British Museum Director Resigns After Suspected Thefts

After mistakes cause international shame and raise concerns about systemic failings, Hartwig Fischer will resign.

As a result of a number of mistakes that have caused international embarrassment and raised concerns about systematic failings, the director of the British Museum has resigned, and his deputy has taken a step back regarding its handling of the suspected widespread theft of items.

In a statement released on Friday, Hartwig Fischer said he took responsibility for the museum's inability to adequately react to warnings about the alleged theft of thousands of artifacts in 2021.

A police inquiry was started when it was revealed last week that objects from the museum's collection were discovered to be "missing, stolen, or damaged."

It is apparent that the British Museum did not respond as extensively as it should have in response to the warnings in 2021 and to the situation that has now fully surfaced, Fischer stated in his resignation letter.

Fischer's resignation was accepted by the museum's board of trustees, which was chaired by former chancellor George Osborne. Osborne noted that Fischer had "behaved honorably" and that "no one has ever disputed Hartwig's sincerity, his dedication to his profession, or his affection for the museum."

The museum initially stated that Fischer would leave "with immediate effect," but then clarified that he would leave after a temporary leadership structure had been established.

Later on Friday, it was revealed that Jonathan Williams, the museum's deputy director, had voluntarily decided to take a leave of absence from his regular responsibilities until the independent investigation into the alleged thefts was finished.

Fischer had defended the museum's handling of a tip-off from Ittai Gradel, a writer, academic, and antiquities dealer, on Wednesday. Gradel had raised the alarm about stolen artifacts.

According to Fischer, just a tiny number of products were the subject of concerns, and our inquiry found that they were all accounted for. Yet he acknowledged that a complete audit in 2022 would have found a deeper problem.

Claims that Gradel had omitted material from the organization, according to him, are an "outright falsehood."

In his letter of resignation, Fischer stated that he had since retracted his prior comments regarding Gradel because they had been misinterpreted.

Although applauding Fischer's resignation, Gradel criticized the museum for treating him like a "village idiot" and demanded that Williams do the same.

According to Gradel, Fischer has done the just and honorable thing, and at least for that, he deserves praise, and he accepted his apologies wholeheartedly.

Yet he claimed that Williams was much more responsible for this colossal misstep than Hartwig Fischer ever was. The reason Fischer failed was because he didn't interact with it.

The Pitt Rivers Museum curator of international archaeology, Prof. Dan Hicks, stated that the director's quick departure was necessary, but questions remain for the entire senior leadership team and trustees of the museum.

Concerned about the lack of effective record-keeping, Gradel calculated that up to 2,000 objects, including practically an entire collection of unregistered jewels, may have been taken.

He told the Guardian that they have been lying there without any registration at all for more than 200 years. "How can they return them to the museum if they can't be identified?"

According to emails, Gradel informed the British Museum of possible malfeasance two years ago after making around 70 eBay purchases.

Following the firing of a staff member, Osborne first revealed the alleged thefts last week. Osborne claimed that missing, stolen, or damaged goods included gold jewelry, semiprecious stone gems, and glass artifacts dating back to the 15th century BC.

According to Scotland Yard, police spoke with a man about the alleged theft.

Experts warn that thefts committed by workers are a concern in UK museums.

In light of current debt talks between the UK government and Greece, the incident has rekindled the debate over what will happen to the Parthenon Marbles. Supporters of keeping the marbles in Britain typically make the case that the British Museum is a safe international guardian of the treasures.

The British Museum could no longer assert that the marbles were safe in its custody, according to a top Greek archaeologist.

The Association of Greek Archaeologists' director, Despina Koutsoumba, stated: "They have to return the Parthenon Marbles since they are not safe."

Greece was charged with "blatant opportunism," according to Tim Loughton, chair of the all-party parliamentary group on the British Museum.

"This news in the last couple of weeks has obviously been quite harmful, and it's been embarrassing," Loughton remarked following Fischer's resignation.

He said in an interview with Times Radio that the police had instructed the museum to withhold further details regarding the probe. So, Hartwig hasn't really been able to share his perspective.

The British Museum, in contrast to other museums, is a non-departmental public organization that is independent of the executive branch and answerable to parliament.

Fischer, a German art historian, had previously stated that he intended to leave the museum after eight years of service.

He remarked on Friday that, unfortunately, he had concluded that his presence was proving to be a distraction. Becoming the director of the British Museum has been the greatest honor of his life, he concludes.

For 1,300 years, nobody visited the weapon-filled grave of the German warrior. No longer.

Archaeologists didn't anticipate finding anything when they dug up a cemetery in Germany that was thousands of years old. A long time ago, grave robbers had entered the area and stolen who knows what from unknown locations.

Archaeologists excavating an early medieval cemetery in Ingelheim found the untouched burial of a seventh century warrior, photos show. Photo from the City of Ingelheim and Christoph Bassler

However, the looters overlooked something, and archaeologists were determined not to make the same error twice.

According to an announcement made by the City of Ingelheim on August 4th, it was a round piece of metal jutting out of the ground that initially drew the attention of archaeologists in Ingelheim.

Bassler claimed that the metal fragment belonged to a shield. It is challenging to connect the artifact to a particular funeral because it was found between two graves that had been robbed.

So they carried on digging and discovered an undiscovered burial.

According to the press release, a warrior was buried in the 1,300-year-old burial. In the seventh century, a 30- to 40-year-old man was buried beside nearly every kind of weapon available at the period.

Archaeologists discovered a double-edged spatha sword that was nearly 3 feet long under his right arm. Probably his most valued possession was this sword. He carried a broad seax, a short, hefty sword intended for slicing, by his left arm. According to the statement, the burial also contained a belt, knife, lance, and bronze scabbard.

Images of the warrior's burial were posted on Facebook by Kaiserpfalz Ingelheim, or the Ingelheim Imperial Palace, on August 9.

The fighter was most likely a Frankish guy, according to the style of his shield and weapons, experts say. He was buried in a now-disintegrated casket, as evidenced by his skeletal position.

According to Britannica, the Franks "forcibly settled" what is currently southern Germany starting in the sixth century. They ruled Franconia, which encompassed Frankfurt, Stuttgart, and Munich, until an additional royal dynasty took over in the eighth century.

A close-up view of the warrior’s grave from the deceased’s left-hand side. Photo from Kaiserpfalz Ingelheim

Archaeologists claimed that the 1,300-year-old warrior was not a trained combatant. Standing armies did not exist in his time as they do today. Instead, he probably looked after his own gear and went into fight with his leader.

According to the announcement, his exact cause of death is unknown, however he could have passed away from a disease or an injury sustained in war. The latter cause of death would not be unexpected, according to archaeologists, who highlighted the violence-themed burial items.

According to local officials, the objects were taken out of the cemetery for cleaning and further investigation.

About 330 kilometers southwest of Berlin is Ingelheim, also referred to as Ingelheim am Rhein.

