Negotiations resume on 46 disputed artifacts as a deadline for a cultural embargo looms.
By Jason Felch and Ralph Frammolino, LA Times
July 31, 2007
Days before a threatened cultural embargo was scheduled to take effect, the J. Paul Getty Museum has resumed negotiations with the Italian government over 46 of the museum's disputed antiquities — opening the door to a possible agreement.
In an exchange described by a Getty official as "intense" and "useful," the museum has exchanged letters with Italy's minister of culture, exploring possible settlements of the dispute, authorities from both sides confirmed Monday.
Neither side would provide details of the negotiations, but Getty spokesman Ron Hartwig said Monday that museum officials were "hopeful this will lead to a resolution…. We believe both sides are committed to resolving the issues that separate us."
The apparent breakthrough comes after an eight-month deadlock and was made possible when Italy took off the table what had been a key sticking point in the talks: the fate of the so-called Getty Bronze, a 4th century BC statue of a young athlete found by Italian fishermen in the 1960s.
The statue is considered a signature piece in the Getty's antiquities collection, occupying a climate-controlled room built specially for it at the Getty Villa, near Malibu.
A senior Italian official said the culture ministry decided that the fate of the statue should not be negotiated until a new criminal investigation into the statue's discovery and export from Italy is complete. The official asked not to be named because he was not authorized to speak on the record while negotiations were ongoing.
The new investigation, being conducted by a regional magistrate, was requested several months ago by a local citizens group in Fano, hometown of the fishermen who found the statue, brought it ashore and hid it in a cabbage field before selling it to a local dealer.
But even its citizen sponsors admit the investigation is unlikely to uncover the full story of the artifact's discovery and export from Italy. Nearly four decades have passed since the bronze athlete left Italy under mysterious circumstances, and many of the people involved have since died.
Even with the impasse broken, the Getty and Italy have tough negotiations ahead, including the fate of the museum's prized statue of Aphrodite and several other of the collection's masterpieces.
Italy first formally demanded the return of the bronze and 45 other antiquities in January 2006, saying the they had been illicitly excavated and smuggled out of Italy before being purchased by the Getty Museum.
Several of the artifacts have been used as evidence in the Italian government's criminal case against Marion True, the Getty's former antiquities curator who is facing charges in Rome of trafficking in looted art.
In November, the museum offered to return 26 disputed objects, but talks broke down over the bronze, which was not among the offered pieces. Italian authorities turned down the deal, saying they would only agree if all 46 objects were returned.
Earlier this month, Francesco Rutelli, Italy's minister of culture, visited Fano.
In a speech there, he threatened to cut off all ties between Italy and the Getty if there was not an agreement by August 1st. The threatened embargo would be an unprecedented move by Italy, ending mutually beneficial collaboration in the areas of conservation, research and exhibition of art.
Cutting cultural ties could hurt Italy as much as the Getty. Museum officials say that since 1990, the museum has lent more than twice as many artworks to Italian institutions as it has borrowed from the country. They say they have made hundreds of thousands of dollars in grants to individuals and institutions for study and conservation, including more than $400,000 to Save Venice Inc.
Both sides have since issued statements saying they hoped to avoid breaking ties, but the bronze had stood in the way of further talks.
Of the 46 disputed objects, the bronze is a unique case. It was found in international waters before being brought into Italian territory, according to one of the fisherman who discovered the statue. That fact has muddied the legal waters and made the arguments over its ownership more contentious.
Italy maintains that the statue was later smuggled out of the country without an export license required by Italian law, and that it should therefore be returned. The Getty insists that illegal export alone, even if it were proven, would not constitute grounds for returning the bronze, which was originally made in ancient Greece and most likely looted by Roman soldiers.
Before his death, museum founder J. Paul Getty had qualms about both the $4 million asking price for the statue and about its legal status. He had concluded that the museum should only acquire the bronze if it received explicit permission from the Italian government to do so.
But in the months after his death in 1976, the museum bought the statue for just under $4 million without permission from Italy. Museum officials dubbed it the Getty Bronze in honor of the oilman.
The statue was the subject of a lengthy criminal trial in Italy in the late 1960s and '70s. Two dealers and a priest were charged with trafficking in looted antiquities and convicted by a court. That sentence was overturned on appeal, however, when Italy's highest court ruled that, since there was no proof the bronze was found in Italian waters, there was insufficient evidence for Italy to claim it as stolen property.
But the question of how the statue left Italy was never resolved in the legal dispute, and for years Italy has called for the statue's return.
"We think it should be called the Athlete of Fano, not the Getty Bronze," said Tullio Tonnini, an attorney in Fano and member of the local cultural group Cento Citta which filed the request for a new investigation in April.
Wednesday, August 01, 2007
Excavations uncover new data on ancient kingdom of Paphos
Source: Financial Mirror
New data on the history of the ancient kingdom of Paphos are forthcoming as a result of the archaeological field project conducted by the Archaeological Research Unit of the University of Cyprus at Kouklia-Palaepaphos since last year.
According to the Department of Antiquities of the Ministry of Communications and Works, the project’s main target is to reconstruct the urban topography of Palaepaphos through the identification of the ancient settlement’s main components.
In the Late Bronze Age, ancient Paphos was the administrative and economic centre responsible for the construction of the megalithic sanctuary of the Cypriote Aphrodite at the end of the 13th century BC. In the Iron Age, the kings of Paphos retained responsibility for the upkeep and function of the sanctuary, and thus had the unusual privilege of being the goddess’s priests, until the very end of the 4th century BC when the institution of Cypriot kingship was finally abolished by Ptolemy I.
The University of Cyprus team has been working on the northern side of the Palaepaphos-Marchello plateau since last year. The 2007 excavation team exposed 40 metres of the stone foundation of a monumental Iron Age defensive system, 3.5 m in thickness. They have also uncovered a gate, so far one side of it only, impressively constructed of finely dressed ashlar blocks, which is protected by a bastion.
A general survey of the plateau as well as various construction details, the position of casemates on the inner side of the wall and that of buttresses on the external facade, suggest that the defence scheme was designed to follow and strengthen the natural contours of the hilltop in the manner of a citadel wall.
Analysis of the ceramic material recovered during the 2006 and 2007 seasons indicates that the site was originally used for the construction of Late Bronze Age chamber tombs. Sometime in the 11th century, when burial sites throughout Cyprus begin to be strictly separated from habitation sites, Marchello ceased to be a burial ground and it was gradually incorporated into the Iron Age urban fabric of Palaepaphos. On the evidence of pottery, this new cultural horizon lasted from the Geometric to the end of the Classical period.
By virtue of the fact that it commands the highest elevation in the landscape of Palaepaphos, it is more than likely that the hill of Marchello was chosen to fulfill a special function. This hypothesis is supported by the fact that, back in the 1950s, a large deposit of Greek syllabic inscriptions, some of them bearing the names of Paphian kings, and statues, some of them undoubtedly of royal individuals, were found buried on the north side of a monumental and well preserved stretch of wall with a gate, which were then excavated in the 1960s. The recently exposed stretch of wall with a gate has now been shown to be part of the same system of defence.
A geophysical survey and another excavation season in May 2008 are expected to provide definitive evidence in favour, or against, the identification of Marchello as a walled royal citadel of the Archaic and Classical kingdom of Paphos.
The excavations were designed and directed by Maria Iacovou, Associate Professor of Archaeology in the University of Cyprus. The 2007 excavation team comprised fifteen Cypriot graduate and undergraduate students of archaeology, a student from the Erasmus exchange programme, plus two British volunteers.
New data on the history of the ancient kingdom of Paphos are forthcoming as a result of the archaeological field project conducted by the Archaeological Research Unit of the University of Cyprus at Kouklia-Palaepaphos since last year.
According to the Department of Antiquities of the Ministry of Communications and Works, the project’s main target is to reconstruct the urban topography of Palaepaphos through the identification of the ancient settlement’s main components.
In the Late Bronze Age, ancient Paphos was the administrative and economic centre responsible for the construction of the megalithic sanctuary of the Cypriote Aphrodite at the end of the 13th century BC. In the Iron Age, the kings of Paphos retained responsibility for the upkeep and function of the sanctuary, and thus had the unusual privilege of being the goddess’s priests, until the very end of the 4th century BC when the institution of Cypriot kingship was finally abolished by Ptolemy I.
The University of Cyprus team has been working on the northern side of the Palaepaphos-Marchello plateau since last year. The 2007 excavation team exposed 40 metres of the stone foundation of a monumental Iron Age defensive system, 3.5 m in thickness. They have also uncovered a gate, so far one side of it only, impressively constructed of finely dressed ashlar blocks, which is protected by a bastion.
A general survey of the plateau as well as various construction details, the position of casemates on the inner side of the wall and that of buttresses on the external facade, suggest that the defence scheme was designed to follow and strengthen the natural contours of the hilltop in the manner of a citadel wall.
Analysis of the ceramic material recovered during the 2006 and 2007 seasons indicates that the site was originally used for the construction of Late Bronze Age chamber tombs. Sometime in the 11th century, when burial sites throughout Cyprus begin to be strictly separated from habitation sites, Marchello ceased to be a burial ground and it was gradually incorporated into the Iron Age urban fabric of Palaepaphos. On the evidence of pottery, this new cultural horizon lasted from the Geometric to the end of the Classical period.
By virtue of the fact that it commands the highest elevation in the landscape of Palaepaphos, it is more than likely that the hill of Marchello was chosen to fulfill a special function. This hypothesis is supported by the fact that, back in the 1950s, a large deposit of Greek syllabic inscriptions, some of them bearing the names of Paphian kings, and statues, some of them undoubtedly of royal individuals, were found buried on the north side of a monumental and well preserved stretch of wall with a gate, which were then excavated in the 1960s. The recently exposed stretch of wall with a gate has now been shown to be part of the same system of defence.
A geophysical survey and another excavation season in May 2008 are expected to provide definitive evidence in favour, or against, the identification of Marchello as a walled royal citadel of the Archaic and Classical kingdom of Paphos.
The excavations were designed and directed by Maria Iacovou, Associate Professor of Archaeology in the University of Cyprus. The 2007 excavation team comprised fifteen Cypriot graduate and undergraduate students of archaeology, a student from the Erasmus exchange programme, plus two British volunteers.
Monday, June 18, 2007
Tuesday, June 12, 2007
Mycenaean tombs were found near Olympia
Source: IOL
Athens - Greek archaeologists have uncovered four intact tombs about 30 centuries old and Roman baths from a later period in the south-west of the country, the local media reported on Monday.
The four tombs date from the Mycenaean period (1450 BC to 1050 BC) and are reported to contain many objects such as toys, ceramics and figurines.
The find was made near Olympia in the Peloponnese region in an area which had been excavated in the 1960s and the end of the 1990s.
