An Archaeologist Sailed Like a Viking for 3 Years

Greer Jarrett, a PhD candidate in archaeology at Lund University in Sweden, spent three years reenacting the sea voyages of the Vikings. Covering more than 5,000 kilometers in a wooden boat modeled after the traditional faering design, he demonstrated that Vikings often ventured far from coastal waters, deep into the open sea—challenging long-standing assumptions held by historians.

His research was rooted not only in hands-on sailing experience, but also in interviews with Norwegian seafarers and studies of traditional routes from the 19th and 20th centuries. Drawing from these firsthand accounts and his own journey along the Scandinavian coastline, Jarrett mapped a decentralized network of small harbors on islands and peninsulas. These locations likely served as rest stops during Viking trade expeditions.

This theory is further supported by the design of the Viking vessels themselves. The faering, with its shallow draft and remarkable agility, was ideally suited for navigating into inlets and landing on shores that would have been inaccessible to larger ships.

While the boat proved impressively stable in open waters, the expedition was not without its challenges. On one return trip from the Lofoten Islands, the main mast holding the sail broke. The crew had to improvise by lashing two oars together to create a temporary support—an incident that highlighted the critical importance of teamwork, patience, and mutual support during such demanding voyages.

Jarrett’s journey blends experimental archaeology with historical inquiry, offering new insights into how the Vikings may have truly traveled—guided not by modern instruments, but by the stars, the wind, and the stories carried across generations.

The Hidden Gate of Athens That Leads to the Acropolis – Lost for Centuries, Rediscovered with Explosives

Most people walk right past it without even noticing. It’s the gate at the lower end of the staircase leading to the Propylaea of the Acropolis. Two low towers, a silent stone opening. Few realize that this modest structure was once the only thing standing between invaders and the sacred summit. And to bring it back to light, they had to use gunpowder.

This gate was built around 270 AD, following the sacking of Athens by the Heruli. It wasn’t designed to impress. It was built to keep people out. The Acropolis was no longer a site of worship—it had become a fortress. And this gate, once the starting point of the road to the goddess, now sealed everything off behind stone and towers.

But the gate itself was a product of reuse. It was constructed from marble blocks and column drums taken from another, much older monument: the Choregic Monument of Nicias. This Doric-style monument had once celebrated a victory in a choral competition, and its inscription can still be seen above the gate—a tribute to glory, sacrificed in the name of security.

Today we know it as the Beulé Gate, and for centuries it stood forgotten. Neither the Franks nor the Ottomans made use of it. They covered it, built over it, ignored it. Then, in 1852, a young French archaeologist named Charles-Ernest Beulé became convinced there was something buried beneath.

He began digging with a shovel, but the ground had hardened over the centuries. The concrete of history wouldn’t yield. So he called for help from sailors in the French navy stationed in the Aegean—and brought explosives. Sixty-eight kilograms of gunpowder. He blasted through the soil, and the marble gate finally emerged. He believed at first he had found the original entrance built by Mnesicles, but it was later confirmed to be of Roman construction.

The discovery was celebrated with fanfare. King Otto and Queen Amalia visited the site. France honored Beulé. He himself carved an inscription in ancient Greek: “France discovered the gate of the Acropolis”—his name, naturally, included. Greek archaeologists accused him of vanity. One even described him as “the man who tried to blow up the Acropolis.”

And yet, the Beulé Gate still stands. Built from broken monuments, forged in fear of sieges, unearthed through explosives and sheer human persistence. It’s the first thing you see when ascending toward the Acropolis—and perhaps the most misunderstood.

Priceless 1,000-Year-Old Gold Viking Bracelet Discovered on the Isle of Man

A rare gold Viking bracelet, believed to be around 1,000 years old, has been discovered on the Isle of Man by amateur treasure hunter Ronald Clucas. The stunning find, made up of eight intricately braided gold rods, has astonished archaeologists with its craftsmanship and historical significance.

The Amateur Archaeologist Behind the Discovery

Clucas, who made the find using a metal detector, was taken by surprise despite his years of experience. Gold's low conductivity makes it notoriously difficult to detect with such equipment, which makes this discovery even more remarkable.

Vikings, Trade, and “Hack Gold”

The bracelet measures approximately 7.7 centimeters in length and 3.7 centimeters in width, weighing in at nearly 27.3 grams. Its precise construction reflects the skill of Viking-era artisans. The fact that the bracelet was cut suggests it may have been used as “hack gold” — a form of currency in which precious metal objects were cut into pieces and traded, a common practice among the Vikings.

This isn’t Clucas’s first significant discovery. In 2005, he unearthed both a silver and a lead ingot from the same period. The recent find adds another crucial piece to the historical puzzle of the Isle of Man, which was a major Viking hub from the 9th century onward.

Why Gold is Especially Rare

Experts note that gold artifacts were relatively uncommon during the Viking Age. Silver was by far the dominant metal used for both trade and jewelry-making. At the time, gold was estimated to be worth about ten times more than silver, making this bracelet exceptionally valuable.

The Isle of Man as a Viking Trade Center

The Isle of Man has yielded other significant treasures in recent years. In 2021, another amateur metal detectorist discovered a trove of jewelry, including a gold bracelet and a large silver brooch, dated to around 950 AD. Such findings point to the presence of wealthy and influential communities on the island during that era.

Hiding treasure was a common Viking practice, especially during times of upheaval. These hoards typically included jewelry, coins, and other valuables buried with the intent of later retrieval. Their discovery today offers vital insight into Viking trade networks, social hierarchies, and cultural customs.

Ancient Greek and Roman Statues Were Scented with Perfumes They were infused with substances like rose, olive oil, and beeswax to give off pleasant fragrances

Statues in ancient Greece and Rome were not only examples of classical beauty but also emitted pleasant scents, according to a new study published in the Oxford Journal of Archaeology. The study’s author, Danish archaeologist Cecilie Brøns, discovered that sculptures were fragranced with substances like rose, olive oil, and beeswax.

This practice, in addition to pleasing the senses, had a symbolic role, “highlighting the religious and cultural significance of those sculptures,” as Bill Giannopoulos writes in the Greek City Times. In some cases, it even contributed to better preservation of the statues.

The ritual of scenting statues, according to Brøns, was not only for sensory pleasure but also underscored the cultural and religious importance of these artworks.

How Did Brøns Arrive at This Conclusion?

By reading ancient Greek and Roman texts, Brøns noticed references to statues with sweet fragrances. She continued her search and uncovered numerous additional references in the works of authors such as Cicero, Vitruvius, and Pausanias, among others. The sculptures mentioned in these texts were often depictions of deities.

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In any case, the pleasure of these statues for the viewer was not solely visual but also olfactory, Brøns adds in her article.

This is yet another fascinating revelation following the discovery that, despite the minimalist aesthetic we associate with them today, statues in the past were decorated in vibrant colors, with jewelry, fabrics, flowers, garlands, and ribbons.

However, by the time archaeological excavations began during the Renaissance, many of these decorations were no longer present, and even the pigments had significantly faded. Those that had survived until then were destroyed after exposure to the air and sunlight.

How Ancient Greek Armies Fed Their Warriors

Napoleon Bonaparte once said, “An army marches on its stomach.” The phrase captures a truth as relevant in ancient times as it is today: feeding an army has always been crucial to maintaining soldiers’ health, morale, and combat effectiveness.

The Importance of Logistics in Ancient Warfare

When we imagine the wars of ancient Greece, we often think of the famed hoplites in the heat of battle. But the outcome of a campaign often hinged not on the clash of weapons, but on logistics—the movement of people and supplies, and most importantly, securing food at every stage of the journey.

As Professor David Charters explains, “Though hoplites were expected to carry their own food and wine, the weight of their armor meant they could only bring so much.” As a result, ancient armies often relied heavily on the local landscape for sustenance—timing their campaigns to coincide with ripe grain fields and lush pastures.

How Soldiers Got Their Food

Soldiers used a variety of methods to feed themselves: foraging for wild greens, hunting, buying provisions in local markets, or even looting villages. Their diet consisted mainly of grains, legumes, olives, onions, garlic, and cheese.

