Restoration Lags for Syria's Famed Roman Ruins at Palmyra

Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
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Restoration Lags for Syria's Famed Roman Ruins at Palmyra

Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)
Tourists visit Roman ruins in Palmyra, Syria, Tuesday, May 11, 2023. (AP Photo/Omar Sanadiki)

At the height of ISIS’ rampage across Syria, the world watched in horror as the militants blew up an iconic arch and temple in the country’s famed Roman ruins in Palmyra.
Eight years later, ISIS has lost its hold but restoration work on the site has been held up by security issues, leftover ISIS land mines and lack of funding.
Other archaeological sites throughout Syria face similar problems, both in areas held by the government and by the opposition. They were damaged by the war or, more recently, by the deadly 7.8-magnitude earthquake that struck a wide area of neighboring Türkiye and also Syria in February.
Youssef Kanjou, a former director of Syria's Aleppo National Museum, said the situation of heritage sites in his country is a “disaster.”
Without a coordinated preservation and restoration effort, said Kanjou, now a researcher at Tübingen University in Germany, "We will lose what was not destroyed by the war or the earthquake."
Before the war, Palmyra — one of Syria’s six UNESCO world heritage sites — was the country’s archaeological crown jewel, a tourist attraction that drew tens of thousands of visitors each year. The ancient city was the capital of an Arab client state of the Roman Empire that briefly rebelled and carved out its own kingdom in the third century, led by Queen Zenobia.
The militants later destroyed Palmyra's historic temples of Bel and Baalshamin and the Arch of Triumph, viewing them as monuments to idolatry, and beheaded an elderly antiquities scholar who had dedicated his life to overseeing the ruins.
Today, the road through the desert from Homs to Palmyra is dotted with Syrian army checkpoints. In the town adjacent to the ancient site, some shops have reopened, but signs of war remain in the form of charred vehicles and burned-out or boarded-up stores and houses.
The Palmyra Museum is closed, and the much-loved lion statue that used to stand in front of it has been moved to Damascus for restoration and safekeeping.
In 2019, international experts convened by UNESCO, the United Nations' cultural agency, said detailed studies would need to be done before starting major restorations.
Youmna Tabet, program specialist at the Arab states unit of UNESCO's World Heritage Center, said restoration work often involves difficult choices, particularly if there isn't enough original material for rebuilding.
“Is it worth it to rebuild it with very little authenticity or should we rather focus on having 3D documentation of how it was?” she said.
Missions to the site were held up at first by security issues, including land mines that had to be cleared. ISIS cells still occasionally carry out attacks in the area.
Money is also a problem.
"There is a big lack of funding so far, for all the sites in Syria,” The Associated Press quoted Tabet as saying, noting that international donors have been wary of breaching sanctions on Syria, which have been imposed by the United States, the European Union and others.
US sanctions exempt activities related to preservation and protection of cultural heritage sites, but sanctions-related obstacles remain, such as a ban on exporting US-made items to Syria.
Russia, an ally of Syrian President Bashar Assad's government, has begun restoring Palmyra's triumphal arch, the largest-scale project underway to date at the site.
“We have some funding from some friends in some places, but it is not sufficient in relation to the disaster that occurred,” said Mohammad Nazir Awad, director general of Syria's department of Antiquities and Museums.
It doesn't have to be this way, said Maamoun Abdulkarim, who headed the antiquities department at the time of the ISIS incursion. Abdulkarim pointed to the international push to recover damaged heritage sites in the city of Mosul in neighboring Iraq, also controlled by the militants for some time, as an example of a successful restoration.
“We need to make some separation between political affairs and cultural heritage affairs,” said Abdulkarim, now a professor at the University of Sharjah. He warned that damaged structures are in danger of deteriorating further or collapsing as the rehabilitation work is delayed.
The deadly Feb. 6 earthquake caused further destruction at some sites already damaged by the war. This includes the old city of Aleppo, which is under the control of the government, and the Byzantine-era church of Saint Simeon in the Aleppo countryside, in an area controlled by Turkish-backed opposition forces.
About one-fifth of the church was damaged in the earthquake, including the basilica arch, said Hassan al-Ismail, a researcher with Syrians for Heritage a non-governmental organization. He said the earthquake compounded earlier damage caused by bombings and vandalism.
The group tried to stabilize the structure with wooden and metal supports and to preserve the stones that fell from it for later use in restoration.
Ayman al-Nabo, head of antiquities in the opposition-held city of Idlib, appealed for international assistance in stabilizing and restoring sites damaged by the earthquake.
Antiquities should be seen as “neutral to the political reality,” he said. “This is global human heritage, which belongs to the whole world, not just the Syrians."