One of the tombs found by a team headed by archaeologist Olympia Bikatou was apparently that of a child and held toys, images of protecting deities and an effigy of the mother, a woman clasping a child.
One of the objects was a flask showing Cypriot influence
Bikatou told a seminar at Olympia that her team had found ceramics in the form of boxes, alabaster pots and amphoras, some of which had four handles, "which give a complete picture of a Mycenaean ceramics workshop".
One piece of an amphora has a design showing a body displayed on a stretcher carried by four men which, according to Bikatou, "is the only scene of this type in Mycenaean iconography".
The tombs also held intaglio work in the form of engraved stones and seals in steatite and jewelry such as necklaces and pearls.
Giorgia Hatzi, head of the regional archaeological department, said Roman baths covering an area of 1 000 square metres had been found in the region.
They operated from the first to the fourth century AD and consisted of 16 rooms around a central marble-clad colonnade. The cloisters were covered with mosaics.
Athens - Greek archaeologists have uncovered four intact tombs about 30 centuries old and Roman baths from a later period in the south-west of the country, the local media reported on Monday.
The four tombs date from the Mycenaean period (1450 BC to 1050 BC) and are reported to contain many objects such as toys, ceramics and figurines.
The find was made near Olympia in the Peloponnese region in an area which had been excavated in the 1960s and the end of the 1990s.
One of the tombs found by a team headed by archaeologist Olympia Bikatou was apparently that of a child and held toys, images of protecting deities and an effigy of the mother, a woman clasping a child.
One of the objects was a flask showing Cypriot influence
Bikatou told a seminar at Olympia that her team had found ceramics in the form of boxes, alabaster pots and amphoras, some of which had four handles, "which give a complete picture of a Mycenaean ceramics workshop".
One piece of an amphora has a design showing a body displayed on a stretcher carried by four men which, according to Bikatou, "is the only scene of this type in Mycenaean iconography".
The tombs also held intaglio work in the form of engraved stones and seals in steatite and jewelry such as necklaces and pearls.
Giorgia Hatzi, head of the regional archaeological department, said Roman baths covering an area of 1 000 square metres had been found in the region.
They operated from the first to the fourth century AD and consisted of 16 rooms around a central marble-clad colonnade. The cloisters were covered with mosaics.
Friday, June 08, 2007
Tribute to Praxiteles at National Archaeological Museum in July
Visitors will see the works in order, from the most to the least certain attributions
Eighty works from museums in Greece (such as the head of the Artemis of Brauron) and abroad will be on display in the exhibition dedicated to the great sculptor Praxiteles at the capital’s National Archaeological Museum from July 25 through October 31.
Source: ekathimerini IOTA SYKKA
A recent exhibition dedicated to the great sculptor Praxiteles at the Louvre Museum in Paris offered a useful insight to organizers of a Greek exhibition about what to do and what pitfalls to avoid.
It may help the upcoming tribute to Praxiteles at the National Archaeological Museum of Greece (July 25 to October 31) to prevent any overcrowding, repetition and exaggeration.
The Athens exhibition will have some advantages, one being the famous Marathon Boy, the bronze masterwork that was not the centerpiece to the Louvre exhibition, and which gave rise to a major misunderstanding on both sides.
The extremely fragile statue will be moved, with its base, to the temporary exhibition hall, where it will be the central exhibit, together with a surprise that the museum’s director, Nikos Kaltsas, has planned.
Eros of Thespies
Another impressive exhibit is the small marble Eros of Thespies that was “discovered” a couple of years ago among the many treasures that fill the museum’s storerooms.
Another masterpiece in the exhibition is the ivory figurine of Apollo that the First Ephorate of Prehistoric and Classical Antiquities lent with some reluctance as the figurine is exceedingly fragile, having been reconstructed from 240 tiny fragments.
There will be 80 exhibits on display, 27 of them from museums abroad, as many again from Greek museums (such as the Iraklion Archaeological Museum, the Numismatic Museum and the Brauron Museum), and a further 26 from the National Archaeological Museum’s own collection.
One innovation is that all the works on display will be either from the time of Praxiteles or Roman copies, but no later.
Some experts objected to the Louvre exhibition’s inclusion of later works in order to show the influence of Praxiteles, not only on the Hellenistic and Roman periods, but also on the Renaissance and more recent times.
The organizers did not want to use any casts in the exhibition, apart from that of Hermes from Olympia.
In Athens, the works will be presented in order from the most certain to the least certain attributions.
Sculptor’s workshop
The workshop of Praxiteles, who was born around 395 BC, operated for around a century.
It began with his father, Cephisodotus the Elder, the best-known Athenian bronze-caster of the period 390-370 BC, from whom Praxiteles learnt his trade, and was continued by his sons, Cephisodotus and Timodotus.
Among the highlights of the exhibition will be the works that travelled from Athens to Paris for the Louvre tribute, as well as two inscribed plinths which bear the signature of Praxiteles from the Ancient Agora Museum, the head of Artemis of Brauron from the old Acropolis Museum, the torso of an Arles-type Aphrodite, a grave stele with a relief and the Mantineia Base.
Wednesday, June 06, 2007
Ancient Egyptian City Spotted From Space
Source: LiveScience.com via AOL News
By Heather Whipps
(June 6) - Satellites hovering above Egypt have zoomed in on a 1,600-year-old metropolis, archaeologists say.
Images captured from space pinpoint telltale signs of previous habitation in the swatch of land 200 miles south of Cairo, which digging recently confirmed as an ancient settlement dating from about 400 A.D.
The find is part of a larger project aiming to map as much of ancient Egypt's archaeological sites, or "tells," as possible before they are destroyed or covered by modern development.
"It is the biggest site discovered so far," said project leader Sarah Parcak of the University of Alabama at Birmingham. "Based on the coins and pottery we found, it appears to be a massive regional center that traded with Greece, Turkey and Libya."
Another large city dating to 600 B.C. and a monastery from 400 A.D. are some of the four hundred or so sites that Parcak has located during her work with the satellites. The oldest dates back over 5,000 years.
Egypt contains a wealth of already identified archaeological tells like these, but even they represent only about 0.01 percent of what is out there still uncovered, Parcak said.
Most of the ancient settlements still buried are at risk of being lost to looting and urban sprawl. Residential sites, where the Egyptian empire's millions of citizens lived during its heyday, are especially vulnerable, archaeologists say.
"There are thousands of settlements that Egyptians don't even know are there," Parcak told LiveScience. "Nothing will ever destroy the Pyramids or the Temple of Luxor, but these huge settlement sites where we get a lot of information are being threatened. And that's how we find out how people lived."
The satellite technology lets archaeologists such as Parcak—the first to use space imagery in Egypt—identify points of interest on a large scale.
"Basically, I'm trying to distinguish the ancient remains from the modern landscape," she said. "A site is going to appear very differently from space." Archaeological sites absorb moisture in a different way, she explained, and tend to be covered with specific types of soil and vegetation.
The subtle differences would take much longer to identify on the ground, said Parcak, so Egypt's government uses her catalog to identify sites and excavate there before development takes over and destroys the site for good.
By Heather Whipps
(June 6) - Satellites hovering above Egypt have zoomed in on a 1,600-year-old metropolis, archaeologists say.
Images captured from space pinpoint telltale signs of previous habitation in the swatch of land 200 miles south of Cairo, which digging recently confirmed as an ancient settlement dating from about 400 A.D.
The find is part of a larger project aiming to map as much of ancient Egypt's archaeological sites, or "tells," as possible before they are destroyed or covered by modern development.
"It is the biggest site discovered so far," said project leader Sarah Parcak of the University of Alabama at Birmingham. "Based on the coins and pottery we found, it appears to be a massive regional center that traded with Greece, Turkey and Libya."
Another large city dating to 600 B.C. and a monastery from 400 A.D. are some of the four hundred or so sites that Parcak has located during her work with the satellites. The oldest dates back over 5,000 years.
Egypt contains a wealth of already identified archaeological tells like these, but even they represent only about 0.01 percent of what is out there still uncovered, Parcak said.
Most of the ancient settlements still buried are at risk of being lost to looting and urban sprawl. Residential sites, where the Egyptian empire's millions of citizens lived during its heyday, are especially vulnerable, archaeologists say.
"There are thousands of settlements that Egyptians don't even know are there," Parcak told LiveScience. "Nothing will ever destroy the Pyramids or the Temple of Luxor, but these huge settlement sites where we get a lot of information are being threatened. And that's how we find out how people lived."
The satellite technology lets archaeologists such as Parcak—the first to use space imagery in Egypt—identify points of interest on a large scale.
"Basically, I'm trying to distinguish the ancient remains from the modern landscape," she said. "A site is going to appear very differently from space." Archaeological sites absorb moisture in a different way, she explained, and tend to be covered with specific types of soil and vegetation.
The subtle differences would take much longer to identify on the ground, said Parcak, so Egypt's government uses her catalog to identify sites and excavate there before development takes over and destroys the site for good.
Monday, June 04, 2007
Subway Dig Unearths Rome's Ancient Past
Source: NPR
By Sylvia Poggioli
It's been centuries since archaeologists excavated Rome's central Piazza Venezia, but just a few hundred yards from the Roman Forum, skeletons of the city's past are surfacing.
In a hole 18 feet below the piazza, construction workers and archaeologists digging Rome's new subway line are carefully uncovering Rome's layered history.
Closest to the surface are building remnants from renaissance Rome that were torn down in the late 19th century. The next layer exposes the remains of Via Flamina, a medieval road that once cut through the city. Below that, herringbone pavement from around A.D. 700 peeks through.
Unlike Paris or New York, whose intricate subway lines connect, Rome has historic subterreanean layers that have prevented its subway system from uniting. Giovanni Simonacci, the technical director of the new subway line, says that in Rome, archaeological remnants can be found up to 30 feet below the surface. At 90 feet down, the subway's tunnels won't displace antique artifacts, but the upper stations and air vents will.
Archaeologists decide whether artifacts are historically important enough to be maintained, or whether they can be destroyed. They deemed a Roman tavern from the Middle Ages acceptable for destruction, but they scrapped an entire subway stop near the Pantheon after workers found the base of an imperial Roman public building. Tourists will walk an extra 200 yards from Piazza Venezia to reach the relocated stop.
Elsewhere at the excavation, workers have found what archaeologists call a "looter's hole." During the Middle Ages, builders tied to a rope would drop down the well-like shaft and roam the lower layers in search of bricks, blocks of rock or slabs of marble from earlier centuries to be used for new construction.
Simonacci says the Piazza Venezia dig shows just a fragment of the rich Roman heritage below ground.
"There isn't an inch of Rome that doesn't have some artifacts below the street," he says. "In 300 A.D., Rome already had one-and-a-half million inhabitants. If we were to bring to light everything they and subsequent generations built, we would have to eliminate all of the streets of Rome."
