In 1612, the personal library of Sultan Zaydan An-Nasser of Morocco was trusted to French consul Jean Phillipe de Castellane for transportation. After Castellane waited for six days not receiving his pay, he sailed away. A flotilla commanded by Spanish privateer Luis Fajardo de Córdoba captured the ship and took it to Lisbon (then part of the Spanish Empire). In 1614, the Zaydani Library was transmitted to El Escorial. Moroccan diplomats have since asked for the manuscripts to be returned. Some other Arabic manuscripts have been delivered by Spain, but not the Zaydani collection. In 2013, the Spanish Cultural Heritage Institute presented microfilm copies of the manuscripts to Moroccan authorities.
Across-the-board public budget cuts have left the museum with few resources for maintenance, guards and publicity, said Laura Maniscalco, an archaeologist who has been director of the Aidone museum since fall. “I don’t think it’s up to me to create tourist itineraries,” Ms. Maniscalco said. “But I can complain about the closed roads. Why aren’t they fixed? These are political problems.”
When she was first offered the works, depicting Christ Pantocrator and the Virgin Mary with the Christ child surrounded by the archangels Michael and Gabriel, Mrs. de Menil was skeptical about their provenance. She quietly approached the Church of Cyprus, which said the frescoes had been secreted out of the apse and the dome of the church of St. Euphemianos in Lyssi, in a part of Cyprus that had been annexed by Turkey in 1974.
Returned to Peru in 2012, the objects — which include ceramics, tools, jewelry and human and animal bones — provide a remarkable account of the city, which was abandoned after the Spanish conquest of Peru in the 16th century. Many are now on view at a museum in Cuzco, the nearest city to Machu Picchu. The installation is still largely that from a 2003 traveling exhibition organized by the Peabody Museum, which celebrates the triumphs of Bingham, but that emphasis is likely to change as Peruvian museum authorities take command.
Who ever said that my paintings are not in the traditional Indian style has poor knowledge of Indian art indeed. There is much more to Indian Art than pretty, stylized pictures. There was also power and strength and individualism (emotional and intellectual insight) in the old Indian paintings. Every bit in my paintings is a true, studied fact of Indian paintings. Are we to be held back forever with one phase of Indian painting, with no right for individualism, dictated to as the Indian has always been, put on reservations and treated like a child, and only the White Man knows what is best for him? Now, even in Art, ‘You little child do what we think is best for you, nothing different.” Well, I am not going to stand for it. Indian Art can compete with any Art in the world, but not as a suppressed Art…. 1
Encyclopedic museums are located in cosmopolitan cities such as London, Paris, Berlin and New York, and if the artworks were to be moved, they would be seen by far fewer people. If the Rosetta Stone were to be moved from The British Museum to The Cairo Museum, the number of people who view it would drop from about 5.5 million visitors to 2.5 million visitors a year.
The UK has rejected India's fresh demand to return its priceless artifacts like "Kohinoor Diamond" and "Sultanganj Buddha" that were stolen, looted or smuggled during British colonial rule, citing a law (British Museum Act 1963) that prevents it from giving back the items. The Archaeological Survey of India (ASI) is planning to join a campaign with the support of UNESCO and other countries to regain the artifacts.[when?]
Archaeologists and scholars criticized the US military for not taking the measures to secure the museum, a repository for a myriad of valuable ancient artifacts from the ancient Mesopotamian civilization. In the several months leading up to the war, scholars, art directors, and collector met with the Pentagon to ensure that the US government would protect Iraq's important archaeological heritage, with the National Museum in Baghdad being at the top of the list of concerns. Between April 8, when the museum was vacated and April 12, when some of the staff returned, an estimated 15,000 items and an additional 5,000 cylinder seals were stolen. Moreover, the National Library was plundered of thousands of cuneiform tablets and the building was set on fire with half a million books inside; fortunately, many of the manuscripts and books were preserved. A US task force was able to retrieve about half of the stolen artifacts by organizing and dispatching an inventory of missing objects and by declaring that there would be no punishment for anyone returning an item. In addition to the vulnerability of art and historical institutions during the Iraq war, Iraq's rich archaeological sites and areas of excavated land (Iraq is presumed to possess vast undiscovered treasures) have fallen victim to widespread looting. Hordes of looters disinterred enormous craters around Iraq's archaeological sites, sometimes using bulldozers. It is estimated that between 10,000 and 15,000 archaeological sites in Iraq have been despoiled.