The United States has attacked three Iranian nuclear sites!

In a post on his social media platform Truth Social, Trump announced the apparent military strike.

The US President wrote: "We have completed our very successful attack on the three Nuclear sites in Iran, including Fordow, Natanz, and Esfahan.

"All planes are now outside of Iran air space. A full payload of BOMBS was dropped on the primary site, Fordow. All planes are safely on their way home.

"Congratulations to our great American Warriors. There is not another military in the World that could have done this. NOW IS THE TIME FOR PEACE!"

pic.twitter.com/wu9mMkxtUg

— Donald J. Trump (@realDonaldTrump) June 21, 2025

The Worship of Ereshkigal, the Queen of the Underworld

In the ancient pantheon of Mesopotamia — one of humanity’s oldest civilizations — few deities were as fearsome and enigmatic as Ereshkigal, the Queen of the Underworld. Revered yet dreaded, she ruled the shadowy realm of the dead with absolute authority, embodying the finality and inescapability of death in a culture deeply concerned with life’s fragility and the afterlife’s mysteries.

Who Was Ereshkigal?

Ereshkigal’s name means “Lady of the Great Earth,” reflecting her dominion over the subterranean world where the dead reside. Unlike many deities who had multiple roles, Ereshkigal was singularly associated with death and the land of no return. She governed Kur (or Irkalla), the Mesopotamian underworld, an ashen, dusty place where all souls — noble and common alike — drifted after death.

As the supreme ruler of this gloomy realm, she was both a feared judge and an essential part of cosmic balance. Her power kept the dead contained and preserved the boundary between the living and the departed — a boundary that, if crossed, threatened disorder and chaos.

Ereshkigal and the Myth of Inanna’s Descent

One of the most compelling stories in Sumerian and Akkadian mythology is the myth of Inanna’s Descent to the Underworld — a narrative that vividly highlights Ereshkigal’s might and her tense relationship with her sister, Inanna (known later as Ishtar).

In this myth, Inanna, the radiant goddess of love, fertility, and war, decides to descend to the Underworld, ostensibly to attend the funeral rites of Ereshkigal’s husband, Gugalanna, the Bull of Heaven. However, some interpretations suggest that Inanna sought to extend her power over death itself.

Upon her arrival, Inanna must pass through seven gates, removing a piece of her divine regalia at each, until she stands naked and powerless before Ereshkigal. In this stark confrontation, the Queen of the Underworld judges Inanna, strikes her dead, and hangs her lifeless body on a hook — a chilling reminder that no one, not even the most exalted goddess, can defy death’s dominion.

Inanna’s eventual resurrection hinges on intervention from the other gods, showing that while Ereshkigal’s power is immense, cosmic balance required the return of life to the world above.

Ereshkigal’s Role in Mesopotamian Religion

Unlike gods of the heavens or the fertile earth, Ereshkigal was not a deity people petitioned for blessings in daily life. She received appeasements and rites to ward off her wrath and ensure that the dead remained content in her realm. Tomb inscriptions, funerary offerings, and protective incantations often invoked her name to safeguard the passage of souls and prevent restless spirits from disturbing the living.

Her underworld court included fearsome figures like Namtar, her loyal vizier and messenger of death, and a host of demons who enforced her decrees. Through them, she upheld the unyielding laws of mortality that governed the Mesopotamian understanding of life and death.

Symbolic Meaning and Cultural Legacy

Ereshkigal represents the inevitable, impartial reality of death and the shadows that lie beyond human comprehension. Her mythic opposition with Inanna illustrates a deep Mesopotamian theme: the tension between life’s generative forces and the relentless finality of death.

Where Inanna is vibrant and life-affirming, Ereshkigal is somber and immutable. Together, they embody a cosmic duality — creation and decay, desire and loss, birth and burial — each vital to the order of the universe.

Conclusion

While less celebrated than her sister Inanna, Ereshkigal’s role in Mesopotamian mythology is profound and hauntingly human. She personifies a truth all ancient peoples faced: that no matter one’s power, beauty, or glory, death is the ultimate equalizer.

In worship and in myth, Ereshkigal’s shadowy domain reminded the living of their mortal limits and the sacred duty to honor both life and death — a legacy that still echoes in the study of one of humanity’s earliest civilizations.

The Role of the Hoplites in Ancient Greek Warfare

In the annals of ancient military history, few figures are as emblematic of civic pride and collective defense as the Greek hoplite. These heavily armed infantrymen were the backbone of Greek city-state armies from the 7th to the 4th century BCE, embodying a unique fusion of citizen and soldier. Their discipline, tactics, and social significance shaped not only the battlefields of antiquity but also the very structure of Greek society and politics.

Who Were the Hoplites?

The word hoplite derives from hoplon, meaning the round shield each warrior carried. Unlike professional soldiers, hoplites were primarily free male citizens — farmers, artisans, and landowners — who trained to defend their polis (city-state) when called upon. This citizen-army model reinforced a powerful civic identity, blending martial duty with democratic participation.

Equipped with a bronze helmet, breastplate (thorax), greaves, and the iconic shield (aspis), hoplites wielded a long spear (doru) and a short sword (xiphos) for close combat. Their armor was heavy and costly, meaning that serving as a hoplite was both a privilege and a sign of one’s social standing.

The Phalanx: Tactics and Discipline

The defining feature of hoplite warfare was the phalanx, a tight formation of ranks and files that advanced as a single armored wall. Each hoplite’s shield protected not only himself but also his neighbor’s exposed side, creating an interlocking defense that demanded trust and cohesion.

This formation relied less on individual heroics and more on collective discipline. Battles were often brutal pushing matches — the infamous othismos — where success depended on maintaining unity and morale.

Hoplite tactics emphasized shock combat: lines would clash head-on in open fields, seeking to break the enemy phalanx through sheer force and resolve. While seemingly simple, this demanded years of drill and a strong sense of mutual responsibility. A single weak link could collapse the formation and doom the entire army.

Training and Citizen Duty

Though hoplites were not professional soldiers, training was a vital part of a Greek male’s upbringing. From youth, boys were taught basic weapons handling and the ideals of bravery, discipline, and loyalty to the polis. Many city-states, most famously Sparta, took this to an extreme with rigorous military education.

For most Greek men, however, hoplite service was intermittent: they farmed their lands in peacetime and marched to war when summoned by their leaders. This dual identity strengthened civic bonds — to fight bravely was to safeguard one’s home, family, and political freedoms.

Political and Cultural Impact

The rise of hoplite warfare transformed Greek society. In earlier eras, aristocratic cavalry and individual champions dominated the battlefield and the social order. The hoplite phalanx, by contrast, leveled the playing field. It empowered the middle class — the small landholders who could afford armor — and anchored early democratic reforms in city-states like Athens.

Moreover, the phalanx nurtured ideals of equality and solidarity among citizens. On the battlefield, aristocrats and commoners alike stood shield-to-shield, equally vulnerable and equally responsible for victory or defeat.

Legacy

By the 4th century BCE, changes in tactics, the rise of professional mercenaries, and the influence of Macedonian innovations like the longer sarissa spear gradually supplanted the traditional hoplite. Yet their influence endured.

The hoplite phalanx symbolized the power of collective action and civic responsibility — a vision of warfare where the defense of freedom rested not on kings but on the courage and unity of ordinary citizens. This legacy remains one of ancient Greece’s most enduring contributions to military history and democratic thought.

The hoplite was more than just a warrior; he was a living testament to the idea that freedom must be defended by those who cherish it most — the citizens themselves.

