From nauplion@charm.net Sun Nov 12 07:08:06 2000 Received: from mxu2.u.washington.edu (mxu2.u.washington.edu [140.142.32.9]) by lists.u.washington.edu (8.9.3+UW00.05/8.9.3+UW99.09) with ESMTP id HAA130222 for ; Sun, 12 Nov 2000 07:08:05 -0800 Received: from fellspt.charm.net (root@fellspt.charm.net [199.0.70.29]) by mxu2.u.washington.edu (8.9.3+UW00.02/8.9.3+UW99.09) with ESMTP id HAA00559 for ; Sun, 12 Nov 2000 07:08:04 -0800 Received: from charm.net (coretel-116-222.charm.net [209.143.116.222]) by fellspt.charm.net (8.9.3/8.9.3) with ESMTP id KAA22070 for ; Sun, 12 Nov 2000 10:07:42 -0500 (EST) Message-ID: <3A0EB11A.F0951615@charm.net> Date: Sun, 12 Nov 2000 10:02:56 -0500 From: Diana Wright X-Mailer: Mozilla 4.7 [en]C-DIAL (Win95; U) X-Accept-Language: en,el,tr MIME-Version: 1.0 To: Classics Subject: Underground in Athens, A Dig at the British (washingtonpost.com) Content-Type: multipart/mixed; boundary="------------D3EBA706D648AD29B38CBF89" This is a multi-part message in MIME format. --------------D3EBA706D648AD29B38CBF89 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit An article on Athens new subway stations with obligatory remarks on the Elgin Marbles. 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unitedkingdom;kw=3D;pos=3Dleft1;sz=3D120x90;tile=3D4;ord=3D"> <IMG SRC=3D= "http://ad.doubleclick.net/ad/wpni.world/search/europe;dir=3Dunitedkingdo= m;kw=3D;pos=3Dleft1;sz=3D120x90;tile=3D4;ord=3D" border=3D"0" width=3D"12= 0" height=3D"90"></A> </NOSCRIPT> = = = = = <table width=3D"122" cellpadding=3D"2" cellspacing=3D"1" border=3D"0"> = <TR><TD BGCOLOR=3D"#CCCCCC"><a href=3D"http://www.washingtonpost.com/wp-s= rv/front.htm"><font size=3D"-2" face=3D"verdana, ms sans serif, arial" cl= ass=3D"nodec" color=3D"#333366"> <b>News Home Page</b></font></a></T= D></TR> = <TR><TD BGCOLOR=3D"#CCCCCC"><a href=3D"http://www.washingtonpost.com/wp-= dyn/digest"><font size=3D"-2" face=3D"verdana, ms sans serif, arial" clas= s=3D"nodec" color=3D"#333366"> <b>News Digest</b></font></a></TD></T= R> = <TR><TD BGCOLOR=3D"#CCCCCC"><a href=3D"http://www.washingtonpost.com/wp-= dyn/nation"><font size=3D"-2" face=3D"verdana, ms sans serif, arial" clas= s=3D"nodec" color=3D"#333366"> <b>Nation</b></font></a></TD></TR> = <TR><TD BGCOLOR=3D"#333366"><a href=3D"http://www.washingtonpost.com/wp= -dyn/world"><font size=3D"-2" face=3D"verdana, ms sans serif, arial" clas= s=3D"nodec" color=3D"#FFFFFF"> <b>World</b></font></a></TD></TR> = = = <TR><TD BGCOLOR=3D"#336699"><a href=3D"/wp-dyn/world/africa"><font siz= e=3D"-2" face=3D"verdana, ms sans serif, arial" class=3D"nodec" color=3D"= #CCCCCC"> <b>Africa</b></font></a></TD></TR> = = <TR><TD BGCOLOR=3D"#336699"><a href=3D"/wp-dyn/world/americas"><font s= ize=3D"-2" face=3D"verdana, ms sans serif, arial" class=3D"nodec" color=3D= "#CCCCCC"> <b>Americas</b></font></a></TD></TR> = = <TR><TD BGCOLOR=3D"#336699"><a href=3D"/wp-dyn/world/asia"><font size=3D= "-2" face=3D"verdana, ms sans serif, arial" class=3D"nodec" color=3D"#CCC= CCC"> <b>Asia/Pacific</b></font></a></TD></TR> = = <TR><TD BGCOLOR=3D"#336699"><a href=3D"/wp-dyn/world/europe"><font siz= e=3D"-2" face=3D"verdana, ms sans serif, arial" 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ALT=3D" "></TD> <TD WIDTH=3D"468" BGCOLOR=3D"#FFFFFF"> = <BR> <A NAME=3D"top"></A> = <!--plsfield:headline--> <FONT FACE=3D"Arial,Helvetica" SIZE=3D"+1"><B>Underground in Athens, A D= ig at the British</B></FONT><P> <!