"Wounded" Antiquities Come to Life at the Acropolis Museum

During our tour of the exhibition Allspice / Michael Rakowitz & Ancient Cultures at the Acropolis Museum, we had the opportunity to speak with the artist and learn about his fascinating trilogy of "healing and resistance."

Greek antiquities and artifacts from ancient cultures across the southeastern Mediterranean and the Middle East engage in a dialogue with the multifaceted works of Iraqi-American artist Michael Rakowitz in the Allspice exhibition, which opened in the museum’s temporary exhibition hall.

This exhibition marks the first chapter of an exciting and promising trilogy that will unfold through 2025 and 2026, telling a story that “is both an act of healing and an act of resistance.”

The Ministry of Culture, the Acropolis Museum, and the Ephorate of Antiquities of Athens have collaborated with the NEON organization to foster an in-depth conversation between contemporary artworks and ancient exhibits, exploring timeless themes of cultural heritage, loss and restoration, survival, and the creation of culture.

Michael Rakowitz, The Invisible Enemy Should Not Exist, 2007 – ongoing. Objects made from cardboard, Middle Eastern packaging, and Arab-English newspapers, glue, museum labels. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist

The trilogy began at the Acropolis Museum in 2025 and will continue in the museum’s outdoor space, on its western side facing Mitsaion Street, before concluding in 2026 at the Old Acropolis Museum. The Allspice / Michael Rakowitz & Ancient Cultures exhibition was curated by Professor Nikolaos Ch. Stambolidis, General Director of the Acropolis Museum, and Elina Kountouri, Director of NEON.

As we walked through the first segment of the exhibition, we had the opportunity to engage with Michael Rakowitz, who led us through his works. At the core of his art is the trauma of violent displacement—both of people and cultural treasures—which inevitably brought our thoughts to the Parthenon Marbles and their long-awaited return to their rightful home, as well as the ever-relevant global crisis of refugees.

Portrait of Michael Rakowitz

The Invisible Enemy Should Not Exist (Room G, Northwest Palace of Nimrud, Panel 24), 2019 (detail). Relief made from packaging and Arab-English newspapers from the Middle East, glue, cardboard on wooden structures, museum label. 237 x 219.5 x 8.5 cm. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

Michael Rakowitz (born 1973, Great Neck, New York, USA) is an Iraqi-American artist who explores the displacement of communities and cultural heritage due to war and imperialism. He brings everyday objects into his works, often using unconventional methods.

Rakowitz has painstakingly reconstructed the thousands of archaeological artifacts looted from the Iraq National Museum following the 2003 American invasion. Using materials from the diaspora—such as boxes from Iraqi products, newspapers from Arab countries, and cans—he creates visual commentary on cultural loss and the decolonization of art.

Bearded male head with a wreath made of laurel leaves / Department of Antiquities of Cyprus (on long-term loan: Museum of Cycladic Art, Athens – Z0351) / Michael Rakowitz / Study for a Lamassu in Spolia, 2025, Marker on Plexiglass by Natalia Tsoukalá / Courtesy of the artist, commissioned by NEON.

One of his most well-known works is The Invisible Enemy Should Not Exist, an ongoing series that began in 2007. In this work, Rakowitz recreates looted objects from the National Museum of Iraq using materials like food packaging and Middle Eastern newspapers. A particularly striking piece from this series is a reconstruction of a Lamassu, an ancient Assyrian winged bull, which was displayed in Trafalgar Square in London in 2018. This piece was made from cans of Iraqi date syrup, symbolizing both cultural heritage and loss.

Rakowitz is also known for Enemy Kitchen, a project that began in 2003 in which he collaborates with Iraqi chefs and war veterans to cook and serve Iraqi food, fostering cultural dialogue through cuisine. In addition to his artistic practice, Rakowitz is a professor of Art Theory and Practice at Northwestern University.

The Invisible Enemy Should Not Exist, 2007 – in progress / Objects made from cardboard, packaging from the Middle East and Arab-English newspapers, glue, museum labels. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

During our tour, it was evident that Rakowitz is a deeply politicized contemporary artist with a strong focus on cultural memory, loss, identity, and the effects of colonization and war. A lover of Greece and its culture, he expressed his firm belief that the Parthenon Marbles should be returned to their homeland.

“As the child of a doctor who dedicated his life to healing the wounded and broken, and of a Jewish woman from Baghdad, I feel deeply connected to the stories of displacement and restoration. The Acropolis Museum itself, which houses the magnificent Parthenon sculptures, while the other half was violently taken, has been a source of inspiration for me, teaching me much and opening new horizons in my understanding of my own work. The fact that I can exhibit my work here leaves me speechless, as it is not only linked to the past but opens windows to a future where objects and people can be reunited,” said Rakowitz.

(From left to right) The Invisible Enemy Should Not Exist (Room F, Section 1, Panel 2, Northwest Palace of Nimrud), 2019. Food packaging and Arab-English newspapers from the Middle East, glue, cardboard on wooden structures, and museum labels. 224.8 x 91.4 x 8.3 cm. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

Rakowitz's works highlight the stories that have been overlooked or forgotten, using art to shed light on parts of history that are not officially recorded but live on in the memories and experiences of people. This is why the explanatory labels of the works include small stories that he has gathered and preserved from oblivion.

Allspice | Michael Rakowitz & Ancient Cultures, 2025 | Installation view | Collaboration NEON + Acropolis Museum. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

Dr. Lina Mendoni, Minister of Culture, remarked: “The marvelous culture of the Assyrians, one of the oldest civilizations in the Mediterranean basin, is brought into dialogue with the Greek antiquities in a harmonious and creative symbiosis with the contemporary works of Michael Rakowitz.”

Allspice | Michael Rakowitz & Ancient Cultures, 2025 | Installation view | Collaboration NEON + Acropolis Museum. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

Dimitris Daskalopoulos, founder of NEON, stated: “The collaboration between the NEON organization, the Ministry of Culture, the Acropolis Museum, and the Ephorate of Antiquities of Athens marks our long-term commitment to contemporary art and cultural heritage. My interest lies in exploring and supporting new methods of social participation, and I believe that Rakowitz's work in relation to ancient cultures will enhance our continued efforts to make art widely accessible to a broader, local, and international audience, with ideas that are impactful.”

Elina Kountouri, Director of NEON and co-curator of the exhibition, added: “The artist offers us a history of the world through his effort to preserve Iraq’s cultural history. His work transforms the destruction brought by war by returning to the very objects—whether they are lost, missing, or incomplete. He restores them entirely, but not by 'reconstructing them,' a term he categorically rejects. Instead, he proposes the term 'reappearance' as a recurring motif in his work. The production of these objects as artworks is part of our material and immaterial legacy.”

Wounded Ancient Artifacts: Refugees or Captives?

Professor Nikolaos Ch. Stambolidis, General Director of the Acropolis Museum and co-curator of the exhibition, adds an interesting dimension to the conversation: “For antiquities, one must make a fundamental distinction: are they refugees or captives? If they were displaced from their place for reasons of salvation, one could consider them refugees, who, at any moment when conditions allow, could and should return to their homeland. However, this displacement should in no way be linked to theft, looting, or trafficking. On the other hand, if they were forcibly displaced due to theft, looting, or bribery for reasons of illegal ownership or profit, then the captive antiquities must be returned to their rightful place. Until restorative justice is achieved, Rakowitz’s works—whether they are whole or made of fragmented statues, architectural ensembles, or 'reappearances'—remain, in essence, shadows and ghosts with a scent of memory and 'humanity.'”

