A few years ago, I had the opportunity to witness a remarkable event at the British Museum. Ian Jenkins, the museum’s senior curator of Greek antiquities, revealed a small bronze divinity with an extraordinary value, surpassing even the 2,000 missing pieces from the museum’s vaults. It was a privilege reserved for senior staff, who were allowed to temporarily possess these treasures as long as they were returned by midnight. After the event, I saw Jenkins return the divinity to the darkened museum.
In hindsight, this incident seems like a relic of a bygone era, where curators had a close and intimate relationship with the objects under their care. However, this idyllic image has been shattered over the years, especially within Jenkins’ department, which experienced a tragic loss of overlooked items from the Townley Collection, a renowned assemblage from the 18th century.
Many commentators, even members of parliament, are quick to criticize the British Museum for its perceived hypocrisy and decadence as a Victorian colonial institution. However, I believe that this crisis goes beyond controversies surrounding specific artifacts like the Parthenon sculptures or Benin bronzes. At its core, this is a story about crime, security, and the true purpose of museums.
In the 21st century, museums are expected to be more than just repositories of artifacts. They are now public spaces, generating media buzz and being held accountable for their past actions. However, their fundamental responsibility remains the preservation and protection of the objects they house. Interpretation, debate, and critique are secondary to this duty and do not necessarily need to be undertaken by the museum itself.
The recent suspected crimes that have taken place within the British Museum highlight the vulnerability of our cultural heritage. Each lost fragment represents a piece of history that is irreplaceable once gone. Museums often don’t receive recognition or praise for their security systems, but they should. A code of honor is not enough to combat the inherent frailties of human nature. The Victoria and Albert Museum recognized this and wisely brought in a professional art detective, Vernon Rapley, to head its security division in 2010. This proactive approach ensures that even curators would think twice before attempting a theft.
Both the V&A and the British Museum face similar challenges with their vast collections. However, the V&A understands the ever-present threat of crime and takes proactive measures to prevent it. The British Museum, on the other hand, has seemingly operated under the assumption that none of its employees would ever have malicious intentions.
Is it fair to hold Hartwig Fischer accountable for this situation? Yes, because the safeguarding of collections should be the foremost concern of any museum. It appears that Fischer and his colleagues may have naively disregarded a report from an antique dealer about artifacts being sold online two years ago, and even attempted to discredit the dealer. Furthermore, the extensive security measures imposed on the public, such as long queues in an unappealing white tent, feel unjustifiable.
Improving the museum’s entry process should be a priority for the new director, although it pales in comparison to the larger task of resolving this absurd and tragic fiasco. The British Museum must undergo a comprehensive reform of its security protocols, while also addressing the critical issues of funding and fair compensation for its employees.
The British Museum is now facing a crisis of public perception, with many believing that everything within it is colonial plunder. This perception is unfounded, and the new director must possess the eloquence and integrity of someone like Neil MacGregor to effectively communicate the museum’s true value and purpose. It is crucial to explain why people from all over the world continue to visit and queue outside its doors. Perhaps the museum could even consider enlisting MacGregor’s expertise once again.
The current power vacuum at the museum has left George Osborne, the chair of trustees, as its de facto spokesperson and leader. However, it is worth considering whether the budget cuts and austerity measures implemented in recent years have contributed to this decline. It is difficult to maintain professionalism when curators are expected to possess the powers of Victorian gentlemen while receiving salaries reminiscent of the 1950s. This is not to say that everyone will resort to crime to make ends meet, but it is a reminder that expertise does not equate to moral virtue, as exemplified by this peculiar and drawn-out heist.
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