--plsfield:stop--> <TABLE WIDTH=3D"245" ALIGN=3D"right" CELLPADDING=3D"0" CELLSPACING=3D"0= "><TR> <TD WIDTH=3D"17"><SPACER TYPE=3D"block" WIDTH=3D"17" HEIGHT=3D"1">= </TD> <TD WIDTH=3D"228"> = = <TABLE WIDTH=3D"228" BORDER=3D"0" CELLPADDING=3D"1" CELLSPACING=3D"0" B= GCOLOR=3D"#ffffff"> <TR><TD WIDTH=3D"228" BGCOLOR=3D"#CCCCCC" ALIGN=3D"center"> <TABLE WIDTH=3D= "226" BGCOLOR=3D"#FFFFFF" CELLPADDING=3D"0" CELLSPACING=3D"0" BORDER=3D"0= "> <TR><TD WIDTH=3D"6" HEIGHT=3D"5"><SPACER TYPE=3D"block" WIDTH=3D"6" HE= IGHT=3D"5"></TD> <TD WIDTH=3D"34" HEIGHT=3D"5"><SPACER TYPE=3D"block" WID= TH=3D"34" HEIGHT=3D"5"></TD> <TD WIDTH=3D"178" HEIGHT=3D"5"><SPACER TYPE=3D= "block" WIDTH=3D"178" HEIGHT=3D"5"></TD> <TD WIDTH=3D"8" HEIGHT=3D"5"><SP= ACER TYPE=3D"block" WIDTH=3D"8" HEIGHT=3D"5"></TD></TR> <TR><TD WIDTH=3D= "6" HEIGHT=3D"16"><SPACER TYPE=3D"block" WIDTH=3D"6" HEIGHT=3D"16"></TD> = <TD WIDTH=3D"34" ALIGN=3D"right" VALIGN=3D"bottom"><IMG SRC=3D"http://a18= 8.g.akamaitech.net/f/188/920/1h/www.washingtonpost.com/wp-srv/images/icon= _mail.gif" WIDTH=3D"24" HEIGHT=3D"11" BORDER=3D"0" HSPACE=3D"5" VSPACE=3D= "0"></TD> <TD ALIGN=3D"left" WIDTH=3D"178" VALIGN=3D"bottom"><FONT SIZE=3D= "-2" FACE=3D"verdana, arial" color=3D"#666666"><A HREF=3D"/cgi-bin/gx.cgi= /AppLogic+FTContentServer?pagename=3Dwpni/email&articleid=3DA64742-2000No= v11&node=3Dworld/search/europe/unitedkingdom"><B>E-Mail This Article</B><= /A><BR></FONT></TD> <TD WIDTH=3D"8" HEIGHT=3D"1"><SPACER TYPE=3D"block" W= IDTH=3D"8" HEIGHT=3D"1"></TD></TR> <TR><TD WIDTH=3D"6" HEIGHT=3D"16"><SPA= CER TYPE=3D"block" WIDTH=3D"6" HEIGHT=3D"16"></TD> <TD WIDTH=3D"34" ALIGN= =3D"right" VALIGN=3D"bottom"><IMG SRC=3D"http://a188.g.akamaitech.net/f/1= 88/920/1h/www.washingtonpost.com/wp-srv/images/icon_print.gif" WIDTH=3D"2= 4" HEIGHT=3D"11" BORDER=3D"0" HSPACE=3D"5" VSPACE=3D"0"></TD> <TD ALIGN=3D"left" WIDTH=3D"178" VALIGN=3D"bottom"><FONT SIZE=3D"-2" FAC= E=3D"verdana, arial" color=3D"#666666"><A HREF=3D"/ac2/wp-dyn/A64742-2000= Nov11?language=3Dprinter"><B>Printer-Friendly Version</B></A><BR></FONT><= /TD> <TD WIDTH=3D"8" HEIGHT=3D"1"><SPACER TYPE=3D"block" WIDTH=3D"8" HEIGHT=3D= "1"></TD></TR> <TR><TD COLSPAN=3D"4" WIDTH=3D"226" HEIGHT=3D"8"><SPACER T= YPE=3D"block" WIDTH=3D"226" HEIGHT=3D"8"></TD></TR></TABLE> </TD></TR> <T= R><TD WIDTH=3D"228" HEIGHT=3D"1"><SPACER TYPE=3D"block" WIDTH=3D"226" HEI= GHT=3D"1"></TD></TR></TABLE> </TD></TR></TABLE> <FONT SIZE=3D"2"> <!--= plsfield:byline--> <I>By Jo Ann Lewis</I><BR> <!--plsfield:credit--> Special to The Washington Post<BR> <!--plsfield:disp_date--> Sunday, November 12, 2000; Page G06 <BR> </FONT> </P> <!--plsfield:description--> <P><FONT FACE=3D"arial,helvetica" SIZE=3D"-1" COLOR=3D"#333333"> <B><P>A= THENS =96=96 Next week, in the shadow of the ancient Acropolis, a new sub= way stop will open for business.</B> </FONT></P> = <P><P>It is designed to do many things: ease traffic, reduce polution, = show off ancient art.</P> = = <P><P>But it is also designed to make the British squirm.</P> = = = <P><P>The white marble "Akropoli" station, part of this city's s= pectacular new $2.5 billion subway system, will deliver visitors to a spo= t 1,000 feet from the steep entrance to the flat-topped limestone hill kn= own as the Acropolis. On the summit sits the Parthenon, the 5th century B= =2EC. temple of Athena that is the crowning achievement of classical Gree= k art.</P> <P><P>After more than a century of frustration, the Greeks have= chosen this subway station to send a message to thousands of people ever= y day: The marble sculptures that once adorned the Parthenon should come = home from London.</P> <P><P>To make the point, the inside of Akropoli station has bee= n decorated with replicas of the Parthenon Marbles, which are now in the = British Museum. Better known as the Elgin Marbles, they are named for the= British ambassador to the Ottoman Empire (which then included Greece), w= ho hacksawed them off the Parthenon and hauled them back to England in 18= 06 to decorate his country house. Ten years later, when Elgin went bankru= pt, the British government paid him 35,000 pounds (a goodly sum that woul= d have been enough to build a 50 room luxury hotel) to establish title, a= nd then presented them to the British Museum. The British claim Elgin and= his crew got the statues fair and square. And they refuse to return them= , despite all attempts by the Greeks to get them back.