The Title 'Allspice' and Its Spiritual Connection with Michael Rakowitz

Allspice | Michael Rakowitz & Ancient Cultures, 2025 | Installation view | Collaboration NEON + Acropolis Museum. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

The title of the exhibition Allspice refers to the spice known as "baharat," and it is literally connected to the handwritten recipes of Rakowitz's mother, which are seen around the room affixed to the pillars. The artist not only tapped into a rich legacy from his mother—a skilled cook—but in doing so, he touches upon memories of exile and migration of both people and cultures.

As Rakowitz explains: “Looking through my mother’s Iraqi recipes, one of the most common ingredients is allspice. This dried, unripe berry, ground into powder, has a flavor that reminds you of many things at once: cinnamon, cloves, nutmeg, hints of cardamom. It is one of the primary ingredients in the Iraqi spice mix baharat, and when other spices are unavailable, it serves as a substitute, maintaining the dish’s flavor identity.”

(From left to right) Standing male figure with joined hands and inset eye, Oriental Institute of the University of Chicago, ISACM A1243. Standing female figure with joined hands, Oriental Institute of the University of Chicago, ISACM A12412A-B. Seated symposium participant, Oriental Institute of the University of Chicago, ISACM A18108. Allspice | Michael Rakowitz & Ancient Cultures, 2025. Natalia Tsoukalá | Courtesy of NEON, Acropolis Museum, and the artist.

In this exhibition, Rakowitz’s works reflect this deep connection between food, culture, and the preservation of heritage.

Excavations at the Sanctuary of Hecate Reveal the Ancient City Gate and Marketplace

Recent excavations at the Sanctuary of Hecate in Lagina, located in the Muğla Province of Turkey, have brought to light the ancient city gate and several market shops, offering new insights into both the religious and commercial life of the ancient city.

Professor Bilal Sogut, head of the archaeological missions at Stratonicea and Lagina, shared details about these significant discoveries.

Shot of the Sanctuary of Hekate at Lagina, May 12, 2025.
Photo: AA

“We’ve begun uncovering the shops along the stoa. The structures behind them are also gradually emerging,” he noted.

“Architectural elements are becoming visible, and we’ve even found roof tiles still in their original positions.”

The Sanctuary of Hecate at Lagina is one of the most important religious sites dedicated to the ancient goddess Hecate. It served as one of two major sanctuaries of the ancient Carian city of Stratonicea, located approximately 8.5 kilometers away.

Excavations at the site began 134 years ago, led by Osman Hamdi Bey—an Ottoman archaeologist, painter, and founder of the first archaeological museum in the Ottoman Empire. His pioneering work marked the first excavation in the region conducted under Turkish leadership.

Today, under the direction of Professor Dr. Bilal Sogut, the archaeological team is focusing on revealing the city’s entrance and adjacent commercial structures as part of the “Heritage for the Future” initiative.

“We’re working in areas dating back to the Hellenistic and Roman periods, and we’ve uncovered finds that are more than 2,400 years old,” Sogut explained.

View of the Sanctuary of Hekate at Lagina, May 12, 2025.
Photo: AA

These discoveries not only deepen our understanding of ancient urban planning but also illuminate the enduring connection between religious devotion and everyday life in the ancient world. As excavation continues, Lagina promises to reveal even more secrets from a past where the sacred and the civic existed side by side.

Nature Enthusiast Discovers Hidden Treasure of Ancient Roman Coins on a Forest Walk in Romania

What began as an ordinary spring day turned into an unforgettable journey through time for a Romanian nature lover and amateur metal detectorist. While out enjoying a solo walk in the countryside, Marius Mangeac stumbled upon a remarkable find—a buried cache of ancient Roman coins, more than 2,000 years old.

The discovery took place near the village of Letca Veche in southern Romania. Mangeac shared the story in a Facebook group and later confirmed the details in an interview with Fox News Digital.

“It was a beautiful Saturday, the kind that gave no hint of what was to come,” Mangeac wrote in his post. “I took my metal detector and went out alone, as I often do, for some exercise and peace in nature.”

But what happened next was far from routine.

As his detector began to beep, Mangeac quickly realized he had found something extraordinary: a hoard of 1,469 Roman silver coins, known as denarii.

“My heart started pounding when I saw the silver coins,” he said. “For a moment, I thought I was dreaming.”

His mind raced with questions:

“Who did these coins belong to? Who were they meant for?”

According to Mangeac, the coins date back at least two millennia, placing them firmly in the Roman imperial era. Over the next two days, he meticulously photographed the entire collection before handing it over to the Letca Nouă town hall, in accordance with Romanian heritage laws.

“It took me two full days to photograph the coins,” he explained.

Though the thrill of the discovery still lingers, Mangeac is already thinking ahead to the legacy of his find.

“I hope that one day I’ll be able to visit the museum with my child and explain just how lucky I was to uncover a piece of our people’s history,” he said.

His story is a vivid reminder of how history often lies just beneath our feet—waiting patiently for someone curious enough to find it.

What Does the Powerful Ancient Greek Word “ὀΐζυς” Really Mean?

The word ὀΐζυς is more relevant today than ever.

It’s one of those rare linguistic gems of Ancient Greek that resists simple translation—because it’s not merely understood; it’s felt. It embodies a universe of grief, tears, and affliction—a sonic echo of human suffering, and at the same time, a dense reminder of our yearning for redemption. To grasp its full depth, we must move beyond language into philosophy, from writing into raw emotion.

The Essence of ὀΐζυς

The word ὀΐζυς (genitive: ὀΐζυος) belongs to the first declension and is feminine in gender. It first appears in Homer’s Iliad, where it describes the deepest sorrow and unbearable pain.

Its etymological roots are unclear—possibly pre-Greek in origin. The use of the diaeresis (ï) marks the separation of vowels, hinting at a phonetic break—a stumbling in sound that mirrors the anguish the word conveys. The “οΐ” doesn’t flow—it falters, just as pain does in the voice of the suffering.

In Ancient Greek, ὀΐζυς signifies:

• Grief

• Anguish

• Misery

• Pitiful condition

• Poverty and destitution

But this isn't just sadness or emotional distress. ὀΐζυς refers to an existential darkness—an all-encompassing state of human humiliation and despair. It carries a metaphysical weight, like a cosmic lamentation that echoes through the soul when pain surpasses reason.

ὀΐζυς in Homer

Homer uses the word ὀΐζυς to portray the pain of mortals and the inhumanity of war. It is the word that suits the laments of mothers who have lost their children, of the elderly watching their city’s walls fall, of Hector standing alone in the face of fate. ὀΐζυς is not a passing feeling—it is prolonged, irreversible, and tragic.

From Antiquity to Today

While the word has fallen out of everyday use, it could find new life—as a poetic term or even as a psychological marker of a condition that defies easy description. In an age where emotional suffering wears countless masks—burnout, existential dread, social isolation—ὀΐζυς speaks with startling clarity.

The Light Within ὀΐζυς

Perhaps this ancient word reminds us, just as it did in Homer’s epics, that the greatest sorrow often precedes catharsis. ὀΐζυς is not just an end—it is the necessary descent before the ascent. Where sorrow has reached its deepest point, the need for meaning, hope, and renewal is born.

And that may be the word’s most profound message: that pain, when acknowledged, can become a step toward the light.

ὀΐζυς is a world unto itself—not merely a dictionary entry, but a testament to the tragic and redemptive nature of human experience. If we use it today, it’s not to glorify suffering, but to remember that beauty and wisdom are often born at the very bottom of the soul—when we have fallen and managed to rise again.