In his Anabasis, Xenophon describes a fellow soldier returning with sacks full of supplies: “barley flour, wine, olives, garlic, onions.” This vivid account gives us a clear glimpse into the everyday diet of soldiers on campaign.

A Warrior’s Treat: From Itrion to Pasteli

Although their meals were often humble, soldiers with a sweet tooth had a treat to look forward to. Homer, in both the Iliad and Odyssey, mentions itrion—a sweet made of honey and sesame seeds, used to give energy to the warriors of the Trojan War. This ancient energy bar remained popular for centuries and survives in Greek tradition today as pasteli.

The Spartans’ Famous “Black Broth”

The Spartans, known for their austere lifestyle, had a signature dish: melas zomos—black broth. At their communal messes, they would eat this soup made from pork and blood, served with bread called maza. To outsiders, the taste was notoriously unappealing. One visitor from southern Italy famously joked, “Now I understand why Spartans go so eagerly to their deaths—at least they won’t have to eat black broth again!”

Conclusion

The daily life of ancient Greek soldiers was shaped not only by the glory of battle but also by the harsh realities of survival. Their diet was often simple, yet there were occasional moments of enjoyment—especially with traditional sweets that have stood the test of time. History reminds us that success in war depends not just on bravery, but also on the strength… of the stomach.

Guggenheim: The Museum That Transformed Bilbao Bilbao, the heart of the Basque Country, was reborn through its iconic museum.

The Guggenheim Museum / Photo: Unsplash

Bilbao is the heart of the Basque Country—a city that was revived thanks to its iconic museum. Can a museum breathe new life into a city? The “Bilbao experiment” proved that it can. Perhaps because the Guggenheim’s groundbreaking building—with its flowing, wave-like curves—is itself a modern work of art. Designed by architect Frank Gehry using limestone, glass, and titanium, this architectural masterpiece lifted the city from the ashes of the deindustrialization that plagued it in the late 20th century. It woke Bilbao from its cultural slumber, bathing it in light and revitalizing the urban landscape. It re-energized the economy and put the city firmly on the global cultural map.

The museum’s opening in 1997 was a bold gamble by the Basques—and it paid off. Now, nearly three decades later, Bilbao’s architectural landmark is considered one of the most recognizable modern museums in the world.

Titanium Brilliance on the Riverbank

The Guggenheim sits on the western bank of the Nervión River, which runs through Bilbao and into the Cantabrian Sea. Built on a foundation of reinforced concrete piles, the museum blends seamlessly into its urban environment. Its exterior is clad in 33,000 lightweight yet durable titanium panels, chosen for their resistance to weather and minimal environmental impact. These panels reflect light in ever-changing ways, creating a dynamic appearance that shifts with the weather. The shimmering silver tones and undulating form of the museum make for a mesmerizing visual effect that captures every gaze. The Guggenheim, through the power of art and architecture, transforms the city itself.

Photo: Vasso Vasiliadioti

Seen from the river, the iconic structure resembles a moored ship with billowing sails—an image inspired by the city’s maritime history. Outside, “Puppy,” a floral sculpture by Jeff Koons, stands as the museum’s unofficial mascot. Made from thousands of colorful flowers, the 12-meter-tall puppy charms visitors of all ages. Nearby, Louise Bourgeois’s giant spider, Maman, crafted from bronze, looms over the plaza—10 meters tall and weighing 8 tons, due in part to the 28 eggs she carries beneath her.

Reflected in the surface of the nearby pool are Yayoi Kusama’s red dots and Tall Tree and the Eye by Indian artist Anish Kapoor—an installation of 73 highly polished stainless-steel spheres arranged in three columns. Standing 13 meters tall, it resembles a tree rising from the water, with each sphere offering distorted reflections of its surroundings. The nearby La Salve Bridge, enhanced by Daniel Buren’s Red Arches, completes the site’s visual harmony, mirrored in the river’s waters.

Interior and Collections

Flamingo Capsule, James Rosenquist / Photo: Vasso Vasiliadioti

Inside, the museum is just as spectacular. Its curved forms and expansive glass walls create a bright, airy space. A 50-meter-high central atrium floods the interior with natural light, offering sweeping views of the Basque countryside and serving as the museum’s organizing core. The three floors of the museum spiral around this atrium, connected by curved walkways, glass-and-titanium elevators, and staircases.

The museum hosts permanent and rotating exhibitions featuring Spanish and international artists such as Mark Rothko, Andy Warhol, Willem de Kooning, Claes Oldenburg, Yves Klein, Jeff Koons, and Richard Serra. During our visit, the temporary exhibitions included works by Austrian expressionist Oskar Kokoschka and a retrospective of Japanese artist Yayoi Kusama.

“Tall Tree and the Eye,” Anish Kapoor / Photo: Vasso Vasiliadioti

One of the museum’s most significant pieces is The Matter of Time by Richard Serra. In a 142-meter-long and 27-meter-wide gallery, eight massive steel spirals form a labyrinth of curved pathways. Visitors can walk around and inside the sculptures, experiencing the minimalist work from all angles. The installation invites you to get lost in its simplicity and balance—monumental, industrial, and shaped by time and oxidation.

In contrast, Jeff Koons’s shiny, oversized Tulips reimagine everyday objects using brightly polished stainless steel. The brilliant colors and smooth finishes reflect the museum’s interior and visitors alike. Spread across three floors, we also saw Andy Warhol’s Marilyn Diptych—multiple portraits of Marilyn Monroe created shortly after her death in 1962—half in color, half in black and white.

Other highlights included Waking by British duo Gilbert & George, Barge by Robert Rauschenberg, Flamingo Capsule by James Rosenquist, and Rising Sea by El Anatsui, made of copper and aluminum wire. El Anatsui, based in Nigeria, often uses materials sourced from recycling centers.

The Guggenheim Bilbao spans 24,000 square meters, with 11,000 dedicated to exhibition space. Gallery spaces mix traditional rectangular rooms with more unconventional, irregular shapes—reflecting Gehry’s innovative spirit. The museum also offers educational programs including workshops, lectures, and film screenings, helping visitors engage more deeply with contemporary art and culture.

“Tulips,” Jeff Koons / Photo: Vasso Vasiliadioti

The Story Behind the Museum

The Guggenheim Museum of Modern and Contemporary Art in Bilbao was founded following a 1991 proposal from the Basque government to the Solomon R. Guggenheim Foundation in New York. According to the agreement, the Basque government would fund construction, establish a $50 million acquisitions fund, and commit to a $12 million annual operating budget. The Guggenheim Foundation would handle programming, including exhibitions from its New York-based permanent collection.

The Basques envisioned a monumental building to revitalize their declining post-industrial district. Frank Gehry’s design was chosen through an international competition.

Encouraged by the foundation, Gehry took a bold approach, creating a structure that embodied the spirit of contemporary art. His deconstructivist style gives the impression of defying gravity. Construction was completed in just four years at a cost of $89 million. The museum was inaugurated in October 1997 by Spain’s King Juan Carlos. Initially criticized for its high cost, the museum opened with 250 works and is now considered one of the world’s most important institutions for modern and contemporary art.

Photo: Vasso Vasiliadioti

The Guggenheim Bilbao has become a global symbol of architecture’s transformative power—frequently cited as one of the most influential buildings of the past few decades. Its success sparked the development of new cultural and recreational infrastructure throughout the city, making Bilbao a model of urban regeneration. Designed by internationally renowned architects, these projects have turned the city into a global hub for modern design.

The museum has welcomed over 27 million visitors to date. In 2010, it was recognized in the World Architecture Survey as one of the greatest architectural achievements since 1980. Many cities have since tried to replicate the so-called “Guggenheim effect” by launching their own large-scale projects, often with less successful results.

The Old Town

Just a short walk from the Guggenheim is Bilbao’s historic center. The Old Town is centered around Bidebarrieta Street, which leads to the Cathedral of Santiago. Here you’ll find some of the city’s oldest churches, buildings dating back to the 1400s, the Arriaga Theater (inspired by the Paris Opera), and one of Europe’s oldest covered markets. Wandering through its narrow streets lined with striking old buildings feels like stepping back in time. You’ll discover hidden plazas and corners where architecture ranges from Art Nouveau to neoclassical to baroque.