</P> <P><P>Inside the bright, sleek Akropoli station, you can't buy = a Metro ticket without noticing the larger-than-life casts of gods and go= ddesses from the Parthenon's East Pediment installed nearby. The statues = were carved by Phidias, the greatest sculptor of Greece's golden age. Bri= stling with life, the draped figures are shown at the very moment they re= ceive the news of Athena's birth, fully formed and armed, from the head o= f Zeus--a climactic event of the Parthenon's sculptural ensemble. The new= s is being delivered by the hurrying figure of a goddess who seems almost= airborne as her drapery swirls around her. A seated male figure reaches = out to welcome her news. These exceptionally fine casts, made of syntheti= c marble, surpass the marbles in London in only one respect: You can get = up close and touch them.</P> <P><P>More casts adorn the walls of the train platforms, where = reproductions of two long sections of the Parthenon frieze hang high on t= he walls. They depict the annual Procession of the Panathenaea, a stately= parade of beautifully carved nude athletes, gods and warrior-heroes--man= y on magnificent steeds--making their way to the Acropolis. They carry of= ferings and bring animals to be sacrificed to Athena, protector of the ci= ty.</P> <P><P>The spirit of the late actress-turned-Minister of Culture= Melina Mercouri, much beloved for her fight to get the Elgin Marbles bac= k, is invoked by two photo murals showing her seated in front of the Part= henon holding flowers. "This is a silent protest that speaks for all of u= s," said Triantafyllia Lagoudakou, the energetic and imaginative chairper= son of the committee that selected art for all the subway stations.</P> <P><P>"No Greek will go through here without getting the messag= e."</P> <P><P>The hope is that millions of others who go through this s= tation--British tourists in particular--will also get the message and be = moved to ratchet up the pressure on an intransigent British government. T= he current government view, according to a British Embassy spokesman, is = that ". . . the return of the sculptures to Greece is not a feasible or s= ensible option."</P> <P><P>The Station as Museum</P> <P><P>The Akropoli station is only one of the several stations = that the inventive Metro art committee has turned into mini-museums. The = 10-year Metro dig turned up 30,000 ancient objects, as well as new inform= ation about how the city grew. Construction crews uncovered sewers and wa= ter pipes from the 5th century B.C., Roman baths, and cemeteries with lay= ered graves dating from the 4th to the 1st centuries B.C.</P> <P><P>To share these finds with Metro riders, each station has = a museum-style display of objects uncovered at that particular site, all = in handsome cases with explanatory text, excellent lighting and bulletpro= of glass. Where the objects are irreplaceable, convincing reproductions h= ave been used. (Many of the objects have also been assembled into the fas= cinating exhibition "The City Beneath the City," at the Cycladic Museum. = It will run through 2001.)</P> <P><P>The Akropoli station has 90 objects on display, including= containers and water jugs that came tumbling out of an ancient well brea= ched during the drilling of this site. A photo mural in the station captu= res that dramatic moment.</P> <P><P>The Metro has also made art from the layers of the 3,000-= year-old city uncovered while excavating the tunnel. Each station has a c= utaway wall showing the actual strata and shards the archaeologists found= as they slowly, meticulously dug through the ancient city's soil. Covere= d with glass and artfully framed, these "stratigraphs," as they are calle= d, look like beautifully composed abstract wall sculptures.