Remarkably Intact Bronze Age Urns Unearthed in Germany

Nearly 3,000 Years Old, These Burial Artifacts Offer Rare Insight into Ancient Lives

A routine infrastructure upgrade in Lower Saxony has led to an extraordinary archaeological discovery: a collection of remarkably well-preserved Bronze Age cremation urns dating back nearly 3,000 years. Experts are hailing the find as one of the most important in recent memory.

During preliminary work for a drainage project along County Road K17—between the towns of Moisburg and Immenbeck—archaeologists from the Hamburg Archaeological Museum uncovered approximately 30 Late Bronze Age graves (circa 1200–600 BCE). Each contained cremation urns carefully enclosed in stone, revealing an ancient burial ground preserved beneath layers of history.

“For the First Time in Years, We Recovered Intact Cremation Burials”

Dr. Jochen Brandt, the district archaeologist leading the excavation, emphasized the rarity of the find:

“For the first time in many years, we’ve managed to recover complete cremation burials from an area heavily affected by modern agriculture. In most cases, such delicate remains are lost to intensive farming.”

One striking image shared by the team shows an urn still standing upright, protected for millennia by a carefully arranged layer of stone—evidence of the burial's original design and resilience.

A Glimpse into Ancient Burial Rites

The urns were found following traditional Late Bronze Age burial practices: placed within stone-lined chambers and sealed with large fieldstones. Although most contained only cremated bone fragments, their condition and arrangement provide valuable insight into the funerary customs of the time.

“It’s characteristic of this period that little else besides cremated bones is found inside the urns,”
explained Dr. Brandt. “Still, these contexts speak volumes about how people approached death and remembrance thousands of years ago.”

Unlocking the Stories Hidden in Ashes

While the urns hold few material artifacts, researchers believe the cremated remains themselves may offer a wealth of information. Anthropologists aim to study the ashes to determine the age, sex, and health status of those buried at the site.

“These cremations could help us understand who these individuals were—their place in society, how they lived, and even how long they lived,”
said Dr. Brandt. “We’re actively seeking funding to conduct these deeper analyses.”

One particularly intriguing burial featured an urn topped with an overturned bowl, likely used as a lid—an uncommon but telling addition that suggests ritual significance.

Modern Construction Meets Ancient Heritage

The excavation was part of a civil engineering project designed to improve local water drainage. The plan includes a settling basin to filter runoff and an infiltration basin to manage rainwater. Although several trees were removed during construction, authorities will replant 35 small-leaved linden trees in their place.

With the archaeological work now complete, construction along the K17 road is expected to wrap up within four months.

Czech Republic: Hikers Stumble Upon Hidden Gold Treasure in Forest Crypt

Authorities still unsure who the trove belonged to

In an unexpected twist worthy of a movie, two hikers exploring a forest in the Krkonoše Mountains—a popular hiking destination in the Czech Republic—discovered a hidden crypt packed with gold.

Inside the concealed stash, they found a dazzling collection: ten gold bracelets, 17 cigar cases, a powder compact, a comb, and 598 gold coins. The aluminum container was protruding slightly from a stone wall, catching the attention of the hikers, who then carefully opened it.

An Accidental Discovery with Huge Historical Value

After uncovering the treasure, the hikers brought it directly to the Museum of Eastern Bohemia, according to Miroslav Novák, head of the museum’s archaeology department.

“They showed up unannounced at our numismatist’s office,” Novák told CNN. “Only afterward did our archaeologists begin investigating the discovery site.”

Who buried the treasure—and why—remains a mystery. However, one detail offers a crucial clue: one of the gold coins is dated 1921, suggesting the cache is less than a century old.

Tied to War and Upheaval? Experts Weigh In

According to Novák, the stash may be connected to tumultuous historical events. “It likely relates either to the chaotic years before World War II, when Czech and Jewish populations fled the border regions, or to 1945, when the Germans were retreating,” he speculated.