Head of France's Versailles Palace Takes over Louvre

(FILES) President of Chateau de Versailles Christophe Leribault arrives at the Elysee Palace, in Paris on February 27, 2024. (Photo by Ludovic MARIN / AFP)
(FILES) President of Chateau de Versailles Christophe Leribault arrives at the Elysee Palace, in Paris on February 27, 2024. (Photo by Ludovic MARIN / AFP)
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Head of France's Versailles Palace Takes over Louvre

(FILES) President of Chateau de Versailles Christophe Leribault arrives at the Elysee Palace, in Paris on February 27, 2024. (Photo by Ludovic MARIN / AFP)
(FILES) President of Chateau de Versailles Christophe Leribault arrives at the Elysee Palace, in Paris on February 27, 2024. (Photo by Ludovic MARIN / AFP)

French President Emmanuel Macron has appointed Christophe Leribault, the ⁠current head of the ⁠Versailles Palace, as ⁠director of the Louvre museum in Paris, the French government spokesperson said ⁠on ⁠Wednesday. 

The appointment came following the resignation of Laurence des Cars after a $100-million robbery at the museum last year.

Leribault, 62, is an art historian and museum director specializing in 18th century art. He has led major Paris institutions, including the Petit Palais, and the Musee d'Orsay.

In 2024, he was appointed president of the Palace of Versailles, one of the most visited tourist sites.

On Tuesday, des Cars sent her resignation to Macron, which was accepted, following a string of scandals including the brazen theft of French crown jewels valued at $100 million in October.

Des Cars was appointed as director of the Louvre Museum in 2021. She had been under rising pressure since the October robbery, which is currently the subject of an inquiry.

Four suspects are in police custody, including the two suspected thieves, but the eight of the stolen items have not been found.

The Louvre, a former royal palace and home to some of the world's most iconic pieces of art, including Leonardo Da Vinci's "Mona Lisa", receives around nine million visitors a year.

Since the theft the museum has taken several emergency measures.

Separately, Annick Lemoine, who heads the Petit Palais, will take over as director of the Musee d'Orsay, according to the official journal published on Wednesday.
 


One Million Works Catalogued in Art UK Database

Osborne Henry Mavor’s “Let Eric Remember” from Aberdeen Art Gallery. (Aberdeen archives, gallery & museums/Art UK)
Osborne Henry Mavor’s “Let Eric Remember” from Aberdeen Art Gallery. (Aberdeen archives, gallery & museums/Art UK)
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One Million Works Catalogued in Art UK Database

Osborne Henry Mavor’s “Let Eric Remember” from Aberdeen Art Gallery. (Aberdeen archives, gallery & museums/Art UK)
Osborne Henry Mavor’s “Let Eric Remember” from Aberdeen Art Gallery. (Aberdeen archives, gallery & museums/Art UK)

From a bronze Rodin sculpture of Eve outside a Nando’s in Harlow to more than 6,000 artworks by JMW Turner, to a crumpled-up piece of A4 paper owned by Manchester Art Gallery, the UK’s public art collection is a wonderful and varied thing.

It is huge, as demonstrated by the charity Art UK, which has announced it has reached a million artworks on its database and appointed a new chair who said: “We’ve only scratched the surface,” according to The Guardian.

Ben Terrett, a former director of design for the UK government, has been announced as the new chair of a charity that is celebrating its 10th anniversary.

Art UK began with a mission to digitally catalogue the UK’s paintings. Over the years that has been expanded to include drawings, watercolors, ceramics, sculptures, stained glass, banners, architectural drawings and street murals.

It is a huge, encyclopedic, fun resource, which lends itself to going down any number of rabbit holes. Type in the word “mosquito”, for example, and you discover 53 listings, from large technical drawings of actual mosquitoes, to paintings of de Havilland Mosquito planes from the second world war, to a sculpture in a North Yorkshire forest celebrating the Women’s Timber Corps – lumberjills – who felled and sawed the wood used to make the planes.