</P> <P><P>The stratigraph at Akropoli station shows the layers of a= road heading south from the Dionysus Theater at the Acropolis that was u= sed for 14 centuries, until 400 A.D. Most amazing is the stratigraph at S= yntagma Square--the largest, central station--which has a cutaway 42 mete= rs long showing a maze of tombs piled on top of each other, dating from t= he 4th to the 1st century B.C. Nearby are the objects archaeologists foun= d inside, most memorably a grave for a large dog that had been lovingly b= uried with his collar beside him.</P> <P><P>The subway was pretty well along three years ago when the= Attico Metro appointed a committee of artists, architects and art histor= ians to oversee the embellishment of the stations. Without them, this sub= way could have been a marble and granite wasteland. Instead, each station= is an upbeat reminder of the depth and richness of Greek history and cul= ture.</P> <P><P>"Greeks aren't used to being underground, so we had to do= something to brighten the atmosphere," explained Lagoudakou.</P> <P><p/><P>A New Home</P> <P><p/><P>Since Melina Mercouri made the return of the marbles = the centerpiece of her tenure as minister of culture, hopes have been ris= ing. It's always been argued that the Greeks weren't ready, that they cou= ldn't provide proper space for the marbles, proper climate control. Perha= ps that was true--once. Now conditions have changed, and with them public= attitudes, even in Britain. According to a recent public opinion poll, a= large number of Britons--including a majority of Labor Party leaders--no= w believe the Elgin Marbles should be returned.</P> <P><P>The construction of a new Acropolis museum has become cen= tral to any discussion of returning the marbles to Athens. The present mu= seum, built in the 19th century near the Parthenon, is far too small and = otherwise outdated.</P> <P><p/><P>"It is my number one activity, my top priority, to co= nstruct a new Acropolis Museum by 2004," said Minister of Culture Theodor= os Pangalos during a recent visit to New York.</P> <P><P>It won't be easy: Plans in the works for years have been = plagued by problems, most recently by the discovery of important archaeol= ogical finds at the chosen site, which is next to the Akropoli Metro stop= =2E New designs are underway: "We have invited architects, and have 16 im= portant proposals," Pangalos says. He is determined that there will be a = final design by next June, and that construction will begin soon thereaft= er. "It will be ready by the time of the 2004 Olympics in Athens."</P> <P><P>No one is more hopeful about the new museum than movie di= rector Jules Dassin. Since the 1994 death of Mercouri, who was his wife, = he has devoted much of his life to the foundation that bears her name. It= is dedicated exclusively to getting the marbles back and to building a n= ew Acropolis Museum. "I'm 98 percent sure it will happen, with 2 percent = for pilot error," he said last week. "I'm supported by something Melina s= aid, and it's very touching. She said: 'I hope to see the marbles back wh= en I'm still alive. If they come later, I'll be reborn.' "</P> <P><P>But it's the support of the European Union that is making= the biggest difference. The EU put up half of the cost of Attico Metro c= onstruction and will also support, in part, the new Acropolis Museum.</P>= <P><P>One thing is certain: When the new Acropolis Museum is bu= ilt, it will have as its centerpiece a grand gallery designed to house th= e Elgin Marbles. "It will be a magnificent space," Pangalos said. "And it= will remain empty until the marbles are returned."</P> <P><P>And if they aren't returned? 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