Two of the cigar cases were sealed shut, but the gold coins alone weigh 3.7 kilograms (8.2 lbs) and are estimated to be worth 8 million Czech crowns—about $360,000, according to Vojtěch Brádle, the museum’s coin expert.

Whispers and Rumors: Clues From the Community

News of the discovery quickly stirred local interest, and Novák says the museum has received several calls with rumors and theories, some of which may help unravel the puzzle.

One striking aspect? None of the coins are Czech. “Half appear to be of Balkan origin, the other half French,” Novák noted. “There’s a total absence of Central European currency like German coins, which is surprising given the cache was found near the historical Czech-German border.”

Possible Origins: Wealthy Families or War Spoils?

One theory is that the gold belonged to wealthy families in the area. Another posits that it could be war loot hidden by members of the Czechoslovak Legion.

Finds like this are unusual for the region, Novák emphasized. However, he mentioned that about 9 kilometers southeast, a separate treasure was discovered a decade ago: 2,700 silver denarii from the 12th century, a type of European trade currency.

“Many residents abandoned this region during the 20th century, which explains the number of deserted farmsteads still visible today,” he added.

A Rare Find for the 20th Century

Brádle agrees that this discovery is atypical. “Most 20th-century finds in the Czech Republic include primarily German and Czechoslovak coins. Here, there’s not a single one,” he told the American outlet.

“Most of these coins likely didn’t arrive in Bohemia directly. They may have come from the Balkans after World War I. Some are reproductions from the former Yugoslavia, minted during the 1920s or 1930s,” he explained.

Further research is now underway to determine the composition of the other objects found in the crypt, which could provide a more complete valuation and historical context for this unexpected forest treasure.

One thing is certain: this forest in the Krkonoše Mountains has kept a secret for nearly a century—and it's just beginning to tell its story.

Unearthing Egypt’s Eastern Stronghold: Tell Abu Saifi and the Ancient Frontier Defense Network

New excavations at Tell Abu Saifi in Egypt’s North Sinai continue to uncover the layered legacy of one of ancient Egypt’s most strategically vital military and industrial hubs. What was once just a fortified border outpost has emerged as a complex, evolving center of defense, infrastructure, and resource management spanning centuries.

Roman-Era Barracks: A Glimpse into Frontier Life

Recent digs have revealed remarkably preserved Roman military housing units, offering rare insights into the daily routines and lives of soldiers stationed at Egypt’s eastern edge. Believed to date to the reigns of Emperors Diocletian and Maximian, these structures suggest that Tell Abu Saifi was more than a fortress — it functioned as a long-term residential garrison, blending security with community.

The remains of over 500 clay planting circles indicate a tree-lined entrance to the Ptolemaic fortress. Credit: Egypt’s Ministry of Tourism and Antiquities

A Fortress Built on Fortresses

Excavation teams have identified a previously undocumented third layer of fortification beneath the well-known Ptolemaic and Roman structures. According to excavation director Hisham Hussein, all four corners of this earlier fortress have been located. Preliminary studies indicate it predates both the Roman and Ptolemaic periods, solidifying Tell Abu Saifi’s role as a longstanding keystone in Egypt’s eastern defense system.

Military Landscaping: A Rare Insight into Fort Planning

Among the most visually striking finds is a 100-meter-long limestone-paved road, once connecting the Roman fort's eastern gate to its inner compounds. Beneath it lies an older Ptolemaic road, demonstrating a continuity of urban and military planning. Along the route, archaeologists uncovered more than 500 clay planting circles, likely used to cultivate trees that flanked the entrance — a rare example of military landscaping designed for both function and aesthetics.