By Sylvia Poggioli
It's been centuries since archaeologists excavated Rome's central Piazza Venezia, but just a few hundred yards from the Roman Forum, skeletons of the city's past are surfacing.
In a hole 18 feet below the piazza, construction workers and archaeologists digging Rome's new subway line are carefully uncovering Rome's layered history.
Closest to the surface are building remnants from renaissance Rome that were torn down in the late 19th century. The next layer exposes the remains of Via Flamina, a medieval road that once cut through the city. Below that, herringbone pavement from around A.D. 700 peeks through.
Unlike Paris or New York, whose intricate subway lines connect, Rome has historic subterreanean layers that have prevented its subway system from uniting. Giovanni Simonacci, the technical director of the new subway line, says that in Rome, archaeological remnants can be found up to 30 feet below the surface. At 90 feet down, the subway's tunnels won't displace antique artifacts, but the upper stations and air vents will.
Archaeologists decide whether artifacts are historically important enough to be maintained, or whether they can be destroyed. They deemed a Roman tavern from the Middle Ages acceptable for destruction, but they scrapped an entire subway stop near the Pantheon after workers found the base of an imperial Roman public building. Tourists will walk an extra 200 yards from Piazza Venezia to reach the relocated stop.
Elsewhere at the excavation, workers have found what archaeologists call a "looter's hole." During the Middle Ages, builders tied to a rope would drop down the well-like shaft and roam the lower layers in search of bricks, blocks of rock or slabs of marble from earlier centuries to be used for new construction.
Simonacci says the Piazza Venezia dig shows just a fragment of the rich Roman heritage below ground.
"There isn't an inch of Rome that doesn't have some artifacts below the street," he says. "In 300 A.D., Rome already had one-and-a-half million inhabitants. If we were to bring to light everything they and subsequent generations built, we would have to eliminate all of the streets of Rome."
How did fish reach Jerusalem?
Source: Haaretz
By Ran Shapira
Jerusalem's ancient water system, which excavations over the past decade are gradually uncovering, included a large pool hewn into rock. The pool, next to the Gihon Spring in the City of David, ceased to be used and dried up in the late eighth century B.C.E., after King Hezekiah of Judah built a new water project in the city, the Siloam tunnel. But according to Prof. Roni Reich, of the University of Haifa's Archaeology Department, and Eli Shukrun of the Israel Antiquities Authority (IAA), who are overseeing the excavations at the site, the pool hewn into the rock did not remain desolate for long: Toward the end of the eighth century B.C.E., a Jerusalem resident decided to build himself a house inside it, thus sparing himself a lot of work, since the pool's four hewn walls served as a base for the external walls of his home.
Apparently, the new homeowners did not want to live in the depths of the pool and preferred to raise the lower level of their home by about three meters. In order to bring the house to the desired level, they poured stones and earth into the bottom of the pool, and its upper reaches abutted the floor of the house.
The excavation, being managed by the IAA with the assistance of the Israel Nature and National Parks Protection Authority (INNPPA), the Elad Association and the Gihon Company, has uncovered in the attached earthen floor of the house clay vessels dating to the end of the eighth century B.C.E., but the more surprising findings were in the stratum beneath. Reich and Shukrun decided to sift through all of it in the hope of uncovering artifacts that would help date the structure. READ FULL STORY
By Ran Shapira
Jerusalem's ancient water system, which excavations over the past decade are gradually uncovering, included a large pool hewn into rock. The pool, next to the Gihon Spring in the City of David, ceased to be used and dried up in the late eighth century B.C.E., after King Hezekiah of Judah built a new water project in the city, the Siloam tunnel. But according to Prof. Roni Reich, of the University of Haifa's Archaeology Department, and Eli Shukrun of the Israel Antiquities Authority (IAA), who are overseeing the excavations at the site, the pool hewn into the rock did not remain desolate for long: Toward the end of the eighth century B.C.E., a Jerusalem resident decided to build himself a house inside it, thus sparing himself a lot of work, since the pool's four hewn walls served as a base for the external walls of his home.
Apparently, the new homeowners did not want to live in the depths of the pool and preferred to raise the lower level of their home by about three meters. In order to bring the house to the desired level, they poured stones and earth into the bottom of the pool, and its upper reaches abutted the floor of the house.
The excavation, being managed by the IAA with the assistance of the Israel Nature and National Parks Protection Authority (INNPPA), the Elad Association and the Gihon Company, has uncovered in the attached earthen floor of the house clay vessels dating to the end of the eighth century B.C.E., but the more surprising findings were in the stratum beneath. Reich and Shukrun decided to sift through all of it in the hope of uncovering artifacts that would help date the structure. READ FULL STORY
Saturday, May 26, 2007
THE "DARK AGES" REVISITED
An International Conference in Memory of William D.E. Coulson
THE "DARK AGES" REVISITED
Volos, 14-17 June 2007, Kordatos Amphitheatre
FINAL PROGRAMME
Friday, May 25, 2007
Ancient wine-presses found on Greek island
Source: Middle East Times
Greek archaeologists have discovered a complex of ancient farmhouses and large wine-presses on the northern Aegean island of Thassos dating from before the Roman period until late Byzantine times, the culture ministry said Wednesday.
Built with walls of stone over a meter (three feet) high and lined with plaster, the wine-presses were found clustered on a mountain near the coastal village of Limenaria, at an altitude of 500 meters.
The remains of enclosures suggest the presence of large estates that shared the use of the wine-presses, the ministry said.
Though apparently inhabited mainly during the grape harvest, the site was in use from the Hellenistic period that followed the death of Alexander the Great in 323 BC onwards.
The local archaeological department has been researching the Thassos site for the past two years.
Also Wednesday, the ministry said that another archaeological team found the remains of a rural shrine to presumed fertility deities near the town of Orchomenos in central Greece.
The shrine had sustained damage in the construction of an irrigation canal in the 1950s, but the archaeologists found thousands of votive offerings, including miniature vessels, animal idols, scarabs, and lamps.
They also found rare clay replicas of flowers entwined with ears of corn, representing gifts left by faithful visiting the shrine.
In ancient times, citizens of Orchomenos are known to have worshipped the Three Graces, daughters of Zeus said to represent beauty, charm, and joy but also associated with bloom.
Greek archaeologists have discovered a complex of ancient farmhouses and large wine-presses on the northern Aegean island of Thassos dating from before the Roman period until late Byzantine times, the culture ministry said Wednesday.
Built with walls of stone over a meter (three feet) high and lined with plaster, the wine-presses were found clustered on a mountain near the coastal village of Limenaria, at an altitude of 500 meters.
The remains of enclosures suggest the presence of large estates that shared the use of the wine-presses, the ministry said.
Though apparently inhabited mainly during the grape harvest, the site was in use from the Hellenistic period that followed the death of Alexander the Great in 323 BC onwards.
The local archaeological department has been researching the Thassos site for the past two years.
Also Wednesday, the ministry said that another archaeological team found the remains of a rural shrine to presumed fertility deities near the town of Orchomenos in central Greece.
The shrine had sustained damage in the construction of an irrigation canal in the 1950s, but the archaeologists found thousands of votive offerings, including miniature vessels, animal idols, scarabs, and lamps.
They also found rare clay replicas of flowers entwined with ears of corn, representing gifts left by faithful visiting the shrine.
In ancient times, citizens of Orchomenos are known to have worshipped the Three Graces, daughters of Zeus said to represent beauty, charm, and joy but also associated with bloom.
Clay pots found at ancient Greece shrine
Source: AP via Yahoo! News
Archaeologists in central Greece have discovered thousands of miniature clay pots and statuettes in the ruins of an ancient sanctuary possibly dedicated to the Three Graces, officials said on Wednesday.
In volume, it is one of the richest finds in recent years.
Excavations near Orchomenos, 80 miles northwest of Athens, revealed sparse remains of retaining walls from a small rural shrine, a Culture Ministry statement said.
But a rock-carved shaft was found to contain thousands of pottery offerings, dating from the early 5th century B.C. until at least the 3rd century B.C, the statement said.
The finds included miniature pots, clay figurines of women and animals, as well as clay busts and lamps.
"The identity of the deities worshipped there is not yet clear, but it is certain that they were goddesses associated with plant growth and fertility," the ministry statement said.
It said a famous sanctuary of the Three Graces — deities of growth and beauty — was known to have stood in ancient Orchomenos, and one of the offerings was inscribed with the name of Eurynome, mother of the Graces.
Archaeologists in central Greece have discovered thousands of miniature clay pots and statuettes in the ruins of an ancient sanctuary possibly dedicated to the Three Graces, officials said on Wednesday.
In volume, it is one of the richest finds in recent years.
Excavations near Orchomenos, 80 miles northwest of Athens, revealed sparse remains of retaining walls from a small rural shrine, a Culture Ministry statement said.
But a rock-carved shaft was found to contain thousands of pottery offerings, dating from the early 5th century B.C. until at least the 3rd century B.C, the statement said.
The finds included miniature pots, clay figurines of women and animals, as well as clay busts and lamps.
"The identity of the deities worshipped there is not yet clear, but it is certain that they were goddesses associated with plant growth and fertility," the ministry statement said.
It said a famous sanctuary of the Three Graces — deities of growth and beauty — was known to have stood in ancient Orchomenos, and one of the offerings was inscribed with the name of Eurynome, mother of the Graces.
Wednesday, May 23, 2007
Roman ring handed back to Turkey
Source: BBC News
An historic Roman ring which was illegally imported into the UK from Turkey has been returned.
The iron and silver band, which dates back to between AD 161 and AD 169, is thought to have been taken from an archaeological dig at Ephesus, Turkey.
It was eventually seized by HM Revenue and Customs after it was taken to Derby Museum for a valuation.
The ring was handed over to Turkish Embassy officials at East Midlands Airport on Tuesday.
The find has a gemstone engraving of Lucius Versus - co-emperor with Marcus Aurelius.
It was seized by customs officials after it was taken from Derby to the British Museum. No one has been prosecuted for stealing the ring.
'Significant problem'
Sermin Ozduran, from the Turkish Embassy, who collected the ring on behalf of the Turkish government, said it was "an important piece" of Turkish history.
John Macmillan, detection manager for HM Revenue & Customs, said: "We are delighted to be able to return this important historical ring to the Turkish Government.
"The international trade in illicit cultural artefacts is a significant problem and increasingly being linked to other forms of organised crime.
"We will continue to place a high priority to stop those attempting to bring historical artefacts into the UK illegally and restore seized cultural objects to their rightful owners."
The ring will be sent to Turkey's Ministry of Culture and Tourism and later be displayed in a museum in the country.
Friday, May 18, 2007
Roman Woman Had Golden Smile
Jennifer Viegas, Discovery News
The earliest known dental prosthesis from ancient Rome may not have been very functional, but it gave its wealthy wearer a million dollar smile.