The Old Town’s heart is known as Siete Calles (Seven Streets), the original core of the city.

Photo: Vasso Vasiliadioti

When you're ready for a break, stop by one of the many bars in Plaza Nueva to enjoy pintxos—the Basque version of tapas—paired with a cold beer or a glass of local white wine, Txakoli. Gastronomy is another thriving art form in the Basque Country, home to six Michelin-starred restaurants in a city of just 350,000 people.

The old and new parts of the city are connected by five bridges, including the Arenal Bridge and the Zubizuri Bridge, designed by famed architect Santiago Calatrava.

A City Reimagined

Bilbao is cosmopolitan yet distinctly Basque—bold, free-spirited, and confidently embracing modernity through culture, architecture, and innovation. It has been transformed into a city of shimmering steel and light. And though we say goodbye, we do so with a promise to return.

As we leave, we carry two final images from the mouth of the Nervión River where it meets the Cantabrian Sea: in Portugalete stands another symbol of the region—the Vizcaya Bridge (Puente Bizkaia), the world’s first transporter bridge and a UNESCO World Heritage Site.

Unveiling the Mysteries of the Temple of Hecate – Stunning Depictions of the Battle Between Gods and Giants

The Temple of Hecate
An aerial view and floor plan of the Temple of Hecate. Photo: Pamukkale University

The sanctuary of Hecate at Lagina, located in Turkey’s Muğla province, stands as one of the most significant religious sites associated with the goddess Hecate.

It is one of two sacred centers of the ancient Carian city of Stratonicea, which lies just 8.5 kilometers away. Hecate, a deity from ancient Greek religion and mythology, was linked with magic, crossroads, and the underworld.

At the heart of this archaeological site stands the Temple of Hecate, a masterpiece of Hellenistic architecture and a powerful symbolic narrative that offers insight into the political and cultural dynamics of the era.

Design and Structure of the Temple

Built upon a five-stepped terrace, the temple follows the pseudoperipteral design (a type of temple where the columns of the outer colonnade are attached to the walls of the cella as half-columns) and is oriented along a northwest-southeast axis.

Aerial view and floor plan of the Temple of Hecate. Photo: Pamukkale University

The temple features eight columns on its narrow side and eleven along its longer side.

The columns reflect a refined blend of Ionic and Corinthian styles, showcasing the richness of Hellenistic architectural tradition. Anthemion (honeysuckle) motifs decorate the entablature, though some remain unfinished—an indication of the temple’s complex and prolonged construction process.

Pediments Depicting Peace and Divine Combat

The exterior friezes of the temple present four key scenes:

• The eastern frieze illustrates the birth and life of Zeus.

• The northern frieze depicts peace and friendship between the Amazons and the Greeks, with Hecate shown pouring a sacred libation to honor the alliance.

• Another eastern frieze shows the epic battle between gods and giants—the Gigantomachy—with Hecate wielding her signature torch like a weapon.

• The southern frieze likely represents deities from Caria and its cities, though their exact identification remains uncertain.

This unique combination of themes reflects the political messaging of the Hellenistic era, emphasizing peace following prolonged periods of conflict and war.

Reconstruction of the Temple’s Façade. Photo: anatoliaarchaeology.net

Restoration of the façade of the Temple of Hecate. Photo: anatoliaarchaeology.net

Divine and Heroic Scenes in the Friezes

Recent excavations uncovered additional frieze fragments on the temple walls, depicting scenes distinct from those found on the columns.

These pediments may portray heroes from the Trojan War and assemblies of gods—such as Hermes, Demeter, Hades, and Persephone. In contrast to the dynamic battle scenes, these vignettes convey calm, harmonious moments that symbolize order and stability.

Ritual Practices Honoring Hecate

A sunken votive pit discovered in the temple floor points to rituals related to Hecate’s role as a goddess of the underworld.

Similar sacrificial scenes are depicted on the northern frieze, suggesting that important ceremonies took place in the temple’s innermost sanctuary.

Ongoing Research and Conservation Efforts

Since 1993, archaeological teams have meticulously documented and mapped the temple’s architectural elements to guide conservation efforts.

The column bases and capitals have been temporarily relocated to give visitors a clearer view of the temple’s original layout.

Some decorative elements date to the Early Roman Imperial Period, indicating that construction and embellishment of the temple continued for centuries.

Dating the Temple: A Timeline of Asia Minor’s Ancient Greek Heritage

An inscription from the Roman Senate, engraved on the temple wall, confirms its existence by at least 81 BCE.

However, architectural details suggest that construction phases began in the late 2nd century BCE and continued into the early 1st century BCE.

The combination of Corinthian capitals and other stylistic features points to the temple’s intricate building history and the sustained artistic activity throughout its development.

The British Museum Shifts Its Stance on the Parthenon Marbles

The British Museum appears increasingly open to a “cultural partnership” with Athens regarding the Parthenon Marbles. “Anything is possible if there is political will,” emphasized actor and writer Sir Stephen Fry during his remarks at the Parthenon Project event held in Westminster. The event, coordinated by BBC arts editor Katie Razzall, featured prominent figures from both the UK and Greece in an open discussion on the reunification of the Marbles. Public sentiment is clearly aligned: 64% of Britons now support returning the Marbles to their homeland.

The discussion followed the announcement of an ambitious plan to "redefine" the British Museum, including a complete renovation and redesign of its western wing—where the Parthenon Marbles are currently housed. At the same time, internal deliberations continue over how the Museum’s collections should be presented to future generations.

“Anything is possible if there is political will”

Sir Stephen Fry stressed that Britain now has the chance to do “something elegant, something respectable, something for which the world will truly admire us.” He highlighted Australia as an example, referencing the Australian Constitution (Public Record Copy) Act 1990, which allowed the transfer of a copy of Australia’s Constitution—held in London—back to Australia. Despite existing laws that prohibited it, all it took was for a few MPs to coordinate and pass a new act.

Fry argued that a similar legislative route could pave the way for the return of the Parthenon Marbles.

“We gain nothing by saying no”

Lord David Frost, former Brexit chief negotiator, added that the time had come for the UK to stop resisting the idea of returning the Marbles:
“I don’t see what we’re gaining by continuing to say ‘no’... We get bogged down in details about whether it’s a loan, what the law says, how long it will last... It should just be a gift—free of prejudice.”
He acknowledged the issue remains divisive within Parliament, but emphasized that “public opinion is shifting.”

“The time has come”

Former Shadow Culture Secretary and member of the House of Lords Thangam Debbonaire echoed this sentiment:
“The time has come for reunification. Anyone who has visited the Acropolis Museum—as I had the honor of doing last year—will have seen those deeply moving empty spaces waiting for the return of their Marbles.”

“Restoring the integrity of a monument”

Mareva Grabowski-Mitsotaki, attending in her personal capacity and not as the wife of the Greek Prime Minister, described this as “the right moment,” pointing to a “win-win scenario” for both sides.

She expressed how moving it is to hear Britons speak about the Marbles with such empathy, calling reunification a “unique and exceptional case.”
“This is not about returning objects—it’s about restoring the historical and architectural integrity of a monument,” she said.

Grabowski-Mitsotaki also referred to ongoing negotiations between London and Athens, centered around a rotating loan of important Greek antiquities that have never before left the country.

Opposition remains

On the other hand, Lord Parkinson expressed openness to the idea of lending the Marbles, but not to their permanent return.
He emphasized that current law does not prevent the British Museum from loaning objects, something it already does with roughly 2,000 items annually.

A new cultural agreement on the horizon?

The Parthenon Project event unfolded in an atmosphere of growing optimism about a new cultural agreement between the British Museum and the Acropolis Museum. Beyond the return of the Marbles, such a partnership could also involve exhibiting rare Greek antiquities in London—such as the famed Mask of Agamemnon, which has never left Greece.