Literary References and Philological Examples

1. Homeric Usage
Odyssey, 5.398:
“ὀΐζυος ἐξαναλὼν πολὺν αὐτῷ θυμὸν ἀνάγκῃ.”
(“Exhausted by deep sorrow, driven by necessity.”)

Here, Odysseus is shown crushed by fate, drained not just physically but spiritually. ὀΐζυς becomes the exhaustion of being—the depletion of the will to go on.

2. Hesiod, Works and Days
Hesiod uses ὀΐζυς to describe the destructive consequences of injustice—saying it leads not only to individual suffering but to collective societal decline. Here, ὀΐζυς is more than an emotional state—it becomes a political and ethical symptom.

The World’s Oldest Wooden Spears Reveal Two Surprising Neanderthal Abilities—Challenging What We Thought We Knew

A groundbreaking new study of the world's oldest wooden spears has revealed two previously unknown capabilities of the Neanderthals—upending long-standing assumptions about our ancient cousins.

According to Interesting Engineering, the spears were first discovered decades ago at the archaeological site of Schöningen in Germany. Until recently, scientists believed these weapons had been crafted by Homo heidelbergensis, a human ancestor that lived around 400,000 years ago and is thought to be the last common ancestor of both modern humans and Neanderthals.

However, new analysis has shown that the spears are actually around 200,000 years old—firmly placing them in the Neanderthal era. In the same area, researchers also uncovered the remains of an ancient lake surrounded by wild horse bones, indicating that the animals had been hunted.

The discovery challenges previous beliefs about Neanderthals on three key fronts. First, it represents the oldest archaeological evidence providing insight into Neanderthal life. Until now, most finds associated with them dated between 60,000 and 40,000 years ago—just before they disappeared.

Second, it reveals two critical abilities previously unattributed to Neanderthals. The first is their craftsmanship: they were capable of creating sophisticated weapons. This skill had long been thought unique to Homo sapiens, and one of the reasons for our species' eventual dominance.

The Spear

The second surprising ability is communication. Neanderthals have often been portrayed as antisocial, even among members of their own groups. Traditional theories suggested they hunted by identifying a large, weak animal, then surrounding it and attacking from all sides—favoring the physically strongest individuals in the group.

But the new findings tell a different story. According to Interesting Engineering, Neanderthals likely used complex communication, especially during hunts. Moreover, they didn’t just target isolated prey—they hunted entire herds.

One example comes from the lake at Schöningen, which appears to have served as a natural trap. Neanderthals would drive herds—wild horses in this case—into the lake’s dead end. There, they could be safely surrounded and picked off gradually, minimizing physical risk. At the time, even a minor injury could prove fatal.

“To achieve this level of success, hunting expeditions must have been entirely cooperative and based on coordinated group effort with effective communication,” the researchers noted in their study. “Until now, Neanderthals were not considered capable of this degree of social coordination—but our findings suggest the exact opposite.”

This discovery not only reshapes our understanding of Neanderthal intelligence but also narrows the gap between them and modern humans—reminding us that evolution’s story is rarely as linear or simple as it once seemed.

A Giant Replica of the Antikythera Mechanism Stands at a Mexican University

In a remarkable tribute to ancient Greek engineering, scientists and academics from the University of Sonora in northwestern Mexico have constructed a giant replica of the Antikythera Mechanism, the world’s oldest known mechanical computer. The massive model, now on public display at the university, stands over three meters tall and offers a unique, detailed view of the inner workings of this extraordinary ancient device.

According to Professor Ezequiel Rodríguez Jauregui, who spoke to El Universal, the project involved collaboration between researchers from Mexico and Greece. Thanks to computed tomography (CT) scans, the original shipwrecked and corroded mechanism was reconstructed to a significant extent. “We now know that it included eclipse predictions, tracked the Olympic Games, and functioned as a planetarium,” he said. “We’ve even managed to decipher much of its operating manual.”

Scaling Up the Ancient Marvel

The replica is not just larger—it’s ten times the size and a hundred times the mass of the original device. As Dr. Julio Saucedo Morales explained, the original mechanism, currently housed in the National Archaeological Museum of Athens, survives in 82 fragments, none larger than the palm of a hand. The biggest surviving gears measure only one to two centimeters in diameter.

“In our version,” said Saucedo Morales, “the gears are enormous. We took into account every detail—the number of gears, their teeth, diameters—and scaled them up by a factor of ten. As a result, the overall volume and weight increased a hundredfold.”

Precision Meets Passion

To accurately replicate the mechanism, researchers used advanced tools such as X-rays and 3D imaging technologies to analyze the ancient fragments. The construction effort also included contributions from Relojes Olvera, a historic clockmaking workshop in Zacatlán de las Manzanas, Puebla, as well as universities from Greece.

“We didn’t just recreate the mechanism—we scaled it up and made it fully functional,” emphasized Professor Rodríguez Jauregui. “It’s the only working replica of the Antikythera Mechanism at this scale anywhere in the world.”

A Living Monument to Ancient Ingenuity

The Antikythera Mechanism continues to fascinate scientists, historians, and the general public alike. Dating back to around 150 BCE, this intricate device showcased an advanced understanding of astronomy and mechanical engineering—centuries ahead of its time.

Now, thanks to the dedicated work of researchers in Mexico and Greece, visitors can see this technological marvel brought back to life on a monumental scale—a celebration of human curiosity, innovation, and the enduring legacy of ancient knowledge.

The Mystery of the Iron Age Statues in a Sardinian Necropolis: A Bold New Theory Suggests They Depict Real-Life Giants

Towering between 2 and 2.5 meters tall, the Giants of Monte Prama are massive stone statues crafted by the Nuragic civilization, which flourished on the island of Sardinia between the 18th and 2nd centuries BCE.

The first of these enigmatic sculptures was discovered in 1974, in a necropolis near the town of Cabras. Since then, more statues have gradually come to light—the most recent discoveries taking place just a few years ago.

A Necropolis Shrouded in Secrets

The burial site consists of numerous cylindrical tombs, sealed with stone slabs. Inside, archaeologists have found the remains of young men, possibly elite members of Nuragic society—warriors, athletes, or local leaders, potentially from the same family line.

The statues depict archers, warriors, and boxers, and their close association with the tombs suggests they were arranged around the graves like guardian figures—stone sentinels watching over the dead.

Another theory proposes that the sculptures may have belonged to a nearby sanctuary—one yet to be discovered—or served as artistic commemorations of significant events in Nuragic history.

But much about the Giants and the necropolis remains a mystery. Were they destroyed during internal conflict among Nuragic communities? Were they victims of Phoenician raids or Carthaginian invasions? The answers remain elusive.

New Theories, Ancient Origins

Recent studies have dated the tombs and statues to the late 9th to early 8th century BCE, placing them firmly within the Iron Age.

Now, a groundbreaking paper published in the Journal of Endocrinological Investigation presents a surprising new theory: the Monte Prama Giants may have been inspired by real individuals who suffered from acromegaly, a condition that causes abnormal growth of bones and tissues due to hormonal imbalance.

The Giants’ Distinct Features

The Monte Prama figures are striking: tall and muscular, with prominent brow ridges, projecting jaws, high cheekbones, and large noses. Their robust physiques, powerful limbs, and exaggerated musculature hint at figures of extraordinary physical presence.

These features—though stylized—could reflect individuals afflicted by acromegaly or gigantism, whose unique appearance may have inspired the ancient sculptors.