The Myth of the Kappa, the River Demon of Japan

Among the many supernatural creatures that populate Japanese folklore, the Kappa stands out as one of the most curious and enduring. Known as a river demon or water sprite, the Kappa (河童, literally “river child”) is both feared and mischievously admired in the folklore of rural Japan. Its legend reflects deep cultural beliefs about nature, water spirits, and the thin line between prankster and monster.

The Appearance and Nature of the Kappa

Traditionally depicted as a child-sized creature with green, scaly skin, webbed hands and feet, and a turtle-like shell on its back, the Kappa is instantly recognizable by the small depression or dish (sara) on top of its head. This dish holds water — the source of the Kappa’s life force and power.

The Kappa’s duality is at the heart of its myth: it is a trickster that delights in causing trouble, yet it also plays an important role as a water spirit, enforcing respect for rivers, ponds, and irrigation canals.

Pranks and Perils

Kappa are notorious for their pranks. In old stories, they hide in rivers waiting to startle horses, drag unsuspecting swimmers underwater, or even challenge humans to sumo wrestling matches. While many of their tricks are harmless mischief, some tales turn darker, warning that Kappa can drown people, particularly children, and are said to crave shirikodama — a mythical ball believed to reside inside a person’s anus, which the Kappa tries to extract.

These cautionary tales served as a way to instill fear and respect for dangerous bodies of water, keeping children away from deep rivers and ponds where drowning accidents were a real threat.

Appeasement and Trickery

Despite their unsettling habits, Kappa can be outwitted. Japanese folklore offers clever methods for dealing with them. Because Kappa are obsessed with politeness, they cannot resist bowing back if bowed to. This simple act causes the water in their head-dish to spill, rendering them powerless and forcing them to retreat or beg for mercy.

People would also leave cucumbers — said to be the Kappa’s favorite food — as offerings to appease them and protect swimmers and livestock. To this day, the cucumber roll (kappa maki) in sushi restaurants pays playful tribute to this part of the legend.

Kappa as Water Deities

Beneath the mischief, the Kappa embodies the complex relationship between humans and nature. They are an expression of the vital but dangerous power of water, personifying both its life-giving and destructive qualities. In some regions, Kappa were even worshipped as minor water deities, and villagers would pray to them for rain, abundant harvests, or protection from floods.

Over time, the terrifying aspects of the Kappa softened, evolving into more comedic figures in popular culture, children’s stories, and mascots. They still appear in festivals and folklore, reminding new generations of the old wisdom: respect nature’s forces, lest they play tricks on you.

From riverbanks to modern media, the Kappa remains one of Japan’s most iconic yokai — a mischievous guardian of the waterways and a timeless symbol of the delicate balance between humans and the natural world they inhabit.

The Worship of Veles, the Slavic God of the Underworld

In the rich and complex tapestry of Slavic mythology, few deities embody such a multifaceted and essential role as Veles. Revered across ancient Slavic lands, Veles was a god of the underworld, cattle, wealth, commerce, and sorcery — a figure whose influence wove together the realms of the living and the dead, the mundane and the mystical.

Veles: Master of Cattle and Wealth

At the heart of agrarian Slavic societies, cattle were a symbol of prosperity and a measure of wealth. Veles was the divine protector of herds and flocks, ensuring their fertility and safeguarding them from disease or theft. Offerings to Veles were common among herders and farmers, who depended on his favor for bountiful pastures and thriving livestock.

His domain over cattle naturally extended to wealth and commerce. In an age when livestock functioned as currency, Veles became the patron of traders and craftsmen. Marketplaces and trade routes fell under his unseen guardianship, and prayers for successful transactions and fair dealings invoked his name.

Lord of the Underworld and the Otherworldly

Veles’ power did not stop at earthly riches — he was also the ruler of the underworld and guardian of the dead. In this role, he presided over the realm of spirits, ancestors, and all that lay hidden beneath the earth, including its waters and treasures. Many Slavic myths depict him as a serpent or dragon-like being coiled around the roots of the World Tree, symbolizing his connection to subterranean and chthonic forces.

This dual aspect — nurturing wealth in the mortal world and reigning over the afterlife — made Veles a liminal figure bridging life and death. Rituals and songs called velicanje honored him during seasonal festivals, particularly at times of transition such as the winter solstice, when the boundary between worlds was thought to be thin.

Rivalry with Perun: The Cosmic Balance

One of the most enduring myths surrounding Veles is his eternal rivalry with Perun, the thunder god and ruler of the sky. This mythological conflict embodies the archetypal struggle between order and chaos, sky and earth. Veles, as a trickster, would steal Perun’s cattle, wife, or treasures, hiding them in his watery or underground domain. In response, Perun pursued him, unleashing thunderbolts until Veles was defeated and order was restored.

This myth played out symbolically in nature — thunderstorms were seen as Perun’s battle against Veles, the bringer of chaos and fertility alike. Their cosmic duel ensured the cycle of rain and growth, keeping the balance that sustained life.

God of Magic and Poetic Inspiration

Beyond his ties to wealth and the underworld, Veles was deeply associated with magic, divination, and poetic art. Shamans and seers, believed to draw their wisdom from his realm, sought his guidance for healing rituals and prophecy. Bards and storytellers also revered Veles as a patron of the spoken word and enchantment, weaving tales that kept the old myths alive through the ages.

Legacy in Slavic Culture

Although Christianization absorbed and transformed many Slavic deities, echoes of Veles survive in folklore and place names. In some regions, he merged with Saint Blaise (Sveti Vlaho), who retained aspects of Veles’ guardianship over animals. His spirit endures in folk customs, rural rituals, and the collective memory of a god who ruled over cattle and commerce yet whispered secrets from the depths of the underworld.

Veles remains a powerful symbol of the ancient Slavic worldview — a god who united earth and underworld, livestock and magic, chaos and wealth, embodying the enduring bond between nature, prosperity, and the unseen forces that shape human life.

The Role of Jade in Ancient Chinese Culture: Stone of Heaven and Symbol of Virtue

In the tapestry of ancient Chinese civilization, few materials held such profound spiritual and social resonance as jade. Known as yu (玉) in Chinese, jade was far more than a beautiful ornamental stone — it was revered as the “Stone of Heaven,” embodying ideals of purity, immortality, moral integrity, and cosmic harmony. For millennia, jade permeated every aspect of life, from ritual and burial customs to imperial authority and philosophical thought.

Jade as a Spiritual Conduit

In ancient China, jade was believed to possess protective and transcendent qualities. As early as the Neolithic period, jade objects — meticulously carved into bi disks and cong tubes — were used in rituals to communicate with heaven and the spirit world. These ceremonial artifacts, often buried with the dead, were thought to safeguard the soul and ensure a smooth passage to the afterlife.

Taoist traditions later embraced jade as a symbol of immortality and incorruptibility. Jade amulets were worn to ward off evil and disease, while jade burial suits — intricate suits of hundreds of jade plaques sewn together with gold or silver thread — were crafted for Han dynasty royalty to preserve the body and spirit eternally.

A Symbol of Moral Virtue

Confucian philosophy elevated jade to a powerful moral metaphor. Confucius himself praised jade for embodying the five cardinal virtues: benevolence (ren), righteousness (yi), wisdom (zhi), propriety (li), and integrity (xin). Its smooth yet strong nature was likened to a gentleman’s character — resilient, unyielding to corruption, yet gentle and harmonious.

This moral symbolism influenced Chinese elite culture deeply. Jade pendants, plaques, and seals became badges of scholarly refinement and high moral standing, signifying that the wearer aspired to the Confucian ideal of the noble person, or junzi.