64% of Britons support the Marbles' return

Public opinion seems ready for change. According to a YouGov poll, 64% of Britons support returning the Parthenon Marbles—particularly if there is an exchange involving Greek museum artifacts. Furthermore, 77% are in favor of strengthening international cultural partnerships between museums.

Lord Ed Vaizey, former Culture Minister and co-chair of the Parthenon Project, called this a “significant opportunity for international collaboration, resource sharing, and the enrichment of collections.”
He noted:
“We have a unique chance to forge an equal partnership with one of our strongest European allies, enhancing cultural and educational opportunities for younger generations in both countries.”

“This cultural partnership,” he added, “would serve as a model of soft power and diplomacy—with mutual benefits for both Britain and Greece.”

Archeologists discover 2,500-year-old Midas dynasty tomb in Turkey

A 2,500-year-old royal tomb has been discovered by archeologists at the site of an ancient city in Turkey.

After four months of excavations, Penn Museum and Ankara Hacı Bayram Veli University archeologists discovered a well-preserved royal tomb chamber that dates back to 8th century BCE (800 to 701 BCE). The tomb's roof was collapsed, but objects inside remained intact, including bronze vessels used during banquets, iron rods, a pair of large bronze cauldrons and assorted smaller bronze cauldrons, jugs and bowls,

The tomb was discovered at the archeological site of Gordion, the capital of the Phrygian kingdom, which controlled much of Asia Minor during the first millennium BCE, Gordion Excavation Director C. Brian Rose said in a news release. Gordion is located in northwest Turkey, about 60 miles southwest of Turkey’s capital Ankara.

At one time, Gordion was ruled by King Midas, famously known for his "golden touch." Archeologists believe that the newly-discovered tomb may have belonged to a member of the Midas dynasty.

Archeologists used magnetic prospection technology to find the tomb, a news release states. This geophysical method uses variations in Earth’s magnetic field to identify objects below the surface, according to the U.S. Environmental Protection Agency.

To archeologists’ surprise, the tomb indicated a cremated burial. Up until this latest excavation, researchers believed the first cremation to occur in Gordion was more than 100 years later.

Vessels inside the tomb also featured textiles adhered to their exterior, which indicate that textiles were an important industry in Gordion, Rose said

The tomb was located near and appeared like the Midas Mound tomb, which is believed to have housed the body of King Midas’ father.

The Gordion site has proved fruitful for archeologists for 75 years, since Penn Museum began leading excavations there in 1950. Previous excavations included the oldest wooden building in the world, dating back to 740 BCE. Others include the earliest colored stone mosaics found in Gordion, the best-preserved citadel gate of the first millennium and a gilded ivory sphinx of the 6th century BCE,

Greta Cross is a national trending reporter at USA TODAY. Story idea?

Ithaca: Groundbreaking Discoveries Link Mycenaean Palace to Odysseus! Statement released by the Ministry of Culture

New and significant findings about the historical and cultural development of Ithaca have emerged from the University of Ioannina’s research program at the major archaeological site of Agios Athanasios—known as the "School of Homer"—in the island’s northern region, according to an announcement from the Greek Ministry of Culture.

The research, which began in 2018, involves the management, further documentation, and promotion of the finds from the systematic excavations carried out between 1994 and 2011 under the late Associate Professor Litsa Kontorli-Papadopoulou and Professor Emeritus Athanasios Papadopoulos. The new program is led by Professor Emeritus Giannos G. Lolos, with key contributions from Dr. Christina Marambea, an archaeologist at the University of Ioannina.

Notably, Athanasios Papadopoulos once stated in an interview that he was convinced the site was, in fact, the palace of Odysseus himself. He said:
"Sadly, since 2011, the authorities have let the site fall into neglect. I doubt they’ll ever publicly declare that Odysseus’ palace has been found. Back in the 1990s, I was pressured to make that claim, but I never did—because I hadn’t yet gathered enough evidence."

Read the conclusions drawn by the late archaeologist who, together with her husband, made the initial discovery:

In the nearby village of Stavros, a striking reconstruction of the palace by Italian architect Bruno Mazzali stands in the town square—a visual reminder that something truly significant may once have occurred in this otherwise idyllic location. The reconstruction is based on the archaeological findings and aligns in several aspects with descriptions from Homer’s epic.

The site—called the "School of Homer" since the early 19th century—is centered around a large rocky outcrop on the eastern slopes of Exogi, in an area with natural springs. Excavated remains are located on two terraces, connected by two carved staircases, as well as in lower-lying areas. On the upper terrace stands the remains of a Hellenistic-era tower (3rd century BC), while the lower terrace is largely occupied by a massive rectangular building.

Evidence of human activity at the site now dates back to the Final Neolithic period (late 5th/4th millennium BC). Finds include dozens of flint tools and several hundred pottery fragments. Regarding the Bronze Age, dozens of fragments from around 30 distinct vessels dating to the late 14th and 13th centuries BC have been identified.

A particularly important discovery is a fully preserved subterranean spring/reservoir, constructed with corbelled masonry. It’s one of the few known examples of its kind. Based on its shape, construction techniques, and the presence of Late Mycenaean drinking cup fragments inside, researchers—past and present—strongly believe it dates to the Mycenaean palatial period.

The Mycenaean installation at the School of Homer likely served as an administrative center overseeing ports and lands, as well as managing and protecting the area’s abundant water resources. It appears to be part of a network of 7–8 Mycenaean sites in the fertile, harbor-rich northwest Ithaca. This network seems to loosely define the larger urban (traditionally Odyssean) core of the island during the Mycenaean palatial era (14th–13th century BC).

In later historical periods, most of the ceramic finds date to the Hellenistic and early Roman times (up to the 1st/2nd century AD). Among the many large vessel shards, eight fragments of perirrhanteria (ritual basins typically used in sanctuaries) have been identified.

Beyond a wealth of small objects, the finds also include:

• 34 clay votive offering fragments

• Several dozen clay spindle whorls

• A small hoard of gold jewelry

• Other mainly bronze items and adornments

• Over 100 coins from various cities (3rd century BC to 2nd century AD), indicating a flow of visitors to the site.

Among the thousands of Hellenistic and early Roman roof tile fragments currently being sorted and cleaned, 14 bear stamped inscriptions in Greek and Latin. One is marked with a partially preserved inscription and the Greek letter Δ—possibly denoting “public” ownership. Another is stamped with the mirrored Greek letters ΔΗ (possibly an abbreviation for “public”). Two others contain parts of the name of Apollo Agyieus, suggesting a local cult of the god.

From recent analysis emerged a stamped tile fragment of major significance: it bears the name [OD]YSSEUS (in the genitive case) in reverse. Another fragment features an inscribed votive dedication, likely in the dative case—perhaps made by a pilgrim: ODYS[SEI].

As part of their interpretation, researchers considered finds from W. Vollgraff’s 1904 excavation on the upper terrace. Among them are Late Roman-era items, including a miniature bronze bust believed to represent Odysseus, consistent with depictions in Greco-Roman art and on Ithacan coins from the 4th–3rd century BC.

The complex appears to have been in active use from the Hellenistic through to the early/mid Roman periods (up to the 1st/2nd century AD). It features robust terrace constructions, striking stone-cut architecture, and niches likely used for dedications or inscriptions—evidence of intense ritual activity, especially in the lower terrace.

The Hellenistic monumental complex can now be confidently identified as the Odysseion of Ithaca, believed to have included a sanctuary or hero shrine dedicated to Odysseus. This site is mentioned in a decree of the Ithacans around 207 BC from Magnesia in Asia Minor [IG IX 12 4, 1729], which also references the associated athletic contests (Odysseia). The nature and exact location of the Odysseion have been subjects of scholarly debate since the 1930s.

Today, nearly a century after the discovery of the inscribed phrase EUXĒN ODYSSEI ("A vow to Odysseus") on a fragment of a clay mask from the Late Hellenistic period found in a cave at Polis Bay, two new inscriptions from the same era—ODYSSĒOS and ODYSSĒI—further support the later cult worship of the hero in northwest Ithaca. Combined with the wealth of archaeological data, these finds confirm the development of a prominent public complex with a major role in the religious, social, and possibly political life of the Ithacans during the Hellenistic and early Roman periods. It also likely served as a broader pilgrimage site.