The Vibrant Panel from the Tomb of the Dancers: A Testament to Ancient Artistry and Cultural Exchange

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By Dimosthenis Vasiloudis

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At the heart of Ruvo di Puglia, an Italian town in the metropolitan city of Bari in Puglia, a discovery from circa 400–350 BC continues to dazzle the world with its vibrancy and evocative representation of ancient life and merriment. The famed panel from the Tomb of the Dancers provides not just an unparalleled glimpse into antiquity but also serves as a bridge connecting the artistic traditions of the ancient Greeks and Etruscans.

Delving Deeper into the Tomb of the Dancers

The Tomb of the Dancers is a paramount example of the cultural and artistic effervescence of the 4th century BC. The tomb is an underground chamber tomb, a type commonly associated with the Peucetians, an ancient Italic people. Its unique frescoes have illuminated our understanding of Italic funerary practices and beliefs, suggesting a synthesis of indigenous traditions and Hellenic influences.

The dancers, adorned in typical ancient attire, move harmoniously across the chamber walls, inviting speculation about their societal roles and the nature of the depicted ceremony. Intriguingly, the frescoes also showcase a series of birds, hinting at possible ornithological symbolism or beliefs in the soul's transcendence. The Tomb of the Dancers isn’t just a mausoleum; it's a narrative canvas, telling tales of an era where death, life, art, and spirituality wove together into a tapestry of shared human experience.

Colors of Antiquity

The first thing that captures an observer's attention when examining the panel is the sheer brilliance and preservation of its colors. Deep reds, yellows, and blues interspersed with earthy browns and gentle hues of white tell the story of an ancient palette that was both rich and varied. The hues have been extracted from nature—mineral pigments, plants, and other organic sources—reflecting the ancients’ profound understanding of natural resources.

Movement and Life

The name "Tomb of the Dancers" is no accident. The panel portrays a dynamic scene of dancers reveling in the throes of a celebration or perhaps a ritual. The way the figures are rendered, with limbs stretched out and garments flowing, gives a tangible sense of movement. You can almost hear the music to which these ancient figures danced.

Individuality and Expression

Unlike some ancient art, where figures can appear standardized or even stolid, the Tomb of the Dancers captures the essence of individuality. Each dancer possesses a unique posture, facial expression, and even hairstyle. This not only serves as a testament to the artist's acute observational skills but also offers insights into the diversity and individual expression cherished in ancient societies.

Greek Influences and the Evolution of Roman Artistry

The artistic style and motifs found in the Tomb of the Dancers have their roots in the Greek tradition. The ancient Greeks were pioneers in many art forms, from sculpture to painting, and they celebrated human form, movement, and emotion. This Greek aesthetic had a profound influence on the regions they interacted with, including the Italian peninsula.

The Hellenistic period, emerging after the conquests of Alexander the Great and lasting from the 4th to the 1st century BC, was characterized by a remarkable spread and fusion of Greek culture across the known world. Hellenistic paintings, in particular, broke from the idealism of the Classical era, opting for more emotional intensity, intricate details, and realism. These artworks depicted daily life, landscapes, and even still lives, revealing a broader spectrum of human experience. As the Roman Republic expanded and came into close contact with Hellenistic kingdoms, they were deeply influenced by this artistic evolution.

Banquet scene from the tomb of Agios Athanasios, Thessaloniki, 4th century BC.

Three main qualities unique to Hellenistic painting style were three-dimensional perspective, the use of light and shade to render form, and trompe-l'œil realism.

Roman frescoes, often found in the luxurious villas of Pompeii and Herculaneum, bore the marks of this Hellenistic inspiration. They adopted the rich color palettes, depth, and perspective techniques and were notably influenced by the genre scenes, landscapes, and portraiture of Hellenistic art. In essence, through their vast conquests and subsequent cultural assimilations, the Romans became the torchbearers of Hellenistic art, refining it and making it an integral part of their architectural and artistic narrative.

However, as the Etruscan and later Roman civilizations began to rise and assimilate various cultures and their artistic traditions, a synthesis occurred. While the Romans drew heavily from the Greeks, they added their own touch, emphasizing particular themes, subjects, and techniques. The frescoes in Roman villas and public buildings are classic examples of this blended tradition.

The fresco technique, where paint is applied on wet plaster, was employed by both Greeks and Romans, making it a shared tradition that spanned centuries and evolved stylistic nuances. The Tomb of the Dancers, while predating the zenith of Roman art, can be seen as part of this continuum, where the artistic baton passed from the Greeks to the Romans.

The vibrant panel from the Tomb of the Dancers stands as a monument to the artistry of ancient civilizations and their interconnected histories. It serves as a brilliant reminder that art is not just a reflection of the time in which it was created but also a window into the cultural exchanges, innovations, and shared human experiences of epochs past. The connections between Greek and Italic paintings and fresco history, exemplified in masterpieces like this, underline the intertwined nature of their civilizations and their lasting impact on the art world.

In Western New Mexico, researchers are using lidar to look for ancient pueblos

In an effort to better understand migration patterns and social interactions, archaeologists are currently searching Western New Mexico with lidar-equipped drones for the remains of ancient pueblos.

Data collected from drone-based lidar defines several rooms of an ancient pueblo, as well as a depression that researchers believe would have marked the location of a kiva inside.

"So what we're doing is mounting one of these lidar pods to a drone, flying it in a systematic way over the landscape, sending down a cone of laser images and measuring the bounce back of that light," explained Jeff Ferguson, an associate professor of anthropology at the University of Missouri.

The acronym "Lidar" stands for "light detection and ranging." Researchers are now able to observe things they couldn't before thanks to the data, which is then combined into a highly detailed rainbow-colored image that depicts the impressions of the ground where that light hit.

Ferguson claimed that due to the challenging topographical landscape, this area has historically received insufficient attention.

A top-down view of the newly surveyed pueblo thought to be built by immigrants in the 13th century.

It's about preserving the past, according to Ferguson. We could not even know what questions to ask about the past that might be significant if we aren't diligent.

The team recently conducted a reconnaissance of a sizable pueblo that was probably constructed in the late 13th century by immigrants from the Four Corners region.

They are working with another hands-off technology in addition to lidar that analyzes the chemical makeup of obsidian objects to determine their origin.

In Inner Mongolia, a Neolithic mussel shell dragon was discovered

In August 2023, archaeologists in Chifeng, in the Inner Mongolia Autonomous Region of North China, discovered a dragon made of mussel shells that is far older than the famous C-shaped jade dragon from the same Neolithic Hongshan Culture.

According to Song Jinshan, president of the Inner Mongolia Institute of Cultural Relics and Archaeology, the find is significant because it closes a gap in archaeologists' understanding of the dragon symbol in the early Hongshan Culture.

According to Hu Chunbo, the director of the excavation project at the Caitaopo Site in the Songshan district of Chifeng, the 20 centimeter-long dragon's head, body, and tail are assembled from a number of mussel shells like a jigsaw.

The uncovered artifacts, which were discovered next to two pottery ware fragments, are indicative of the Hongshan Culture.

In terms of carving methods and design, this mussel shell dragon differs significantly from the previously uncovered C-shaped jade dragon of the Hongshan Culture. The carving's teeth, tail, and other details are subtle, making it more delicate and realistic.

Furthermore, the shape is not a curled-body, C-shaped dragon but rather a spread-out representation of a dragon.

