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Irena Vujčić-Pavlović, istoričar umetnosti, SlovenijaUniverzalni muzeji- za i protivili svi za jednog - jedan za sveOsamnaest najvećih muzeja i galerija u svetu je, u decembru2002. godine, potpisalo deklaraciju, kojomse izjašnjavaju kao univerzalni muzeji. Donošenje deklaracijeje usledilo nakon konferencije na kojoj su direktoritih muzeja i galerija objasnili u čemu je suštinauniverzalnosti njihovih institucija. Njihova stanovištasu objavljena u British Museum News. Deklaracija jebila glavna tema i prvog izdanja ICOM Newsletter za2004. godinu.Muzeji su ovom deklaracijom želeli da naglase svojznačaj u uspostavljanju boljeg razumevanja različitihcivilizacija i u promovisanju poštovanja među njima.Povodom potpisivanja deklaracije, Nil MacGregor, direktorBritanskog muzeja izjavio je da su ovi muzejiuniverzalne institucije, koje omogućavaju posetiocima”da vide svet kao jedinstvo” i da tako podstaknu većudruštvenu toleranciju.“Svi potpisnici se temelje na idejida pripadaju svima”Koncept univerzalnosti se javlja još od začetaka muzeja.Preteče muzeja, kabineti retkosti 17. i 18. veka,imali su spektakularne i egzotične predmete i uzorke izcelog sveta. Jedan od najpopularnijih muzeja 17. veka jebio svetski muzej Atanasiusa Kirhera, koji je otvoren uRimu 1651. godine. O univerzalnoj viziji ovog “teatarprirode i umetnosti” saznajemo iz njegovog kataloga,koji pominje skulpture iz Japana i Egipta, Američku narodnunošnju, kineske mape, umetnička dela iz SieraLeone, i rep morske sirene i kosti giganta. Ovakav načinzbiranja umetničkih kolekcija zadržao se i u vreme nastankamuzeja u današnjem smislu reči, u osamnaestomveku, u enciklopedijskom pokretu tzv. evropskog pros-Johan Zoffany, Antikvarijum Charles Townley- a 1782.Johan Zoffany, Antiquarium of Charles Townley- a 1782.60Irena Vujčić-Pavlović, art historian, SloveniaUniversal museums– pros and consor All for one and one for allEighteen of the largestmuseums andgalleries in the worldsigned a declarationin December 2002proclaiming themselvesuniversal museums.The signing ofthis Declaration followedthe conference inwhich the executivesof these museums andgalleries had explainedthe nature of theuniversality of theirinstitutions. Their viewswere published inPartenonski ili Elginovi mermeri uBritanskom muzeju u LondonuParthenon or Elgin marbles inBritish museum, LondonThe British Museum News. This Declaration was alsothe main topic of the first ICOM Newsletter for 2004.With this Declaration, the museums wanted to emphasizetheir own importance for achieving better understandingof different civilizations and promotingtheir mutual respect. On the signing of this Declaration,Neil Macgregor, the director of The British Museum, saidthat these museums were universal institutions enablingtheir visitors “to see the world as one”and in thisway support greater social tolerance.“All the signatoriesare predicated on the notion that they belong to everybody.”The concept of universality appeared from the momentmuseums appeared. The forerunners of museums,the rarity cabinets of the seventeenth and eighteenthcentury, contained spectacular and exotic objects andspecimens from all over the world. One of the most popularmuseums of the seventeenth century was TheWorld Museum of Athanasius Kircher, opened in Romein 1651. We learn about the universality of this “theatreof nature and art” from his catalogue mentioning thesculptures from Japan and Egypt, Native American clothing,Chinese maps, artworks from Sierra Leone , anda mermaid’s tail and bones of a giant. This way of gatheringart collections was maintained even at the timesof the outset of museums in modern meaning of theword in the eighteenth century encyclopedic movementof the so-called European Enlightenment. The BritishMuseum and The Louvre are typical in that sense. As theAct on founding The British Museum from 1753 declares:“All arts and sciences have a connection with eachother…”It is an important argument to call upon in preservingsuch collections from the time of their origin.The collecting became more rigorously scientificallyoriented, so that the problem of original and legal ownershipof artifacts became more subjected to publicscrutiny. This problem was named “The Parthenon dilemma”,in relation to the long-lasting dispute betweenGreat Britain and Greece over the legal and moralrights over the so-called “Elgin Marbles”, removed fromGreece while under Turkish rule between 1801 and1810, by Lord Elgin and brought to Great Britain. In1816 an appointed Committee of the House of Commonsruled that the collection was the legitimate property ofLord Elgin as an individual. After the discussion in the