The University of Ioannina’s North Ithaca Research Project was initially carried out from 2018 to 2022 under a Cultural Development Agreement (with the Municipality of Ithaca, the Ephorate of Antiquities of Kefalonia and Ithaca—led by Dr. Gr. Grigorakakis—University of Ioannina, and the Ionian Islands Region), thanks to the support of Ithaca’s Mayor, Mr. D. Stanitsas.

It continues intensively today through the University’s Research Committee, supported by a generous donation from Dr. D. G. Apostolopoulos and Dr. A. Païzi-Apostolopoulou, both retired Research Directors of the National Hellenic Research Foundation.

Participating archaeologists include:
Prof. Emeritus G. G. Lolos (Scientific Director), Dr. Chr. Marambea, Dr. St. Oikonomidis, Dr. K.-A. Tsonos, and D. Syrmalis (MA). Also contributing are Dr. E. Kardara (Conservator), Chr. Vaporakis (Conservation Advisor), Th. Deligianni (Chemist), D. Skyrgiannis (Architect), K. Gkanas (Civil Engineer), and A. Notia (Philologist).

Specialist studies are carried out in collaboration with Prof. Emerita K. Liambi (Ancient History) and former Associate Professor A. Vlachopoulou (Classical Archaeology), with vital advisory input from Ch. Kritzas, Honorary Director of the Epigraphic Museum.

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Mysterious Relief Rewrites the History of an Ancient City — The Elite and Their Connection to “Marginal” Areas

A relief from Structure 2 at El Cerrón, shown side-by-side as a digital photo (A) and an enhanced image (B).
Photo: J. Blánquez Pérez / Museo de Santa Cruz de Toledo; Ministry of Culture and Sport

A team of archaeologists revisited the finds from the El Cerrón archaeological site in Illescas, a town in the province of Toledo within the autonomous community of Castilla-La Mancha. Their research revealed that the local elite of ancient Carpetania, located on the southern plateau of the Iberian Peninsula and historically the territory of the Carpetani people, was not a marginal community as previously thought.

The terracotta relief decorated with Mediterranean motifs discovered at the site shows that these communities actively participated in the cultural and commercial networks of the Mediterranean during the Iron Age (4th–1st century BCE).

Challenging Traditional Views of Carpetania
Published in the journal Antiquity, the study refutes the long-held view that Carpetania was a peripheral, passive region.

Cultural Evidence of Active Participation in Mediterranean Networks
The pediment was found in a building archaeologists call Structure 2. It depicts a scene sculpted in terracotta showing a gryphon—a mythical creature with the body of a lion and the wings of an eagle—two charioteers with horse-drawn chariots, and a human figure holding a scepter, symbolizing power or a spear.

Researchers note that this type of iconography is characteristic of Mediterranean art and has parallels both along the Iberian coast and in other regions such as northern Italy.

What makes El Cerrón exceptional is its inland location, over 300 kilometers from the coast, suggesting that the elites of Carpetania were connected to Mediterranean cultural currents.

The relief from El Cerrón may be the most distinctive example found so far of the “Mediterraneanization” of the Iberian Peninsula’s interior, the study reveals.

At 1.35 meters tall, the pediment was part of a larger installation embedded in a brick retaining wall or shrine inside a building which archaeologists believe was likely a sanctuary.

Colored and black-and-white photos of the relief shortly after its discovery in 1979.
Photo: Valiente Cánovas & Balmaseda Muncharaz 1981

A Major Social Transition
Dating to the 4th century BCE, a time of power struggles and significant social changes in Carpetania, the relief coincides with the relocation of early settlements from river plains to more defensible elevated sites like fortified hills. This transition is linked to population growth, increased agricultural production, and intensified competition for resources.

Traditionally, Carpetania was seen as a peripheral area culturally influenced by stronger neighbors such as the Celtiberians. However, the new analysis shows that the Carpetani were not mere imitators but active participants in cultural and commercial exchanges.

Through their connections, they consciously “Mediterraneanized,” adopting Iberian customs and goods, which the local elite used primarily to legitimize and consolidate their power and status, the authors explain. The study also highlights that the relief and other imported artifacts found at the site—such as Attic pottery and a bronze buckle from northern Italy—demonstrate the elite’s access to Mediterranean markets, likely via trade routes linking the interior to the coast through the Tagus and Guadiana rivers, the Iberian Peninsula’s most important waterways during the Late Iron Age.

The Meaning of the Relief: Religious Scene or Display of Power?
Experts disagree on the exact meaning of the scene depicted in the relief. Some interpret it as a ritual procession or even a funerary scene, where the gryphon acts as a guide for the deceased accompanying them into the afterlife.

However, since the relief was discovered inside a building thought to be sacred, other analysts see it as representing heroes or deities connected to ancestor worship, which the elites exploited to reinforce their authority.

What the Preservation of the Fragment Suggests
The preservation of a fragment of the relief within the retaining wall or temple at the entrance of Structure 2—possibly a shrine—indicates that although the relief was not kept intact, it continued to hold significant importance for the community living there, researchers observe.

Overturning Established Academic Assumptions
Finally, the researchers conclude that the findings underscore the urgent need to challenge old assumptions and biases shaping studies of Mediterranean interactions, especially regarding areas traditionally labeled as “marginal.”

At This Museum, You Don’t Just Look at the Exhibits — You Can Touch Them Too

V&A East Storehouse
At this museum, you can actually touch the exhibits, not just see them.

A groundbreaking cultural space opened its doors on May 31 in East London.

The V&A East Storehouse, an ambitious expansion of the renowned Victoria & Albert Museum, promises to redefine how the public interacts with museums by offering access to a vast portion of the collection that was previously hidden away in storage. It provides a unique museum experience: immediate access and the chance to physically engage with objects of immense historical and cultural value.

A Treasure Trove of Over 250,000 Artifacts
The Storehouse East houses more than 250,000 historical and artistic objects spread over four floors, three of which are open to visitors. From Roman frescoes and 14th-century paintings to everyday items and haute couture pieces from fashion houses like Schiaparelli, Balenciaga, Vivienne Westwood, and Comme des Garçons, this new venue feels less like a traditional museum and more like a vast artistic treasure chest — a “cabinet of curiosities” brought to life.

The Giant Dances Again: Picasso’s Forgotten Curtain — His Largest Work — Goes Viral Thanks to the V&A

Touching the Past: A Revolutionary Museum Experience
What’s most striking is that visitors aren’t limited to just looking. In the specially designed Research Centre at the Storehouse, guests can—by booking online—handle authentic objects under the supervision of expert conservators. The online booking platform opened on May 13 and has already received hundreds of requests—from passionate history buffs to brides-to-be seeking inspiration for their wedding dresses. One of the most sought-after items is a 1954 fuchsia Balenciaga gown made of silk taffeta.

Handling 500-Year-Old Shoes or Original 1920s Theater Sets Might Seem Bold
But as Kate Parsons, Head of Conservation at the V&A, assures, all objects available for touch have been carefully selected for their durability. The environment adheres to strict temperature (16–25°C) and humidity (40–60%) standards, in line with international museum regulations. Objects are secured using specialized techniques that ensure both safety and accessibility.

A Building Designed to Feel Alive and Open
Designed by the award-winning studio Diller Scofidio + Renfro, the building fosters the feeling of a living, open museum. Inside, metal shelving units rising up to 20 meters high hold all kinds of objects, allowing visitors to look in every direction—from the top floor to the ground level—creating a free-exploration experience without guided tours or thematic restrictions. Items are displayed without strict chronological or thematic order, preserving an element of surprise and diversity, inspired by how private collections were shown in the 16th century.

Giving Voice to the Hidden 97% of Museum Collections
As Elizabeth Diller, founding partner of the studio, pointed out, “Usually only 3% of a museum’s collections are on display to the public. The remaining 97% stay hidden in basements and storerooms. The Storehouse gives a voice to this unseen material.”