The previously found jade items from the Hongshan Culture, according to archaeologists, were placed at high-grade ceremonial structures or sites, whereas the dragon discovered during the current dig is a hint to the spiritual realm of people who lived in low-grade communities.

Northeast China's West Liao River Basin was home to the Neolithic Hongshan Culture. Hongshan sites, which date from roughly 4700 to 2900 BC, have been discovered in a region that stretches from the Inner Mongolia Autonomous Region to Liaoning. The carved jade produced by this civilisation is well-known.

'Significant' finds have been made at the Al Abla site, according to Saudi archaeologists

The Al Abla site, a mining area in the Asir region, has seen "significant" archaeological discoveries, according to Saudi Arabia.

Saudi Arabia has announced 'significant' discoveries, including homes and work areas, at the kingdom's Al Abla site. SPA

According to the kingdom's Heritage Commission, the finds included reservoirs that were used to construct rainwater stores for residences and businesses.

The reservoirs included roofs designed to channel rainwater via channels lined with gypsum or made of pottery and store it until it is needed.

Buildings discovered at the site also had gypsum, a material used in plaster, covering their walls and floors.

According to the official Saudi Press Agency, the discoveries, made during the seventh season of archaeological excavation at the site, underscore the significance of Al Abla as one of the most significant historic mining centers in the south of the kingdom.

Walls and floors of buildings found at the site were also coated in gypsum, a mineral used in plaster.

Small glass vials, metal fragments, pieces of bronze vessels, rings, and beads made of ivory and precious stones were some of the most significant discoveries.

Teams also found pottery ovens and oval-shaped water troughs with insulating material within.

Along with glazed pottery and the bodies, rims, and handles of containers constructed of earthenware and steatite, or soapstone, hammerstones, grinders, and pairs of quern stones of various sizes and shapes were also discovered.

An ancient adorned wall from the pre-ceramic era was discovered in Peru

Archaeologists have unearthed a colored wall that is thought to be more than 4000 years old and may have been a ceremonial temple, providing new insights into the historical cultures of the area.

An archaeologist works on a 4500-year-old polychrome wall, part of a temple dated to the late Preceramic period, in the Huaca Tomabal in the Valley of Viru, Peru.

Farmers discovered the wall for the first time in 2020 while harvesting crops in the Viru Valley, about 480 kilometers north of Lima, Peru. This led to an extensive investigation to uncover the wall's beginnings, according to archaeologist Feren Castillo, who is in charge of a study project in the coastal province of La Libertad.

"Three years later, we began a fresh treatment, the results of which revealed the process's age... In reference to the birth of Mayan civilization between the 7th and 2nd centuries BC, Castillo said, "Today we are confident that it is a building constructed during the Pre-ceramic Period between 4000 and 4500 years ago.

Castillo noted that the wall, which is probably approximately three meters high, features triangular geometric lines with sporadic red and yellow tones.

The most significant area must have included a pre-ceramic temple, he continued, with a hearth at its center that we should be able to excavate later.

The enigmatic, enormous Nazca lines, which were carved in the desert more than 1500 years ago, are located in the Ica area of northern Peru, as are ancient ceremonial complexes like Caral, which is said to be about 5000 years old.

The ruins of Machu Picchu, which are in the Cusco region and are a remnant of the Inca Empire, which ruled the southern half of the continent 500 years ago and stretched from southern Ecuador and Colombia to central Chile, are the most significant archaeological site in the nation.

Carlisle will host a display of old archaeological finds

This autumn, a new home will be found for the ancient Roman heads that were found in Cumbria earlier this year.

The two Roman heads were the most significant finds at Carlisle cricket club (Image: Stuart Walker)

The extraordinary discoveries, which were uncovered with numerous other eye-catching artifacts as part of the archaeological excavation that was conducted at the Carlisle Cricket Club, will be on display at Tullie House Museum from September 23 through November 11.

Digging Deeper: Uncovering Roman Carlisle, a new exhibition, will offer visitors the chance to view the artifacts for the first time in a public setting while exhibiting the most recent, internationally significant discoveries from Carlisle's Roman Bathhouse.

This exhibit will also honor the enormous collective effort that went into the dig. More than 2,000 noteworthy finds were made during the most current excavation phase, which included 373 volunteers and more than 1,678 volunteer days since 2021. The facility was visited by almost 6,000 people, including 625 school groups from the neighborhood.

"I am thrilled that the artifacts found in Carlisle will be on display in the city's museum," said Cllr. Anne Quilter, Executive Portfolio Holder for Vibrant and Healthy Places at Cumberland Council. This is a wonderful chance to view some of the archaeological artifacts and learn more about the extensive Roman legacy of the region. Everyone should go, as it will undoubtedly be a must-see display.

Along with the latest discoveries, visitors will have another opportunity to view the objects on display as part of the 2017 exhibition Uncovering Roman Carlisle, which provided an overview of the progress made by the excavation since the discovery of the bathhouse site.

A variety of interactive activities for all ages, including a digging area, games, and logic puzzles, will also be included, in addition to drone footage of the dig site.

The Roman heads unearthed at Carlisle Cricket Club (Image: Newsquest)

Even though our volunteers only found many of these artifacts this summer, lead archaeologist Frank Gieco said they are already widely recognized finds. We hope that this display will be able to convey both the importance of Roman Carlisle and the rarity of these discoveries.

In particular, those finds that have been retrieved from the major bathhouse drains, "myself and the crew at Wardell with the volunteers have been working away at identifying and interpreting the amazing amount of discoveries. These gemstones' carvings depict numerous mythological tales and provide us with insight into the thoughts of Roman bathers from 1800 years ago.

Children and those under the age of 18 will be admitted free, and beginning September 1, 2023, adults can purchase tickets to the exhibition.

Discover one of the most mysterious settings in the Lake District at the Castlerigg Stone Circle

Many questions arise when exploring Castlerigg Stone Circle, including how it was constructed. What age is it? Was it built for religious purposes or perhaps as a hub for trade?

What might it have been like to observe the winter solstice sun set behind the imposing Lakeland mountains while gathered at Castlerigg Stone Circle 5,000 years ago?

Did the New Stone Age population construct this structure as a calendar to record the passage of time? Or as a place of worship? After Victorian archaeologists uncovered axeheads from nearby Langdale here, a suggestion that it might have been a trading hub was put forth.

Castlerigg is still a mystery, like so many other comparable prehistoric sites around the UK, but we do know a few things for sure.

Circular Stone of Castlerigg

This stone circle is one of the oldest and best-preserved in all of Europe. It consists of roughly 40 stones, some of which are up to 10 feet tall.

Castlerigg Stone Circle is a short walk from Keswick/Credit: Getty

After being visited by the antiquarian, Anglican priest, and self-described "Druid," William Stukeley, in 1725, it first came to the public's attention. The first written description of the location is in his description. Although he said there was a second, wider circle in a nearby field, it is not much different from what is visible today.

No proof of this second circle has been discovered to support his assertion, but 'The Sanctuary' is what distinguishes Castlerigg from other circles. This collection of ten stones, which is exclusive to Castlerigg, creates a rectangular enclosure within the circle's eastern border. Was this 'inner sanctum' only to be used for ceremonial purposes? We may never find out.