Well-preserved Roman-era soldiers’ quarters unearthed at the site. Credit: Egypt’s Ministry of Tourism and Antiquities

Industrial Powerhouse: Evidence of Roman-Era Lime Kilns

Tell Abu Saifi wasn’t just a military outpost — it was also a busy industrial center. Excavators discovered four massive lime kilns, suggesting large-scale production of building materials. These may have also been used to dismantle and repurpose older structures, underscoring the site's sophisticated resource management and adaptive reuse of materials throughout its operational history.

Defense in Depth: The Ptolemaic Trench System

At the gate of the Ptolemaic fortress, archaeologists unearthed a defensive trench over two meters deep, illustrating the complex layered defenses designed to repel invasions. Architectural features at the entrance highlight the Ptolemaic dynasty’s advanced military engineering, tailored to safeguard Egypt’s vulnerable northeastern frontier.

Strategic Heart of Egypt’s Border Defense

Minister of Tourism and Antiquities Sherif Fathy emphasized that Tell Abu Saifi served dual roles across time — as a military bastion and an industrial hub. The latest discoveries, he said, offer unprecedented insight into the infrastructure and tactics used to defend Egypt's borders, while also highlighting the economic and logistical complexity of ancient military operations.

Tell Abu Saifi and Ancient Tharu: The First Line of Defense

Located near the ancient frontier city of Tharu, Tell Abu Saifi was long a cornerstone in Egypt’s border strategy. As excavations continue, archaeologists are unraveling its transformation from a strategic outpost into a dynamic nexus of military, industrial, and social activity. The site is now recognized not only as a key element in ancient Egypt’s security network but also as a living testament to its ingenuity in managing frontier life.

From hidden fortresses to lime kilns and tree-lined military roads, Tell Abu Saifi is redefining what we know about Egypt’s ancient defense systems. It is, quite literally, history layered in stone — and the story is far from over.

Just 70 Meters Below the Surface: The Oldest Archaeological Site in Greece Reveals Giant Deer and Elephants

A groundbreaking geoarchaeological project in Megalopolis, Arcadia, has unveiled the oldest known archaeological site in Greece, rich with fossils of giant deer, elephants, hippos, and early human tools—buried just 70 meters beneath the Earth’s surface.

This discovery marks a major milestone for paleoarchaeology in Greece, especially in an area that until now had received very little scientific attention. The findings suggest that the Megalopolis Basin served as one of southern Europe’s last ecological refuges during the Ice Ages—a haven for both animals and early humans.

700,000 Years of History Beneath Our Feet

During recent excavations in the local lignite mine, researchers identified five new archaeological sites, including:

• The oldest Lower Paleolithic site ever found in Greece (ca. 700,000 years ago)

• The oldest Middle Paleolithic site in Greece and one of the earliest in Europe (ca. 280,000 years ago)

To date these sites, researchers employed a sophisticated array of advanced dating techniques, including paleomagnetism, optically stimulated luminescence, electron spin resonance, uranium-series dating, and cosmogenic radionuclide analysis. These were complemented by biostratigraphic and lithostratigraphic studies to ensure accuracy.

Cypress Site: A Window into Prehistoric Wildlife

The oldest site, called Kyparissia, lies about 70 meters below the surface and dates back roughly 700,000 years. Here, archaeologists unearthed Lower Paleolithic stone tools alongside fossilized remains of now-extinct megafauna, including:

• Giant deer (Praemegaceros)

• Hippopotamuses

• Rhinoceroses

• Elephants

• A macaque monkey tooth

Nearby, the Kyparissia 3 site revealed mainly elephant bones associated with stone tools, indicating human interaction with large animals—possibly for hunting or scavenging.

A Rare Case of Hippo Butchering in Europe

Another site, Marathousa 2, dated to approximately 450,000 years ago, yielded one of the most exceptional finds in Europe: a partially preserved hippopotamus skeleton showing cut marks made by stone tools. This is a rare and direct example of hippopotamus exploitation by early humans in Pleistocene Europe.