Nebra Disk: The Secrets Behind the Creation of the Oldest Sky Map Finally Revealed

A new study has uncovered the entire manufacturing process of a unique 3,600-year-old Bronze Age disk.
Photo: Frank Vincentz

German researchers have reconstructed the ancient techniques used to create the Nebra Disk, one of the most famous archaeological finds, revealing the impressive metallurgical skills of Early Bronze Age craftsmen.

About the Nebra Disk
The Nebra Disk was discovered by looters in 1999 at the Mittelberg Hill archaeological site near Nebra, Germany. It is a bronze artifact about 30 centimeters in diameter, decorated with astronomical symbols including the sun, moon, crescent, and stars, all inlaid with gold leaf and dots.

Dating from roughly 1800 to 1600 BCE, the disk is attributed to the Unetice culture of Central Europe.

It is widely regarded as the oldest known representation of the cosmos in the world and is believed to have been used for astronomical observations or rituals.

Uncovering the Manufacturing Techniques
Researchers at Otto von Guericke University Magdeburg, working with the State Office for Heritage Management and Archaeology of Saxony-Anhalt, applied modern forensic and experimental archaeology methods to reveal how the disk was made.

The team, led by Professor Dr. Thorsten Halle from the Institute of Materials, Technologies and Mechanics, employed Scanning Electron Microscopy (SEM) and Electron Backscatter Diffraction (EBSD) — two advanced techniques from materials science and engineering used to study the microstructure and crystal formation of metals — to analyze a microscopic sample from the original disk.

These methods helped the researchers understand the crystal structure of the metal and the heating and processing steps the disk underwent.

The Metallurgical Process
According to Dr. Halle, the disk was first cast at temperatures exceeding 1200°C. It then underwent repeated heating cycles at about 700°C and was hammered approximately ten times. This cycle of heating and reshaping is characteristic of a process known today as recrystallization, where the metal "heals" by forming new grains after deformation, restoring its ductility and workability.

This advanced thermal treatment and forging process reveal a sophisticated empirical understanding of metal behavior, despite the absence of written knowledge, machines, or measuring tools in that era.

Reconstructing Ancient Craftsmanship
The ancient manufacturing secrets of the Nebra Disk are being reconstructed by Dr. Christian-Heinrich Wunderlich from the State Office for Conservation and Archaeology of Saxony-Anhalt (pictured front with a replica of the disk) alongside Professor Dr. Thorsten Halle (pictured behind) at the Otto von Guericke University Magdeburg’s laboratory, where the research took place.
Photo: Jana Dünnhaupt/University of Magdeburg

Dr. Halle explained, “This kind of detailed manufacturing analysis shows striking similarities with modern industrial processes. We carefully study the metal’s history, almost like reading a diary.”

Experiments with Bronze Age Techniques
To test the production process, the research team collaborated with expert coppersmith Herbert Bauer, who created multiple replicas using Bronze Age tools and methods such as stone hammers and charcoal-fired furnaces.

These replicas were examined under the same conditions as the original disk, and their microstructure was compared. The strong similarities confirmed the hypothesized production methods.

Their findings were published in November 2024 in Nature Scientific Reports, sparking global interest.

A Mobile App for Non-Invasive Material Analysis
Beyond shedding light on ancient craftsmanship, the study suggests that Bronze Age artisans possessed a deeper knowledge of materials science than previously thought.

Building on this, researchers at Magdeburg are now developing a mobile phone app based on eddy current technology, which will allow archaeologists to analyze the material history of metal artifacts on-site using just a smartphone — all without causing any damage to the objects.

The Holy Grail Hidden in a Templar Knight’s Tomb — Where It Is and Why No Excavation Is Taking Place

An adventurer and researcher promises to reveal the location of the Holy Grail once he obtains excavation permission.

The search for the Holy Grail has taken on mythical proportions over the centuries, and now one adventurous researcher—like a modern-day Indiana Jones—is adding fresh fuel to the fire of the Grail legend.

Mark Christopher Lee claims he has located the Holy Grail, the chalice from which Jesus Christ drank his last drink. Supposedly, it’s hidden in the most unlikely place, but Lee refuses to disclose the exact location until he receives official permission to begin excavations.

Lee asserts that the Holy Grail is buried in a town in Hertfordshire, a county known as the UK’s high-tech hub. He says he discovered the forgotten tomb of a Templar Knight where the Grail is believed to be concealed after years of intensive research. Convinced that this tomb is its true hiding place, he is now seeking permission to excavate. Until then, he won’t reveal the precise spot.

“I have studied Grail legends for years. I believe I have found evidence linking the Grail’s journey to England with Joseph of Arimathea, who was entrusted with Christ’s burial,” Lee said, adding that according to legend, the Grail was entrusted to Joseph himself.

Interpretations vary, suggesting that Joseph was supposed to carry it along with Mary Magdalene to France, where the Knights Templar guarded it. However, another theory holds that Joseph brought it to Great Britain, where it reached King Arthur’s Round Table.

References to the Holy Grail and King Arthur appear in 6th-century Welsh poems. It is also said that the Templars discovered the Grail on the Temple Mount in Jerusalem, smuggled it secretly to England, and hid it somewhere in Hertfordshire.

Lee believes that the Grail ultimately passed into the hands of Sir Francis Bacon, a key figure in the secret Rosicrucian society of philosophers who sought to uncover spiritual wisdom and mastery over life.

Athens: New Archaeological Site Revealed – When It Will Open to the Public

A complex of luxurious Roman-era residences has been uncovered in front of the Zappeion, during redevelopment and reconstruction work on Vasilissis Olgas Avenue.

A new archaeological site has been revealed in the heart of Athens, where archaeologists have brought to light highly significant finds from the city’s Roman period. The discoveries consist of complexes of luxurious Roman-era homes found in front of the Zappeion, uncovered during the redevelopment and reconstruction works on Vasilissis Olgas Avenue.

At a recent meeting of the Central Archaeological Council (KAS), it was decided that these finds will be showcased, with a large excavation pit to remain open to the public from above, located right next to the paved walkway of the new pedestrian zone.

This project had been a point of contention between the municipal administration of Mayor Haris Doukas and the government. The mayor had advocated at the start of his term for partial vehicle access on Vasilissis Olgas Avenue, while Lina Mendoni, then Minister of Culture, expressed opposition citing the important archaeological discoveries found at the site.

The area has been known archaeologically since the 19th century, with significant ancient remains confirming its continuous use from the late Mycenaean period through the reign of King Otto. This particular location is especially important for the Roman period of Athens, with other major archaeological finds uncovered in previous decades, some of which are already open to the public on Vasilissis Amalias Avenue.

The newly revealed finds, as decided by KAS, will be displayed without a protective roof, to allow better visibility for visitors while visually connecting with the archaeological site of the Ancient Theatre of Dionysus (Olympieio).

Furthermore, since the Roman complex stretches approximately 48 meters in length and 40 meters in width—currently occupied by the facilities of the Agricultural Department of the Zappeion—it has been proposed, in agreement with the Committee for Olympians & Legacies, to release a strip about 7 meters wide for the creation of a walkway along the northern side of the excavation.

The goal is to create an elevated viewing platform that will have a direct line of sight to the Acropolis, the Ancient Theatre of Dionysus, and Mount Ardettos, enabling visitors to appreciate the entirety of the monuments and the topography of ancient Athens.

This zone will be softly landscaped and will end at the fenced archaeological site near the statue of Byron, which contains the remains of a semicircular stoa. Finally, lighting is planned for the site to highlight it at night.

When Will It Open to the Public?

A first section of Vasilissis Olgas Avenue will reopen to traffic on June 26, coinciding with the start of the 2025 EKO Acropolis Rally, according to Mayor Haris Doukas. However, the part of the avenue featuring the archaeological site is expected to open later, likely in September.

Speaking to SKAI TV, Doukas said the reopening would be impressive: “On June 26, the first section will open to host the super special stage of the Acropolis Rally,” explaining that it will be the right side of the avenue that reopens first.