Jade and Imperial Power

Jade was also inseparably linked to political authority. Jade tablets and ritual scepters, known as gui and zhang, were used in court ceremonies and as emblems of sovereign power. The possession of jade objects signified legitimacy and heavenly mandate, reinforcing the ruler’s divine connection and right to govern.

Ancient texts, such as the Book of Rites (Li Ji), recorded elaborate protocols for presenting jade gifts to emperors and dignitaries. These precious offerings cemented alliances, honored ancestors, and underscored the virtue of the ruling class.

Enduring Cultural Legacy

Even after thousands of years, jade continues to captivate Chinese culture and identity. Its symbolism persists in modern jewelry, art, and ceremonial objects. To this day, jade is gifted at significant life events — weddings, births, and milestone birthdays — to bestow blessings of health, longevity, and harmony.

The ancient Chinese belief that “gold has a price, but jade is priceless” eloquently captures its enduring value: jade transcends material worth to embody the highest ideals of spiritual beauty and moral excellence.

In essence, jade in ancient China was more than adornment — it was a living philosophy, a cosmic link, and a timeless testament to the civilization’s profound reverence for nature, virtue, and the eternal cycle of life.

The Myth of the Wendigo in Algonquian Legends: Starvation, Greed, and a Warning Echoed Through Time

In the vast forests and unforgiving winters of the North American Great Lakes region and parts of Canada, a chilling figure stalks the edges of human consciousness — the Wendigo. This mythic creature, rooted deeply in the oral traditions of Algonquian-speaking peoples such as the Cree, Ojibwe, Innu, and Saulteaux, serves as both a monster and a moral lesson, a supernatural embodiment of hunger, greed, and the violation of communal taboos.

The Origins of the Wendigo

The term “Wendigo” (also spelled Windigo, Wetiko, or Witiko, depending on the dialect) roughly translates to “the evil spirit that devours mankind.” The myth emerges from environments where starvation was an all-too-real threat during long, harsh winters. In these stories, the Wendigo is not just a monster lurking in the woods — it is also the terrifying result of a human who succumbs to the ultimate taboo: cannibalism.

Legends describe the Wendigo as once-human beings transformed by an insatiable hunger for flesh. As they feed, they grow in proportion to their consumption, yet their hunger is never satisfied. Emaciated yet towering, with frost-bitten skin stretched over bones, glowing eyes, and a heart of ice, the Wendigo roams the forests in search of its next victim — often preying on those who wander alone or are isolated by snowstorms.

Starvation and Greed: The Heart of the Myth

The Wendigo myth is more than a tale of horror; it is an allegory for the dangers of selfishness and unchecked appetites. In communities where survival depended on mutual care and strict resource sharing, greed could mean death for the many. The Wendigo, then, embodies the social horror of placing individual survival above collective well-being.

During times of famine, this cautionary tale reminded people that giving in to the desperation of hunger and resorting to cannibalism meant losing one’s humanity and becoming a monster in the eyes of the community — and the spirits.

The Wendigo’s Place in Native American Lore

In Algonquian cosmology, the Wendigo also symbolizes spiritual imbalance. Shamans were often called upon to diagnose and treat what some anthropologists describe as “Wendigo psychosis” — a culturally specific mental disorder in which a person developed an intense craving for human flesh, even when other food was available.

European explorers and fur traders in the 17th and 18th centuries recorded such cases, further cementing the Wendigo in the Western imagination as an eerie symbol of the untamed North American wilderness and the dark side of human survival instincts.

The Enduring Power of the Wendigo

Today, the Wendigo remains a potent figure in popular culture, inspiring horror films, novels, and video games. Yet, beyond its frightening imagery, the legend endures as a powerful reminder of humanity’s capacity for destruction when driven by greed, hunger, or disregard for communal bonds.

In essence, the Wendigo is not merely a beast to fear in the forested shadows, but a timeless warning whispered by the ancestors: respect the balance of nature, care for your community, and beware the monster that can awaken within us all when we consume more than we need.

The Renovated Archaeological Museum of Thira Reopens Its Doors — Atlantea

After years of closure for extensive renovations, the Archaeological Museum of Thira, located in Fira, is finally reopening to the public. Visitors will once again be able to explore its treasures starting Saturday, June 21.

At the heart of the museum’s collection is the renowned Kore of Thira — a rare masterpiece of 7th-century BC Greek sculpture. This extraordinary find came to light unexpectedly in November 2000 during a rescue excavation at the ancient city’s cemetery in southeastern Sellada, led by the late Thiran archaeologist Charalambos Sigalas.

This larger-than-life archaic kore, carved from white Naxian marble and standing an impressive 2.48 meters tall (including its integral base peg), survives almost intact. Only the tip of her nose and the bent right arm resting on her chest are missing. The statue is among the few surviving monumental early Greek sculptures in stone, embodying the timeless kouros and kore archetypes that exemplify the beauty ideals of that era.

The Kore of Thira during its recent exhibition at the Museum of Cycladic Art in Athens

A Rare Glimpse Into Archaic Beauty

During her recent showcase at the Museum of Cycladic Art in Athens, the Kore of Thira captivated audiences with her remarkable state of preservation, offering scholars invaluable insights into the development of the kore type in the late 7th century BC and highlighting her unique artistic value.

Now, the Kore returns to Thira on a new base, free of iron supports, and will be surrounded by her “Cycladic Sisters” — statues and artifacts gathered from islands across the archipelago to celebrate her homecoming.

Following her five-month stay in Athens from December to May, the landmark exhibition Cycladic Women: Untold Stories of the Women of the Cyclades will inaugurate the newly renovated Archaeological Museum of Thira. Organized by the Museum of Cycladic Art and Greece’s Ministry of Culture via the Ephorate of Cycladic Antiquities, the exhibition will run through October 31, 2025.

Cycladic Women: Uncovering Hidden Stories

This exhibition presents Cycladic history through the eyes of its women, spanning from antiquity to the 19th century. It features 180 remarkable artifacts sourced from nearly every museum and archaeological collection in the Cyclades: Amorgos, Andros, Delos, Thira, Ios, Kea, Kythnos, Milos, Mykonos, Naxos, Paros, Serifos, Sikinos, Sifnos, Syros, Tinos, and Folegandros.

The exhibits, dating from early prehistory to the dawn of the modern Greek state, include iconic marble figurines from the Museum of Cycladic Art’s Early Cycladic collection, along with 135 pieces from the Ephorate of Cycladic Antiquities and works on loan from the Kanellopoulos Museum, the Epigraphic Museum of Athens, the Ephorate of Paleoanthropology and Speleology, prominent foundations, and private collections.

A Mosaic of Women’s Lives

© Paris Tavitian – Museum of Cycladic Art

The exhibition aims to shed light on the roles of women in island societies through untold stories — pieced together from written words, material remains, and often through the lens of their male contemporaries. It reveals how insularity shaped women’s roles over time. Deities and mothers, priestesses, courtesans, merchants, warriors, intellectuals, mourners, witches, and migrants — all take center stage. Visitors encounter Cycladic women in both public and private life, exploring their social, political, religious, and familial spheres.

The exhibition’s rich tapestry includes figurines, large-scale sculptures, pottery, jewelry, coins, funerary steles and inscriptions, wall paintings, mosaics, engravings, manuscripts, and icons spanning from prehistory to post-Byzantine times. Among these treasures, three standout pieces are celebrated for their uniqueness and scale: the monumental Kore of Thira, the iconic fresco from Akrotiri on Santorini depicting Women in the Adyton, and the Hellenistic statue of Artemis Elaphibolos from Delos.