Tripotamos: A Technological Leap Forward

The Tripotamos site, about 15 meters below the surface, is estimated to be 400,000 years old. It stands out for its dense concentration of stone tools, which display more advanced shaping techniques compared to older sites. This suggests significant technological innovation during the late Lower Paleolithic period.

Choremi: A Glimpse into the Middle Paleolithic

Finally, the Choremi site, located around 8 meters beneath the surface, dates to roughly 280,000 years ago. Its stone tools reflect Middle Paleolithic craftsmanship, both in form and technique. The site also contains bone fragments, primarily from deer species, some of which show signs of human modification, offering a rare peek into the subsistence strategies of early hominins.

A Landmark Discovery for European Prehistory

These new discoveries in Megalopolis dramatically reshape our understanding of early human activity in southern Europe. Not only do they extend the timeline of human presence in Greece by hundreds of thousands of years, but they also highlight how early populations adapted to diverse environments—interacting with and utilizing the rich megafauna around them.

The research continues, but one thing is clear: beneath the soil of Arcadia lies a prehistoric treasure trove, waiting to shed even more light on the ancient story of humanity.

Archaeologists Unearth Ancient Buddhist Treasure Hidden in Clay Jar — 33 Artifacts of Gold, Silver, and Bronze

Published: 11:44, May 12, 2025 | Source: Real.gr
Photos: The Fine Arts Department

A stunning archaeological discovery has come to light in northeast Thailand, where experts from the country’s Fine Arts Department unearthed a trove of ancient Buddhist artifacts concealed within a clay vessel. The find includes 33 objects made of gold, silver, and bronze, offering rare insight into the religious and artistic heritage of the ancient Dvaravati Kingdom.

The Fine Arts Department

Discovery at Wat Thammachak Sema Ram

The treasure was discovered at Wat Thammachak Sema Ram (also known as Wat Dhammachaksemaram), one of the most significant Buddhist sites from the Dvaravati period, which flourished between the 6th and 11th centuries CE.

The Fine Arts Department

Among the temple’s most revered features is a reclining Buddha statue, believed to date back to around 657 CE, during the reign of King Ramaraj of Ramburi—possibly tied to the ancient city of Ayodhyapura, a key archaeological zone.

Treasure Buried Beneath a Sacred Statue

While performing conservation work on the reclining Buddha statue, archaeologists uncovered a clay jar buried 1.3 meters underground. Inside it were 33 ancient artifacts, including:

• Gold rings

• Silver earrings

• Unusually shaped bronze jewelry

• Spiral-shaped earrings, which resemble those previously discovered at other important sites like Phu Khao Thong (Ranong Province) and Tha Chana (Surat Thani Province).

Rare Buddhist Imagery and Reliefs

The excavation also yielded a lead-tin alloy relief plaque measuring 8 by 12.5 centimeters. It features a depiction of the seated Buddha on a lotus flower, performing the Vitarka Mudra—a symbolic hand gesture that represents the transmission of knowledge and teaching in Buddhism.

The Fine Arts Department

Another noteworthy find is a weathered relief showing the Buddha standing, dressed in robes and also performing the Vitarka Mudra. Flanking the Buddha are two attendant figures. One of these is believed to represent Phra Phrom, the Thai representation of Brahma, the Hindu god of creation.

Cultural and Historical Significance

Experts are now studying the artifacts to better understand their cultural and historical context. The treasure not only sheds light on early Buddhist religious art in Thailand, but also provides crucial information on ancient metalworking techniques, iconography, and the cross-cultural exchanges that shaped the spiritual and artistic traditions of ancient Southeast Asia.

This discovery is a powerful reminder of how much remains hidden beneath the surface—waiting to be uncovered and reconnected with the rich tapestry of human history.

The Sutton Hoo Enigma Cracked: The Mystery of the Byzantine Vessel with the Greek Inscription Solved

One of the most captivating archaeological puzzles at Sutton Hoo has finally been unraveled—the mystery of the Byzantine bucket inscribed in Greek.