Alternatively, the statues could be symbolic representations of strength, valor, and social prestige—attributes meant to glorify the deceased and highlight their power within Nuragic society.

Artistic Depictions of Medical Conditions

This blend of reality and symbolism isn’t unusual in art history. The duality between idealization and realism appears repeatedly from antiquity through the Renaissance, often in surprising ways.

In fact, numerous artworks across time depict traits linked to acromegaly. From ancient Greek terracotta figurines to Hellenistic sculptures, such representations range from grotesque caricatures to realistic portrayals of everyday individuals—sometimes for medical study, sometimes as part of broader social commentary.

The Mystery Lives On

Despite decades of research, the true nature of the Monte Prama Giants remains unresolved. Were they depictions of mythic heroes, real people with rare conditions, or idealized ancestors elevated through art?

To answer these questions, experts stress the need for new interdisciplinary studies that bring together archaeologists, anthropologists, and endocrinologists. Special attention must be paid to morphological and genetic analysis of the human remains found in the necropolis.

Until then, the Giants of Monte Prama continue to stand tall—both as majestic remnants of an ancient civilization and as enduring puzzles of human history.

Eunomia: The Deeper Meaning Behind an Ancient Greek Word

One word, many meanings.

In modern political language, the Greek word εὐνομία (eunomia) is typically used in a technical or legal sense—signifying the presence of good laws or an efficiently organized state. However, in ancient Greece, eunomia carried a much deeper, almost philosophical weight: it represented harmony, justice, and the social balance that arises from the coexistence of moral and institutional law.

Etymology and Original Meaning

The term eunomia derives from eu (meaning “well” or “right”) and nomos (meaning “law,” “custom,” or “rule”). Together, they convey more than just “good legislation.” They imply a form of political order that is not only legally sound but also morally just.

In essence, eunomia describes a way of organizing society that prioritizes the common good, balancing power and citizenry in equitable harmony.

Eunomia in Solon’s Reforms: Law as a Path to Social Peace

The Athenian lawmaker Solon, in the 6th century BCE, used the term eunomia to describe the ideal outcome of his political reforms. In one of his poems, he writes:

“Eunomia sets all things in order, and halts the evils of hubris.”

Here, eunomia is framed as the antithesis of hubris—the arrogant overstepping of limits—and is closely aligned with dike (justice). For Solon, it was a means of ethical and political restoration, a force that curbs social inequality and fosters civic unity.

Plato and Aristotle on Eunomia: Politics as a Form of Education

For Plato, in his dialogue Laws, eunomia is not simply the result of good legislation—it is the fruit of proper education. He believed that laws should cultivate virtue in citizens, not just punish wrongdoing.

Aristotle, meanwhile, associated eunomia with good governance and overall prosperity. He argued that a well-ordered state promotes the welfare of all, not just the privileged few. For both philosophers, eunomia was a vital pillar of a just and flourishing society.

The Opposites of Eunomia: Anomia and Dysnomia

In ancient thought, eunomia was set in contrast with:

• Anomia: the total absence of law—chaos.

• Dysnomia: the presence of corrupt or unjust laws.

According to Solon, dysnomia breeds conflict, arrogance, and political instability, while eunomia fosters self-restraint (sophrosyne) and collective advancement.

Historical Examples of Eunomia in Action

• Sparta: The lawgiver Lycurgus instituted a system of strict military discipline and enforced equality—an example of rigid but stable eunomia.

• Periclean Athens: Following the reforms of Cleisthenes, Athenian democracy was grounded in popular sovereignty and constitutional rule—offering a more participatory vision of eunomia.

Eunomia in Today’s World

Even in the modern era, eunomia remains a vital concept for understanding the rule of law. In times of social unrest or institutional crisis, striving for eunomia means:

• Restoring public trust in institutions

• Ensuring fair distribution of rights and responsibilities

• Educating citizens to foster democratic awareness and civic virtue

Far from being a dusty relic of antiquity, eunomia continues to serve as a moral and political compass.

In ancient Greek thought, eunomia was never just about legal order—it embodied a holistic cultural ideal: the perpetual pursuit of balance, justice, and the common good. In a time when societies worldwide face serious challenges, this ancient concept invites us to rethink the foundations of coexistence.

Monemvasia Castle Named One of Europe’s 7 Most Endangered Heritage Sites for 2025

The medieval castle town of Monemvasia, one of Greece’s most iconic and historically significant fortresses, has been included on the list of the “7 Most Endangered Monuments in Europe” for 2025, as announced by the 7 Most Endangered program—an initiative by Europa Nostra in collaboration with the European Investment Bank Institute (EIBI).

The nomination was submitted by the Hellenic Society for the Environment and Cultural Heritage (ELLET), primarily in response to the proposed construction of a cable car by the Municipality of Monemvasia and the Ministry of Culture. According to ELLET and several cultural and scientific organizations, the project poses a serious threat to the architectural, cultural, and environmental integrity of this unique historic site.

A Landmark at Risk

The Upper Town of Monemvasia, home to landmarks such as the 12th-century Church of Agia Sophia and a network of cobblestone paths, is a vital part of the castle’s identity and the region’s collective memory. “The construction of a cable car risks causing irreversible damage to the landscape and undermining the authenticity of the visitor experience,” warns Manolis Makaras, head of the regional political group Peloponnese First.

A Proposed Alternative

In place of the cable car, ELLET proposes the installation of an elevator system—a solution that could meet accessibility needs without compromising the historic and aesthetic character of the site.

The issue has sparked strong national and international reactions, with public statements from ICOMOS, the Association of Greek Archaeologists, Monumenta, and many other heritage organizations. Monemvasia’s inclusion on the endangered list has sent a clear signal internationally, highlighting the need for protection and the possible reassessment of the proposed development.

A Call for Transparency and Dialogue

According to Makaras, during a debate initiated by his group in the Peloponnese Regional Council, it was revealed that the regional government has neither received nor requested the technical plans for the cable car from the Municipality of Monemvasia or the Ministry of Culture. This lack of communication underscores the urgent need for transparency and a clear stance from the regional authorities.

The group is now calling on the Regional Government of the Peloponnese to take immediate action by:

• Requesting, receiving, and publicly releasing all technical plans and studies related to the cable car project, to be formally presented to the Regional Council.

• Asking the Ministry of Culture for a detailed update on any approvals or pending authorizations.

• Organizing an open consultation with the Ministry of Culture, the Municipality of Monemvasia, scientific and cultural organizations, and the local community to discuss the cable car project and broader strategies for protecting Monemvasia.

They Made Dye from Rotting Shells—And It Was Worth as Much as a House

It wasn’t just a color. It was power.

The Phoenicians extracted a rich purple dye—known as Tyrian purple—from rotting sea snails, and sold it for a price comparable to an entire house. So rare and prestigious was this dye that even emperors wore it with reverence.

The Hills Still Hide the Past

To this day, if you dig in the hills surrounding Tyre, in modern-day Lebanon, you’ll find layers of crushed shells buried in the earth—remnants of a once-thriving industry that literally dyed history. This was the birthplace of porphyra, the deep red-purple dye that symbolized royalty, divinity, and absolute authority.

The process was as gruesome as it was precise. It took about 10,000 Murex shells to produce just one gram of the prized dye. Workers would crack open each tiny shell by hand to extract a small gland, which was then left to rot in the sun inside clay jars. Exposure to light, air, and heat had to be carefully timed to produce the ideal shade—a rich crimson-purple coveted by kings and priests alike.