Parking at Castlerigg Stone Circle

Although there is parking available on the side of the road next to the field containing the stones, getting there on foot allows you to put the circle in the context of the surroundings.

Winter snow at Castlerigg Stone Circle/Credit: Getty

Walk around Castlerigg Stone Circle

The Helvellyn range, Skiddaw, Blencathra, and other of England's tallest and most majestic mountains can all be seen on a simple walk from Keswick that takes you through woodlands, over fields, and along peaceful lanes.

Portugal has discovered hundreds of mummified bees in their cocoons from the time of the pharaohs

In a brand-new paleontological site on the shore of Odemira, hundreds of mummified bees in their cocoons have been discovered on the southwest coast of Portugal.

According to the study, which was published in the international scientific journal Papers in Paleontology, this process of fossilization is quite uncommon and generally the skeleton of these insects quickly decomposes since it is composed of the organic composite chitinous material.

Pharaoh Siamun ruled Lower Egypt around 2975 years ago; the Zhou Dynasty ended in China; Solomon was set to succeed David as king of Israel; and the tribes in the region that is now Portugal were nearing the end of the Bronze Age. Specifically, on the present-day site of Odemira in southwest Portugal, something unique and unusual had just occurred: hundreds of bees perished inside their cocoons and were preserved down to the tiniest anatomical details.

According to Carlos Neto de Carvalho, scientific coordinator of Geopark Naturtejo, a UNESCO Global Geopark and collaborating researcher at Instituto Dom Luiz at the Faculty of Sciences of the University of Lisbon - Ciênci, "The degree of preservation of these bees is so exceptional that we were able to identify not only the anatomical details that determine the type of bee, but also its sex and even the supply of monofloral pollen left by

According to Carlos Neto de Carvalho, the project found four paleontological sites with thousands of fossilized bee cocoons in a one-meter-square area. These locations were discovered on the Odemira coast, halfway between Vila Nova de Milfontes and Odeceixe. Odemira is a municipality that enthusiastically supported the execution of this scientific study and permitted its carbon-14 dating.

According to Andrea Baucon, one of the co-authors of the current investigation and a paleontologist at the University of Siena (Italy), "With a fossil record of 100 million years of nests and hives attributed to the bee family, the truth is that the fossilization of its user is practically non-existent."

The young adults of the Eucera bee that were never able to see the light of day are preserved like in a sarcophagus in the cocoons that have recently been discovered and were created over three thousand years ago. There are currently roughly 700 species of bees on the Portuguese mainland. The interior of the cocoons are shown to be lined with an elaborate thread made of an organic polymer by the mother at the recently found paleontological site. Sometimes, you can still find some of the monofloral pollen within that the mother left behind and that the larva would have consumed throughout its early life. The mummified bees inside enclosed cocoons could be seen perfectly and in three dimensions thanks to the use of microcomputed tomography.

This specimen was extracted from the sediment filling a cocoon. Credit: Andrea Baucon.

Bees, which have more than 20,000 species and are crucial pollinators, have seen a sharp decline in population as a result of human activity, which has been linked to climate change. Understanding the biological factors that caused bee colonies to die and be mummified nearly three thousand years ago could aid in understanding and establishing resilience tactics to climate change. For the southwest coast, the climate period that occurred almost three thousand years ago was characterized, in general, by colder and rainier winters than the present-day ones.

According to Carlos Neto de Carvalho, "A sharp drop in nighttime temperatures at the end of winter or a protracted flooding of the area outside of the rainy season could have caused the death by cold or asphyxiation, and mummification, of hundreds of these small bees."

The municipalities of Castelo Branco, Idanha-a-Nova, Oleiros, Penamacor, Proença-a-Nova, Vila Velha de Ródo (in the district of Castelo Branco), and Nisa (Portalegre) are a component of the Naturtejo Geopark of Meseta Meridional, which is a member of the UNESCO global network.

Swedish Sewer: Large Viking Runestone Found Nearby

A massive Viking runestone from the 10th century was recently discovered by Swedish archaeologists in Ystad, which is located about 40 miles east of Malmö. The Skårby stones, Tullstorp Runestones, and Sjörupstenen are only a few of the numerous runestones from this period that are found in the vicinity. The disputed stone had been reported in the 1700s but has vanished since then. The carved stone is an important archaeological find and is a component of the Hunnestad Monument, a bigger formation.

The Hunnestad Monument, which is made up of eight stones in total, is thought to have been built by two brothers in the Hunnestad Village, which is located just outside of present-day Ystad. A number of the stones vanished at some point in the 18th century. When Eric Ruuth of Marsvinsholm controlled the property at the time, numerous remodeling initiatives were carried out on it, which reportedly included removing some of the stones.

The stones were shown in artwork before they vanished. Not all of these stones were collected; however, some of them were later discovered on the land in the nineteenth century.

Some of the enormous stones have runes etched on them, and others have various symbols and pictures of people inscribed on them. The stone in question, which is number 6 in the formation, depicts an artistic rendering of a wolf or other canine animal. The mythological figure Fenrir, a wolf-like being born to the trickster god Loki and a common runestone image, has been suggested as the subject of this painting by some.

The stone was located close to a sewer line in December 2020. There may have formerly been a bridge there, and the stone may have been used as a foundation stone to support it, according to research on the area's previous uses. Pottery shards and other artifacts from the 18th century were also discovered close to the stone.

The Swedish State Historical Museums conducted the excavations, which should help clarify the significance of the Hunnestad Monument as a whole. Three of the eight stones were not initially noted as having been carved, and thus far four of the eight stones have been located in the modern age.

It is possible that other intriguing historical runestones like this one will be discovered in the future because the stone was previously thought to have been destroyed.

Bull’s Head Rhyton: A Ritual Symbol of Minoan Crete, Mycenae, and Beyond

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By Dimosthenis Vasiloudis

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"From the Labyrinths of Crete to the Palatial Majesty of Mycenae: An In-depth Exploration of the Ancient Rhyta Vessels"

The ancient world was rife with symbols and motifs, many of which have left lasting impressions on human civilization. Among them is the Bull's Head Rhyton, a ceremonial vessel linked deeply with the cultures of Minoan Crete and Mycenae. Over time, these artifacts have not only served as powerful ritual vessels but also as sought-after treasures and diplomatic gifts. Their iconic design straddles the line between stark realism and stylization, and their legacy can be seen as far away as the 18th-century Egyptian wall paintings.

Origin and Symbolism

The rhyton is a ceremonial vessel, typically designed with the figure of an animal, especially its head, at the pouring end. In Minoan Crete and Mycenae, the bull was a significant animal both in religious and socio-cultural terms. It was considered a symbol of power, fertility, and the divine.

Rhyta (ritual vessels) in the form of a bull's head, Greece 1300BC - 1200BC | The British Museum

The Bull’s Head Rhyton excavated from these ancient civilizations is a testament to the bull's importance. Carved meticulously from steatite and silver and then coated with a layer of gold leaf, these artifacts were both artistic marvels and potent ritualistic tools.