The gleaming grin resulted from multi-karat gold wire, which was used to string together "artificial teeth," according to the team of Italian researchers who analyzed the ancient bridgework.
They found the object, which dates from the 1st to the 2nd century A.D., in the mouth of an unidentified woman who was buried in an elaborate mausoleum within a Roman necropolis.
"At the moment, this dental prosthesis is the only archaeological remain that corresponds to the literary descriptions (concerning dentistry) of the Roman Age," lead scientist Simona Minozzi told Discovery News.
Minozzi, an anthropologist at the University of Pisa, and her team quoted from the writings of 1st century Roman satirist Martial.
Martial wrote, "Lucania has white teeth, Thais brown. How comes it? One has false teeth, one her own. And you, Galla, lay aside your teeth at night just as you do your silken dress."
Minozzi believes the unidentified Roman's bridgework was made from the woman's own teeth that probably fell out due to periodontal disease. Gold wire bound the teeth together, with some teeth possessing drill holes to strengthen the wire bond. More gold wire secured the replaced tooth to side teeth that remained in her jaw.
The discovery is outlined in the current issue of The American Journal of Medicine.
READ FULL STORY
The earliest known dental prosthesis from ancient Rome may not have been very functional, but it gave its wealthy wearer a million dollar smile.
The gleaming grin resulted from multi-karat gold wire, which was used to string together "artificial teeth," according to the team of Italian researchers who analyzed the ancient bridgework.
They found the object, which dates from the 1st to the 2nd century A.D., in the mouth of an unidentified woman who was buried in an elaborate mausoleum within a Roman necropolis.
"At the moment, this dental prosthesis is the only archaeological remain that corresponds to the literary descriptions (concerning dentistry) of the Roman Age," lead scientist Simona Minozzi told Discovery News.
Minozzi, an anthropologist at the University of Pisa, and her team quoted from the writings of 1st century Roman satirist Martial.
Martial wrote, "Lucania has white teeth, Thais brown. How comes it? One has false teeth, one her own. And you, Galla, lay aside your teeth at night just as you do your silken dress."
Minozzi believes the unidentified Roman's bridgework was made from the woman's own teeth that probably fell out due to periodontal disease. Gold wire bound the teeth together, with some teeth possessing drill holes to strengthen the wire bond. More gold wire secured the replaced tooth to side teeth that remained in her jaw.
The discovery is outlined in the current issue of The American Journal of Medicine.
READ FULL STORY
Thursday, May 17, 2007
Ancient Bulgarian Sanctuaries "Older" than Egyptian Pyramids
Source: Novinite
Bulgarian scientist will try to prove their hypothesis that the rock sanctuaries of Tatul and Perperikon in the Eastern Rhodopi Mountains are more ancient than Egyptian pyramids.
To prove their hypothesis, the scientists will organize the biggest archaeology expedition in the country that will be situated near the southern town of Kardzhali. The top Bulgarian archaeologist Nikolay Ovcharov will lead the expedition.
The hypothesis of the rock sanctuaries' age was voiced some months ago by two Bulgarian historians. According to them the first cuts in the rocks there date back to the fifth millennium BC.
The archaeologists will seek evidence in the Orpheus sanctuary near Tatul, where previous expeditions have already uncovered a cultural layer date back to 20 century BC.
The excavations near Kardzhali will start on May 28 and will continue around 5 months. This daring initiative will cost more than BGN 200 000.
Bulgarian scientist will try to prove their hypothesis that the rock sanctuaries of Tatul and Perperikon in the Eastern Rhodopi Mountains are more ancient than Egyptian pyramids.
To prove their hypothesis, the scientists will organize the biggest archaeology expedition in the country that will be situated near the southern town of Kardzhali. The top Bulgarian archaeologist Nikolay Ovcharov will lead the expedition.
The hypothesis of the rock sanctuaries' age was voiced some months ago by two Bulgarian historians. According to them the first cuts in the rocks there date back to the fifth millennium BC.
The archaeologists will seek evidence in the Orpheus sanctuary near Tatul, where previous expeditions have already uncovered a cultural layer date back to 20 century BC.
The excavations near Kardzhali will start on May 28 and will continue around 5 months. This daring initiative will cost more than BGN 200 000.
Wednesday, May 16, 2007
How geology came to help Alexander the Great
Source: Nature
A natural sand-bridge made his defeat of Tyre easier.
Ned Stafford
Historians need not be quite so impressed by Alexander the Great's defeat of the island of Tyre in 332BC. Geological studies of the region show that Alexander's army had help reaching the island, in the form of a natural land-bridge lying just a metre or two below the water's surface.
Alexander the Great was just 23 years old when he stood on the coast of what is now Lebanon, gazing offshore at the tiny Phoenician island city of Tyre, a powerful commercial centre. Alexander knew that Tyre had to be seized before he could safely move south to Egypt and then turn inland to conquer the Persian Empire.
In a determined attack, Alexander's engineers used timber and ruins from the old centre of Tyre on the coast to build a 1-kilometre-long 'mole', or causeway, to the island. Months later, his army broke through the fortress walls and brutally crushed Tyre.
Nick Marriner of the European Centre for Research and Teaching on the Geosciences and the Environment (CEREGE) in Aix-en-Provence, France, says that historians and archaeologists had previously relied on ancient texts and illustrations, along with aerial photographs of the region today, to work out how this causeway was built and how difficult it was to do. "These theories were not backed by any hard data," he says.
"Before our work, archaeologists had no idea of the depth of water between Tyre and the mainland," says Marriner. Others have described the waters as "shallow", with some references saying it was perhaps 5 or 6 metres deep.
Digging deep
To investigate, Marriner's PhD supervisor Christophe Morhange, also of the CEREGE, went to Tyre in 2002. His team drilled more than 20 cores on the now urbanized isthmus that today connects the mainland with the former island of Tyre, as well as other scattered nearby locations. The cores contained sediments from as far back as 8,000 years ago. Diving surveys were done by Lebanese archaeologists.
Back in the lab, the team performed analyses of the types of sediment and tiny fossils within the cores, to learn more about the ancient near-shore marine environment; fine-grained sediments and the remains of creatures that prefer to live in sheltered environments show up when and where waters were once calm. Wave modelling and previous studies of the area helped to complete the picture.
An elongated region of sandstone reefs acted as a 6-kilometre natural breakwater in the area 8,000 years ago. By 6,000 years ago, rises in sea level had reduced the length of the island from 6 to 4 kilometres. This, combined with an increase of sediment supply due to agricultural activity and a rise in inland rainfall, particularly after about 3,000 years ago, created a natural sandbar that sat an average of 1-2 metres below mean sea level in Alexander's time, they report in Proceedings of the National Academy of Sciences1.
Sediment build-up
The idea that a natural sand-bridge came to Alexander's aid has been proposed before2.
Marriner's work highlights how the natural causeway started to grow faster sometime before Alexander arrived, and accelerated again after Alexander's construction blocked sediment transport in the area. This latter point is hardly surprising, says Liviu Giosan, a marine geologist at Woods Hole Oceanographic Institution in Massachusetts. "Any coastal engineer could tell you about sedimentation around dikes," he says.
Marriner adds that their study should help archaeologists to pick sites in the area for further investigation. "We can use the geological record as an aid to understanding the evolution of the coastline, and identify areas of potentially rich archaeology," he says.
References
1. Marriner N., Morhange C. & Meulé S. Proc. Natl Acad. Sci. USA, doi:10.1073.pnas.0611325104 (2007).
2. Nir Y., et al. Geoarchaeology, 11 . 235 - 250 (1996).
A natural sand-bridge made his defeat of Tyre easier.
Ned Stafford
Historians need not be quite so impressed by Alexander the Great's defeat of the island of Tyre in 332BC. Geological studies of the region show that Alexander's army had help reaching the island, in the form of a natural land-bridge lying just a metre or two below the water's surface.
Alexander the Great was just 23 years old when he stood on the coast of what is now Lebanon, gazing offshore at the tiny Phoenician island city of Tyre, a powerful commercial centre. Alexander knew that Tyre had to be seized before he could safely move south to Egypt and then turn inland to conquer the Persian Empire.
In a determined attack, Alexander's engineers used timber and ruins from the old centre of Tyre on the coast to build a 1-kilometre-long 'mole', or causeway, to the island. Months later, his army broke through the fortress walls and brutally crushed Tyre.
Nick Marriner of the European Centre for Research and Teaching on the Geosciences and the Environment (CEREGE) in Aix-en-Provence, France, says that historians and archaeologists had previously relied on ancient texts and illustrations, along with aerial photographs of the region today, to work out how this causeway was built and how difficult it was to do. "These theories were not backed by any hard data," he says.
"Before our work, archaeologists had no idea of the depth of water between Tyre and the mainland," says Marriner. Others have described the waters as "shallow", with some references saying it was perhaps 5 or 6 metres deep.
Digging deep
To investigate, Marriner's PhD supervisor Christophe Morhange, also of the CEREGE, went to Tyre in 2002. His team drilled more than 20 cores on the now urbanized isthmus that today connects the mainland with the former island of Tyre, as well as other scattered nearby locations. The cores contained sediments from as far back as 8,000 years ago. Diving surveys were done by Lebanese archaeologists.
Back in the lab, the team performed analyses of the types of sediment and tiny fossils within the cores, to learn more about the ancient near-shore marine environment; fine-grained sediments and the remains of creatures that prefer to live in sheltered environments show up when and where waters were once calm. Wave modelling and previous studies of the area helped to complete the picture.
An elongated region of sandstone reefs acted as a 6-kilometre natural breakwater in the area 8,000 years ago. By 6,000 years ago, rises in sea level had reduced the length of the island from 6 to 4 kilometres. This, combined with an increase of sediment supply due to agricultural activity and a rise in inland rainfall, particularly after about 3,000 years ago, created a natural sandbar that sat an average of 1-2 metres below mean sea level in Alexander's time, they report in Proceedings of the National Academy of Sciences1.
Sediment build-up
The idea that a natural sand-bridge came to Alexander's aid has been proposed before2.
Marriner's work highlights how the natural causeway started to grow faster sometime before Alexander arrived, and accelerated again after Alexander's construction blocked sediment transport in the area. This latter point is hardly surprising, says Liviu Giosan, a marine geologist at Woods Hole Oceanographic Institution in Massachusetts. "Any coastal engineer could tell you about sedimentation around dikes," he says.
Marriner adds that their study should help archaeologists to pick sites in the area for further investigation. "We can use the geological record as an aid to understanding the evolution of the coastline, and identify areas of potentially rich archaeology," he says.