When asked whether the entire avenue would reopen to traffic after the rally, he replied, “The left side still has some issues; we are waiting for the tram and trolley rails. I believe two lanes of light traffic will open around September–October, as planned.”

“To clarify, because many things have been written: From the start, there were roads designed for light traffic so that citizens can play tennis and go to the Zappeion Hall (Aigli). It will be used by all residents, not just those with special permits,” Doukas emphasized.

Monastery of Saint Catherine, Sinai: Why Three Religions Reverence This Sacred Site – From Moses to the Relics of the Saint and the Prophet Muhammad

The Monastery of Saint Catherine, located at the foot of Mount Sinai in Egypt, stands as a testament to centuries of religious history and interfaith significance. Established between 548 and 565 AD by Byzantine Emperor Justinian I, it is the world's oldest continuously operating Christian monastery. This sacred site holds profound importance for Christianity, Islam, and Judaism, intertwining their histories and beliefs.

A Historical and Spiritual Nexus

According to biblical tradition, Mount Sinai is where Moses encountered the burning bush, a pivotal moment in the Abrahamic faiths. The monastery was constructed around the site of this miraculous event, believed to be the location of the biblical burning bush. The presence of the bush within the monastery grounds is a focal point for pilgrims of all three faiths.

Over time, the monastery's significance expanded. Legend holds that the relics of Saint Catherine of Alexandria were miraculously transported to the monastery, enhancing its status as a Christian pilgrimage destination. In Islam, the monastery is also revered, with traditions stating that Prophet Muhammad granted protection to the monks through a document known as the "Āshtinameh," which is preserved within the monastery. Additionally, a mosque was constructed within the monastery walls, symbolizing the site's interfaith harmony.

Cultural and Religious Heritage

The monastery's library houses one of the world's most significant collections of early Christian manuscripts and icons, including the Codex Sinaiticus. Its architectural design reflects Byzantine traditions, with fortifications added in the 6th century to protect the monastic community. Despite challenges over the centuries, including invasions and natural disasters, the monastery has maintained its religious functions uninterrupted.

Recent Developments

In recent years, the monastery has faced legal and administrative challenges. A court ruling in May 2025 ordered the eviction of Orthodox monks from certain lands associated with the monastery, raising concerns about its future. However, diplomatic discussions between Egypt and Greece have affirmed the commitment to preserving the monastery's legal and spiritual status. Both nations have expressed their dedication to safeguarding this unique religious and cultural heritage.

Conclusion

The Monastery of Saint Catherine stands as a beacon of interfaith reverence and historical continuity. Its enduring presence at the crossroads of three major world religions underscores the shared spiritual heritage that transcends individual faiths. As discussions continue regarding its future, the commitment to preserving this sacred site reflects a collective recognition of its universal significance

Northern Ireland: Damage to the Giant’s Causeway from Coin Tossing

Authorities are urging visitors to the Giant’s Causeway in Northern Ireland to stop tossing coins between the rocks, warning that the volcanic stone columns (made of basalt) at the popular site are being damaged.

According to the National Trust, which manages the UNESCO World Heritage Site, the tradition is causing structural harm to the rocks. Over time, coins rust and expand to three times their original thickness, placing immense pressure on the stones and leading to cracking.

“We urge people to stop this practice and leave no trace, so this natural wonder can remain special for future generations,” said Cliff Henry, a representative of the National Trust, on Wednesday.

In 2024 alone, the Giant’s Causeway drew over 648,000 visitors, reinforcing its status as one of Northern Ireland’s most visited landmarks.

Henry explained that “Coins rust and expand, tripling in thickness, which puts huge stress on the rocks and causes them to crack.” He also noted the unsightly residue left behind by oxidized metals like copper, nickel, and iron where coins corrode.

To tackle the issue, the National Trust brought in stone conservation experts who have removed coins from ten different areas of the site. The full restoration effort is expected to eventually cover the entire site and is estimated to cost around £30,000.

New signage will also be installed, encouraging visitors to “keep your coins in your pockets.”

Germany: Medieval Treasure Emerges from Lake — But an 800-Year-Old Mystery Remains

In the heart of Saxony-Anhalt, a region of Germany steeped in history, lies a treasure that has rested beneath the waters of Lake Arendsee since the 13th century.

The discovery of a sunken medieval ship, believed to be around 800 years old, captured global attention after being featured by National Geographic.

But the story took an unexpected turn when the ship was deliberately returned to the lakebed — a decision made to protect it from damage caused by exposure to air.

This choice highlighted the complexity of archaeological recovery efforts and the importance of prioritizing long-term preservation over immediate public display.

A Surprise Lift from the Deep

Since the 1990s, recreational divers had known about the wreck, which lies at a depth of about 35 meters (with the lake's maximum depth at 55 meters).

It wasn’t until a team of specialists got involved that the ship was successfully brought to the surface for the first time, allowing for detailed examination, according to the German State Office for Monument Preservation and Archaeology.

Measuring 12.5 meters long, 2.5 meters wide, and nearly one meter in height, the vessel was built from oak wood. It was designed to carry both goods and passengers, using oars and sails for propulsion.

An Unusual but Necessary Preservation Effort

Unlike many archaeological finds, this vessel — though not unique in type — was returned to the lake, now at a shallower depth of about 20 meters, according to officials.

The reasoning lies in the need to prevent the rapid deterioration that can occur when ancient waterlogged wood comes into contact with oxygen-rich air after centuries in a low-oxygen environment.

Part of the decision to submerge the ship again was also financial: properly preserving such a find on land would require costly and highly specialized treatment to stabilize the wood. Instead, the ship was carefully covered with a special textile, preserving it for future research and possible re-recovery.

Significant Finds On Board

The explorations not only revealed the ship’s structure but also unearthed numerous artifacts offering a glimpse into medieval life.

Among the finds were skeletal remains, fishing tools, ceramic vessels, and ropes — all indicating the vessel’s use in daily medieval activities. Intriguingly, the ship was also adorned with decorative carvings at its bow and stern, shaped like bears and birds.

Looking Ahead

Despite its return to the depths, German authorities have not ruled out the possibility of bringing the ship back to the surface permanently one day. If adequate funding becomes available, the vessel could be raised again — this time to take its place in a museum, where the public could engage with its medieval legacy and marvel at the secrets of underwater archaeology.

For now, Lake Arendsee will continue to safeguard this rare and precious artifact, preserving its mystery and essence beneath the water — just as it has done for centuries.

New Study Proposes a Different Theory on the Rise of the City-State in Ancient Greece

A map shows the spatial distribution of Greek city-states, highlighting regions where silver coinage was minted. It also displays the geographical locations of battles.
Photo: J. Adamson

A newly published study in the Journal of Economic Behavior & Organization offers an alternative explanation for the emergence of the ancient Greek city-state.

Rather than attributing its formation solely to war, geography, or internal politics—as is commonly believed—the study suggests that trade was the real driving force behind the development of these politically autonomous societies, which typically consisted of a city and its surrounding territories.

Specifically, the study emphasizes the unique advantages of each city, the ability to produce different goods, and how these differences led not only to economic exchange and prosperity but also to conflict.

The article, authored by Jordan Adamson, argues that natural resource variation—such as differences in vegetation or access to certain materials—led to productive specialization. This specialization generated wealth through trade, which in turn made communities targets for enemies and prompted the need for defense.
This, Adamson claims, is how the Greek polis—or city-state—came into being.

Map showing the spatial distribution of synoikismos.
The left panel displays all instances of synoikismoi. The three panels on the right highlight:

Megalopolis
Thebes
Halicarnassus

“Trade, based on comparative advantage, was a source of wealth and therefore became a target for raids,” Adamson explains. “This threat necessitated the creation of organized, defensive societies.”

Diversity and Natural Wealth as the Study's Core Insight

A key element of the study is a simple yet powerful concept: diversity in natural resources. Not all regions had equal capabilities when it came to producing goods.

Some areas were more agriculturally fertile, while others had access to mineral wealth, timber, or other resources. This variation created a natural incentive for exchange.

One of the maps used in the study shows the spatial distribution of settlements. The left panel depicts all settlements, while the three on the right highlight major city-states:

1. Megalopolis

2. Thebes

3. Halicarnassus
   Photo: J. Adamson

Rethinking the History of the Greek City-State?