1. The Rhyton from Mycenaean Grave IV (Shaft Grave IV at Grave Circle A):

Grave Circle A at Mycenae is one of the most remarkable archaeological sites related to the Mycenaean civilization. Dating back to the Late Helladic period, circa the 16th century BC, this site consists of six shaft graves. Among the artifacts unearthed here—gold items, weaponry, and pottery—stands out the rhyton from Shaft Grave IV, an important find due to its craftsmanship and the insights it provides into Mycenaean culture.

Bull head rhyton Mycenae Grave IV, from Grave Circle A at Mycenae, 16th century BC (Archaeological Museum, Athens)

This particular rhyton is made of silver and gold and exhibits a combination of Minoan stylistic influences with distinct Mycenaean elements. The graves' rich contents, including this rhyton, indicate the high status of the individuals buried within and provide evidence of the wealth and power of the Mycenaean elite during this period.

2. The Bull's Head Rhyton from the Palace of Knossos:

Knossos, located on the island of Crete, was the major center of the Minoan civilization, one of the earliest European civilizations. The Palace of Knossos is renowned for its labyrinthine layout, vibrant frescoes, and intricate artifacts, and the Bull's Head Rhyton is among its most iconic discoveries.

Made of steatite (a type of soft stone) and coated with layers of shell and gold leaf, this rhyton is a testament to the Minoan artisans' expertise. The choice of a bull is significant: bulls were central to Minoan religious ceremonies and iconography, with the famed myth of the Minotaur and the ritual of bull-leaping. The meticulous detailing of the bull's features, from the rendered musculature to the inlaid eyes, showcases the blend of realism and stylization characteristic of Minoan art.

Rhyton in the form of a bulls head - production place: Crete - period / date: neopalatial period

While both rhyta serve similar purposes as ceremonial vessels, their design, material, and context highlight the distinct cultural nuances of the Minoan and Mycenaean civilizations. The Mycenaean rhyton from Grave IV reveals a society deeply influenced by Minoan culture but with its own emergent stylistic preferences. In contrast, the Bull's Head Rhyton from Knossos is quintessentially Minoan, reflecting the unique religious and cultural milieu of Crete. Both artifacts, however, underline the significance of rhyta in the ceremonial and socio-political landscapes of ancient Aegean cultures.

Realism and Stylization

Art from ancient civilizations often straddles the line between realism and stylization, and the Bull’s Head Rhyton is no exception. The detailed rendering of the bull's facial features, the intricacies of its horns, and the nuanced expression give it a realistic touch. At the same time, certain exaggerated elements, like the oversized eyes or the emphasis on certain facial features, lean towards stylization.

This blend of realism and stylization served a dual purpose. On the one hand, the realistic elements conveyed the majesty and power of the bull, ensuring that the vessel's spiritual and symbolic value was not lost. On the other hand, the stylized components allowed for individual artistic interpretation and created a connection with the divine, the mysterious, and the otherworldly.

Ritual Use and Beyond

In the ceremonial context, the Bull’s Head Rhyton was not a vessel for consumption. During rituals, the pouring of liquids (like wine or blood) from these vessels symbolized an offering to deities, ensuring prosperity, fertility, and divine favor.

But the cultural significance of these rhytas didn't stop at ceremonies. As a testament to their value, they have been discovered in numerous tombs, signifying their role in accompanying the dead into the afterlife or marking the grave of someone of considerable importance.

Treasured Gifts and Their Legacy

The Bull’s Head Rhyton, beyond its ritualistic significance in Minoan Crete and Mycenae, became a symbol of diplomatic power and prestige. They were often exchanged as valuable gifts, signifying respect, allegiance, or the establishment of friendly ties between cultures.

A lasting legacy of this exchange can be seen in the 18th-century Egyptian wall paintings. While Egypt and Crete had active trade and diplomatic relations during the Bronze Age, the inclusion of such artifacts in Egyptian art centuries later signifies the lasting impression and the continual reverence for these magnificent vessels.

Example of a bull’s head rhyton in Egyptian wall painting (visible lower center). “Gifts from the Keftiu (Minoans),” from the Tomb of Rekhmire, Thebes, 18th dynasty, c. 1479–1425 B.C.E., drawing by Nina de Garis Davies, tempera on paper, 45 x 65 cm (The Metropolitan Museum of Art)

The Bull’s Head Rhyton is not just an artifact; it is a symbol of the intricate tapestry of ancient civilizations, their beliefs, their artistry, and their diplomacy. Serving as ritual vessels, artistic expressions, and treasured gifts, they provide a fascinating insight into the interconnectedness of ancient cultures and their lasting legacy.

A 2,900-year-old clay brick's ancient DNA was extracted, providing a rare time capsule of plant life

A team of scientists has successfully recovered historical DNA from a 2,900-year-old clay brick for the first time. The clay brick, which is now kept at the National Museum of Denmark, came from the royal residence of the Neo-Assyrian monarch Ashurnasirpal II in the antiquity of Kalhu. Around 879 BCE, work on what is now known as the North-West Palace at Nimrud (northern Iraq today) began.

The clay brick from the National Museum of Denmark from which the samples were derived. Credit: Arnold Mikkelsen og Jens Lauridsen. Credit: Arnold Mikkelsen og Jens Lauridsen.

The brick is marked with a cuneiform inscription in the now-extinct Semitic language Akkadian that reads, "The property of the palace of Ashurnasirpal, king of Assyria." As a result, the brick may be precisely dated to the period between 879 and 869 BCE.

The team of experts was able to collect samples from the brick's inner core during a digitalization project at the Museum in 2020, indicating that there was little chance of DNA contamination since the brick was made. The team used a procedure previously used for other porous materials, such bone, to extract DNA from the samples.

Following the sequencing of the collected DNA, the researchers were able to classify plants into 34 different taxonomic categories. The plant families with the highest concentrations of sequences were Ericaceae (heather) and Brassicaceae (cabbage). The Betulaceae (birch), Lauraceae (laurels), Selineae (umbellifiers), and Triticeae (cultivated grasses) families were also represented.

They were able to compare their findings with both contemporary botanical data from Iraq and historic Assyrian plant descriptions thanks to the interdisciplinary team's composition of assyriologists, archaeologists, biologists, and geneticists.

The majority of the brick would have been formed from mud collected nearby the Tigris river, combined with chaff, straw, or animal dung. It would have been molded into shape, then written on in cuneiform script before being dried in the sun. The genetic material trapped within the clay would have been better preserved if the brick had not been burned, but instead allowed to dry naturally.

"We were absolutely thrilled to discover that ancient DNA, effectively protected from contamination inside a mass of clay, can successfully be extracted from a 2,900-year-old clay brick," said Dr. Sophie Lund Rasmussen (Wildlife Conservation Research Unit, Department of Biology, University of Oxford), one of the paper's co-first authors.

The different expertise represented in this study gave the exploration of this material and the findings it produced a holistic approach, making this research endeavor the ideal illustration of the value of interdisciplinary collaboration in science.

In addition to the fascinating information that one brick provided, the study provides as a proof-of-concept and method that might be used to identify previous vegetation and wildlife from numerous other archaeological sources of clay from various locations and time periods throughout the world. Any archaeological site anywhere in the world will almost always have clay materials, and because of their context, they may frequently be dated accurately.