References
1. Marriner N., Morhange C. & Meulé S. Proc. Natl Acad. Sci. USA, doi:10.1073.pnas.0611325104 (2007).
2. Nir Y., et al. Geoarchaeology, 11 . 235 - 250 (1996).
Monday, May 14, 2007
Friday, May 11, 2007
French theory on Pyramids building refuted
Source: Egypt State Information Service
Egyptian, US and German experts have refuted French archaeologist Jean-Pierre Houdin's theory about how the Pyramids were built, said Secretary General of the Supreme Council of Antiquities (SCA) Zahi Hawwas.
In statements on Wednesday 9/5/2007, Hawwas said the experts believe Jean-Pierre Houdin's theory lacks scientific and practical bases.
Hawwas said he met with two German and US archaeologists over Houdin's theory.
The archaeologists stressed that the theory lacked the scientific bases and only relied on inaccurate grounds, he added.
Egyptian, US and German experts have refuted French archaeologist Jean-Pierre Houdin's theory about how the Pyramids were built, said Secretary General of the Supreme Council of Antiquities (SCA) Zahi Hawwas.
In statements on Wednesday 9/5/2007, Hawwas said the experts believe Jean-Pierre Houdin's theory lacks scientific and practical bases.
Hawwas said he met with two German and US archaeologists over Houdin's theory.
The archaeologists stressed that the theory lacked the scientific bases and only relied on inaccurate grounds, he added.
‘Athens-Sparta’ exhibition to leave NYC for Peloponnese
Source: ekathimerini
The exhibition “Athens-Sparta: From the 8th to the 5th Centuries BC,” which was on display a few months ago at New York’s Alexander Onassis Foundation, was highly successful. Now the Greek public will also have a chance to see it, as the Central Archaeological Council (KAS) recently approved its transfer to Sparta’s Olive and Oil Museum. The exhibition will open in mid-July and run to mid-September.
The joint collaboration between the Piraeus Bank Cultural Foundation, the National Archaeological Museum and the Fifth Ephorate of Prehistoric and Classical Antiquities will coincide with the opening of a new hall in the museum.
The exhibition aims at exploring the cultural, political and economic history of the two most important ancient Greek city states. More than 200 works of art, including sculptures, vases, coins and much more, testify to the originality and skill of the ancient Athenians and Spartans. The items on display date from the Late Geometric period (recording the beginnings of the city state), then through the 5th-century-BC Persian Wars and go up until the end of the Peloponnesian War, in 404 BC.
A marble bust of Leonidas, a bronze sculpture of the goddess Athena, inscriptions and bronze spearheads are only some of the finds that are to go on display at the Sparta museum.
There will be works on loan from the National Archaeological Museum, the Sparta Archaeological Museum, the Acropolis Museum, the Numismatic, the Epigraphy and the Marathon museums, while items that were on display in New York on loan from museums abroad will not be shown.
The exhibition “Athens-Sparta: From the 8th to the 5th Centuries BC,” which was on display a few months ago at New York’s Alexander Onassis Foundation, was highly successful. Now the Greek public will also have a chance to see it, as the Central Archaeological Council (KAS) recently approved its transfer to Sparta’s Olive and Oil Museum. The exhibition will open in mid-July and run to mid-September.
The joint collaboration between the Piraeus Bank Cultural Foundation, the National Archaeological Museum and the Fifth Ephorate of Prehistoric and Classical Antiquities will coincide with the opening of a new hall in the museum.
The exhibition aims at exploring the cultural, political and economic history of the two most important ancient Greek city states. More than 200 works of art, including sculptures, vases, coins and much more, testify to the originality and skill of the ancient Athenians and Spartans. The items on display date from the Late Geometric period (recording the beginnings of the city state), then through the 5th-century-BC Persian Wars and go up until the end of the Peloponnesian War, in 404 BC.
A marble bust of Leonidas, a bronze sculpture of the goddess Athena, inscriptions and bronze spearheads are only some of the finds that are to go on display at the Sparta museum.
There will be works on loan from the National Archaeological Museum, the Sparta Archaeological Museum, the Acropolis Museum, the Numismatic, the Epigraphy and the Marathon museums, while items that were on display in New York on loan from museums abroad will not be shown.
Thursday, May 10, 2007
Greek archaeologists discover rare example of 2,700-year-old weaving
Source: International Herald Tribune
ATHENS, Greece: Archaeologists in Greece have recovered a rare section of 2,700-year old fabric from a burial imitating heroes' funerals described by the poet Homer, officials said Wednesday.
The yellowed, brittle material was found in a copper urn during a rescue excavation in the southern town of Argos, a Culture Ministry announcement said.
"This is an extremely rare find, as fabric is an organic material which decomposes very easily," said archaeologist Alkistis Papadimitriou, who headed the dig. She said only a handful of such artifacts have been found in Greece.
The cylindrical urn also contained dried pomegranates — offerings linked with the ancient gods of the underworld — along with ashes and charred human bones from an early 7th century B.C. cremation.
Papadimitriou said the material was preserved for nearly 3,000 years by the corroding copper urn. "Copper oxides killed the microbes which normally destroy fabric," she told The Associated Press
Conservation experts from Athens will work on the fragile find.
"Our first concern is to save it," Papadimitriou said. "Afterward, it will undergo laboratory tests to tell us about the precise fabric and weaving techniques."
The burial was the only cremation from half a dozen closely grouped graves found on the plot, which was scheduled for development.
"Cremation was very unusual in Argos, and this too makes it a special find," Papadimitriou said. "In my opinion, an affluent citizen may have wanted to imitate a funerary custom described by Homer to stand out among his peers buried next by — who were not cremated."
Homer's Iliad and Odyssey enjoyed huge popularity throughout Greece. Composed during the 8th century B.C, and thought to be inspired by a war four centuries older, the Iliad describes slain heroes being cremated in elaborate funerals, which fell out of fashion in later times.
Modern Argos in the northern Peloponnese, some 140 kilometers (87 miles) south of Athens, is built on top of one of the most famous cities of ancient Greece. Also named Argos, the ancient city was mentioned by Homer as the seat of a Mycenaean hero-king who fought with the Greek army in Troy. It flourished throughout antiquity.
ATHENS, Greece: Archaeologists in Greece have recovered a rare section of 2,700-year old fabric from a burial imitating heroes' funerals described by the poet Homer, officials said Wednesday.
The yellowed, brittle material was found in a copper urn during a rescue excavation in the southern town of Argos, a Culture Ministry announcement said.
"This is an extremely rare find, as fabric is an organic material which decomposes very easily," said archaeologist Alkistis Papadimitriou, who headed the dig. She said only a handful of such artifacts have been found in Greece.
The cylindrical urn also contained dried pomegranates — offerings linked with the ancient gods of the underworld — along with ashes and charred human bones from an early 7th century B.C. cremation.
Papadimitriou said the material was preserved for nearly 3,000 years by the corroding copper urn. "Copper oxides killed the microbes which normally destroy fabric," she told The Associated Press
Conservation experts from Athens will work on the fragile find.
"Our first concern is to save it," Papadimitriou said. "Afterward, it will undergo laboratory tests to tell us about the precise fabric and weaving techniques."
The burial was the only cremation from half a dozen closely grouped graves found on the plot, which was scheduled for development.
"Cremation was very unusual in Argos, and this too makes it a special find," Papadimitriou said. "In my opinion, an affluent citizen may have wanted to imitate a funerary custom described by Homer to stand out among his peers buried next by — who were not cremated."
Homer's Iliad and Odyssey enjoyed huge popularity throughout Greece. Composed during the 8th century B.C, and thought to be inspired by a war four centuries older, the Iliad describes slain heroes being cremated in elaborate funerals, which fell out of fashion in later times.
Modern Argos in the northern Peloponnese, some 140 kilometers (87 miles) south of Athens, is built on top of one of the most famous cities of ancient Greece. Also named Argos, the ancient city was mentioned by Homer as the seat of a Mycenaean hero-king who fought with the Greek army in Troy. It flourished throughout antiquity.
Wednesday, May 09, 2007
Excavations to start in July in Ancient City of Zeugma
Source: Turkish Daily News
Archaeological excavations will start on July 15th in the ancient city of Zeugma. Associate Prof. Kutalmis Gorkay of the Ankara University Department of Archaeology, who leads the excavations in the ancient city, said on Thursday that a 60-member team including 4 foreigners would participate in this year's excavations between July 15 and October 20.
During this year's excavations, Danae and Dionysos temples will be renovated, along with excavations in the Agora, he said, with findings to be displayed in the Gaziantep Archaeology Museum. "So far, we could unearth only 10 percent of the artifacts. The remaining 90 percent has still been under earth," he said in an interview with the Anatolia news agency. Gorkay said they aimed at making the ancient site an "archaeo-park."
Zeugma, an ancient city of Commagene, was unearthed in the southeastern Turkish city of Gaziantep. The ancient city was originally founded as a Greek settlement by Seleucus I Nicator, one of the generals of Alexander the Great, in 300 B.C. King Seleucus almost certainly named the city Seleucia after himself. The population in the city was approximately 80,000.
In 64 B.C., Zeugma was conquered and ruled by the Roman Empire. With this shift, the name of the city was changed into Zeugma, meaning "bridge-passage" or "bridge of boats." During the Roman rule, the city became a regional attraction thanks to its commercial potential originating from a geo-strategic location: the city was on the Silk Road connecting Antakya to China with a quay or pontoon bridge across the Firat River (Euphrates.) The ancient city was first discovered during archaeological excavations in 1987. Unique mosaics have been unearthed in the city so far.
Archaeological excavations will start on July 15th in the ancient city of Zeugma. Associate Prof. Kutalmis Gorkay of the Ankara University Department of Archaeology, who leads the excavations in the ancient city, said on Thursday that a 60-member team including 4 foreigners would participate in this year's excavations between July 15 and October 20.
During this year's excavations, Danae and Dionysos temples will be renovated, along with excavations in the Agora, he said, with findings to be displayed in the Gaziantep Archaeology Museum. "So far, we could unearth only 10 percent of the artifacts. The remaining 90 percent has still been under earth," he said in an interview with the Anatolia news agency. Gorkay said they aimed at making the ancient site an "archaeo-park."
Zeugma, an ancient city of Commagene, was unearthed in the southeastern Turkish city of Gaziantep. The ancient city was originally founded as a Greek settlement by Seleucus I Nicator, one of the generals of Alexander the Great, in 300 B.C. King Seleucus almost certainly named the city Seleucia after himself. The population in the city was approximately 80,000.
In 64 B.C., Zeugma was conquered and ruled by the Roman Empire. With this shift, the name of the city was changed into Zeugma, meaning "bridge-passage" or "bridge of boats." During the Roman rule, the city became a regional attraction thanks to its commercial potential originating from a geo-strategic location: the city was on the Silk Road connecting Antakya to China with a quay or pontoon bridge across the Firat River (Euphrates.) The ancient city was first discovered during archaeological excavations in 1987. Unique mosaics have been unearthed in the city so far.
