of the National Museum, George Osborne, is understood to have drawn up a deal with Athens, according to the Daily Telegraph.
Current legislation bars the museum from legally granting treasures, but Osborne is said to be seeking to repatriate the antiquities as part of a long-term "cultural exchange."
But this loan deal is not expected to permanently end the long-running dispute.
The article was prepared from the site of (Sky News) British channel:
https: / / news.sky.com / story / elgin-marbles-what-are-they-and-how-did-they-end-up-in-the-british-museum-12779617

Greece regards the marbles as stolen cultural heritage and has persistently sought their return for over two centuries, emphasizing their significance as an integral part of Greek history and identity.

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Content: Greek premier to meet Starmer and Sunak in renewed push to return Elgin marbles

Kyriakos Mitsotakis due to meet Rishi Sunak and Keir Starmer in London next week

Matt Mathers
Saturday 25 November 2023 23:43
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Elgin Marbles: British Museum lends statue

Greek prime minister Kyriakos Mitsotakis is set to raise the issue of the Parthenon sculptures with the UK next week.

He is reportedly due to hold talks with Labour leader Keir Starmer on Monday and prime minister Rishi Sunak on Tuesday and will raise the subject with both.

The Financial Times reported that Mr Starmer was open to a potential loan deal that would see parts of the ancient sculptures returned. Labour declined to comment.

The 2,500-year-old sculptures, also known as the Eglin Marbles, were taken from Athens to Britain by agents of Thomas Bruce, the 7th Earl of Eglin, in the early 19th century and never returned. Greece says they were stolen, sparking a bitter and long-running dispute with the UK.

Housed in their own dedicated room, the sculptures of Olympian gods and goddesses, centaurs and warriors are among the greatest at the British Museum.

A 1963 Act of Parliament stops the British Museum from permanently handing them back.

George Osborne, the museum’s chair and the former Conservative Party MP and chancellor, has backed a loan deal.

“I hope we’ll find a way to partner with Greece so that a portion of the Marbles spend part of their time in Athens . . . and we see more of their treasures in return,” he wrote in The Spectator last week. Mr Osborne conceded that “we may well not succeed” but that it was “surely worth the effort”.

The proposed deal, which Mr Osborne and Mr Mitsotakis have held secret talks over, would allow the sculptures to return to Athens in exchange for Greek treasures being displayed in London.

Many of the artworks in question are in storage in museum vaults and have never before been seen.

Mr Mitsotakis, who has said it is his “passion” to get the sculptures back, is scheduled to meet both party leaders next week. He intends to raise the issue in both meetings, a person close to him told the FT.

Mr Sunak is said to be not opposed to the idea of a loan deal but sceptical that the sculptures would ever be returned if they were loaned to Greece, according to the paper.

No 10 has been contacted for comment.

A UK government spokesperson told the FT: “The UK has cared for the Elgin Marbles for generations.

“Our galleries and museums are funded by taxpayers because they are a huge asset to this country. “

We share their treasures with the world, and the world comes to the UK to see them. The collection of the British Museum is protected by law, and we have no plans to change it.”

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Conversely, the British Museum retains about half of the original Parthenon sculptures, having acquired them legally under British law of the period and confirmed by a 19th-century parliamentary committee.

Title:

Content: Stephen Fry calls returning Elgin Marbles to Greece 'A classy thing at last'

THE ELGIN Marbles' return to Greece would be "a classy act" by the UK, says Stephen Fry.

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UK has 'no obligation' to return Elgin Marbles says Widdecombe

Greece has called for the repatriation of the collection of Elgin Marbles for more than 200 years – ever since they were taken from the Parthenon in 1802 on the order of Lord Elgin, Britain's then-ambassador to the Ottoman Empire. Mr Fry, who said he is "very keen" to see the sculptures be returned to Athens, has been the latest to join the debate over the home of the monumental artwork.

The actor and broadcaster suggested the marbles be replaced with a virtual experience.

He stressed that with modern technology the carvings can be replicated using lasers.

He said: "So the British Museum would have a Parthenon experience and you go in and see this fabulous technology using AR helmets or whatever you want to wear and you see how the originals were perfectly reproduced and out in place and you watch them being packed up and put on the train."

The sculptures, which sit at the London-based institution, have not been available to be publicly viewed for nearly a year due to ongoing maintenance work and the coronavirus pandemic.

The British Museum is to reopen its Greek galleries to the public on Monday, December 13.

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Critics argue the Elgin Marbles, which sit at the British Museum, should be repatriated to Greece (Image: Getty)

Mr Fry, 64, said: "I know a lot of people say 'we've looked after them' and it's certainly true we've looked after them, but it would be such a classy act.

"I promise you one million Athenians would come on to the street to welcome them.

"They mean so much to the Greeks, they are part of the nature of what Athens is."

The British Museum houses 15 metopes, 17 pedimental figures and 75 metres of the original frieze.

50 metres remain in Athens and other parts are in museums across Europe.

Comedian Stephen Fry called returning the artwork would be 'a classy act' from Britain's side (Image: Getty)

The sculptures have been a subject of debate ever since the were taken from Greece in 1802 (Image: Getty)

Mr Fry claimed a move such as returning the Elgin Marbles is what the country needs: "There would be a hand-shake ceremony and suddenly people would for once look at Britain and say that was a classy act.