Or search Martin Creed, the artist who won the Turner prize for a work where the lights in a room go on and off, and you find 24 of his works in public collections, including his crumpled-up ball of paper in Manchester.

The database is an incredible resource that should be so much better known, Terrett said. “It’s a great thing,” he said. “It is one of those ideas that you’re really glad it exists because if it didn’t, you’d think somebody should do that.

“One of my jobs as chair is to help raise that profile, because probably not enough people hear about it. It’s digitizing all the public artworks in the UK and there’s a really obvious side to that, which is the Tate and places like that,” he added.

“But there’s loads of other places like hospitals and council buildings ... places like that are public and have incredible artworks in them that people don’t get to see or don’t know exist,” he noted.

The database, Terrett said, shines light on just how many artworks are never seen because they are in storage.

Terrett, who was made a CBE by the king last week, led the design team that launched gov.uk and is the CEO and co-founder of the consultancy Public Digital.

He said his childhood experiences had fed his passion for widening access to the arts and design.

“I grew up in a small village in Wiltshire,” he said. “There weren’t museums, there weren’t art galleries and getting access to that kind of stuff was really difficult. I went to a comprehensive school with a great art teacher and a great art department, but you very much had to push yourself to find out more about this stuff.”

He believes it is even harder for children today: “Creative education in state schools has been decimated.”

There is also evidence that interacting with the database encourages people to visit galleries in person.

Recent additions to the database, which helped it towards the million figure, include a 1951 stencil by Henri Matisse at the University of Lancaster; a Gwen John flower painting at National Museum Cardiff; a Venice canal painting by Mary Hagarty at the Victoria Art Gallery in Bath; and a portrait titled “Reverie” by David Foggie at the University of Dundee.

The board of Art UK said it was looking forward to Terrett’s fresh thinking and insights to help it “reach new audiences, embrace new technologies and creative opportunities, build its income base, its international profile and its following.”

Terrett said he remained convinced the internet was a force for good. “It’s hard to believe that these days. It’s hard to hold on to that belief. But it still is. I think in the world it’s still a net positive. And this is just a really nice example of where the internet really is doing good,” he added.


Louvre Museum’s Director Resigns in Wake of Jewels Heist in Paris

Laurence des Cars, director of Le Louvre museum, poses before a hearing at the Culture commission of the Senate, three days after historic jewels were stolen in a daring daylight heist, Oct. 22, 2025 in Paris. (AP)
Laurence des Cars, director of Le Louvre museum, poses before a hearing at the Culture commission of the Senate, three days after historic jewels were stolen in a daring daylight heist, Oct. 22, 2025 in Paris. (AP)
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Louvre Museum’s Director Resigns in Wake of Jewels Heist in Paris

Laurence des Cars, director of Le Louvre museum, poses before a hearing at the Culture commission of the Senate, three days after historic jewels were stolen in a daring daylight heist, Oct. 22, 2025 in Paris. (AP)
Laurence des Cars, director of Le Louvre museum, poses before a hearing at the Culture commission of the Senate, three days after historic jewels were stolen in a daring daylight heist, Oct. 22, 2025 in Paris. (AP)

The director of the Louvre Museum who had been under fire since the stunning and embarrassing heist of the French Crown jewels in October has stepped down from the position, French President Emmanuel Macron ’s office said Tuesday.

The office said in a statement that Macron accepted the resignation of Laurence des Cars, and that he praised the move as “an act of responsibility at a time when the world’s largest museum needs calm and a strong new impetus to carry out major projects involving security upgrades, modernization” and other initiatives.

Thieves took less than eight minutes in October to steal 88 million euros ($102 million) worth of crown jewels in a weekend heist at the world’s most visited museum, shocking the world.

Des Cars was named director of the Louvre, one of the museum world's most prestigious posts, in 2021.

She had offered to resign on the day of the robbery but was refused by the culture minister.

“I saw a tragic, brutal, violent reality for the Louvre, and as the person in charge, after all the hard work done by the teams that day — it felt right to offer my resignation,” she said in November.

Macron thanked des Cars for “her work and commitment” and said he wanted to give her a new mission focused on cooperation among major museums, the statement said.

It didn't say if she accepted.