The Secretary General of Egypt’s Supreme Council of Antiquities, Zahi Hawass, is again pushing for the British Museum to return the Rosetta Stone to Egypt – after a new request for a temporary loan was met with the customary suspicion of the museum’s trustees.
Unsurprisingly, the likelihood of such a prospect seems slight in the short term, with the Chief Executive of the UK Museums, Libraries and Archives Council, Roy Clare, insisting that the Stone should stay in London. According to Clare, the Rosetta Stone is not just an icon of Egyptian identity, but “it is an icon globally. What happens to an object is it inherits additional culture through its acquisition.” He adds that through scholarship, it “becomes important in relation to other cultural iconography.”
While not wanting to explore the legality of the situation, Clare’s point seems an interesting one. Certainly, the cultural importance of an object such as the Rosetta Stone is tied not only to its origins, but also to the history of its ‘discovery’. In several respects, the significance and understanding of an object, and in turn, its ‘value’, are heavily dependent upon the hands through which it passes. Nevertheless, if we accept this, the argument follows that the object can indeed, continue to ‘inherit culture’. That cultural legacy need not end in WC1.
No less dynamic is the relational importance of the object. Scholarship doesn’t cease and new objects/facts can be discovered; the recreation of a historical moment is a piecemeal process, and to allow for the greatest possible comprehension and accuracy, this process can’t be tied to the singular location of a given artifact. Of course, gathering as many artifacts as possible in one place does facilitate scholastic inquiry, but that knowledge doesn’t simply disappear should one or several objects be moved – in fact, one could argue that potential understanding is limited by confining an object to a permanent home, particularly one in exile. Thus for example, we have exhibitions by Picasso, with works gathered from across the world through loans and acquisitions, touring the globe, to the delight of millions of potential viewers: the audience for such works is broadened, with the works exhibited in new and often unique contexts. Nothing is to say that exhibitions of historical/archaeological interest can’t do the same, and they often do.
Modern technology, and methods of academic cooperation also mean that research isn’t bound by geography: that the Mona Lisa hangs in the Louvre doesn’t stop an art historian in San Fransisco from studying the work of da Vinci, though she or he might plan a trip or two to Paris. Yet while the pieces accumulated in the Louvre might provide contextual understanding of the painting, they do not serve to deliver everything the scholar needs to understand the work.
However, objects such as the Rosetta Stone have a particular historical significance to their place of origin, arguably unlike the works of Picasso or da Vinci, so a distinction should be made between these two types of cultural artefacts.
But why am I stating such an obvious point? Well, mainly because the argument that the British Museum is putting forward is linked to the relational value of an object such as the Rosetta Stone to the other acquisitions of the British Museum. The emphasis is not on the scholarly convenience and advantages of holding contemporaneous artifacts in one place, but rather, on the potential enjoyment and understanding that a visitor to the British Museum could receive through viewing the Rosetta Stone alongside other objects of historical importance from around the world. This is, of course, a considerable boon to the average museum-goer; and seeing the wide variety of objects held by the British Museum is indeed a joy. But is that a reasonable moral defence to prevent such objects from being viewed in their place of origin – and to prevent the resulting experience from bearing its own intellectual fruits?
Sadly, Mr Clare’s comments belie rather ugly and outdated notions of the perceived superiority of Western scholarship and institutions. The obduracy of the British Museum sadly serves in many ways to hinder the popular enjoyment and learning that interaction with an object such as the Rosetta Stone can spawn, contrary to what the trustees may say. Obviously, parting with the Stone would be a blow to the Museum, and the fear clearly exists that floodgates would be prised open: but this is precisely why a sensible and secure loan agreement should be sought.
The Rosetta Stone is thought to have been a notice of a tax amnesty, and represents a sophisticated form of cross-cultural communication: sadly, it seems a little more of the latter will be required for this chapter in the history of the Stone to be concluded.