Curators and Opening Details

© Paris Tavitian – Museum of Cycladic Art

The exhibition is curated by Dr. Dimitris Athanasoulis, Director of the Ephorate of Cycladic Antiquities; Dr. Panagiotis Iossif, Scientific Director of the Museum of Cycladic Art and Professor at Radboud University in the Netherlands; and Dr. Ioannis Fappas, Assistant Professor of Prehistoric Archaeology at Aristotle University of Thessaloniki.

The official opening of the Archaeological Museum of Thira and the Cycladic Women exhibition is scheduled for Friday, June 20 at 7:00 PM and will be accessible by invitation only.

Starting Saturday, June 21, the museum will welcome visitors daily except Mondays. Opening hours are:
Tuesday–Friday & Sunday: 08:30–15:30
Saturday: 09:00–21:00
Admission: €10.

Special Guided Tour on Sunday, June 22

As part of the initiative Santorini 2025: A Year of Supporting and Showcasing Authenticity, the Municipality of Thira invites the public to a special open guided tour of the renovated museum on Sunday, June 22 at 5:30 PM, led by the curators of Cycladic Women: Untold Stories of the Women of the Cyclades.

“We look forward to discovering together the unique stories and faces of the women who shaped the Cyclades!” says the Municipality of Thira in its invitation.

Acropolis Museum: Record Visitor Numbers and the Ongoing Fight for the Parthenon Sculptures

The Acropolis Museum consistently ranks among the world’s most popular museums, welcoming around 2 million visitors through its doors every year, according to figures for 2023–2025.

Visitor Records and a Strong Message

Between early 2023 and the end of 2024 alone, the Acropolis Museum attracted a remarkable 3,904,768 visitors. These figures, shared during a recent presentation of the Museum’s activities over the past two years, also highlighted key milestones from June 2024 to June 2025.

“The numbers are carefully managed,” emphasized the Museum’s Director General, Professor Nikolaos Stampolidis. Visitor flow is kept under control, avoiding the overcrowding problems faced by the Louvre — still the world’s most visited museum. Even during peak tourist season — May through August — daily attendance at the Acropolis Museum rarely exceeds 7,000 people on average, and when it nears 10,000, visitors are smoothly distributed throughout the Museum’s opening hours, from 9 a.m. to 8 p.m.

A Global Favorite

Since opening its doors in 2009, the Acropolis Museum has consistently featured on The Art Newspaper’s annual list of the world’s 100 most visited museums. In 2024, it ranked 33rd globally with 2,000,312 visitors.

View of the Archaic Acropolis Gallery from the second floor of the Acropolis Museum. Photo by Sofia Papastrati.

Although the first half of 2025 is still underway, early figures suggest that this year’s attendance will match or even surpass last year’s numbers, possibly topping 2 million once again.

![View of the Archaic Acropolis Gallery from the second floor of the Acropolis Museum, Photo: Sofia Papastrati]

The Acropolis Museum remains the only Greek museum — and one of the few in Southeastern Europe — included in this prestigious global list. More than just a top tourist attraction, it draws new audiences through a steady program of exhibitions and cultural events, as demonstrated by the success of the NoHMATA exhibition.

Beyond ticketed visitors, the Museum welcomed an additional 10,000 people last year for special events in the “Dimitrios Pantermalis” Auditorium, as well as musical performances in the Museum’s foyer and courtyard.

The Parthenon Sculptures: A Continuing Cause

With renewed attention on the Parthenon Sculptures following London’s Parthenon Project initiative — which included Greek First Lady Mareva Grabowski Mitsotaki — and reports of progress in talks between the Greek government and the British Museum, Professor Stampolidis outlined recent milestones in the ongoing negotiations. These include the successful return of the “Fagan fragment” from the A. Salinas Museum in June 2022, and Greece’s position at the 24th session of UNESCO’s Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin (ICPRCP) in May 2024.

“The Acropolis Museum is the guardian and showcase of the Acropolis and the Parthenon. For that reason, the sculptures must come home.”

He also highlighted key events from 2025, including a special gathering by the Acropolis Friends Association in January and the launch of British author and vocal Parthenon repatriation advocate Sir Stephen Fry’s new book, hosted by Greece’s Ministry of Tourism and the Greek National Tourism Organisation. Additionally, Scottish filmmaker David Wilkinson has produced a documentary on the Parthenon Sculptures, arguing passionately that their return is a matter of moral principle.

The Director-General of the Acropolis Museum, Professor Nikolaos Chr. Stampolidis, during a presentation on the reunification of the Parthenon Sculptures, at the “Dimitrios Pandermalis” Amphitheater, Acropolis Museum. Photo by Studio Panoulis.

Symbolism in a Fragmented World

Professor Stampolidis stressed:

“The Acropolis Museum is not just a museum — it is the home where the Acropolis and Parthenon artworks are protected and celebrated. That’s why the sculptures must return. In a fragmented world — just look around: divided societies, wars, pandemics, economic crises — this reunification stands as a symbolic act, a reminder of how nations and people should relate to one another and to our shared heritage.”

Exhibitions and Cultural Initiatives

A small but meaningful exhibition, The Parthenon and Byron, continues in the Museum’s ground-floor foyer, exploring the removal of the Parthenon’s architectural sculptures by Lord Elgin. Earlier this year, from March to April 2025, a digital version of this exhibition was also displayed on the first floor of Athens International Airport, reaching global travelers.

![Presentation titled "On Health: Tracing a Universal and Timeless Value," European Heritage Days 2024, Photo: Nikos Katsaros]

On June 25, 2024, the Museum officially opened the Excavation Museum, which uses 1,150 carefully chosen artifacts to vividly depict daily life in the ancient neighborhood beneath the site. The Antiquities Collection Department has since documented these items in the Museum’s Collection Management System (MuseumPlus), adding to the digital catalog’s existing 2,264 objects.

From October 18, 2024, to January 26, 2025, the Museum hosted Ancient Civilizations of Basilicata: Treasures Brought to Light, organized in collaboration with Italy’s Directorate General of Museums and the Basilicata Museum Network.

Presentation titled “On Health: Tracing a Universal and Timeless Value,” European Heritage Days 2024. Photo by Nikos Katsaros.

More recently, from May 13 to October 31, 2025, the Museum presents the first part of the trilogy Allspice | Michael Rakowitz & Ancient Cultures. This collaboration with the Ministry of Culture and the NEON Organization showcases works by internationally acclaimed contemporary artist Michael Rakowitz, juxtaposed with artifacts from ancient civilizations of the Middle East and Southeastern Mediterranean.

Visitor Numbers at a Glance

A Celebration of 16 Years

On Friday, June 20, 2025, the Acropolis Museum will celebrate its 16th anniversary. To mark the occasion, the Symphony Orchestra of the National and Kapodistrian University of Athens’ Department of Music Studies will perform an open-air concert featuring classical works by Greek composers and beloved film scores, conducted by acclaimed Assistant Professor and internationally renowned maestro Zoe Zeniodi. The concert will begin at 9:00 p.m. in the Museum’s courtyard, with free admission for all visitors.

Solving One of the Greatest “Mysteries”: The Netflix Series Viewers Just Can’t Get Enough Of

“Asterix & Obelix” on Netflix is the kind of series you wish would never end.

With just five episodes, Netflix reignites our nostalgia for that indomitable little Gaulish village and its evergreen spirit of mischief and resistance.

