Also known as Cullinan I, the Star of Africa is a 530-carat white diamond cut from the Cullinan diamond, a 3,100-carat stone that was mined near Pretoria. A smaller, sister stone was also cut from the massive Cullinan diamond and is set in the Imperial State Crown. Both the scepter and the crown are traditionally used by British monarchs during ceremonial occasions.

A Change.org petition calling for the stone to be returned to South Africa has already garnered over 8,200 signatures by Friday afternoon.

“The diamond needs to come to South Africa. It needs to be a sign of our pride, our heritage, and our culture,” Mothusi Kamanga, a lawyer and activist in Johannesburg, told Reuters. “I think generally the African people are starting to realize that to decolonize is not just to let people have certain freedoms, but it’s also to take back what has been expropriated from us.”

Not everyone agrees, however, that the stone should be returned.

“I don’t think it matters anymore. Things have changed, we’re evolving,” Johannesburg resident Dieketseng Nzhadzhaba told Reuters. “What mattered for them in the olden days about being superior… it doesn’t matter to us anymore.”

The scepter is one of more than 100 objects collectively known as “The Crown Jewels,” which date back to the 17th century, and, per a Town and Country report, “are traditionally a major part of the coronation ceremony when a new monarch officially takes the throne, because each has a special meaning connected to the monarch’s reign.”

The Sovereign’s Scepter with Cross, in which the Star of Africa is set, is “meant to represent the crown’s power and governance” and has been an integral part of coronations since it was created in 1661 for King Charles II’s coronation. It has been used in every coronation ceremony since and was last publicly seen last September when it was placed on the Queen Elizabeth II’s coffin during her state funeral.

The discourse around once great colonial powers repatriating works that they were given—or took with force—has been become increasingly heated. These calls for repatriation, however, have typically focused on artifacts like the Parthenon Marbles and the Benin Bronzes.

Spearheaded by the artist Sam Barnett, The Royally Big Portrait, as the project is known, was created using thousands of crowd-sourced line-drawn profiles of the king. Though online submissions wrapped on April 28, those wishing to contribute can still upload images, which will be part of the larger digital image, via Outernet through May 8.

Individual contributions can be viewed within the portrait at Outernet using an iPad. The company is planning to announce the final number of submissions on May 9.

A canvas iteration and prints of the portrait are slated to be auctioned and sold, respectively, by Christie’s during an event at Outernet on May 4 to support the Children in Need charity for kids living in poverty or experiencing social injustices.

Additionally, Christie’s is holding its annual exhibition of works by students from the Drawing Year, which is an intensive program for 10- to 18-year-olds that the king established as part of the Royal Drawing School in 2000. The school offers in-person and online classes to young artists focused primarily on observational drawing.

For the coronation, Christie’s organized an additional show of works this year by the Drawing Year alumni, which will be on view from May 2 to 25. The show features commissioned works by the Royal Drawing School, along with an archive of drawings—one made by each student after successfully graduating.

Of the commissioned works, five will be available for purchase as limited edition prints. A portion of the funds will go towards the Drawing Year Scholarship Fund.

Kevis House Gallery is also selling signed limited edition lithographs of King Charles III’s watercolors, accompanied by an exhibition showcasing more than a dozen of his paintings, on view from May 2 to 21. Sales will benefit his The Prince of Wales’s Charitable Fund.

The 1.1-ton, 7-foot-tall French limestone statue shows the queen in her robes of the Order of the Garter and is installed above the West Front entrance of the 850-year-old building.

It was made by stonemason Richard Bossons, who worked at York Minster for 11 years and won a competition to create the statue. Previously a specialist in cathedral gargoyles, Bossons has never before completed a portrait. The 3-ton lump was cut by a machine before he added the finishing touches with a chisel.

“I hope everybody likes it. It is the best I could pull out of myself. Hopefully I have done justice to the Queen and the King likes it and I have done justice to the front of the building,” Bossons said of his work.

The statue was commissioned five years ago with the intention of commemorating the queen’s platinum jubilee. It was finished in August, just one month before her death.

On his decision to portray the queen later in life, Bossoms remarked, “I wanted to get a sense of her longevity on the throne over 70 years.”

At the unveiling, King Charles reflected, “The late Queen was always vigilant for the welfare of her people during her life,” calling the statue “a tribute to a life of extraordinary service and devotion.” 

The statue will eventually overlook the Queen Elizabeth Square.

The gallery and museum, which closed in October 2016, reopened to the public earlier this year in March, following a £68.2 million ($75.3 million) project to increase gallery space by 35 percent.

The Burrell Collection was originally opened by the king’s mother, Queen Elizabeth II, in 1983. The collection, which houses 9,000 objects, was donated to the city of Glasgow by shipping merchant Sir William Burrell and his wife Constance in 1944.

For his visit, King Charles was clad in Royal Stewart Hunting Tartan as he was presented an autumnal wreath by local school children. Jane Rowlands, senior museums manager at Glasgow Life, took him on a guided tour of the exhibitions.

The king stopped to admire a statue of the Luohan, portraying a Buddhist monk, with which both his mother and grandmother were previously photographed. He also viewed the collection of stained-glass windows and tapestries before meeting with volunteers and workers who contributed to the museum’s refurbishment.

Before leaving, the king unveiled a plaque commemorating the occasion.

King Charles III’s passion for art began in his youth and has been continually cultivated through the painting of his own watercolors over the last 50 years.