But the discovery was drowned out by the drumbeat of protest against the British Museum following new revelations about its ties to a fossil fuel company.
Users can view pictures of objects set against backdrops illustrating, for instance, the sacred rites that they once presided over, but also violent occupations and sieges that unrooted them from their communities.
The principle that one misdeed deserves to be redressed before another, because it stems from a situation of greater violence, is wrong.
In a meeting in London, the Greek Prime Minister reiterated an offer to loan other artworks to the British institution in exchange for the priceless marbles.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.
Cambodian artifacts traded by dealer Douglas Latchford, accused of trafficking in looted art, are on view at the Met and the British Museum.
“We never stopped making the bronzes even after those ones were stolen,” said a founding member of the Ahiamwen Guild. “I think we make them even better now.”
The damaged Roman and Islamic vessels were on display in the Archaeological Museum at the American University of Beirut during the explosion.
Created nearly 200 years ago for the artist’s unpublished The Great Picture Book of Everything, the works will go on view at the British Museum.
Despite the British Museum’s active participation in work towards restitution, the current display and captioning fail to be forthright or responsible.
An exhibition takes on the notorious Roman emperor, from gleaming marble to roaring flames.