More Than a Luxury—A Strategic Asset

Tyrian purple wasn’t merely a luxury good—it was a strategic commodity. No ruler or high priest wore purple without first paying a fortune. A single piece of cloth dyed with this color could be worth a home. With such limited supply, the Phoenicians traded the dye with the greatest empires of the time, all while keeping their production method a closely guarded secret.

Myth Meets Reality

Legend has it that Melqart, the Phoenician god of Tyre, discovered the dye when his dog bit into a shell along the coast. The animal’s snout turned purple, revealing the color that would soon become known as the “Dye of the Gods.”

But the truth was far less divine—and far more putrid. The stench from the rotting snails was so intense that dye workshops were built outside city walls to keep the unbearable smell at bay.

Power Woven in Purple

As long as Tyre and neighboring Sidon produced the dye, they held global influence. When the Romans rose to power, they banned its use by ordinary citizens—only the emperor could wear a robe dyed in Tyrian purple. Even a trace of the color on one’s clothing could lead to prison. The dye became a symbol of divine right and imperial rule—but it all began with a foul-smelling sludge made from decayed mollusks.

In 1909, archaeologists digging outside Tyre uncovered mounds of broken shells, blackened and decayed—tangible evidence of an ancient industry that clothed authority for over a millennium. No other civilization ever created something so valuable and symbolic from something so repulsive. And no one ever did it quite like the Phoenicians.

Parthenon Marbles: What the Director of the British Museum Had to Say

In a recent interview with The Times, the Director of the British Museum, Nicholas Cullinan, expressed openness to a new kind of partnership with Greece regarding the Parthenon Marbles. While he stopped short of committing to their return, Cullinan spoke of “emerging plans” and called for a more constructive and collaborative approach to handling repatriation requests.

“There are only about 15 such cases,” he noted, referencing ongoing efforts like Ethiopia’s bid to reclaim the Maqdala collection and Australian Indigenous groups’ campaign for the return of the Gweagal Shield. “But,” he admitted, “the most well-known case is that of the Parthenon Marbles.”

A Shift Toward Cultural Exchange

Cullinan, who officially took up his role in the summer of 2024, emphasized the importance of sharing knowledge and cultural opportunities, rather than getting entangled in ownership debates.

“Plans are beginning to take shape,” he said. “We would like to develop an innovative partnership with Greece—one where we lend items, and they lend others. That way, we share knowledge and opportunities, instead of focusing on questions of ownership.”

No Commitment on Return—But a Call for Trust

When asked directly whether he intends to return the marbles to Athens, Cullinan declined to give a definitive answer. Instead, he emphasized the potential for a trust-based, long-term collaboration.

“It would be more of a partnership based on trust, one that could evolve over time. These are iconic objects for the museum,” he said.
“Our display label clearly states that the marbles are a subject of ongoing discussion—we don't shy away from that. But we must remain balanced and avoid inflaming tensions.”

Leadership Amid Turmoil

Cullinan was appointed Director of the British Museum on March 28, 2024, following a unanimous decision by the Board of Trustees. He previously served as Director of the National Portrait Gallery, and officially assumed his new post last summer, succeeding interim director Sir Mark Jones. Jones had stepped in after Hartwig Fischer resigned in the wake of a high-profile theft scandal at the museum.

A New Chapter for a Longstanding Debate?

While the British Museum has long resisted returning the Parthenon Marbles—removed from the Acropolis by Lord Elgin in the early 19th century—Cullinan’s comments suggest a possible softening of tone. His proposal for cultural exchange rather than confrontation may signal a new direction in the ongoing debate over the marbles’ future.

Mysterious Bronze Discs with Lion Heads Discovered in Sealed Roman Tomb — The Detail That Puzzles Archaeologists

A unique archaeological discovery at Khirbat Ibreika in southern Israel is captivating researchers and raising new questions about Roman burial practices. During an excavation, a team of archaeologists unearthed four bronze discs adorned with intricately crafted lion heads, each with a metal ring handle.

These striking objects, found in a sealed tomb dating to the 1st or 2nd century CE, have sparked curiosity about their original purpose. Were they purely decorative, functional, or did they serve a ritual or symbolic role in Roman funerary customs?

A Burial with Unusual Treasures

In 2018, during an emergency excavation at the site, archaeologists uncovered eight Roman-period tombs. One tomb in particular, labeled T6, stood out. It was sealed, and inside it lay bone fragments, twelve glass vessels, an iron nail, and—most notably—four lion-head bronze discs with rings.

The discs were found stacked in a corner, suggesting they were placed there deliberately, perhaps as part of a burial ritual.

Each lion’s face was carefully sculpted in relief, with slight variations in facial expression and gaze direction—some lions look forward, others upward—indicating individual craftsmanship.

But the most perplexing feature? The metal rings are attached to the top of the lions’ heads, not through their mouths, as is more typical in similar artifacts. This detail may hold a key to understanding their function.

Handles, Symbols, or Something More?

Reconstruction of the lion-head discs as handles used to carry the wooden coffin.
Photo: Y. Shmidov

Archaeologists are exploring several possibilities. The most widely accepted theory is that these were decorative handles from a wooden coffin.

The large, sturdy rings suggest they could have been used to help carry the coffin, possibly with wooden poles inserted through them during a funeral procession.

But the lions might have held symbolic significance as well. In Roman culture, lions represented strength, nobility, and protection—traits often invoked in death and the afterlife. Lions frequently appear at tombs, palace entrances, and doorways—thresholds where protection was believed necessary for the transition to the next world.

Some scholars even propose that these bronze handles may have served as amulets, intended to guard the deceased on their journey to the afterlife.

A Glimpse into Roman Beliefs

The presence of such elaborate artifacts in a single tomb suggests that the deceased was likely a person of high status—possibly a military figure or someone of elevated social rank.

During the Roman era, the mystery cult of Mithras was particularly popular among soldiers. The cult used powerful symbols such as lions and bulls in its rituals. While no direct link has been found between these objects and Mithraism, the inclusion of a lion motif in a funerary context may hint at deeper spiritual or symbolic meaning.

Another theory suggests the individual might have belonged to the Samaritan community, a distinct ethno-religious group living in the region. However, this seems less likely, as Samaritans traditionally avoided animal imagery for religious reasons.

The Mystery Remains

The four bronze lion-head handles from Khirbat Ibreika.
Photo: D. Gazit; illustration: A. Gyerman Levanon; plate: Y. Gumenny.

Despite the detailed craftsmanship and contextual clues, the true purpose of these lion-head discs remains uncertain.

Why were they stacked in the corner of the tomb instead of attached to a coffin? Could they have played a role in a now-lost ritual practice?

Archaeologists hope that future excavations at Khirbat Ibreika or similar sites will help answer these lingering questions.

Until then, these enigmatic lion-headed discs remind us that even after two thousand years, ancient artifacts still have stories to tell—and secrets to keep.

“The Ladies of Anavlochos”: A Mystery of Broken Figurines on a Cretan Mountainside — Destroyed in Ritual?

High in the hills of Lasithi, Crete, archaeologists have uncovered a remarkable and puzzling collection: hundreds of terracotta figurines and votive plaques, all representing female figures, tucked away in crevices along the rugged slopes of ancient Anavlochos.

Dubbed “The Ladies of Anavlochos” by researchers, these artifacts date from 900 to 350 BCE and are believed to have been ritual offerings. Curiously, all of them are broken.

Why were they destroyed? Was it part of a ritual, or simply the result of time and exposure to the elements?

