The Hellenic Statistical Service released the latest visitor numbers for museums in Greece today (31 March 2021). Although the numbers are only available up to the end of September 2020, they show a drop of 79.5% due to the pandemic. The Archaeological Museum in Herakleion showed a drop of over 90 per cent. The January-September comparison between 2019 and 2020 shows the impact: a fall from 4.7 million visitors to 976,805. (In 2019 there were 5.8 million visitors to museums in Greece.) This is reflected in a decrease of ticket sales of 82 per cent: from 19.2 million Euros in 2019 to 3.4 million Euros in 2020.
The publication of the ALVA visitor figures for museums in London demonstrates the impact of COVID restrictions. A selection of 11 museums in London received over 36.6 million visitors in 2019, reduced to 8.2 million in 2020. This represents lost income that will need to be addressed by the sector.
The release of ALVA visitor figures have shown the impact of the pandemic on visitors to Oxford University Museums. The 3.3 million visitors in 2019 dropped to 887,516 in 2020. (This is still more than the number of visitors to University of Cambridge Museums.)
The ALVA figures for 2020 have shown the impact of the pandemic on museum visitors through the figures for the University of Cambridge Museums. The total number of visitors has dropped from 1.3 million in 2019 to 471,408 in 2020. However if you remove the Cambridge University Botanic Garden from the figures this leaves 277,918 visitors to all the other locations.
As part of the bicentenary of the Greek War of Independence draws near, two US members of Congress have passed a resolution calling on the UK Government to return the architectural sculptures from the Parthenon to Greece (“Hellenic Caucus Co-Chairs Maloney & Bilirakis Reintroduce Resolution Calling on the U.K. to Return the Parthenon Marbles to Greece“, 18 March 2021).
Congressman Gus Bilirakis said:
“The Parthenon Marbles were made by the citizens of Athens under the direction of renowned artist Phidias to celebrate the pride and majesty of the City of Athens. To not house and view these citizen contributions in the city they were originally intended does a disservice not only to the people of Athens, but also to the civilization that paved the path for modern democracy and freedom.”
The appeal to the original intention of the sculptor is a strong one. These sculptures were an integral part of a building, incidentally now part of the UNESCO World Heritage Site of the Athenian Akropolis.
Is now the time for these sculptures to be returned to Athens so that they can be displayed in line of sight of the Parthenon?
Journal Summary: Exhibition is a journal of exhibition theory & practices for museum professionals, published by NAME, the National Association for Museum Exhibition. It is published twice a year.
Publisher: NAME (National Association for Museum Exhibition) / American Alliance of Museums
Access: Subscription; some open access (archive issues available)
Journal Type: Industry peer reviewed
The British Prime Minister has stepped into the debate about cultural property currently held in the British Museum by making a statement about what he considers to be the legal status of the Parthenon architectural sculptures (“Greek culture minister challenges British PM’s claims on Parthenon sculptures“, ekatherimini.com 12 March 2021). These sculptures were once an integral part of the Parthenon, part of the UNESCO World Heritage Site of the Athenian Acropolis. The proposal is to display them in line of sight with the Parthenon.
Some of the issues relating to cultural property are explored in my Context Matters: Collating the Past (20202) [see here].
In 2019 there were 5.89 million visits to museums in Greece, worth over 23 million Euros in receipts. The two museums with the highest number of visitors are the New Akropolis Museum (with 1.7 million visitors in 2019) and the National Archaeological Museum in Athens (with 608,000 visitors in 2019). These two museums account for 40 per cent of all public museum visits in the country. Museums in Attiki account for 2.7 million visits, 47 per cent of all public museums visits in the country.
Other areas with high museums visits include Thessaloniki with 591,000 visits (10 per cent of visits), the Dodecanese (including Rhodes) with 381,000 visits (6 per cent of visits), and Crete with 845,000 visits (14 per cent of visits); the site museums of Delphi had 275,000 visits, and Olympia 159,000 visits (together 7 per cent of visits).
My new biography of Dr John Disney, founder of the John Disney Chair of Archaeology at the University of Cambridge and benefactor of the Disney Marbles now displayed at the Fitzwilliam Museum, has been published by Archaeopress.
The family’s origins lay at Norton Disney in Lincolnshire where they had settled after the Norman conquest. Disney’s father, the Reverend John Disney, inherited The Hyde near Ingatestone in Essex from Thomas Brand-Hollis. The house contained the Grand Tour collection formed by Brand-Hollis and Thomas Hollis. The Reverend John Disney had met Brand-Hollis through the Unitarian Essex Street Chapel in London where he had ministered after leaving the Church of England.
John Disney inherited The Hyde from his father and presented much of the collection to the University of Cambridge. The objects were described in his Museum Disneianum. Some of the items can be traced back to his wife, Sophia, or uncle (and father-in-law), Lewis Disney-Ffytche, during their time in Naples after they had been forced to flee Paris during the Revolution. Disney-Ffytche had been the owner of Le Désert de Retz, the pleasure gardens near Paris.
Disney himself helped to establish a new museum in Chelmsford through the Chelmsford Philosophical Society. He was a key member of the Essex Archaeological Society.
1. The Disney family of Lincolnshire
2. The Break with the Church of England
3. Collectors of the Grand Tour: Thomas Hollis and Thomas Brand
4. The Disney family and Essex
5. The Hyde and its collection
6. Disney and Learned Societies
7. The Museum Disneianum and Cambridge
8. Going for Gold
9. The Disney legacy
The World of Disney: From Antiquarianism to Archaeology (Oxford: Archaeopress, 2020). ISBN 9781789698275.
Journal Summary: Museum Worlds: Advances in Research is a multidisciplinary, refereed, annual journal that publishes work that significantly advances knowledge of global trends, case studies, and theory relevant to museum practice and scholarship around the world.
Responding to the need for a rigorous, in-depth review of current work in its field, Museum Worlds: Advances in Research contributes to the ongoing formation of Museum Studies as an academic and practical area of research that is rapidly expanding and alive with potential, opportunity, and challenge that parallels the rapid growth of museums in just about every part of the world.
Museum Worlds aims to trace and comment on major regional, theoretical, methodological, and topical themes and debates, and to encourage comparison of museum theories, practices, and developments in different global settings. Each issue includes a conversation piece on a current topic, as well as peer-reviewed scholarly articles and review articles, book and exhibition reviews, and news on developments in museum studies and related curricula in different parts of the world. Drawing on the expertise and networks of a global Editorial Board of senior scholars and museum practitioners, the journal both challenges and develops the core concepts that link different disciplinary perspectives on museums by bringing new voices into ongoing debates and discussions. Articles are of exceptional quality and general interest from around the world.
Access: Subscription; some open access
Journal Type: Academic peer reviewed