Since 1959, Asterix and Obelix have touched generations of readers with their wit, warmth, and irreverent satire — timeless tales of friendship, rebellion, and anarchic humor that never grow old.

“Asterix & Obelix: The Big Fight,” Netflix’s 2025 animated mini-series, breathes new life into the classic 1966 comic The Contest of the Chiefs with a vibrant blend of slapstick comedy, political satire, and heartfelt camaraderie. Directed by Alain Chabat and Fabrice Joubert, this five-part series revives the beloved duo for a new generation while staying true to the spirit of the original comics.

Returning to the Gaulish village and hearing that unmistakable French humor again is a pure shot of joy for the soul.
Pro tip: Don’t make the mistake of watching it dubbed — it’s best enjoyed in French!

Don’t make the mistake of watching the series in any language other than French

What’s the Netflix Series About?

The story unfolds as the village faces a crisis: their druid Getafix (Panoramix in French) loses his memory after a menhir accident — naturally caused by Obelix. Without Getafix’s memory, the villagers are powerless to brew the magic potion that grants them their superhuman strength.

Seizing the opportunity, Julius Caesar exploits an old Gallic tradition, setting up a duel between village chiefs. Backing Aplusbégalix — a rival allied with the Romans — Caesar aims to dethrone Vitalstatistix (Abraracourcix), the Gaulish leader. The stakes are enormous: losing means Rome conquers the last free village in Gaul.

Packed with pop culture references, this is a series crafted with the trademark humor of the franchise.

Netflix’s adaptation balances high-stakes tension with trademark humor. Getafix’s amnesia sparks a chain of comedic attempts to recreate the potion, introducing quirky new characters like Amnesix. These moments keep things light while celebrating the villagers’ resilience. TAT Productions’ animation blends 3D visuals with the comic’s signature look.

The Heart and Humor Fans Love

Director Alain Chabat infuses the series with his signature humor — no surprise from the creator of what’s widely regarded as the best live-action Asterix film, Mission Cleopatra, the only movie to truly capture the comics’ anarchic wit. Chabat even voices Asterix himself, while Gilles Lellouche delivers a spot-on Obelix.

Perhaps most satisfying for longtime fans: the series finally clears up the great mystery of how Obelix gained his permanent super strength — without needing the potion at all.

A Fresh Yet Faithful Revival

Packed with pop culture nods and the franchise’s unmistakable humor, the show brings Asterix and Obelix firmly into the present, brimming with fresh ideas while respecting its roots.

Stretching the story over five episodes allows deeper character arcs and subplots: the villagers’ chaotic efforts to restore Getafix’s memory, inside glimpses of Roman camp politics, and — for the first time on screen — the full tale of how young Obelix fell into the magic cauldron, giving him his lifelong power. Previously, this backstory appeared only once in the 1960s comics and was illustrated decades later. Now, we see it clearly in episode one.

More Than Nostalgia

The Big Fight doesn’t just feed nostalgia — it translates it for today. Familiar faces, sharp satire, and that undying spirit of independence come alive with modern animation and storytelling.

It’s a smart, loving update that bridges generations: for those who grew up with Asterix’s adventures and for newcomers discovering the rebellious little village for the first time. The show proves that some worlds — like Asterix’s Gaul — never fade away; they just evolve.

Asterix & Obelix: The Big Fight is now streaming on Netflix — and trust us, you’ll wish it would never end.

The Parthenon Sculptures Must Return — Not Just for Greece, But for Humanity, Says the Director of the Acropolis Museum

Today, Nikos Stampolidis, the General Director of the Acropolis Museum, presented the institution’s annual report — and used the occasion to deliver a powerful message: The Parthenon Sculptures must return — not just for Greece, but for all of humanity.

“The Acropolis Museum is the guardian and showcase of the treasures of the Acropolis and the Parthenon. The sculptures must come back — not only because they belong to Greece, but because their reunification is a symbolic act for humanity as a whole. Especially today, in a world fractured by wars, pandemics, and economic crises, reuniting them is a profound gesture about how we should view societies and people,” Stampolidis emphasized during his presentation.

A Unique Argument for Their Return

Stampolidis also highlighted the significance of the newly opened Excavation Museum, located beneath the Acropolis Museum itself, as a compelling argument for the sculptures’ return from the British Museum:

“In the Excavation Museum, which opened to the public a year ago under the Acropolis Museum, you find the true living connection: these homes and streets were once walked by philosophers, poets, sculptors, architects, statesmen — but also by ordinary Athenians, metics, and slaves who built and worked on the Parthenon and other Acropolis monuments. Nowhere else in the world can one experience this human, lived reality beneath their feet while the divine splendor sits above, in direct dialogue with the Parthenon. It’s utterly unique.”

Athens: The Only True Home for the Sculptures

To underscore that there is no better place for the Parthenon Sculptures than Athens, Stampolidis invoked the ancient poet Pindar:

“The light of Attica, praised by Pindar in 475 BC — speaking of Athens crowned with violets, because that’s the hue the Rock takes on certain summer evenings — what LED light, what museum in the world could ever replicate that? And beyond the beauty and architectural detail, it’s about democracy and, above all, emotion. No other museum can offer that.”

He also quoted British filmmaker David Wilkinson, who recently wrote:

“Returning the Sculptures is a matter of moral principle, even if the Acropolis Museum were visited by only 10 people (and not over 2 million). The British are supposed to be a well-mannered nation — yet keeping stolen property for over 200 years is not good manners. It is a disgrace.”

A Strong Voice for Reunification

As a prominent voice in Greece’s effort to reunite the Parthenon Sculptures, Stampolidis has worked tirelessly to highlight this cause internationally. Over the past year, he showcased the successful agreement that brought the “Fagan fragment” from the A. Salinas Museum back to the eastern frieze of the Parthenon in Athens — a model for how other pieces should follow.

He also reiterated UNESCO’s 2021 decision affirming that reunification is correct, ethical, fair, and a matter for governments. He presented new arguments at events like the Greece Talks international conference in Athens and at special presentations at the museum’s Dimitrios Pantermalis Amphitheatre, during the launch of Sir Stephen Fry’s new book advocating for the sculptures’ return, and through the exhibition The Parthenon and Byron, which highlights the lack of legitimate Ottoman documents authorizing Lord Elgin’s removal of the sculptures — proving their unlawful appropriation.

Stampolidis has also brought this message to Italy, Switzerland, the United States, and other countries, stressing that reuniting the sculptures is a symbolic act with global resonance.

An Exceptional Year for the Acropolis Museum

Once again, the Acropolis Museum affirmed its place among the world’s most influential museums. In 2024, it ranked 33rd globally, welcoming over 2 million visitors.

Over the past year, it hosted acclaimed temporary exhibitions featuring ancient masterpieces from Greece and abroad, such as Welcome Stranger in the Land of Dreams with Robert McCabe’s photography; Ancient Civilizations of Basilicata, showcasing early cultures of southern Italy and their contact with the Greeks; and Allspice | Michael Rakowitz & Ancient Cultures, highlighting the acclaimed contemporary artist’s work.

The museum’s ground-floor foyer also hosted special exhibitions like A Tale of Two Cities, featuring works by Greek and Egyptian artists, and The Parthenon and Byron, which explored the looting of the Parthenon’s architectural sculptures by Lord Elgin.

A major highlight was the opening, on June 25, 2024, of the Excavation Museum beneath the Acropolis Museum — an extraordinary space displaying 1,150 selected objects that bring visitors closer to daily ancient life, evoking deep human connection and emotion.

