Napoleon's extensive plunder of Italy was criticized by such French artists as Antoine-Chrysostôme Quatremère de Quincy (1755–1849), who circulated a petition that gathered the signatures of fifty other artists. With the founding of the Louvre Museum in Paris in 1793, Napoleon's aim was to establish an encyclopedic exhibition of art history, which later both Joseph Stalin and Adolf Hitler would attempt to emulate in their respective countries.
One such priority is surely money, which receives scant attention in Cuno’s argument. Most cultural properties are excavated from poor places and brought to richer ones, where they attract further economic bounty in the form of tourism. Why should such benefits accrue to New York rather than Cairo or Athens? Another value is archaeological preservation: the exceptions documented by Cuno notwithstanding, many source nations harbor a genuine interest in establishing or re-establishing historical and geographic contexts for lost objects. Surely archaeologists working in the field should be taken as authorities on the need for cooperation, not confrontation, with governments in these matters.
Stereotypes persist when discussing Native American arts and cultures, and sadly many people remain unaware of the complicated and fascinating histories of Native peoples and their art. Too many people still imagine a warrior or chief on horseback wearing a feathered headdress, or a beautiful young “princess” in an animal hide dress (what we now call the Indian Princess). Popular culture and movies perpetuate these images, and homogenize the incredible diversity of Native groups across North America. There are too many different languages, cultural traditions, cosmologies, and ritual practices to adequately make broad statements about the cultures and arts of the indigenous peoples of what is now the United States and Canada.
Some scholars[who?] argue that archaeology can be a positive source of pride in cultural traditions, but can also be abused to justify cultural or racial superiority as the Nazis argued that Germanic people of Northern Europe was a distinct race and cradle of Western civilization that was superior to Jewish race. In some conflicts that involve land ownership, archaeology is used to encourage confrontation by means of constructing of national myth as seen with the ancient fortress of Masada in Israel. In other cases, archaeology allows rulers to justify the domination of neighboring peoples as Saddam Hussein used Mesopotamia's magnificent past to justify his invasion of Kuwait in 1990.
In 1863 US President Abraham Lincoln summoned Francis Lieber, a German-American jurist and political philosopher, to write a legal code to regulate Union soldiers' behavior toward Confederation prisoners, noncombatants, spies and property. The resulting General Orders No.100 or the Lieber Code, legally recognized cultural property as a protected category in war. The Lieber Code had far-reaching results as it became the basis for the Hague Convention of 1907 and 1954 and has led to Standing Rules of Engagement (ROE) for US troops today. A portion of the ROE clauses instruct US troops not to attack "schools, museums, national monuments, and any other historical or cultural sites unless they are being used for a military purpose and pose a threat".
An Egyptian worker cleans some of the archeological pieces inside the Egyptian Museum on February 16, 2011. Looters broke into the museum in Cairo's Tahrir Square on January 28 when anti-Mubarak protesters drove his despised police from the streets in a series of clashes, shattering 13 display cases and at least 70 artifacts, some of which have been recovered and repaired.
Méndez de Vigo has instructed the Department of Culture of the Catalan government, now under his leadership, to obey a provisional judicial order that dictates the return of the objects to their former location in Aragon, Catalonia’s neighboring region. Even though this judicial order could still be disputed, the minister demands its immediate implementation.
In truth, there is no need to reject the premises of the contemporary nation-state—a move likely to alienate the very parties with whom compromise is needed—in order to advance the changes Cuno proposes. Try as they might, Italy, Greece, and China cannot hope to repossess all the antiquities ever removed from their soil. As he suggests, agreements that give these countries custody of certain objects while promoting long-term loans, reciprocal education, and responsible archaeology are an obvious way forward. Such governments could even be convinced that sharing their patrimony with others will advance their national reputation abroad. Cuno’s concept of a change in terminology from “ownership” of cultural properties to their “stewardship”—different nations holding such objects in trust for the benefit of various audiences—could also attract the support of these states. However, in order for agreements to happen, First World museumgoers will have to respect the concerns and claims of source nations.
The broader issue here regards cosmopolitanism, the philosophy that informs Cuno’s defense of the modern museum. As formulated by Jacques Derrida, Kwame Anthony Appiah, and others in conversation with a tradition stretching back thousands of years and through many intellectual traditions, cosmopolitanism asserts that our common humanity gives us grounds for mutual understanding. It requires us to try to comprehend alien points of view. If cosmopolitan values call attention to the importance of the museum—helping us to look beyond its sometimes exploitative past toward a future in which it deepens the cultural awareness of people across the world—then they also demand that we take a tolerant approach to its foes. We owe something to countries laying claim to artifacts, even if they are doing so in ways that appear “tribal,” selfish, or politically motivated. After all, the priorities of these nation-states may be just as important for them as sharing a common artistic patrimony is for “enlightened” members of the world community.
A well-known recent case of wartime looting was the plundering of ancient artifacts from the National Museum of Iraq in Baghdad at the outbreak of the war in 2003. Although this was not a case in which the victors plundered art from their defeated enemy, it was result of the unstable and chaotic conditions of war that allowed looting to happen and which some would argue was the fault of the invading US forces.