Since they were the most frequent and well-preserved specimens, this study only described the extracted plant DNA. All taxa, including vertebrates and invertebrates, however, may be recognized based on the sample. A significant tool to better comprehend and quantify current biodiversity loss and to get a deeper knowledge of past and lost civilizations would be the ability to provide accurate descriptions of ancient biodiversity.The brick serves as a biodiversity time-capsule of data about a single site and its environs since the inscription on the brick allows us to attribute the clay to a relatively definite period of time in a particular place.

When the study was undertaken, Dr. Troels Arbll, co-first author of the publication and junior research fellow at the Faculty of Asian and Middle Eastern Studies, University of Oxford, stated that it gave scholars a special access to the ancient Assyrians.

Hecate Statue Discovered by Archaeologists in Ancient Kelenderis

Kelenderis, also spelled Celenderis, was an ancient Greek city, harbor, and stronghold that was situated in the modern Turkish town of Aydnck.

The remnants of a Roman bathhouse, an odeon (a structure used for musical activities such as singing, musical performances, and poetry competitions), churches with a basilica layout, and mosaics have all been discovered throughout the 36 years of ongoing excavations.

Sandocus, the son of the sun deity Helios and the Oceanid Clymene, is said to have created the city. The Phoenicians are thought to have been the first people to live on the site, which was later developed into a significant trading hub between the fourth and fifth centuries BC.

Archaeologists at Batman University have discovered a statue of the three-headed Greek goddess Hecate. Hecate is frequently seen with two torches, a key, snakes, or hounds, and in later eras, she was portrayed as having three forms or three bodies.

Crossroads, entranceways, night, light, magic, defense against witchcraft, the moon, knowledge of herbs and toxic plants, cemeteries, ghosts, necromancy, and sorcery are all connected to Hecate. She maintained a significant sanctuary among the Carian Greeks of Asia Minor in Lagina, where she was adored by the witches of Thessaly.

The figurine, which was discovered among Hellenistic-era ceramics, was 2,300 years old, according to a news release from Batman University.

It is a statuette with three heads that is roughly 20 centimeters tall, according to Dr. Mahmut Aydn. According to an inscription there, Kelenderis is listed as one of the cities that compete in the competitions held for Hecate every five years, and she has a temple at the Lagina Ancient City in Mula.

Examining Australia's Oldest Known Shipwreck by Researchers

Australian maritime archaeologists have returned to the location of a 19th-century sailing ship that is in danger of being wrecked due to recent seabed changes that are alarmingly revealing the site.

The package South Australian site has been visited again by the Australian National Maritime Museum (ANMM) and the nonprofit Silentworld Foundation to complete survey work and collect crucial data that could help us better comprehend early colonization and occupancy.

Since 1820, the sailing vessel has been a mail carrier between England and remote outposts of the British Empire. Its original name was Marquess of Salisbury. Later, it was used as HMP Swallow, a British naval packet. The South Australian Company bought it and renamed it South Australian.

Australia's earliest known wreck is a ship that went down in Encounter Bay, close to modern-day Victor Harbor, in 1837. It was missed by two surveys in the 1990s, and it was only found again in 2018. Due to its historical significance, archaeologists have continued to show a strong interest in it ever since. The ship, which is thought to have carried about 80 immigrants to the new colony, was built to carry a significant amount of sail on a very tiny hull for optimal speed.

On December 8, 1837, the ship's demise occurred. When it was smashed by a southeasterly storm, it was carrying whale oil and getting ready to leave for Hobart. None of the participants died.

While a sizeable portion of the remaining hull is still hidden, according to ANNM, recent seabed changes are alarmingly exposing the site. This has made it even more urgent to conduct additional research.

However, subsequent trips to the site were halted for two years because to Covid-19 travel restrictions. When archaeologists came back to their work last year, they were able to complete site mapping and photogrammetric 3D recording. The crew also carried out a thorough conservation evaluation to ascertain the state of preservation of the wreck site and recommend methods for its ongoing care.

Work at the site has included careful recording of exposed hull components and targeted retrieval of at-risk artifacts during the present expedition. A modest number of items have also been found and mapped. A cannon flint, ceramic pieces with designs, ship fasteners, glass bottles, and a whetstone for sharpening tools are among the objects.

It is impossible to overestimate the historical and archaeological importance of South Australia. "It has the potential to improve our understanding of the state's initial colonization and occupation, including the establishment of extractive mercantile activities like shore-based whaling and interactions between European colonists and Aboriginal people," said James Hunter, ANMM's Curator of Naval Heritage and Archaeology. As South Australia's oldest recorded European shipwreck and one of its earliest immigration vessels.

While late last year's attempts to perform 3D photogrammetric scans of the wreck were hampered by the weather and water visibility, imagery from those surveys is now being used to create a computerized 3D model of the majority of the site. This year, the crew aims to finish the photogrammetric survey of the wreck.

The government of South Australia claims that a total of 126 vessels have gone missing in the inland and coastal seas of the area, resulting in the loss of at least 28 people and 11,500 tonnes of cargo.

Researchers find an ancient bone that may reveal the existence of an undiscovered human race

The results of a new analysis of a bone that was discovered in a French cave decades ago are remarkable.

The bone in question, a hip bone known as the ilium, was found in the massive Paleolithic Grotte du Renne cave complex, one of the greatest sites in Europe.

The upper levels of the caves show a period when anatomically modern humans lived there, together with the bones of Neanderthals, a subspecies of archaic humans that thrived in Eurasia until about 40,000 years ago.

But perhaps most intriguingly, a layer has been found that points to a time when both hominids coexisted.

The ilium found (a) is compared to a Neanderthal bone (b) and a recent perinatal bone (c). Credit: Scientific Reports

One of the three bones that make up the human pelvis, the ilium bone was discovered and is thought to have belonged to a baby. After careful examination, the bone was compared to the remains of two Neanderthals and 31 modern people, but it didn't quite match either, suggesting that it might be a hybrid.

Although significantly different from anatomically modern people and the bones we commonly see on skeletons today, the archeologists' team believes that the bone has a definite ancestry of Homo Sapiens, revealing a possibly undiscovered human species.

In their report, the research team described their findings in detail, stating that "our results reveal a morphological differential between the ilia of Neanderthals and anatomically modern neonates.

"Although AR-63 marginally falls outside of recent variability, it varies from Neanderthals in a noticeable way. We suggest that this is because it comes from a lineage of early modern humans, whose morphology is slightly different from that of modern humans.

The "techno-cultural complex" stratum of the cave also included a number of stone implements.

The Grotte du Renne where the bone was found. Credit: Pueblopassingby/Wikimedia Commons

The implements simulated flints and other such things that would have required knowledge of skills and methods transferred from one civilization to another.

This interbreeding could point to a period in which anatomically modern humans and Neanderthals lived side by side for a very long time.

It's not the first time that newly found human remains have changed how we view the past.

At the Sierra de Atapuerca excavation site near Burgos, Spain, several facial bones dating back 1.4 million years were found.