Global Outreach and Inclusive Initiatives

The Acropolis Museum’s collections also traveled abroad, with exhibits showcased in Melbourne and Beijing as part of major archaeological exhibitions organized by Greece’s Ministry of Culture.

Numerous cultural events, mostly musical, were hosted with free admission, while 1,600 visitors enjoyed free thematic presentations by museum archaeologists. Special programs were organized for groups such as people on the autism spectrum, individuals with dementia, refugees, migrants, schools, and families, offering meaningful educational experiences.

Keeping pace with technological advances, the museum introduced a new free image recognition service to identify objects during visits, along with new audio tours: a short 60-minute highlights guide and a family-friendly treasure-hunt-style tour designed for parents and children.

In addition, 1,150 objects from the Excavation Museum were fully documented and digitized, 11,464 new items were photographed and catalogued, conservation work continued apace, and 6,150 high-quality replicas of exhibits were produced for exclusive sale at the museum’s shops.

A Call That Echoes Beyond Greece

In all its actions, the Acropolis Museum champions a single, clear message: the Parthenon Sculptures must come home. Not just for Greece — but as an enduring testament to humanity’s shared heritage and moral responsibility.

The Tower of the Winds: The Oldest Weather Station in Human History Stands in the Heart of Athens

Nestled among the picturesque alleys and neoclassical buildings of Plaka, one of Athens’ most charming neighborhoods, stands a truly unique monument: the Tower of the Winds, known in Greek as Aerides.

Built in the first half of the 1st century BC by the astronomer Andronicus of Cyrrhus in Macedonia, this remarkable octagonal tower rises 13.5 meters high and is constructed entirely of Pentelic marble. In ancient times, it served a remarkable dual purpose: it functioned both as a clock and as an advanced weather station.

Carved into the top of each side are reliefs of the eight wind deities, complete with their distinctive symbols and names: Boreas (North), Kaikias (Northeast), Apeliotes (East), Euros (Southeast), Zephyrus (West), Notus (South), Skiron (Northwest), and Lips (Southwest).

Ingenious Ancient Engineering

On the outside, sundials tracked the hours of daylight, while inside, an innovative hydraulic mechanism told the time on cloudy days and even at night. This ingenious system is considered one of the most sophisticated timekeeping devices of the ancient world.

From Observatory to Place of Worship

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When the Ottomans regained control of Athens in the 18th century, the Tower of the Winds was transformed into a prayer house for the Mevlevi Order of Dervishes, earning the nickname “Tekke of Ibrahim.” It was during this time that the windows, still visible today, were added. Thanks to the Mevlevi Dervishes, the tower remained in Greece and escaped the fate of being dismantled and transported to Britain by Lord Elgin, who had planned to take the entire structure. The Dervishes firmly refused to allow it.

A Temple to the Winds

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After Greece’s liberation, Athenians believed the structure was a temple dedicated to Aeolus, the god of the winds — a belief reflected in the name of the nearby Aiolou Street.

In truth, the Tower of the Winds holds the title of the world’s oldest meteorological station, and its fascinating journey through the centuries continues to captivate visitors today.

Why Visiting Athens’ Brand-New Miniature Museum Is an Immersive Experience for Everyone

The heart of Greece now beats at a 1:50 scale in Athens’ spectacular new Miniature Museum — Greece in Miniature (Mini Greece) — which officially opened its doors on October 19, 2024. Located in the center of Athens, this innovative space offers visitors a captivating journey through architecture, technology, and cultural memory.

This modern, privately owned, five-story museum seamlessly blends architectural craftsmanship with cutting-edge technology and Greek heritage. At Mini Greece, visitors can “travel” across the entire country through meticulously crafted scale models of monuments and breathtaking landscapes.

The Visionary Behind It: Alexander Mensikov

The mastermind behind this ambitious project is Alexander Mensikov, a seasoned design engineer originally from Ukraine and now based in Europe. With years of experience creating architectural models for construction firms, Mensikov’s inspiration for “Greece in Miniature” came from an unexpected twist of fate — a family road trip through France. Lost on the highway, he accidentally stumbled upon the France in Miniature theme park. The experience left a lasting impression, sparking a dream to build something similar.

His first major project was Ukraine in Miniature in 2006, followed by Bulgaria in Miniature. He has also crafted models for private collections, including a stunning replica of Vienna’s St. Stephen’s Cathedral — an impressive three meters long and over five meters high!

Yet, Mensikov’s deep admiration for ancient Greek culture, its aesthetics, and Greece’s influence on global history made this project a natural next step. As he puts it:

“Greece gave the world writing, science, philosophy, and architecture. Its monuments withstand the test of time — they are wonders that deserve to be accessible to everyone.”

And the journey doesn’t stop here — plans are already in motion for themed parks in India, a land of mysticism, centuries-old history, and unparalleled cultural diversity.

Bringing History to Life — VR, AR & Audio-Visual Guides

At Greece in Miniature, technology is more than a gimmick; it’s a powerful tool for learning and wonder. State-of-the-art VR headsets allow visitors to “travel back” to ancient Greece and witness landmarks like the Parthenon, Knossos, and Lindos in their full, restored glory.

Meanwhile, Augmented Reality (AR) breathes life into the miniature displays, layering them with dynamic elements and information that add depth to the visual experience.

The museum also features a comprehensive audio-visual guide system, offering visitors a well-organized, multilingual tour. This digital guide shares historical context and engaging stories, weaving a rich narrative that enhances understanding and connection with each exhibit.

Technology here becomes a bridge between memory, knowledge, and emotion — transforming a simple visit into a vivid experience for all ages, and making the museum a living window into the past.

A Museum for Everyone — All Ages, All Backgrounds

This unique museum welcomes families, school groups, tourists, students, and architecture enthusiasts alike. It’s an educational, interactive, and entertaining environment, offering a fresh way to see Greece — holistically, with multiple senses engaged, blending knowledge with immersive experience. Step inside, and it feels like stepping into a fairytale world — as if you’re Gulliver wandering the land of the Lilliputians.

Accessibility Without Barriers — Culture for All

Greece in Miniature is built with a deep commitment to inclusivity and universal accessibility. The museum is fully accessible to people with disabilities, featuring elevators, ramps, accessible restrooms, and clear signage. Specially designed interactive stations ensure that visitors with mobility, visual, or hearing challenges can fully enjoy the experience.

Accessibility at Mini Greece is not just a practical priority — it’s a core philosophy: equal access to culture, history, and knowledge is a cornerstone of the museum’s vision.

An Unprecedented Discovery: Scientists Stunned by Fungus Capable of Producing Gold

An international team of researchers has made a groundbreaking discovery, recently published in the prestigious journal Nature Communications. Scientists have revealed that a common fungus of the species Fusarium oxysporum has the astonishing ability to generate tiny gold particles on its surface by absorbing metals from mineral samples.

The study, led by Tsing Bohu at Australia’s Commonwealth Scientific and Industrial Research Organisation (CSIRO), was based on an innovative experiment: the fungus was exposed to dust extracted from a meteorite found in the asteroid belt. This sample contained various minerals, including iron, calcium, and aluminum.

However, what truly astonished the research team was the organism’s unexpected response: after absorbing these elements, Fusarium oxysporum produced microscopic particles of pure gold.

This process is part of what scientists describe as the “biogeochemical cycle of gold” — a natural phenomenon in which microorganisms actively contribute to the formation, breakdown, and re-accumulation of precious metals. In this remarkable case, the fungus not only detects the presence of gold but appears to organically integrate it into its biological structure.