A Mountain Shrine with a View

The figurines were found in a remote, hard-to-reach area, but one that offers sweeping views of the Cretan countryside and the Mediterranean Sea. Leading the excavation is Florence Gaignerot-Driessen, associate professor of Classics at the University of Cincinnati and head of an international research team.

“The landscape is breathtaking,” Gaignerot-Driessen notes. Despite the strenuous climb required to reach the site, she insists, “It’s worth every step.”

The figurines themselves were simple votive offerings—not made of precious materials, but meaningful nonetheless.

“You didn’t have to be wealthy or important to dedicate one,” she explains. “Their value lies not in the materials, but in what they reveal about ancient craftsmanship and belief systems.”

Broken on Purpose?

In 2018, Florence Gaignerot-Driessen led the excavations at Anavlochos, along with her team of students and international researchers.
Photo: Florence Gaignerot-Driessen

The team has yet to determine whether the figurines were deliberately broken as part of a ritual or whether they were simply damaged over time.

To find out, the researchers turned to cutting-edge technology: 3D scanning, printing, and manual clay reconstruction.

Working with Sabine Sorin of France’s National Center for Scientific Research (CNRS), they created digital models and resin replicas of the figurines to analyze their shapes, break patterns, and manufacturing techniques.

The next step is to compare the fragments and replicas to determine whether the originals were mold-made or sculpted by hand.

“If molds were used,” says Gaignerot-Driessen, “production would have been faster and more consistent.”

Symbols, Sphinxes, and Rituals

Anavlochos was inhabited between 1200 and 650 BCE, but many of the offerings were deposited centuries after the site was abandoned, suggesting that its religious significance endured.

Among the finds are terracotta plaques featuring the Sphinx—a mythical creature with the head and torso of a woman and the body of a winged lion—as well as other female figures in long robes, some wearing a pólos (a decorative headdress), and others draped in a cloak known as an epiblema.

One of the votive plaques discovered at Anavlochos.
Photo: Florence Gaignerot-Driessen / Anavlochos Project

These artistic styles reflect Near Eastern influences on early Greek culture.

“We know that by the 7th century BCE, imported goods and migrant craftsmen from the Near East had reached Crete,” explains Gaignerot-Driessen.

Though no written records have survived to describe the rituals at Anavlochos, Gaignerot-Driessen speculates they may have involved rites of passage or initiation ceremonies for young women.

“These figurines may have been offerings to a deity for protection during key life transitions—like adolescence or motherhood,” she suggests.

What's Next?

In the coming months, Gaignerot-Driessen will return to Crete with five students to continue excavations and conduct experimental archaeology—reproducing and breaking newly made clay figurines using local Cretan clay, to test ancient methods and ritual theories.

As the mystery of the Ladies of Anavlochos unfolds, their broken forms may yet tell a deeper story of spiritual devotion, transformation, and memory in ancient Crete.

What the Parthenon Looked Like When It Was Completed

Now, thanks to a groundbreaking project that blends history with cutting-edge technology, we can experience the majestic Parthenon as it once stood in all its glory.

Through a years-long effort combining historical research, astronomical data, and computer-generated imagery (CGI), Oxford University archaeologist Juan de Lara has digitally reconstructed the Parthenon as it would have appeared to visitors in 432 BCE—at the height of its splendor.

The result is a breathtaking glimpse into one of the greatest architectural achievements of ancient Greece. It also sets a new standard for how we digitally preserve and interpret historical landmarks for scholars, museumgoers, and the general public alike.

“If the Parthenon’s ruins still inspire awe 2,500 years later,” notes Popular Science, “imagine what it must have looked like at the peak of its influence.”

How the Temple Was Built

The Parthenon, measuring 69 by 30 meters, was completed in 438 BCE. However, it took another six years for artisans to finish its decorative features and artwork.

Though only fragments of the outer structure survive today, ancient sources describe a magnificent place of worship dedicated to Athena, the goddess of wisdom, craftsmanship, and war.

“Based on the data I gathered,” de Lara explained in a May 6 interview with Cambridge Core, “each temple offered a distinct visual and spiritual experience, shaped by the deity it honored, the origins of the cult, and the geographic setting.”

From the 5th century BCE onward, and especially during the Hellenistic period, he notes a growing emphasis on the orchestration of religious experience—a conscious effort to shape how worshippers engaged with sacred spaces.

The Statue of Athena

At the heart of the Parthenon stood a towering, nearly 12-meter-tall statue of Athena, designed by the renowned sculptor Phidias.

Ancient descriptions indicate it was a chryselephantine statue—crafted from gold and ivory. Research into similar artworks suggests artisans would soften and shape thin ivory sheets, carefully layering them to create a lifelike surface that was then attached to a wooden frame.

The Magic of Light

The Parthenon’s exterior was constructed mainly from marble and other finely polished stone, selected not just for durability but for their natural luster.

Inside, the placement of the statue, combined with reflecting pools, windows, and skylights, was designed to amplify Athena’s radiance. Archaeological evidence suggests that the temple’s interior was kept dimly lit, with incense burning abundantly to heighten the sense of reverence and awe.

In fact, the statue was positioned so that the first light of dawn would strike directly upon its golden robes.

“Imagine stepping into the Parthenon—your eyes still adjusting after the harsh midday sun,” de Lara told Arkeonews.
“A beam of sunlight slices through the entrance, illuminating the gold with a divine glow. This was exactly the theatrical effect Phidias and the architects aimed to create. It must have been magical.”

Why Virtual Reality Matters

To share this vision with the world, de Lara created a dedicated website for the project, titled “Parthenon 3D”, and hopes it will inspire others to create digital reconstructions of other iconic monuments.

These reconstructions could be incorporated into museum exhibits and virtual reality experiences, offering immersive journeys into the wonders of the ancient world—no passport required.

Greeks to Produce Film on the Battle of Marathon Entirely in Ancient Greek

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Information by George Syros

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In a groundbreaking cinematic endeavor, Greek director Yiannis Stravolaimos is set to bring the historic Battle of Marathon to life in a film titled Nenikikamen ("We Have Won"), distinguished by its exclusive use of Ancient Greek and Old Persian languages. This ambitious project aims to authentically recreate the linguistic and cultural atmosphere of 490 BCE, offering audiences a unique immersion into classical antiquity.

A Cinematic First in Ancient Languages

Nenikikamen stands out as the first feature film to be performed entirely in the classical dialects of Ancient Greek and Old Persian. The script, meticulously translated into these ancient tongues, seeks to provide an unparalleled historical authenticity. This linguistic choice not only honors the original context of the events depicted but also serves as a bold artistic statement in contemporary cinema.

Historical Fidelity and Mythological Elements

Drawing from primary sources such as Herodotus, Plutarch, and Pausanias, the film delves deep into the events surrounding the Battle of Marathon. It portrays key historical figures, including Miltiades, Themistocles, Aristides, and Pheidippides, as well as Persian leaders Darius, Artaphernes, and Datis. In addition to the historical narrative, Nenikikamen incorporates mythological aspects, depicting the involvement of deities like Athena and Pan and legendary heroes such as Echetlus, reflecting the ancient Greeks' belief in divine influence over human affairs.

International Cast and Production

The film boasts a diverse cast of Greek and international actors. To ensure accurate pronunciation and delivery of the ancient languages, foreign actors will be dubbed by trained linguists specialising in Ancient Greek and Old Persian. Notable Greek actors involved in the project include Kostis Savvidakis, Konstantinos Konstantopoulos, Anthimos Ananiadis, and Teo Theodoridis.