The general supervisor of the Museum of Human Evolution in Burgos, archaeologist Aurora Martin, stated: "Until 1994, it was thought that there had not been any early human species in Europe before 500,000 years ago.

"Right now, we're discussing 1.4 million years ago. To put it another way, we added a million years to the evolution of humanity in Europe.

'Spectacular' Assyrian artifacts are discovered by a Mosul archeology project

On the outskirts of Mosul, an excavation team during 2022 discovered that the stone slabs used as foundations for the Assyrian-era gates to the ancient city of Nineveh were actually exquisitely carved reliefs that showed archers, besieged cities, and incredible likenesses of the surrounding landscape.

An Iraqi worker excavates a rock-carving relief at the Mashki Gate, one of the entrances to the ancient Assyrian city of Nineveh, on the outskirts of Mosul. AFP

They are now commencing the next stage of work, looking into new locations for excavation, and beginning the reconstruction of the gate. In a significant capacity-building project run by the State Board of Antiquities and Heritage of Iraq, they will commission a new kiln to replicate the earthenware bricks used by the Assyrians thousands of years ago.

After ISIS demolished the Mashki Gate's rebuilding from the Saddam Hussein era, the team arrived in 2021 to excavate it. They started digging towards the bottommost layer of the gate, which was built around 700 BC, and uncovered the top of a carved figure of an archer stretching out from what they thought were stone foundations.

"It blew me away," says project manager and archaeologist Michael Danti, who is co-directing the dig alongside Iraqi archaeologist Fadhel Mohammed Khdir Ali of the SBAH. "We have perhaps the best preserved Sennacherib reliefs anywhere on the lowest 30 to 40 cm [of the reliefs] because they are flawless. They have never experienced weather damage or fire damage. They're extremely amazing," Danti continues.

Pictured in 1977, Mosul's Mashki Gate was reconstructed during Saddam Hussein's time before being damaged by ISIS. Getty Images

The seven carved panels were part of the South West Palace, built by the illustrious Sargonid dynasty leader Sennacherib of Assyria and dubbed "the palace without rival" in its inscriptions. Nineveh was the capital of Sennacherib, who ruled from 705 BC to 681 BC, and turned it into a sizable metropolis.

The reliefs on the Mashki Gate mirror others from the Palace in style and topic and have inscriptions from his reign on the reverse side. The British Museum currently houses several of those panels, which were found during the initial excavation of Nineveh in the middle of the nineteenth century.

The reliefs show Sennacherib's third military expedition against the Phoenicians and the kingdom of Judah, which was carried out in the West. Some depict intricately drawn archers drawing back their bowstrings in order to release their arrows, their beards tightly curled. Others use individually carved leaves with exposed veins or groves of tiny forested trees to represent the environment in which they fought.

Another relief depicts the ringed city of Lachish, which was taken by Sennacherib's army in 701 BC. This sculpture, like the others, was carved in alabaster and was likely originally painted.

A carved figure of an archer at Mashki Gate. Photo: Melissa Gronlund

An instance of artistic blooming

The fact that Sennacherib initiated a significant period of aesthetic transition in Assyrian culture makes the discovery much more exciting. Sennacherib did not leave a lengthy inscription on the back of the reliefs attesting to the fact that he ordered them, as did former kings who recorded their military victories in cuneiform inscriptions. Instead, Danti claims, Sennacherib allowed the vivid representation to demonstrate his military strength.

His use of time in the order in which the reliefs were organized was another novelty. He did this so that the spectator could follow the campaign's narrative rather than trying to capture each moment in a single relief.

The Mashki Gate's original floor was laid by Sennacherib, just like the South West Palace. Two more reconstructions that each added a new floor were built throughout the course of the following century. The Mashki Gate, which had been built of baked bricks arranged around a timber structure, was destroyed when the Babylonians attacked Nineveh in 612 BCE. As a result, the final of the three stages was reduced to a "Pompeii"-like situation, trapping its combatants and their weapons.

The city of Nineveh, with the Mashki Gate, depicted at the height of Assyrian power, when it was capital of the Neo-Assyrian Empire. Alamy

The Iraqi archaeologist Tariq Madhloom, who has previously worked in the Mleiha area of Sharjah, uncovered this scene in the late 1960s. After ISIS seized control of the Mosul region in 2014, Madhloom rebuilt two of the gate's walls before they were completely destroyed as targets for the pre-Islamic past.

It's still unclear

The team, which consists of Iraqi archaeologists and members of the University of Pennsylvania's Iraq Heritage Stabilization Program, has already studied the reliefs for a year, although there are still some unanswered issues. Why did they use these reliefs as a foundation? And why didn't they just plant them in the ground facing outward, with their blank backs creating the visible foundations for the gate, rather than going through the effort to chisel out the designs - Danti and his team also found the shards of stone and, in one case, an 8th-century BC chisel itself? Who then utilized them again?

The person who placed the reliefs attempted to eliminate the images by chiseling away at them. Additionally, because these panels and the others have been maintained in the ground, the chisel marks on them appear to have been produced just yesterday. In fact, local media sources claimed that ISIS was responsible for making them.

Iraqi workers excavate a rock-carving relief at the Mashki Gate, one of the monumental gates to the ancient Assyrian city of Nineveh. AFP

The current working theory holds that the parts were transported during the turbulent reign of King Ashurbanipal, which hastened the Assyrian Empire's demise. The dates of the third level of the gate's construction and Ashurbanipal's reign coincide, and it is known that he built a new palace at Nineveh. The team's quest to dig down to the original Sennacherib floor will continue as it was interrupted by the finding, but this will need to be verified by additional research.

Future

Mashki Gate will eventually be substantially rebuilt in order to demonstrate its historical significance. Currently, the location of the Gate, which is about 600 meters from the Palace, is made up of grassy, undeveloped areas that are littered with rocks and ancient artifacts. Eastern Mosul, the new town, sits across the busy road from the site, and its riverbank cafés and restaurants are bustling with the energy of a populace eager to enjoy some peace and security.

The State Board of Antiquities and Heritage will proceed with any reconstructions only with the support of this local community and will take care to preserve the original structures.

The reconstruction of the Mashki Gate as it stood before ISIS's destruction. Photo: Mohamed Al Baroodi

Italian and German archaeological teams, who normally receive more university financing for such missions than their US and UK counterparts, are doing digs elsewhere in Nineveh. The SBAH serves as the team's coordinator, and Aliph and the University of Pennsylvania are funding Danti's team.

It has not yet been decided whether the reliefs will stay where they are or go to a museum, perhaps in Mosul or somewhere else.

The Child of Kritios: A Beautiful Classical Statue Found on the Isle of Despotikos in Greece

The child of Kritios, who had been "sleeping" on the land of Despotikos for 2,500 years, is brought to light

A magnificent statue that refers to the child of Kritios who "slept" for two and a half thousand years was brought to light by the archaeological dig on the island of Despotikos this summer, as announced on Monday by the Greek Ministry of Culture and Sports.

During the excavation in Mantra, which began in 2001 by the Ephorate of Antiquities of the Cyclades under the direction of the Greek archaeologist Giannos Kouragios and continued this year, a headless male torso of a strict rhythm that stylistically refers to the child of Kritios and can be dated immediately after, came to light in 480 BC, a work of exceptional quality in Parian marble with a smooth and shiny skin. Also, parts of archaic quorums were found built in as building material.