Monday, May 07, 2007
Historically Important Greek Stele Inscriptions Unveiled
Source: The Epoch Times
Israel Museum Presentation Marks First Public Display of "Heliodorus Stele"
The Israel Museum unveiled a unique 2,200-year-old stele (inscribed stone block) on May 3 that provides new insight into the dramatic story of Heliodorus and the Temple in Jerusalem, as related in the Second Book of Maccabees.
"The Heliodorus stele is one of the most important and revealing Hellenistic inscriptions from Israel," said James S. Snyder, Anne and Jerome Fisher Director of the Israel Museum.
"It contextualizes the Second Book of Maccabees and provides an independent and authentic source for an important episode in the history leading up to the Maccabean Revolt, whose victorious conclusion is celebrated each year during the Jewish festival of Hanukkah."
Heliodorus Stele Suggests New Perspectives on Israeli History
The newly deciphered stele presents new information about Heliodorus, who, according to the Second Book of Maccabees, received orders to seize the treasure in the Temple in Jerusalem, but was driven from the sanctuary by the miraculous appearance of a fearsome horseman accompanied by two mighty youths.
This presentation marks the first public display of the Heliodorus stele, which is on extended loan to the Museum from Michael and Judy Steinhardt of New York. The stele documents a correspondence in ancient Greek between Heliodorus and King Seleucus IV, ruler of the Seleucid Empire from 187 to 175 BCE, who was succeeded by Antiochus IV Epiphanes (best known from the story of Hanukkah). In his letter, King Seleucus announces the appointment of an administrator to oversee the sanctuaries within the province that included the Land of Israel.
The appointment of an overseer of the sanctuaries - including the Temple in Jerusalem—was intended to bring the province into line with the rest of the Seleucid Empire. This position included authority over the sanctuaries' revenues and, above all, taxes due to the king. It is likely, however, that the Jews regarded this appointment as an infringement of Jewish religious autonomy.
This episode may have foreshadowed events yet to come. Less than ten years later (169/8 BCE), a new Seleucid king, Antiochus IV Epiphanes, and his armies would enter Jerusalem, massacre its inhabitants, rob the Temple treasury, and desecrate the Holy of Holies. Thus the new appointment, recorded on the stele, appears to mark the beginning of Greek/Seleucid interference in Jewish religious affairs, which eventually led to the outbreak of the Maccabean revolt in 167 BCE.
Israel Museum Opens Historical Stele Display
The Heliodorus stele is part of a special display, curated by David Mevorah, Curator of Hellenistic, Roman, and Byzantine Archaeology, entitled "Royal Correspondence on Stone—The Overseer of the Sanctuaries." On view through June 2007, this presentation also includes another Hellenistic stele from the royal administration of the Seleucid Empire—the Hefzibah stele—part of the Museum's permanent archaeological holdings.
The writings on the Heliodorus stele have been deciphered and interpreted by Professor Hannah Cotton-Paltiel of The Hebrew University of Jerusalem and Professor Michael Woerrle of the Commission for Ancient History and Epigraphy at the German Archaeological Institute in Munich. Analysis of the stone's patina by Professor Yuvel Goren of Tel Aviv University suggests that the stele most likely came from the lowlands between the Judaean hills and the Mediterranean coast.
New Research on Historical Significance of the Heliodorus Stele
The Heliodorus stele preserves three missives from the royal administration of King Seleucus IV (187-175 BCE). The earliest and most significant of the three letters is from King Seleucus IV to Heliodorus, of which only the preamble remains.
In it, the King announces the appointment of an administrator to oversee the sanctuaries within the Seleucid province of Koile-Syria and Phoinike, including the Land of Israel. The other two, dating from the late summer 178 BCE, are shorter notes transmitting the directives of the King from Heliodorus to his subordinates.
By this appointment, the King intended to bring the province of Koile-Syria and Phoinike into line with the other regions in the empire. The appointment of a new overseer would help ensure royal control over the sanctuaries and their revenues. The opportunity for this new appointment was necessitated by the death or dismissal of a former governor, who had also served as chief priest in the province and presumably controlled the revenues of its sanctuaries.
Correspondence between the previous governor and Antiochus III, the father of King Seleucus IV, is preserved on the Hefzibah stele, also included in the current installation, which went on display in the Israel Museum following its discovery in northern Israel in the 1960s.
The complete findings of Cotton-Paltiel, Woerrle, and Goren have recently been published in Zeitschrift für Papyrologie und Epigraphik, the leading international journal for the publication of documents from classical antiquity.
Israel Museum Presentation Marks First Public Display of "Heliodorus Stele"
The Israel Museum unveiled a unique 2,200-year-old stele (inscribed stone block) on May 3 that provides new insight into the dramatic story of Heliodorus and the Temple in Jerusalem, as related in the Second Book of Maccabees.
"The Heliodorus stele is one of the most important and revealing Hellenistic inscriptions from Israel," said James S. Snyder, Anne and Jerome Fisher Director of the Israel Museum.
"It contextualizes the Second Book of Maccabees and provides an independent and authentic source for an important episode in the history leading up to the Maccabean Revolt, whose victorious conclusion is celebrated each year during the Jewish festival of Hanukkah."
Heliodorus Stele Suggests New Perspectives on Israeli History
The newly deciphered stele presents new information about Heliodorus, who, according to the Second Book of Maccabees, received orders to seize the treasure in the Temple in Jerusalem, but was driven from the sanctuary by the miraculous appearance of a fearsome horseman accompanied by two mighty youths.
This presentation marks the first public display of the Heliodorus stele, which is on extended loan to the Museum from Michael and Judy Steinhardt of New York. The stele documents a correspondence in ancient Greek between Heliodorus and King Seleucus IV, ruler of the Seleucid Empire from 187 to 175 BCE, who was succeeded by Antiochus IV Epiphanes (best known from the story of Hanukkah). In his letter, King Seleucus announces the appointment of an administrator to oversee the sanctuaries within the province that included the Land of Israel.
The appointment of an overseer of the sanctuaries - including the Temple in Jerusalem—was intended to bring the province into line with the rest of the Seleucid Empire. This position included authority over the sanctuaries' revenues and, above all, taxes due to the king. It is likely, however, that the Jews regarded this appointment as an infringement of Jewish religious autonomy.
This episode may have foreshadowed events yet to come. Less than ten years later (169/8 BCE), a new Seleucid king, Antiochus IV Epiphanes, and his armies would enter Jerusalem, massacre its inhabitants, rob the Temple treasury, and desecrate the Holy of Holies. Thus the new appointment, recorded on the stele, appears to mark the beginning of Greek/Seleucid interference in Jewish religious affairs, which eventually led to the outbreak of the Maccabean revolt in 167 BCE.
Israel Museum Opens Historical Stele Display
The Heliodorus stele is part of a special display, curated by David Mevorah, Curator of Hellenistic, Roman, and Byzantine Archaeology, entitled "Royal Correspondence on Stone—The Overseer of the Sanctuaries." On view through June 2007, this presentation also includes another Hellenistic stele from the royal administration of the Seleucid Empire—the Hefzibah stele—part of the Museum's permanent archaeological holdings.
The writings on the Heliodorus stele have been deciphered and interpreted by Professor Hannah Cotton-Paltiel of The Hebrew University of Jerusalem and Professor Michael Woerrle of the Commission for Ancient History and Epigraphy at the German Archaeological Institute in Munich. Analysis of the stone's patina by Professor Yuvel Goren of Tel Aviv University suggests that the stele most likely came from the lowlands between the Judaean hills and the Mediterranean coast.
New Research on Historical Significance of the Heliodorus Stele
The Heliodorus stele preserves three missives from the royal administration of King Seleucus IV (187-175 BCE). The earliest and most significant of the three letters is from King Seleucus IV to Heliodorus, of which only the preamble remains.
In it, the King announces the appointment of an administrator to oversee the sanctuaries within the Seleucid province of Koile-Syria and Phoinike, including the Land of Israel. The other two, dating from the late summer 178 BCE, are shorter notes transmitting the directives of the King from Heliodorus to his subordinates.
By this appointment, the King intended to bring the province of Koile-Syria and Phoinike into line with the other regions in the empire. The appointment of a new overseer would help ensure royal control over the sanctuaries and their revenues. The opportunity for this new appointment was necessitated by the death or dismissal of a former governor, who had also served as chief priest in the province and presumably controlled the revenues of its sanctuaries.
Correspondence between the previous governor and Antiochus III, the father of King Seleucus IV, is preserved on the Hefzibah stele, also included in the current installation, which went on display in the Israel Museum following its discovery in northern Israel in the 1960s.
The complete findings of Cotton-Paltiel, Woerrle, and Goren have recently been published in Zeitschrift für Papyrologie und Epigraphik, the leading international journal for the publication of documents from classical antiquity.
Enjoy the show, with no heels
Hellenic Festival to raise public awareness in effort to prevent more damage to Herod Atticus Theater
By Iota Sykka - Kathimerini
There’s a new motto in Athens this summer: No more high heels at the Herod Atticus Theater. Women might make up the bulk of audiences, purchasing most tickets for cultural events, but it turns out that they are also responsible for a number of problems at this particular venue.
Though there has been talk about prohibiting them in the past, high heels continue to cause damage to the ancient theater. This year however, women wishing to try their acrobatic skills on 10-centimeter spikes by walking up or down the theater’s narrow steps will be requested to change their habits.
The Central Archaeological Council (KAS) has decided to take a number of measures and the Hellenic Festival has been asked to raise public awareness by informing the public through its program, advertising material and tickets.
But the problem is not only high heels. Archaeologists back up their arguments that chewing gum is equally guilty by pointing to last year’s collection of 27 kilos of gum, mainly from the upper tier.
Apart from prohibiting the use of mobile phones, the making of illegal recordings, smoking and the consumption of food and soft drinks, the pre-recorded list featuring the voice of Alexis Kostalas will now include the two latest enemies – high heels and chewing gum.
KAS did not decide on more radical measures, given that the focus of efforts will be on educating the public. There was talk, however, about excessively high decibel levels, the setting up and dismantling of stage props, nails hammered by technicians into ancient parts of the theater and refuse clogging manholes.
A few years ago, archaeologist Alexandros Mantis found himself experiencing a true nightmare, when the ancient theater flooded at the same time that Prince Charles was being shown around the Acropolis by Evangelos Venizelos, then minister of culture. From now on, a representative of the Culture Ministry’s department of ancient monuments will be present when stage sets and props are erected or dismantled.
However, the sheer volume of stage sets remains an issue. Suffice it to note that the National Greek Opera’s opening production of this year’s Athens Festival, “Carmen,” includes a car.