Cultural Diplomacy Through Cinema

Director Yiannis Stravolaimos envisions Nenikikamen as more than a historical epic; he sees it as a form of cultural diplomacy. By showcasing Greece's rich heritage and linguistic history, the film aims to foster a deeper appreciation for ancient civilisations and their enduring impact on the modern world. Stravolaimos believes that cinema, as a powerful medium, can bridge cultural gaps and bring historical narratives to a global audience in an engaging and educational manner.

Nenikikamen is currently in production, with further details on its release anticipated in the coming months. The film promises to be a significant contribution to both historical cinema and the preservation of ancient languages.

The Cry of Victory: The Story Behind Nenikikamen

The film’s title, Nenikikamen, is drawn from one of the most iconic moments in ancient Greek history—a cry of triumph that has echoed through the centuries. According to ancient sources, after the Athenian victory at the Battle of Marathon in 490 BCE, a messenger (often identified as Pheidippides) was dispatched to run the roughly 42 kilometres (26 miles) from the battlefield to Athens to announce the outcome. Upon arriving in the city, exhausted and near death, he is said to have uttered a single word: “Nenikikamen!”—“We have won!”—before collapsing and dying.

This moment has since become emblematic of sacrifice, endurance, and patriotic devotion. Whether the tale of Pheidippides is fully historical or partially mythologised, it captured the imagination of later generations, eventually inspiring the modern marathon race introduced during the first modern Olympic Games in Athens in 1896.

In the film, this dramatic episode serves as a climactic and emotional turning point. Director Yiannis Stravolaimos uses the phrase not only to mark the Athenian victory over the Persian invaders but also as a universal symbol of human determination and the struggle for freedom. The utterance of Nenikikamen in the original Attic dialect is carefully reconstructed to deliver both historical gravitas and cinematic intensity.

Through this single word, the film connects ancient heroism with contemporary values, reminding viewers that history is not merely a collection of events but a source of enduring inspiration.

Discovery: The Carbonized Scroll of Philodemus — A Glimpse into Lost Ancient Philosophy Philodemus' On Vice Revealed through X-Ray Technology

“This text doesn’t appear to be one of the known works,” says Dr. Michael McOsker, a papyrologist at University College London, speaking to Kathimerini about a newly revealed work by the ancient philosopher Philodemus. The text was uncovered within a carbonized scroll known as PHerc.172, as part of the ambitious Vesuvius Challenge project.

Using advanced X-ray imaging, researchers were able to digitally scan and read parts of the scroll’s contents without physically unrolling it—an act that could have shattered the fragile artifact beyond repair. The technique unveiled not only the text itself but also its author. The scroll was discovered in the ruins of a Roman villa in the ancient city of Herculaneum, buried under volcanic ash after the catastrophic eruption of Mount Vesuvius nearly 2,000 years ago.

The newly identified work belongs to Philodemus, an Epicurean philosopher, and appears to be part of his multi-volume series On Vice, dating back to the 1st century BCE. Dr. McOsker, who focused his doctoral research on Philodemus’ poetics, explains that scholars were already aware of the On Vice series, as several volumes had been found among previously opened scrolls from Herculaneum. These included treatises On Flattery, On Avarice, On Economy, and On Arrogance. So, the title of this volume—and its ethical subject matter—were not unexpected.

A Breakthrough Scroll
The decoded letters from PHerc.172 suggest that this may, in fact, be the very first volume of the philosopher’s extensive series.

Identifying Philodemus as the author was relatively straightforward thanks to existing biographical records. Born around 110 BCE in Gadara (in modern-day Syria), he studied in Alexandria and Athens before becoming part of the household of a Roman statesman—possibly the last father-in-law of Julius Caesar. Scholars believe this Roman aristocrat owned the villa near Pompeii where the scroll was found. Philodemus is frequently mentioned by Cicero, and he also taught Virgil and his literary circle. Yet despite this notable reputation, this newly revealed scroll, as part of a broader philosophical work, is especially significant for our understanding of Epicurean ethics, Dr. McOsker emphasizes, adding that he is grateful for every step forward in this complex field.

The letter mapping from the deciphering of the carbonized papyrus. It is most likely the first volume of the ancient philosopher's work.

Among the three Herculaneum scrolls held at the Bodleian Libraries in Oxford, PHerc.172 was the first to produce tangible results when scanned in July—surprising researchers who hadn’t even known the scroll contained legible writing. According to Dr. McOsker, the investigation is far from over. Efforts continue to refine the ink-detection algorithms and decipher additional portions of the text.

This remarkable fusion of cutting-edge technology and ancient philosophy is not only reviving lost voices from antiquity—but reshaping our understanding of classical thought in the process.

When You're Tired of Being Strong: A Lesson in Self-Leadership from Marcus Aurelius

You don’t need to raise your voice to be brave. Marcus Aurelius shows us that true strength is often forged in silence.

You might not admit it easily—because you feel like you're not supposed to—but you're tired. Tired of being the one who holds everything together. The one who comforts others, manages the work, the house, the relationships… yourself. The one who has to look strong, even when you're falling apart inside.

And then, a quiet line from Marcus Aurelius emerges—not as a flashy quote, but as a whisper echoing from a man who once bore the weight of the Roman Empire and knew all too well what it meant to be silently exhausted.

Maybe it’s time to acknowledge it. To say: Yes, I’m tired. And I’m proud that I made it this far.

We’re drawn to Marcus Aurelius because he wasn’t some detached Stoic lost in abstract ideals. He was an emperor, a general, a father, a philosopher—and in his reflections, he didn’t hide behind clichés.

“Look within. There lies the wellspring of good; and it is always ready to bubble up, if you just keep digging.”

So, when you feel like you’ve given everything and have nothing left to offer, don’t grit your teeth harder. Instead, take a breath and ask yourself:
“If I were the leader of myself, what would I do to take care of me right now?”

For Marcus Aurelius, leadership meant leading with empathy—and starting from the inside out. Sometimes, the bravest thing you can do is stop, rest, and say without shame: “I am not a machine. I am human. My strength doesn’t disappear when I bend—it reveals itself when I keep going.”

If any part of this resonates with you, remember this:
Your exhaustion is not failure. It’s proof that you’ve been fighting.

If you need more of these soul-awakening, Stoic “tough-love truths,” here are some of Marcus Aurelius’ timeless teachings:

1. Everything is fleeting: the one who praises and the one being praised, the one who remembers and the one remembered.

2. A person’s worth is no greater than the worth of their aspirations.

3. Dig deep within yourself—there is a fountain of good that will keep flowing as long as you keep searching.

4. A person's value is equal to the things they focus on.

5. Nothing can happen to you that isn't in your nature to endure.

6. Always remember this: it takes very little to make a life happy.

7. Stop talking about what a good person should be—and just be one.

8. Don’t live as if you’ll live forever. Fate hangs over you. While you still live, while you can, be good.

9. Every loss is nothing but a transformation, and transformation is nature’s delight.

10. Never let the future disturb you. You’ll meet it with the same tools of reason that you use to handle the present.

11. Whoever has seen the present has seen all things—what has always been and what will be, for all things are of one kind.

The Mystery of the Parthenon’s Interior Lighting Solved – The Effects of the Gaps in the Ceiling and the Water Pools Enhancing the Statue of Athena

The light would enter through the temple’s door on the morning of the Panathenaic festival, reflecting off the statue and the water pools.

The Parthenon, located on the Acropolis of Athens, housed a colossal ivory and gold statue of Athena, the city's protector, crafted by the sculptor Phidias in 438 BC. The statue stood on a pedestal inside the temple's cella, with its core made of wood.