After decades of speculation, researchers have determined that this silver vessel—unearthed in fragments at Sutton Hoo in 1986 and expanded upon in 2012—was in fact a cremation urn. It held the ashes of a “significant individual” who was buried generations before the famous ship burial that made the site legendary.

Now proudly on display in Sutton Hoo’s main exhibition hall, the 1,400-year-old vessel reveals new secrets thanks to a string of groundbreaking discoveries. During the final week of filming for the 2024 season of Time Team—in collaboration with FAS Heritage and England’s National Trust—archaeologists recovered additional fragments, including a fully intact base. The find included not only cremated remains but also grave goods, offering unprecedented insight into early Anglo-Saxon funerary practices.

Sir Tony Robinson, long-time presenter of Time Team, ranked the vessel as his third favorite discovery in the show’s history. Following the discovery, the entire vessel was moved to a lab for detailed analysis.

At the University of Bradford, CT scans and X-rays revealed the contents of the vessel’s base, which had remained a mystery until then. With support from Time Team Patreon backers, the base underwent a careful micro-excavation at the York Archaeological Trust.

According to Angus Wainwright, an archaeologist from the Trust, the vessel is not only a rare and valuable artifact from Anglo-Saxon England, but also “a long-standing enigma” due to the unknown reason for its burial. “We now know that it contained the remains of a prominent individual from the Sutton Hoo community. With further analysis, we hope to uncover even more about this unique burial.”

While archaeologists have yet to confirm the individual’s sex based on the limited skeletal remains, a partially burned comb found inside the vessel may hold the key. If DNA can be extracted from the comb—likely made from deer antler—it could reveal both the gender and age of the person cremated, as well as more details about the cremation process and funeral pyre construction.

The Treasures of Sutton Hoo

Excavations at Sutton Hoo will continue until June.
Photo: James Dobson/National Trust.

The vessel’s base contained human remains along with animal bones, believed to be from a creature larger than a pig—possibly a horse. Including such animals in cremation pyres was common in early Anglo-Saxon rituals and signified high status.

Further recent finds from the site include intricately carved decorations featuring human and animal legs, shield bosses, and the face of a man. Regardless of the individual whose remains lie in the Bromeswell Bucket—as the vessel has been dubbed—it remains a remarkable testament to the metalworking skills of the Anglo-Saxons.

Interestingly, the vessel’s base features concentric rings, and CT imaging confirmed it was crafted using cold-hammering—a technique that shapes metal through pressure, not heat. Despite its age, the artifact is in remarkably good condition.

The vessel itself was likely created in the Byzantine Empire during the mid-6th century, predating Sutton Hoo’s ship burial by several decades. It probably originated in the eastern Mediterranean and was brought to England through trade or diplomatic channels, highlighting Sutton Hoo’s far-reaching connections.

The famous Sutton Hoo ship burial, which dates between 610 and 635 CE, occurred during the Anglo-Saxon kingdom of East Anglia’s rule. Before the site’s visitor center was established in 2000, earlier excavations had uncovered 6th-century graves. The new cremation discoveries confirm that the burial grounds extend into the nearby Garden Field.

Dr. Helen Geake, an Anglo-Saxon expert working with Time Team, commented: “We’ve finally solved the puzzle of the Bromeswell Bucket—it turns out to be the earliest known use of such a rare object in a cremation burial. It’s the epitome of the wonderfully strange nature of Sutton Hoo—a place with ship burials, horse burials, burial mounds, and now, even bath bucket burials. Who knows what else is hidden beneath?”

Looking Ahead

Tim Taylor, the show’s producer, expressed excitement over returning to one of Britain’s most iconic sites. “We’re thrilled to be back at Sutton Hoo with the National Trust. The next phase of excavations offers a unique chance to uncover more of this site’s secrets. We can’t wait to see what 2025 holds.”

A Glimpse Into Sutton Hoo’s Past

Laboratory analysis of the findings.
Photo: FAS/National Trust.