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As of 2020, a complex system of water collection and management is being excavated at the foot of the hill south of the sanctuary. Two large tanks were investigated, the northernmost of which (Tank 1), with a rectangular plan, had internal dimensions of 5.50 x 7 m and a depth of 4 m. In contrast to previous years, this year's work was focused on the SW corner of the reservoir, where there was a post-Byzantine structure.

The impressively sized tank is constructed of large rectangular gneiss stones carefully placed with minimal gaps at the joints between them. All the walls of the tank as well as its bottom were covered with a thick layer of hydraulic mortar of a whitish color.

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In Kosovo, archaeologists unearthed a significant discovery: proof that the great Byzantine Emperor was of Dardanian descent

At the archaeological site of Ulpiana, excavations by a mixed team of international and local experts under the direction of Professor Christophe J. Goddard have uncovered a monumental inscription of historical significance that is dedicated to the Byzantine Emperor Justinian.

One of the relatively few Latin dedications of the imperial couple in the late Roman period is this inscription, which was dedicated to a "city in Dardania" by Emperor Justinian (527-565 AD) and his wife Theodora.

Kosovo's territory has a lengthy history despite being a young nation. Ulpiana was the nation's political, monetary, and cultural center during the Roman era. Ulpiana is a Roman-pre-Byzantine village that is situated about eleven kilometers southeast of Pristina.

A Romano-Illyrian city is Ulpiana. There have been archaeological digs there since 1954. In the course of archeological excavations conducted between 2009 and 2011, remnants of pre-Roman life were found. For the Dardan Kingdom, Ulpiana was a significant location. was inhabited and that the Dardan and Illyrians lived there during the Classical era.

The inscription of Emperor Justinian is considered the most important discovery in Kosovar archaeology. Photo: Minister of Culture, Youth, and Sports of the Republic of Kosovo, Hajrulla Çeku / Facebook

An EU-funded project called "The European Archaeological Mission in Kosovo*: from Ulpiana to Iustiniana Secunda" is due to be completed in December 2024, and its tangible outcomes include the discovery of this mosaic and a magnificent episcopal basilica in 2022.

Archaeologists claim that this demonstrates the great Byzantine emperor's Dardanian ancestry. King Justinian (527–565) was born in Tauresium, which is thought to be close to modern-day Skopje.

According to Arben Hajdari, professor of archaeology at the University of Prishtina, this inscription has enormous historical significance and represents the most important discoveries in Kosovo's archaeology to date.

The mention of the city of Dardania in the inscription, according to Hajdari, is a vital component since it shows that the Dardanian people did not become Romanized and did not lose their identity.

This is crucial, given the amount of time and effort that the archaeological literature has put into attempting to prove that the Dardanians had lost their identity, had become Romanized, and had vanished by the Middle Ages. From this angle, this discovery is really important," he said.

The inscription runs the length of the basilica's center, and archaeologists have discovered several ornamentations with floral and animal motifs while excavating an area larger than 460 square meters.

"The inscription left us astonished because it is preserved in a way that seals the fact that we are indeed dealing with a Dardanian city, built by an emperor of Dardanian origin," said Milot Berisha, the director of the Archaeological Park "Ulpiana" and an archaeologist.

On the other side, Ulpiana was initially visited by Professor Christophe Goddard of the Paris-based 'Ecole Normale Superieure' in 2016, and excavations started in 2017.

Photo: Minister of Culture, Youth, and Sports of the Republic of Kosovo, Hajrulla Çeku / Facebook

Goddard stressed that Kosovo is a special location for archaeology since, in his opinion, it is uncommon to find an uninhabited area in Europe. Apart from Rome, Kosovo is unique in Europe, in his opinion.

"What you see here is a location that was uninhabited before to us. There is no question that we are certain of this. Only 1% to 2% of people in Europe are aware of this, making it extremely unusual. Therefore, visualize that there are two Pompei sites here, one measuring 35 hectares and the other 19 hectares, Goddard told BIRN.

As part of the project "European Archaeological Mission in Kosovo: From Ulpiana to Justiniana Secunda," which was began in December 2021 and is anticipated to be completed in December 2024, the European Union is supporting the excavations with a financing of one million euros.

New Indiana Jones's film rekindled public interest in the Phaistos Disc

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BY THE ARCHAEOLOGIST EDITOR GROUP

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Thousands of tourists line up at the Heraklion Museum in Crete, Greece

After the latest "Indiana Jones" film, which wants the famous archaeologist to try to solve the hidden and still undecoded secrets of a variant of the Phaistos Disc, the museum seems to have acquired special interest for foreigners.

The recent film "Indiana Jones and the Disc of Destiny" does not coincidentally refer to the secrets of the Phaistos Disc by linking it to that of the Antikythera Mechanism, thereby reviving global interest in its unsolved secrets, with Jones trying to prevent a friend of his from auctioning off the famous Disk in faraway Tangier and with his evil competitors stealing the precious archaeological find. Of course, according to the misinterpretation that exists in the film, the secrets of the Disc are hidden in its other half, which had been hidden for centuries in an ancient shipwreck in the Aegean Sea.

In fact, unfortunately, there is nothing of the sort that would reveal the secrets of the Phaistos Disc, not even a disc hidden elsewhere. Although British linguist Gareth Owens, who has lived for thirty years in Crete and has dedicated his career to solving the puzzle, claims to have deciphered more than 50% of the Disc, the books, publications, and related approaches of the most prominent archaeologists show that the road is still long.

But as the interest surrounding the secrets of the Disc has recently been rekindled, there are also various opposing opinions, such as those recorded by a recent German Netflix documentary, who want the clay Disc to be a fake, the creation of archaeologist Luigi Pernier, who discovered it in the excavations he carried out at the beginning of the last century in the basement of room XL-101 of the Minoan palace of Phaistos.

The Phaistos Disc, Museum of Heraklion, Crete

Photo by: Dimosthenis Vasiloudis

At least this is what the American antiquarian Jerome Eisenberg claims, which is not accepted by the entire scientific community. In fact, Gareth Owens, who is an expert on Minoan writing and has dedicated his life to it, collaborated with the Professor of Phonetics at the University of Oxford, John Coleman, to provide a solution to the reason and why this impressive clay disc was made by the Minoan Bronze Age, which dominates a special display case in a room of the Heraklion Museum.

According to the linguist, who is the only one who has come to any coherent opinion about its secrets, the mistake scientists have made so far is to read the Phaistos Disc with the phonetic values of Linear B by comparing it with others related to the Indo-European language, which didn't help since its script appears to be a combination of Minoan Linear A and a special hieroglyphic language that remains to be deciphered. As many Greek archaeologists have revealed, such writings can be found on the famous seals that have come to light from different excavations.

The problem is that the hitherto unsolved secrets of the Disc have not only helped to record its contents but also to reveal its purpose for existence. However, according to the theory of Owens, who compared the types of writing, there are indications that the Discus on one side refers to the pregnant goddess Aphrodite, while on the other it refers rather to her death.