From Earth to Space

This discovery opens up exciting possibilities in the fields of mining and biotechnology. The ability of an organism to process minerals — especially of extraterrestrial origin — and isolate valuable metals paves the way for what researchers call “biometallurgy” in space environments.

Scientists are already exploring ways to optimize this gold-producing mechanism through genetic modification, with the aim of increasing its efficiency.

Although the amount of gold currently produced is minimal, the potential applications are immense. Integrating such biological processes into industrial operations could revolutionize metal extraction, offering a more sustainable, cost-effective, and environmentally friendly alternative to conventional mining methods.

Gold has captivated humanity for millennia — but the idea that a humble fungus could become a “biological alchemist” might just be one of the most remarkable scientific breakthroughs of our time.

New Documentary on the Parthenon Marbles: From Scotland with Love

A documentary about the Marbles featuring Brian Cox and the Highland “model” for repatriation

Most of us know Brian Cox as the powerful media mogul from Succession, or perhaps as Agamemnon in the epic film Troy. But beyond Hollywood, the acclaimed Scottish actor has a very real connection to ancient Greece — and he’s not shy about it. In a new documentary focusing on the Parthenon Marbles, Cox passionately advocates for their return to Greece.

Director David Wilkinson, the British filmmaker behind the documentary, explains in an interview:

“Brian Cox is very clear that the Marbles should not be here. When I was looking for Scottish voices to feature — since Scotland has long led by example when it comes to repatriations — he immediately agreed to take part. He even says in the film that if Elgin had given the Marbles to a museum in Edinburgh, they’d have been sent back years ago.”

Wilkinson’s documentary, titled The Marbles, premieres this October at the Central Scotland Documentary Festival. True to its subtitle “From Scotland with Love,” the Highlands nation plays a leading role as an ethical example: Scotland was the first to return part of the famed Benin Bronzes to Nigeria, and Glasgow’s city council repatriated a ceremonial garment belonging to the Sioux tribe that had ended up in Europe after the Wounded Knee Massacre in 1890.

“Elgin is the only real villain in the film — and the irony is that his own country becomes the hero,” says Wilkinson.
“We showcase governments that resolve repatriation cases, making the British government look increasingly out of touch.”

A chorus of voices and historical revelations

Alongside Brian Cox, the film features members of the British Committee for the Reunification of the Parthenon Marbles — including Janet Suzman, Paul Cartledge, and Victoria Hislop — as well as leading repatriation experts. Their testimonies, combined with Wilkinson’s deep dive into historical records and press archives, reveal that even Elgin himself was far from confident about the legality of his acquisition.

“We cover that thoroughly in the film,” says Wilkinson.
“Many British aristocrats back then looked down on him, seeing him as a looter. It was the golden age of the Grand Tour — the upper classes adored traveling to Greece and felt Elgin had stolen treasures meant to be admired in their original homeland.”

Challenges, closed doors, and unwavering resolve

Yet, despite strong public sentiment, Wilkinson found little financial support among some modern elites — ironically, from a few wealthy Greek shipowners and London’s well-heeled circles, who considered the issue trivial compared to the world’s bigger problems. Instead, it was everyday Greeks who contributed from their modest means to help the project.

The British Museum, too, was not always cooperative. Before George Osborne took over as chair, Wilkinson often found his emails unanswered — so he would show up in person, leaving handwritten notes to make his case. His commitment, however, never wavered. His fascination with Greece began in the 1970s during free public lectures at the British Museum and intensified in 2008 when he started researching the film in earnest, culminating in shooting that began symbolically on March 25, 2021 — Greek Independence Day.

Today, he says, fewer and fewer people believe the Marbles belong in Britain once they know the full story.

“That’s exactly why I made this film,” he says.
“Returning the Marbles is not just a matter of cultural heritage — it’s an issue of basic decency. Even if only ten people saw them at the Acropolis Museum — which is far from true — they still belong there. The British pride themselves on good manners, but holding onto stolen property for over 200 years is not good manners. It’s a disgrace.”

The Metropolitan Museum of Art in New York Returns Three Ancient Sculptures to Iraq

This marks another positive step in the Met’s ongoing collaboration with foreign governments to repatriate antiquities.

Following an extensive investigation by experts, a Sumerian alabaster vessel and two Babylonian terracotta sculptures will be returned to Iraq. This announcement comes as part of the Met’s Cultural Heritage Initiative, an effort that includes thorough research into the provenance of objects in its collection. According to My Modern Met, the museum has also assembled a dedicated team of specialists to ensure that all acquisitions comply with legal and ethical standards.

The items being repatriated date back to the third to second millennia BCE. Specifically, the Sumerian vessel — notable for its base adorned with two rams — and a Babylonian female head were donated to the museum in 1982, while a Babylonian male head was purchased by the Met in 1972. Both the vessel and the male head were once sold by Robin Symes, a dealer notorious for trafficking looted antiquities. After working closely with the Manhattan District Attorney’s Office, the museum confirmed that these artifacts should rightfully be returned.

“The Met is committed to responsible collecting and to the careful stewardship of the world’s cultural heritage. We have made significant investments to accelerate provenance research into our collection. We are grateful for the ongoing dialogue with Iraq about future collaborations, and we look forward to working together to advance knowledge and appreciation of Iraqi art and culture,” said Max Hollein, the museum’s director, in a statement.

The return of these valuable antiquities is yet another example of the Met’s proactive partnerships with other nations to address issues of cultural heritage and ownership. These efforts have also paved the way for new cultural exchanges. Other recent initiatives include the return of a 7th-century BCE bronze griffin head to Greece and the transfer of ownership of two stone sculptures to Yemen under a historic custodial agreement — under this arrangement, the Met will care for and display the sculptures until Yemen requests their repatriation.

“The Only Way to Be Happy Is…” — Schopenhauer Weaves His Philosophy into Our Lives

Schopenhauer quote

Arthur Schopenhauer argued that true happiness does not lie in outward success but in genuine inner cheerfulness. When we see someone wealthy or attractive, we wonder if they’re truly happy — yet when we meet a genuinely cheerful person, we no longer care whether they’re rich or poor, young or old.

Cheerfulness, he says, is like an unexpected visitor — it shows up when it pleases, and we must welcome it wholeheartedly, without hesitation or doubt. The only way to be happy is to open the door wide when cheerfulness knocks, remembering that the present moment is the only piece of time we truly own.

Constantly analyzing whether we have a “good enough reason” to feel joy only sabotages joy itself, burdening it with worries and overthinking that yield no certain benefit. Cheerfulness, on the other hand, is an immediate gain: it brightens the now and enriches our experience of life.

The famously “grumpy” philosopher also reminds us that material comforts do little to boost our mood compared to good health, which he considers the bedrock of lasting cheerfulness. Physical well-being allows us to savor joy’s fruit — so it should come before any other pursuit. Taking conscious care of the body through rest, moderation, and exercise creates the fertile ground where happiness can truly take root.

Strikingly relevant today is Schopenhauer’s practical advice: move your body for at least two hours a day in the fresh air. A calm mind, he insists, needs open skies, deep breaths, and the feeling of muscles working and relaxing. In this way, happiness is revealed as a steady practice of caring for the body and fully inhabiting each moment — proving that we thrive when we embrace the simplicity of the present.

All that’s left now is to put it into practice!

(Read the literary excerpt below)

Schopenhauer, “The Art of Being Happy”

When we judge the happiness of someone rich, young, beautiful, or honored, what we really want to know is whether they are truly cheerful.

On the other hand, if someone is genuinely cheerful, we no longer care whether they are young or old, rich or poor — we know they are happy.