Located in Suffolk, England, Sutton Hoo is a 1,400-year-old archaeological site renowned for its wealth of Anglo-Saxon treasures. The site first came to prominence in 1939, when local landowner Edith Pretty invited amateur archaeologist Basil Brown to investigate several burial mounds on her property.

What Brown uncovered would become one of the greatest archaeological discoveries in British history: a 21-meter-long ship burial containing a treasure-laden burial chamber. Although the ship’s wooden structure had decayed in the acidic soil over the centuries, its outline remained, along with phosphate traces indicating a once-present human body.

Of the 20 known burial mounds at Sutton Hoo, the most famous is the ship burial, believed to contain the remains of a man—perhaps a king—accompanied by extraordinary grave goods. Among them: an ornate helmet, gold coins, and a finely forged iron sword.

Sutton Hoo remains an active archaeological site, drawing daily visitors and scholars from around the world. The individuals buried there left no written records, but historians believe the cemetery was used by the Wuffingas—the royal dynasty of East Anglia. It’s widely speculated that the ship burial may belong to Rædwald, an early East Anglian king.

Justin Garner-Lahire, director of the FAS Heritage archaeological service, at one of the burial pits in the Garden Field at Sutton Hoo.

One Discovery at a Time

As excavations continue into June, each find deepens our understanding of early medieval Britain. The Sutton Hoo site, with its layers of history and mystery, remains a national treasure—reminding us that even the most unassuming objects, like a Byzantine bath bucket, can hold incredible stories of the past.

Stunned Professor Discovers Authentic Magna Carta Copy at Harvard: “Oh My God…”

In what can only be described as a breathtaking discovery, Professor David Carpenter, a medieval history expert from King’s College London, stumbled upon what turned out to be a genuine copy of the Magna Carta, dated 1327, while browsing the Harvard Law School Library’s digital collection.

This document is now confirmed to be one of only seven surviving copies issued by King Edward I.

A Remarkable Find Hidden in Plain Sight

Recounting the moment of discovery, Carpenter admitted he could hardly believe his eyes:

“I was searching for unofficial copies of the Magna Carta, and suddenly I thought, Oh my God, this looks like an original from Edward I in 1300. Of course, appearances can be deceiving.”

Yet, this time, they weren’t.

The Tools That Brought History to Light

As Harvard University detailed on its website, to verify the authenticity of the document, Carpenter teamed up with Professor Nicholas Vincent from the University of East Anglia. The pair used Harvard’s archival system, HLS MS 172, and applied spectral imaging and ultraviolet light—technologies particularly useful given the document’s fragile condition.

Carpenter meticulously analyzed the manuscript:

“I worked through it word by word, because parts of it were in poor shape. And it matched exactly with the other six known copies.”

He highlighted one tiny but telling detail:

“A wonderful little feature of the handwriting that reveals its origin is the capital E at the beginning of Edwardus. Even more unusual, the next letter—the D—is also capitalized. That’s very rare. Yet we see this exact trait in one of the other six originals.”

Why the Magna Carta Still Matters

Originally issued by King John in 1215, the Magna Carta was the first written document to assert that the king and his government were not above the law.

As Carpenter explained:

“It affirms a fundamental principle—that the ruler is subject to the law. He can’t just imprison you, confiscate your property, or have people beheaded on a whim. He has to act through due process. The Magna Carta is the cornerstone of Western legal and democratic tradition.”

From Bargain Bin to Priceless Artifact

Perhaps the most astonishing part of this story? The document was purchased for just $27.50 (about €24.50) back in 1946. A month earlier, a Royal Air Force veteran had sold it to London booksellers Sweet & Maxwell for £42 (about €49).

“It’s easy to see how it was misidentified when it was sold. It’s been a long time,” said Vincent. “But now? It’s worth many, many times more.”