More issues
Other longstanding issues still to be resolved include the Hellenic Festival’s debt to the Archaeological Resources and Expropriation Fund, with respect to the fees paid by those performing at the ancient monument. This year’s fees have been set at 2,000 euros per performance and 500 euros for each rehearsal. The problem, however, is the outstanding debt of 814,022 euros up to last year.
While a ban on high heels may prove to be inevitable, all this talk simply illustrates the ministry’s inability to effectively manage its affairs. This may be even truer now that the Hellenic Festival has been placed under its supervision.
By Iota Sykka - Kathimerini
There’s a new motto in Athens this summer: No more high heels at the Herod Atticus Theater. Women might make up the bulk of audiences, purchasing most tickets for cultural events, but it turns out that they are also responsible for a number of problems at this particular venue.
Though there has been talk about prohibiting them in the past, high heels continue to cause damage to the ancient theater. This year however, women wishing to try their acrobatic skills on 10-centimeter spikes by walking up or down the theater’s narrow steps will be requested to change their habits.
The Central Archaeological Council (KAS) has decided to take a number of measures and the Hellenic Festival has been asked to raise public awareness by informing the public through its program, advertising material and tickets.
But the problem is not only high heels. Archaeologists back up their arguments that chewing gum is equally guilty by pointing to last year’s collection of 27 kilos of gum, mainly from the upper tier.
Apart from prohibiting the use of mobile phones, the making of illegal recordings, smoking and the consumption of food and soft drinks, the pre-recorded list featuring the voice of Alexis Kostalas will now include the two latest enemies – high heels and chewing gum.
KAS did not decide on more radical measures, given that the focus of efforts will be on educating the public. There was talk, however, about excessively high decibel levels, the setting up and dismantling of stage props, nails hammered by technicians into ancient parts of the theater and refuse clogging manholes.
A few years ago, archaeologist Alexandros Mantis found himself experiencing a true nightmare, when the ancient theater flooded at the same time that Prince Charles was being shown around the Acropolis by Evangelos Venizelos, then minister of culture. From now on, a representative of the Culture Ministry’s department of ancient monuments will be present when stage sets and props are erected or dismantled.
However, the sheer volume of stage sets remains an issue. Suffice it to note that the National Greek Opera’s opening production of this year’s Athens Festival, “Carmen,” includes a car.
More issues
Other longstanding issues still to be resolved include the Hellenic Festival’s debt to the Archaeological Resources and Expropriation Fund, with respect to the fees paid by those performing at the ancient monument. This year’s fees have been set at 2,000 euros per performance and 500 euros for each rehearsal. The problem, however, is the outstanding debt of 814,022 euros up to last year.
While a ban on high heels may prove to be inevitable, all this talk simply illustrates the ministry’s inability to effectively manage its affairs. This may be even truer now that the Hellenic Festival has been placed under its supervision.
Saturday, May 05, 2007
Sassanid Aristocracy House Discovered in Kermanshah
Source: Cultural Heritage News Agency
By Soudabeh Sadigh
Tehran, 5 May 2007 (CHN Foreign Desk) – Archeologists have succeeded in identifying an aristocracy residential settlement dating back to Sassanid dynastic era (224-651 AD) during their excavations in Sarab-e Mourt, located in Iranian western province of Kermanshah.
“This unique aristocracy house belonging to Sassanian dynastic era was consisted of two parts including private section and formal section. The formal section was consisted of a ceremonial vaulted hall. This squared hall was surrounded with 2 in 5 meters corridor which was led into some units, most probably official chambers,” said Yousof Moradi, archeologist of Cultural Heritage and Tourism Department of Kermanshah province and head of excavation team in Sarab-e Mourt.
Existence of plasters in the ceremonial hall indicate that the walls of this Sassanid house were most probably covered with stucco decorations which have been destroyed
over time. Moradi further explained that the big yards in official section were covered with bricks, parts of which have been discovered.
According to Moradi, this Sassanid residential house must have covered an area about 5000 square meters, 2500 meters of which have been excavated so far.
Regarding the usage of this historic building in the course of history, Moradi explained: “Evidence shows that this residency house stayed in use even after Muslim conquest and during early Islamic period. Then it was destroyed and abandoned until Seljuk era (1037-1187 AD) when the remained parts of the monument came into use once again as a summer dwelling. This building was also use during Ilkhanid era (1256-1336 AD) by nomads.”
Further archeological excavations revealed that this residency area was later turned into a cemetery and archeologists have succeeded in unearthing a number of graves in the area.
By Soudabeh Sadigh
Tehran, 5 May 2007 (CHN Foreign Desk) – Archeologists have succeeded in identifying an aristocracy residential settlement dating back to Sassanid dynastic era (224-651 AD) during their excavations in Sarab-e Mourt, located in Iranian western province of Kermanshah.
“This unique aristocracy house belonging to Sassanian dynastic era was consisted of two parts including private section and formal section. The formal section was consisted of a ceremonial vaulted hall. This squared hall was surrounded with 2 in 5 meters corridor which was led into some units, most probably official chambers,” said Yousof Moradi, archeologist of Cultural Heritage and Tourism Department of Kermanshah province and head of excavation team in Sarab-e Mourt.
Existence of plasters in the ceremonial hall indicate that the walls of this Sassanid house were most probably covered with stucco decorations which have been destroyed
over time. Moradi further explained that the big yards in official section were covered with bricks, parts of which have been discovered.
According to Moradi, this Sassanid residential house must have covered an area about 5000 square meters, 2500 meters of which have been excavated so far.
Regarding the usage of this historic building in the course of history, Moradi explained: “Evidence shows that this residency house stayed in use even after Muslim conquest and during early Islamic period. Then it was destroyed and abandoned until Seljuk era (1037-1187 AD) when the remained parts of the monument came into use once again as a summer dwelling. This building was also use during Ilkhanid era (1256-1336 AD) by nomads.”
Further archeological excavations revealed that this residency area was later turned into a cemetery and archeologists have succeeded in unearthing a number of graves in the area.
Thursday, May 03, 2007
Scan of mummified child done in Pa.
Source: The Associated Press through Contra Costa Times
PITTSBURGH- A CT scan of an ancient Egyptian mummy revealed a spearlike object in the upper spine and skull, but scientists say they don't know whether that's what killed the child.
The scan, done Wednesday at a Pittsburgh hospital, also revealed that the child, who lived more than 2,000 years ago, was likely between 3 and 5 years old, younger than previously thought. X-rays in 1986 had led scientists to believe that the child was about 8 when it died.
The earlier scan also showed that the child had an unusually large head, and researchers still don't know what caused the abnormality, said Ellen James, spokeswoman for the Carnegie Museum of Natural History. Scientists also could not confirm the sex of the child.
As for the spear, "They don't know if that was the cause of death or if the embalmers did that to keep the head steady in the sarcophagus," she said.
Scientists say they got good images of bone structure and the child's face and hope to someday have a facial reconstruction on display at the Pittsburgh museum, James said.
The mummy of the child, who lived sometime between 380 B.C. and 250 B.C., dates to the Ptolemaic Dynasty and was acquired by the museum in 1912. It has been on display there museum since 1989.
PITTSBURGH- A CT scan of an ancient Egyptian mummy revealed a spearlike object in the upper spine and skull, but scientists say they don't know whether that's what killed the child.
The scan, done Wednesday at a Pittsburgh hospital, also revealed that the child, who lived more than 2,000 years ago, was likely between 3 and 5 years old, younger than previously thought. X-rays in 1986 had led scientists to believe that the child was about 8 when it died.
The earlier scan also showed that the child had an unusually large head, and researchers still don't know what caused the abnormality, said Ellen James, spokeswoman for the Carnegie Museum of Natural History. Scientists also could not confirm the sex of the child.
As for the spear, "They don't know if that was the cause of death or if the embalmers did that to keep the head steady in the sarcophagus," she said.
Scientists say they got good images of bone structure and the child's face and hope to someday have a facial reconstruction on display at the Pittsburgh museum, James said.
The mummy of the child, who lived sometime between 380 B.C. and 250 B.C., dates to the Ptolemaic Dynasty and was acquired by the museum in 1912. It has been on display there museum since 1989.
Wednesday, May 02, 2007
Egypt to establish up to date labs to conduct DNA tests on mummies
Source: Egypt State Information Service
Secretary General of the Supreme Council of Antiquities Zahi Hawwas has said the government is planning to establish an up-to-date laboratory to conduct DNA tests on mummies.
Hawwas said the lab will cost $3 million to be paid by the American National Geographic network.
The American TV will further produce a documentary on Queen Hatshepsut, he added.
Hawwas noted that the lab will be equipped with state of the art technology and located at the basement of the Egyptian Museum in downtown Cairo.
"Egyptian scientists and archaeologists will supervise the DNA tests, led by the head of the National Centre for Research and Tests Dr Hani el-Nazir," he said.
Hawwas said he was one of the staunch opponents of conducting DNA tests on mummies in the past because of poor equipment, which yield incorrect results.
"The second reason is that such tests were exclusive for unspecialized foreigners, who were just seeking fame," he said.
"I remember that one of them claimed that a DNA test on the mummy of a child pharaoh in Saint Louis museum had shown his European origin."
Secretary General of the Supreme Council of Antiquities Zahi Hawwas has said the government is planning to establish an up-to-date laboratory to conduct DNA tests on mummies.
Hawwas said the lab will cost $3 million to be paid by the American National Geographic network.
The American TV will further produce a documentary on Queen Hatshepsut, he added.
Hawwas noted that the lab will be equipped with state of the art technology and located at the basement of the Egyptian Museum in downtown Cairo.
"Egyptian scientists and archaeologists will supervise the DNA tests, led by the head of the National Centre for Research and Tests Dr Hani el-Nazir," he said.
Hawwas said he was one of the staunch opponents of conducting DNA tests on mummies in the past because of poor equipment, which yield incorrect results.
"The second reason is that such tests were exclusive for unspecialized foreigners, who were just seeking fame," he said.
"I remember that one of them claimed that a DNA test on the mummy of a child pharaoh in Saint Louis museum had shown his European origin."
Monday, April 30, 2007
Ancient mosaic of the real Gladiator found
Source: Telegraph
By Nick Pisa in Rome
A chance discovery by archaeologists has brought to light a mosaic nearly 2,000 years old depicting what may have been a real-life version of the Roman combatant played by Russell Crowe in the film Gladiator.
The mosaic was found as Italian researchers carried out work on the spectacular Villa dei Quintili, south of Rome and home to the sports-loving Emperor Commodus.
Commodus, portrayed by Joaquin Phoenix in the film, was known to enjoy gladiatorial combat and had a small amphitheatre in which fighters would train, near the villa, which Commodus had seized after having its owners executed on a trumped-up charge of treason. It was nearby that the mosaic was found - picturing a gladiator named Montanus holding a trident alongside a referee who appears to be pronouncing him the victor over a prone opponent.