"It would be a classy thing and Britain hasn't done a classy thing for some time."

Greek prime minister Kyriakos Mitsotakis, speaking to the FT ahead of a foreign policy trip to the UK last month, said: "If I were in the PM's shoes and I were thinking out of the box in terms of global Britannia, and the idea of Britain really playing a role in the post-Brexit world, [it] would be a fantastic coup for public diplomacy if they were to look at this from a different perspective."

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Kyriakos Mitsotakis advocates for 'reunification' of Elgin Marbles

Greek prime minister Kyriakos Mitsotakis has urged Boris Johnson to return the marbles to Athens (Image: Getty)

Then, during his visit to London, he urged Prime Minister Boris Johnson to return the priceless ancient sculptures to Greece, again presenting it as a chance for the UK to strengthen its Global Britain standing.

Mr Johnson has so far not shown signs he intends to return the Elgin Marbles.

Speaking to the Greek paper Ta Nea earlier this year, he claimed: "The UK government has a firm, longstanding position on the sculptures.

"They were legally acquired by Lord Elgin under the appropriate laws of the time and have been legally owned by the British Museum’s trustees since their acquisition."

This aligns with the view outlined on the British Museum’s website, which backs Lord Elgin's efforts to bring the marbles to the UK in the early 19th century: "His actions were thoroughly investigated by a parliamentary select committee in 1816 and found to be entirely legal, prior to the sculptures entering the collection of the British Museum by act of parliament."

The British Museum Act 1963 further restricts the permanent return of these artifacts.

From the UK perspective, key arguments include the legality of the acquisition, the museum’s role in preserving and displaying the marbles for a global audience, and the principle of universal access to culturally significant objects.

Greece challenges the validity of Elgin’s permission from the Ottoman authorities, labeling the removal as cultural theft, and insists the marbles belong in the Acropolis Museum in Athens to reunite the sculptures with their historical and architectural context.

Ethical considerations underline that historical acquisition practices during colonial times often ignored the cultural rights of source communities, prompting focus on respect for provenance and cultural integrity in contemporary archaeology.

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Content:
Send Them Home

The Elgin Marbles, actually the Parthenon Marbles, have been Greek for over two thousand years and still are in every way except location. They were taken, realistically stolen, by Lord Elgin in the early 1800s and most people believe should be returned but that is actually illegal under British Museum Act 1963 and offers to ‘lend’ them are insulting.

One of the most obvious concerns that many museums have is that they would be emptied of items that were acquired, a weasel word for stolen, during times when the attitudes were different. Different attitudes do not condone theft.

Let’s return the thefts of the past to their rightful owners and put the past attitudes in the rubbish bin of time.

Dennis Fitzgerald,
Melbourne, Australia

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Recent developments have included confidential discussions proposing a cultural exchange where the marbles could be loaned to Greece temporarily, balanced by loans of Greek treasures to the UK.

Despite diplomatic goodwill, UK government officials currently maintain the legal barriers to permanent repatriation.

Title:

Content: UK museums strike loan deal to return Asante Gold to Ghana that was looted over 100 years ago

25 January 2024, 07:25 | Updated: 25 January 2024, 07:27

By Jenny Medlicott

The UK is returning a selection of Asante Gold looted from Ghana over 100 years ago in a historic loan deal.

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The British Museum has struck a deal to return 15 pieces of the gold to Ghana and the Victoria & Albert Museum (V&A) 17 pieces, under a new three-year loan deal.

Loan deals are used as a way to enable collections to return to their countries of origin.

The Ghanian loan deal, which can be extended by an additional three years, was agreed with Otumfo Osei Tutu II, the current Asante king known as the Asantehene.

Some national museums in the UK, including the V&A and British Museum, are prohibited from permanently returning such items to their countries of origin.

The items will reportedly go on display at the Manhyia Palace Museum in Kumasi, the capital of the Asante region, to celebrate the Asantehene's silver jubilee.

Tristram Hunt, director of the V&A, said the gold items taken from the court of the Asante King are the equivalent of "our Crown Jewels".

Mr Hunt also said when museums "hold objects with origins in war and looting in military campaigns, we have a responsibility to the countries of origin to think about how we can share those more fairly today.

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"It doesn't seem to me that all of our museums will fall down if we build up these kind of partnerships and exchanges,” he told the BBC.

It is hoped the historic deal will pave the way for handling other repatriation disputes - potentially including the long-running dispute over the Elgin Marbles.

Ghana’s chief operation said he hoped the deal would bring a “a new sense of cultural co-operation” following years of anger.

However, some have expressed concern that accepting the items on loan could be seen as acceptance of the UK’s ownership of the contested items.

Most of the items were taken during 19th-century wars between the British and the Asante.

A sword of state and gold badges worn by officials charged with cleansing the soul of the king are among the items to be returned.

The artefacts are seen as a symbol of the Asante royal government and are believed to hold the spirits of former Asante kings.

As for other contested artefacts held by British museums, in the case of the Elgin Marbles, a senior British Museum has source said the museum was “still exploring if there is an arrangement that would allow some of the Parthenon sculptures to travel to Greece”.

It is hoped deals such as these could help provide a solution to former colonial nations requesting the return of their cultural treasures.

Notable public figures and the Greek Prime Minister advocate for return as a gesture of cultural respect and diplomacy, indicating broader support outside formal politics.