That’s why, whenever cheerfulness comes to visit, we should fling the door wide open. There is never an inappropriate time for its arrival.

Yet instead of doing exactly that, we question whether we have any real reason to feel joyful, fearing that cheerfulness might distract us from our “serious thoughts and worries.”

But what benefit do those worries bring us? Even we ourselves don’t know — while cheerfulness is the surest gain.

Its benefit lies directly in the present moment — the highest good for our existence, which, at its core, is nothing but an undivided present between two infinities.

Therefore, pursuing it must be an absolute priority.

It is certain too that nothing contributes less to a cheerful mood than external wealth — and nothing contributes more than good health.

So health should come before any other blessing, and we should consciously strive to maintain it at its highest level, so that we can enjoy its reward: cheerfulness.

We should also avoid excessive and prolonged mental strain, and make sure to move for at least two hours every day in the fresh air.

The Cave of Skeletons — A Hidden Greek Mystery

Tucked away on the edge of Kalymnos, near the area of Vlychadia, lies one of the Aegean’s most intriguing caves: the Cave of Skeletons.

Its name is far from accidental — it owes its eerie reputation to the human bones discovered inside, remnants from a distant past when prehistoric people sought shelter, performed burials, or held rituals in natural cavities.

Archaeologists who located and excavated the cave were astonished by the wealth of findings: human bones, stone tools, pottery fragments, and traces of fire. All of these point to the cave having been an active site of life and death since prehistoric times, likely during the Neolithic and early Bronze Age.

Despite its thriller-like name, the Cave of Skeletons is an invaluable archaeological treasure that offers profound insights into life on the Aegean islands thousands of years ago. It stands as a silent reminder that even in the most hidden corners of the earth, human history leaves its mark.

Infant Skeleton May Solve a Centuries-Old Mystery — A Macabre Ritual and Clues of Human Sacrifice

A team of Italian and German archaeologists has uncovered the skeletal remains of a newborn in the ancient Etruscan city of Kainua — today’s Marzabotto, near Bologna — shedding new light on a haunting question: Did the Etruscans practice human sacrifice?

The Etruscans, an ancient civilization that flourished in what is now central Italy during the first millennium BCE, are known to have had a sophisticated culture that deeply influenced Roman society. Yet historical sources — often written by Greek and Roman enemies — long accused them of performing ritual human sacrifices, particularly using prisoners of war, whose entrails priests would read to divine the future. For centuries, however, solid archaeological evidence was lacking.

What the Infant Skeleton Reveals

The skeletal remains, dated to between the 6th and 4th centuries BCE, were found near a sacred temple wall dedicated to Uni, the Etruscan goddess of marriage, family, and fertility, and protector of women.

Scientific analyses confirmed that the infant — a local baby boy — had undergone ritual treatment before burial: the bones show clear signs of defleshing, but no dismemberment. The burial context, along with cut marks on some of the long bones, suggests intentional removal of soft tissue — a practice that may have held religious significance.

This discovery, detailed in Archaeological and Anthropological Sciences, adds new weight to the centuries-old accounts that the Etruscans carried out sacrificial rites, though debate persists among historians.

A Sacred Foundation Offering

The baby’s remains were uncovered in a trench near ritual artifacts: pottery shards inscribed with dedications to the goddess Vei, cross symbols aligned with celestial bodies, and animal bones — all pointing to a ceremonial setting.

Researchers believe the placement indicates a “foundation sacrifice” — a ritual offering to consecrate the temple wall. The fragile skeleton was analyzed through CT scans and radiocarbon dating, confirming that the child was carried to full term (38–40 weeks) and likely died shortly after birth.

Human Sacrifice or Natural Death?

Could the baby have been stillborn and buried as an appeal for divine protection? The team considered this possibility, including the practice of embryotomy — a rare ancient procedure to extract a fetus during complicated labor — but the intact skeleton argues against it.

Ultimately, the match between the archaeological context and the anthropological evidence supports the hypothesis of a ritual sacrifice. The study also draws parallels with other Etruscan finds, such as child burials near defensive walls in Tarquinia and Orvieto, or animal offerings in sacred wells.

Infants as Mediators Between Humans and the Divine

Etruscan temples in Marzabotto (Kainua). Photo: Exif / Wikimedia Commons.

The researchers note that in various ancient Mediterranean cultures, including Greece and Rome, newborns were sometimes buried at transitional sites — near doorways or walls — symbolizing spiritual passage. As infants were not yet fully integrated into society, they were seen as suitable intermediaries with the divine.

Moreover, defleshing may have symbolized beliefs in rebirth, since bones were regarded as seeds of future life.

Caution and Limitations

Despite the compelling evidence, the authors acknowledge the limits of their study. There is no clear sign of fatal violence to prove intentional killing, and more such discoveries are needed to confirm whether this was common practice or an isolated event.

Nonetheless, this fragile skeleton brings us one step closer to understanding the complex, and sometimes grim, rituals of an ancient civilization whose secrets are still emerging from the earth.

Scientists Have Found Earth’s Real-Life Kryptonite — and It Could Power the Green Revolution in Electric Cars

A mineral that scientists are still working to fully decode may hold the key to a new green revolution — starting with the electric vehicle industry.

Kryptonite is famously known as Superman’s Achilles’ heel: the only material in the universe that can strip him of his superpowers. Originating from Krypton, Superman’s home planet, the glowing green substance emits a unique, toxic radiation that can weaken or even kill him. Of course, kryptonite is pure science fiction, a creation of comic books and Hollywood.

But researchers at London’s Natural History Museum believe a real-world version could deliver remarkable benefits here on Earth. Unlike its fictional counterpart, this mineral — called jadarite — is white, powdery, non-radioactive, and comes not from outer space but from Serbia.

Jadarite was first discovered in Serbia in 2004 by the mining company Rio Tinto. At first, even geologists were puzzled by its composition. Three years later, it was officially described by a team that included Natural History Museum scientists Chris Stanley and Mike Rumsey.

When they compared it to a database of all known minerals at the time, they were astonished to find it was entirely unique. Even more surprising: its chemical formula was strikingly similar (though not identical) to the fictional formula invented for kryptonite in the 2006 film Superman Returns. In the movie, the fake formula — “sodium lithium boron silicate hydroxide with fluorine” — appears on a kryptonite case stolen by Superman’s arch-nemesis, Lex Luthor.

This uncanny coincidence grabbed headlines back in 2007, but nearly two decades later, jadarite’s real potential is only now coming into focus.

What Makes Jadarite So Special?

Curiously, jadarite has so far been found in only one place on Earth: the Jadar Basin in Serbia, which gave the mineral its name. But there’s a silver lining: the deposit is vast enough that if mined, it could power a green transformation on a massive scale.

Scientists describe jadarite as forming in “layered cakes of materials that combine in a precise sequence.” This rare but promising lithium-bearing mineral could soon fuel Europe’s leap into a new era of electric vehicles, as traditional combustion engines are replaced by batteries.

“If mined, jadarite has enormous potential,” says Dr. Robin Armstrong, a geologist at the Natural History Museum in London.

Jadarite is rich in both boron and lithium — elements that are relatively rare and highly valuable to modern industries. Boron is used in fertilizers, heat-resistant glass for smartphones, and materials for wind turbines and solar panels. Meanwhile, lithium is a critical component in lithium-ion batteries that power electric cars.

According to researchers publishing in Nature Geoscience, if the jadarite in Serbia’s Jadar Basin is fully extracted, it could supply enough lithium to power up to 90% of Europe’s electric vehicles.