Phidias used ivory for the bare parts of the body and gold, weighing 1,140 kg, for the drapery and hair. The statue depicted Athena fully armored, gazing eastward. In her right hand, she held the goddess Nike, while her left hand grasped a shield and spear. The statue stood at 13 meters tall, embodying the glory and strength of Periclean Athens.

Awe from Grandeur

The view from the temple’s entrance was breathtaking, with a sense of awe enhanced by the carefully designed lighting system and effects, including intricate gaps in the ceiling and strategically placed water pools inside the temple.

The puzzle of the temple's lighting system was first proposed by the French architect Antoine-Chrysostome Quatremère de Quincy in the 18th century, who believed there were openings in the temple’s roof.

In the next century, British architect James Fergusson suggested that the "key" lay in open windows at the roof level. The mystery of the Parthenon’s interior lighting system has now been uncovered by archaeologist and Oxford professor Juan De Lara in a recent article published in The Annual, a journal of the British School at Athens.

The Reflection of Light

De Lara’s 3D reconstructions and calculations are based on physical simulations of light and its reflection on various surfaces to accurately recreate the interaction of natural and artificial light with different elements of the building and the statue inside the temple.

Strategically placed openings in the Parthenon’s roof, internal water pools, windows, and finely polished marble were designed to create a misty effect, making the goddess appear to rise from the shadows in an impressive way.

The Parthenon, apart from being an architectural marvel, was also an optical phenomenon. The temple, like a stage set, was meticulously designed to redirect light, creating a sacred atmosphere and bringing the visitor into contact with the divine. Despite these special effects, it’s worth noting that the temple was relatively dark, as De Lara points out.

Using Digital Tools for Archaeological Discoveries

By applying cutting-edge digital technology, the archaeologist was able to reconstruct the temple's structure with a margin of error of just two centimeters, also reconstructing the statue of Athena.

Next, he calculated the position of the sun at various times of the year and day, based on measurements from the 5th century BC. Ultimately, he concluded that the sun appeared on the horizon only on the morning of the Panathenaic procession, and its light entered through the large door of the temple, reflecting off the statue and enhancing the optical effect of natural light, creating a magical and unique aura.

"Imagine entering the Parthenon—with your eyes still fatigued from the bright sunlight—and gradually adjusting to the darkness inside," De Lara explains.

When the sunlight entered through the gap in the temple's door, a beam fell on Athena’s golden robe, illuminating it. This was the effect the architects and Phidias aimed to create. "It must have been stunning!" De Lara adds.

He concludes: "To maximize the potential of archaeological discoveries, we must continue to embrace technology and digital tools as key partners in exploration and research."

When People Speak Ill of You, Plato Offers This Answer

If there's one thing Plato truly understood, it was this: the world doesn't easily embrace the truth, nor those who approach it.

Being accused, mocked, or belittled isn’t always a sign that you are wrong; sometimes, it’s a sign that you didn’t fit into what others wanted you to be.

But what do you do then? How do you respond when people talk about you without knowing even a third of who you are? Plato didn’t offer easy life instructions. He didn’t believe in slogans but rather in meaningful analyses that stemmed from human behavior.

Among his insights, there’s one quote worth remembering every time someone speaks about you… without you.

(Read his sayings below)

15 Pieces of Advice from Plato

1. What matters is not living to acquire more, but living well.

2. The one who seeks excellence should not love themselves or their possessions more than justice.

3. It is better to be wronged than to wrong others.

4. To be laconic is to philosophize.

5. When people speak ill of you, live in such a way that no one will believe them.

6. God is not responsible for the actions of those who have the freedom to choose.

7. A human is one who reflects and judges what they have seen.

8. We should not care so much about what the masses will say about us, but rather what someone who truly understands justice and injustice has to say. That, indeed, is the truth.

9. Ignorance is the root and stem of all evil.

10. Among pleasures, some are good and others are bad. The good ones are those that are beneficial, while the bad ones are those that are harmful.

11. If a person receives proper education, within them awakens a powerful force and will to evolve into the most divine and peaceful of beings.

12. But if they do not receive proper and diligent upbringing, they become the wildest of what the earth produces.

13. This city is what it is because its citizens are what they are.

14. It is impossible for two bad people to ever be friends, nor for a good person not to have a good friend.

15. Justice means that each person takes care of their own business and does not interfere with the business of others.

The Mystery of the Majestic Mountain That Resembling the Pyramids of Giza — Legends and Theories Surrounding Its Creation and Shape

A towering mountain rises dramatically from the flat plains of the Amazon rainforest, surrounded by mystery. Cerro el Cono, with its steep, pyramid-shaped peak, stands alone, soaring to impressive heights, leading local tribes to believe it was "built for the Gods."

This 399.2-meter-high peak emerges from the Sierra del Divisor National Park in eastern Peru, near the Brazilian border. Its shape strikingly resembles the pyramids of Giza, with broad, flat sides that have been overgrown with vegetation over the centuries.

Both its remarkable shape and its seemingly random location in the middle of a flat plain have given rise to various theories about the formation of El Cono.

The Indigenous Belief: A Sacred Mountain Spirit

For local indigenous tribes, Cerro el Cono is revered as the spirit of a sacred mountain, known as "Andean Apu". According to their beliefs, the mountain emerged from the earth to protect the people living in the region.

An Older Legend: The Lost Pyramid Theory

However, there is another, older theory, predating the ancient myth. According to local legend, El Cono sits atop the ruins of an ancient pyramid constructed by a long-forgotten Amazonian civilization. This theory has sparked the imagination of many, suggesting that El Cono could be the remnant of an advanced, unknown culture.

Amazonian Folklore and New Theories

In the region’s folklore, some indigenous tribes believed that the mountain was a creation of human hands, much like the Pyramids of Giza. If this theory were to be proven true, El Cono would surpass the Great Pyramid of Giza in height by 146.6 meters, making it the tallest ancient structure on Earth.

Scientific Explanations: A Natural Formation?

Scientists, however, offer more mundane explanations for the mountain’s origins. Among the possibilities is the theory that Cerro el Cono is the remains of an extinct volcano or simply an unusual natural rock formation.

The Mountain's Striking Symmetry and Alien Theories

The eerily perfect, isolated structure, located 3,218 kilometers from the nearest settlement, has become a focal point for conspiracy theories, especially those involving extraterrestrial life. Cerro el Cono lies next to the Ucayali River, a major tributary of the Amazon River.

The surrounding jungle teems with life, hosting an incredible variety of species, including the giant armadillo and several types of monkeys.

The Pyramid-Shaped Mountain of Antarctica

Another mountain has similarly sparked wild speculation due to its strikingly pyramid-like shape. Situated in a very different climate, this mysterious peak is found in the remote regions of Antarctica.

The snow-covered structure in the frozen continent bears an astonishing resemblance to the Great Pyramids of Egypt and has become the center of chilling conspiracy theories. Discovered for the first time during the British Antarctic Expedition of 1910-1913, the structure remained largely unknown until 2016, when its eerie photographs went viral online. People from all over the world offered strange explanations in an attempt to understand the pyramid-shaped mountain.

At 1,265 meters in height, the mountain has four steep, perfectly symmetrical sides, with its peak located in the Ellsworth Mountains, the tallest mountain range in Antarctica.

These fascinating mountain structures, whether in the Amazon or the frozen expanse of Antarctica, continue to captivate the imagination of many, prompting speculation, research, and myth. As investigations into both mountains continue, who knows what further secrets they may reveal about Earth's hidden wonders?