Celebrating a Scholarly Triumph

Amanda Watson, Associate Dean for Library and Information Services at Harvard Law School, praised the two professors:

“This is a brilliant example of what can happen when world-class collections—like Harvard Law’s—are made available to brilliant minds.”

The discovery not only underscores the value of digitized archives but also serves as a vivid reminder: even centuries-old treasures can still be hiding in plain sight.

Want more historic discoveries like this in your feed? Follow our blog for the latest in archaeology, archives, and academic breakthroughs.

Historic Fresco Collapses at the Palace of Knossos – Outrage Over Monument Neglect

A serious incident has drawn attention to the long-standing maintenance issues plaguing one of Greece’s most iconic archaeological sites. A section of the famous dolphin fresco at the Palace of Knossos – a symbol deeply tied to the image of Minoan civilization and prominently restored by Arthur Evans – suddenly collapsed on Friday morning. The event, which cannot be blamed on weather conditions, raises critical concerns about the monument's upkeep, especially as Knossos seeks inclusion on the UNESCO World Heritage list.

A Wake-Up Call at a Symbol of Minoan Art

The collapse took place in one of the most recognized parts of the Knossos complex. The damaged artwork, although a reproduction of the original restored by Evans over a century ago, remains an integral and iconic part of the site and a hallmark of Minoan artistic heritage.

At the time of the incident, approximately 300 visitors were inside the archaeological area. Reports indicate that the collapse occurred shortly after noon, just as authorities had begun evacuating the site due to strong winds sweeping through the region.

The fresco, made of plaster, consisted of three parts. Initial assessments reveal that two of them detached and fell, sustaining serious damage and breaking upon impact.

The collapse occurred in the eastern wing of the palace, which has now been cordoned off and will remain closed until further notice for safety inspections and damage assessment.

Ministry Responds – But Is It Too Late?

According to neakriti.gr, the Ministry of Culture has already been notified and has called for the immediate restoration of the fresco to prevent further deterioration and to safeguard the rest of the monument.

The incident has sparked widespread frustration, especially among tour guides, archaeologists, and local stakeholders who have been sounding the alarm for years. They’ve warned repeatedly about the site’s deteriorating condition and the pressing need for restoration—concerns that have gone largely unanswered.

Despite numerous announcements over the years promising conservation efforts, the current state of the palace remains disappointing. Experts describe certain parts of the site as neglected and vulnerable.

Those working daily at Knossos insist the monument no longer needs more studies or promises—it needs urgent intervention. Many claim Friday’s collapse was not a surprise, but an inevitability.

Not Weather – Neglect to Blame

Officials stress that the collapse cannot be blamed on the strong winds alone, as the damaged section was made of mortar, not particularly prone to weather-induced failure. Everything points to poor maintenance as the root cause.

This makes the event even more alarming, as it comes at a pivotal moment: the site's ongoing bid to be recognized by UNESCO as a World Heritage Site.

It's worth noting that the original dolphin fresco remains preserved at the Heraklion Archaeological Museum.

Storm Winds Force Evacuation and Temporary Closure

Earlier in the day, authorities had taken the precautionary step of evacuating the site due to gale-force winds. The Ministry of Culture had announced the temporary closure of the site between 1:00 and 4:00 p.m. to ensure the safety of both visitors and staff.

While the Palace of Knossos usually remains open until 8:00 p.m., the ministry reiterated that the protection of the monument and the safety of the public are non-negotiable priorities.

Public Shock and Sadness – A Call for Immediate Action

Images of the fallen fresco quickly spread across the internet, evoking sadness and dismay. For locals, staff, and those familiar with the rich history of Knossos, the damage represents more than just a structural loss—it’s a blow to cultural memory.

Before the collapse, the fresco was a vibrant testament to Minoan artistry.

Now, there's an urgent and undeniable need for a comprehensive restoration plan and decisive intervention. Authorities must act swiftly—before more of this invaluable cultural legacy is lost forever.

"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.