To support his hypothesis, Adamson compiled a database of 696 Greek city-states founded between 600 and 320 BCE. Using historical records, ecological maps, and archaeological data, he identified the cities’ locations, the surrounding vegetation, whether they minted silver coins (a reliable indicator of participation in trade), and whether they were near battlefields or areas where villages had been consolidated into new settlements (synoikismoi).

In ancient Greek culture, synoikismos refers to the formation of a settlement or city by a group of people who come together in a shared space to live, build infrastructure, and develop economic activities.

Key Patterns Identified

The study found that areas with greater natural diversity—where the difference between what a city could produce and what neighboring regions could offer was more pronounced—showed three notable traits:

• Higher use of coinage

• Greater involvement in conflicts

• Increased likelihood of forming new settlements (synoikismoi)

According to Adamson, this pattern cannot be fully explained by the traditional "key factors" often emphasized in other research—such as proximity to the sea, access to rivers, or soil quality.

Instead, the data point more clearly to resource diversity as the underlying cause of city-state development—more so than those traditionally highlighted environmental factors.

When Defense Gave Birth to Cities

One of the most striking phenomena examined in the study is that of ancient Greek synoikismos: the creation of a new city-state through the merging of villages or communities—sometimes geographically, other times politically. Adamson interprets this as a collective response to a shared threat, namely plunder.

In other words, a wealthy trading city would become a target for attack. To protect themselves, neighboring communities might choose to unite and form a fortified settlement.

This is how cities like ancient Megalopolis came into being—founded shortly after a major conflict between Sparta and Thebes. This interpretation invites a new understanding of ancient warfare. According to Adamson, the Greeks recognized that the root of violence was often the desire to gain wealth.

“Military force,” he notes, citing historical sources, “was a natural means of resource acquisition.” In other words, not all conflicts were territorial expansions—some were raids on wealthy but poorly defended areas.

The study also examined the spread of silver coinage, which wasn’t widespread across all settlements.

Coinage, Trade, and Defense

Adamson argues that the presence of minted coinage signals that a city was embedded in active trade networks. His research found that cities with coinage were more often involved in battles and frequently featured in settlement consolidation processes.

The minting of silver coins became the dominant method of payment in all cities engaged in trade.

Strong Link Between Trade and Violence

The study makes a compelling case for a clear connection between trade and violence:
Where there was silver, there was interest; and where there was interest, war could break out.
At the same time, this dynamic spurred organization, defense mechanisms, and institutional development.

While the study focuses on ancient Greece, Adamson believes its findings are far from unique to that region.

Broader Implications

Similar patterns have been observed in Mesopotamia, Egypt, Anatolia, and even in pre-Columbian civilizations across North, Central, and South America. In all these cases, trade appears to have been the silent engine behind political organization.

Artemisia Gentileschi: Rare Works Uncovered and Now on Display in Paris

After centuries in the shadows—many of her paintings were long misattributed to other artists, including her father Orazio—the Italian painter Artemisia Gentileschi (1593–1654) has finally earned her place among the foremost artists of the Caravaggio school. Known primarily for her powerful canvases such as Judith Slaying Holofernes and Jael and Sisera, Gentileschi is now widely recognized as one of the few female painters of her era who managed to infuse her subjects with intense drama and masterful use of light, hallmarks of the Baroque masters.

A new exhibition titled “Artemisia Gentileschi: Heroine of Painting”, currently on view at the Musée Jacquemart-André in Paris, takes a fresh look at her legacy and artistic achievements.

Featuring 40 works—including several significant pieces recently rediscovered—the exhibition highlights Gentileschi’s mastery while intentionally shifting the conversation.

“We didn’t want to focus on the rape,” said curator Patrizia Cavazzini. “Not because we think it’s irrelevant, but because for the last 80 years, that’s all anyone has talked about.”

The Girl, the Woman, the Artist

Born in Rome on July 8, 1593, Artemisia Gentileschi was the daughter of painter Orazio Gentileschi. Trained alongside her brothers in her father’s workshop, she painted her first acclaimed piece, Susanna and the Elders, at the age of just 17. The painting portrays two older men spying on a young woman as she bathes—a harrowing theme of voyeurism and power.

At 18, Artemisia was raped by Agostino Tassi, her perspective teacher and collaborator of her father. Tassi, who was under papal protection, promised to marry her but never fulfilled the vow. Nine months after the assault, Orazio took legal action against him. The seven-month trial, a major scandal in 17th-century Rome, ended with Tassi's release, while Artemisia endured public humiliation and even torture to validate her testimony.

This brutal experience left lasting emotional scars. The court transcripts, published in recent years, offer a raw glimpse into the moral climate of the time.

Artemisia’s path was severely limited by her circumstances. Her father arranged a hasty marriage to a much older and relatively obscure Florentine painter-merchant. She left Rome for Florence, closing the first act of her turbulent life.

But her art flourished.

Florence, while aristocratic, was artistically conservative by that point. Gentileschi’s bold and modern artistic voice stood out, earning her both fame and generous commissions. Her fees were often triple those of her male peers—especially notable considering she worked alongside artists decorating the Casa Buonarroti, under the patronage of Michelangelo Buonarroti the Younger, grandnephew of the Renaissance master.

At just 23, Artemisia became the first woman admitted to Florence’s Accademia delle Arti del Disegno, securing her status as a court painter and a favorite of the Medici family.

Women Who Fought Back

Her body of work centers around women—biblical, mythological, and historical—who were wronged, betrayed, raped, or seduced by men, and who often sought justice or revenge. From Bathsheba and Esther to Delilah, Jael (who drove a tent peg through Sisera’s temple), Salome, Lucretia, and Cleopatra, Gentileschi elevated these figures into complex, powerful heroines.

Rediscovered Masterpieces

Among the highlights of the Paris show is Virgin of the Annunciation (c. 1610), one of Gentileschi’s best-known early works.

“What always struck me was her willingness to defy conventions,” Cavazzini noted, pointing to the many bold and often scandalous ways Gentileschi continued to break societal norms.

“Self-Portrait as a Lute Player,” Artemisia Gentileschi, 17th century
(AP Photo/Andrew Medichini)

One of the newly discovered works is a signed portrait of a knight of the Order of Saint Stephen, likely painted around 1619. Originally misattributed to Flemish painter Justus Sustermans, the work was re-identified when Gentileschi’s faded signature was uncovered beneath layers of grime.

Many of her paintings remain lost—known only through historical records and archival mentions. That’s why the inclusion of Ulysses Recognizing Achilles Among the Daughters of Lycomedes (c. 1640), a dramatic retelling of a Greek myth, is so significant for curators.

“The deeper you go into Gentileschi’s life, the more extraordinary she becomes,” said Cavazzini.

While she frequently depicted women confronting or defying male power, she also infused her subjects with personal expression. Cavazzini hopes to spotlight another lesser-known but equally daring aspect of her work: her use of her own body and face in her art. “She knew how to use her image and could be incredibly seductive,” she said.

This self-reflective quality is particularly evident in Allegory of Inclination (1616), commissioned by Michelangelo’s descendant. The painting features a life-size nude woman floating in the clouds, thought to be a stylized self-portrait.

Years ago, conservators in Florence restored the work, which had been modified to veil the woman’s bare chest. For the first time, it has traveled outside Italy for this exhibition.

Another rediscovered gem is a new portrait of Cleopatra, a subject Gentileschi returned to multiple times. In this version, the Egyptian queen is portrayed partially nude, turning her head in anguish as the serpent’s fangs pierce her breast—moments after the death of her lover, Mark Antony.

“When people began to take interest in Artemisia about 25 years ago, we didn’t know much about her work, so she wasn’t fully included among the greats,” Cavazzini reflected. “Now, I’m thrilled that we finally have a fuller and clearer picture of her immense talent.”

This landmark exhibition not only reclaims Gentileschi’s rightful place in art history—it allows us to witness her resilience, audacity, and vision through the vibrant legacy of her brush.