Riccardo Frontoni, who is leading the dig, said: "Historically, this is a very significant and exciting discovery because of the location where it was found: the Villa dei Quintili, which we know was Commodus's residence.
"It's close to the area where there was a small amphitheatre, and his love of blood sports is well known.
"The mosaics are in excellent condition and show the figure of a gladiator with the name Montanus. It's possible that Montanus may have been a favourite of Commodus and that the mosaic was dedicated to him."
Commodus was emperor from AD180 to 192, when he was strangled in his bath by the wrestler Narcissus, at the age of 31. He is depicted in the film as a scheming, bloodthirsty megalomaniac who eventually murders the character played by Crowe, the gladiator Maximus.
The real-life Commodus occasionally dressed up as a gladiator himself and fought in the arena, a practice that scandalised polite Roman society, which regarded such fighters as occupying the lowest rungs on the social ladder.
But while his arena opponents frequently survived because they submitted to the emperor, he is known to have enjoyed killing his sparring partners.
Appreciation of the potential value of the new discovery has not been confined to the archaeological world. Just hours after it was shown to The Sunday Telegraph, thieves tried to prise the 10 sq m scene from the ground, damaging the mosaic.
Mr Frontoni said: "We are disappointed that someone has tried to steal it. However, the damage was relatively small and the pieces that were broken off have been recovered, so we should be able to restore it."
By Nick Pisa in Rome
A chance discovery by archaeologists has brought to light a mosaic nearly 2,000 years old depicting what may have been a real-life version of the Roman combatant played by Russell Crowe in the film Gladiator.
The mosaic was found as Italian researchers carried out work on the spectacular Villa dei Quintili, south of Rome and home to the sports-loving Emperor Commodus.
Commodus, portrayed by Joaquin Phoenix in the film, was known to enjoy gladiatorial combat and had a small amphitheatre in which fighters would train, near the villa, which Commodus had seized after having its owners executed on a trumped-up charge of treason. It was nearby that the mosaic was found - picturing a gladiator named Montanus holding a trident alongside a referee who appears to be pronouncing him the victor over a prone opponent.
Riccardo Frontoni, who is leading the dig, said: "Historically, this is a very significant and exciting discovery because of the location where it was found: the Villa dei Quintili, which we know was Commodus's residence.
"It's close to the area where there was a small amphitheatre, and his love of blood sports is well known.
"The mosaics are in excellent condition and show the figure of a gladiator with the name Montanus. It's possible that Montanus may have been a favourite of Commodus and that the mosaic was dedicated to him."
Commodus was emperor from AD180 to 192, when he was strangled in his bath by the wrestler Narcissus, at the age of 31. He is depicted in the film as a scheming, bloodthirsty megalomaniac who eventually murders the character played by Crowe, the gladiator Maximus.
The real-life Commodus occasionally dressed up as a gladiator himself and fought in the arena, a practice that scandalised polite Roman society, which regarded such fighters as occupying the lowest rungs on the social ladder.
But while his arena opponents frequently survived because they submitted to the emperor, he is known to have enjoyed killing his sparring partners.
Appreciation of the potential value of the new discovery has not been confined to the archaeological world. Just hours after it was shown to The Sunday Telegraph, thieves tried to prise the 10 sq m scene from the ground, damaging the mosaic.
Mr Frontoni said: "We are disappointed that someone has tried to steal it. However, the damage was relatively small and the pieces that were broken off have been recovered, so we should be able to restore it."
Wednesday, April 25, 2007
Everyday life in Pompeii revealed
Source: EurekAlert!
There is a common perception that life in the once-thriving Roman city of Pompeii is well-known from the wealth of artefacts that have been uncovered since its accidental discovery in 1748, but this is far from the case, according to findings of University of Leicester archaeologist Dr Penelope M Allison.
Until recently archaeologists working on Pompeian artefacts have tended to concentrate on examples of art, some of it erotic, from the town that was suddenly destroyed by the eruption of Mount Vesuvius in August 79 AD. But Dr Allison’s recently published book, The Insula of the Menander in Pompeii vol 3: the finds, a contextual study, has changed this emphasis.
"I am looking at pots and pans and how houses actually functioned," she said. "I am interested in revealing the utilitarian side of life rather than its glamorous side; in slaves and servants and how they lived side by side with their masters. We always assume that servants were kept out of sight, but this is a 19th century view.
"If we look at the distribution of domestic material in Pompeii houses, such as the cupboards where pots and pans were kept, we find they were in the main front hall, the atrium where visitors would be received. The same is true of the main household water supply. Slaves would be coming to get these things all the time and would be far from invisible."
Dr Allison has been working on Pompeii for over 20 years. Her previous study was to look at 30 houses in the light of the everyday objects that had been largely ignored in favour of more exotic finds. She became fascinated by what the actual objects might have been used for and who might have used them.
"Today we have hundreds of very specific gadgets," she said, "but in a non-gadget world you have a number of things used for a variety of purposes, such as pots that might have been wine dippers and spindle whorls that were used as furniture ornamentation.
"Also, we assume we know about doctors in the Roman world. We believe that whenever we find medical instruments they belonged to doctors. But I think that a lot more high-level first aid went on within households. We have found surgical instruments in domestic contexts and I think someone in the house was responsible for sewing up injured people. Nowadays we have a much more specialised approach to looking after the human body."
Dr Allison also speculates on the amount of cooking that went on in the huge kitchens in affluent Roman households. "I found little braziers and flat vessels that were burned underneath that might have been used round the house, more like our barbecues, indicating that food was heated up in front of diners. Maybe Roman cooking smells did not offend these diners."
She has found no sets of tableware in Pompeian houses such as are found in Roman burial sites. Formal dining could have been very rare, she surmises, with people perhaps eating ‘on the wing’, much as busy families do today.
The implications of her research and recent book stretch beyond Pompeii itself, to how other Roman sites can be interpreted. Because of the suddenness of its destruction, Pompeii offers a context for the artefacts that are found, in a way that virtually no other site can do.
She has been looking at objects found in the same room and speculating on what that suggests in terms of usage of such objects. "For instance, why were this plate and these lamps found together? Were they indicative of some kind of offering? What were the lamps for? What was the situation that brought them together, and how would you have lit this space?" she asks.
Other finds that have puzzled her are the large quantities of heavy stone weights and scales in houses. "Today everything has its weight written on it when we buy it," she explains, "but in the Roman world everything would have to be weighted coming in and out of the houses.
"Also, where there are a number of looms found in one house, does this imply commercial activity? Not necessarily. We need to think more carefully about the relationship between commercial wool shops and the houses. Did women buy wool from shops and weave for their own household, selling off the surplus? We don’t know, this is not something archaeologists have looked at. Was weaving done by both men and women? We would assume men were involved in any commercial environment, but this is just our conception.
"We are taking Roman domestic life into a more intellectual realm," Dr Allison said, adding a caution. "Domestic life in the past was not necessarily the same as it is nowadays."
Dr Allison is one of a small number of prestigious ‘New Blood’ research appointments made recently at the University of Leicester. These lectureships offer young and talented research staff an opportunity to pursue their research, with a reduced teaching load during the first four years of employment and funding for research travel.
When the University first advertised the New Blood appointments nearly 1000 applications were received for the 21 posts on offer. Two New Blood appointments were made in the School of Archaeology and Ancient History.
###
The Insula of the Menander in Pompeii vol 3: the finds, a contextual study by Dr Penelope M Allison is published by Oxford University Press. It is part of a five-volume detailed study of one Pompeian city block by the British Pompeii Committee.
Contact: Penelope Allison
pma9@le.ac.uk
01-162-522-735
University of Leicester
There is a common perception that life in the once-thriving Roman city of Pompeii is well-known from the wealth of artefacts that have been uncovered since its accidental discovery in 1748, but this is far from the case, according to findings of University of Leicester archaeologist Dr Penelope M Allison.
Until recently archaeologists working on Pompeian artefacts have tended to concentrate on examples of art, some of it erotic, from the town that was suddenly destroyed by the eruption of Mount Vesuvius in August 79 AD. But Dr Allison’s recently published book, The Insula of the Menander in Pompeii vol 3: the finds, a contextual study, has changed this emphasis.
"I am looking at pots and pans and how houses actually functioned," she said. "I am interested in revealing the utilitarian side of life rather than its glamorous side; in slaves and servants and how they lived side by side with their masters. We always assume that servants were kept out of sight, but this is a 19th century view.
"If we look at the distribution of domestic material in Pompeii houses, such as the cupboards where pots and pans were kept, we find they were in the main front hall, the atrium where visitors would be received. The same is true of the main household water supply. Slaves would be coming to get these things all the time and would be far from invisible."
Dr Allison has been working on Pompeii for over 20 years. Her previous study was to look at 30 houses in the light of the everyday objects that had been largely ignored in favour of more exotic finds. She became fascinated by what the actual objects might have been used for and who might have used them.
"Today we have hundreds of very specific gadgets," she said, "but in a non-gadget world you have a number of things used for a variety of purposes, such as pots that might have been wine dippers and spindle whorls that were used as furniture ornamentation.
"Also, we assume we know about doctors in the Roman world. We believe that whenever we find medical instruments they belonged to doctors. But I think that a lot more high-level first aid went on within households. We have found surgical instruments in domestic contexts and I think someone in the house was responsible for sewing up injured people. Nowadays we have a much more specialised approach to looking after the human body."
Dr Allison also speculates on the amount of cooking that went on in the huge kitchens in affluent Roman households. "I found little braziers and flat vessels that were burned underneath that might have been used round the house, more like our barbecues, indicating that food was heated up in front of diners. Maybe Roman cooking smells did not offend these diners."
She has found no sets of tableware in Pompeian houses such as are found in Roman burial sites. Formal dining could have been very rare, she surmises, with people perhaps eating ‘on the wing’, much as busy families do today.
The implications of her research and recent book stretch beyond Pompeii itself, to how other Roman sites can be interpreted. Because of the suddenness of its destruction, Pompeii offers a context for the artefacts that are found, in a way that virtually no other site can do.
She has been looking at objects found in the same room and speculating on what that suggests in terms of usage of such objects. "For instance, why were this plate and these lamps found together? Were they indicative of some kind of offering? What were the lamps for? What was the situation that brought them together, and how would you have lit this space?" she asks.
Other finds that have puzzled her are the large quantities of heavy stone weights and scales in houses. "Today everything has its weight written on it when we buy it," she explains, "but in the Roman world everything would have to be weighted coming in and out of the houses.
"Also, where there are a number of looms found in one house, does this imply commercial activity? Not necessarily. We need to think more carefully about the relationship between commercial wool shops and the houses. Did women buy wool from shops and weave for their own household, selling off the surplus? We don’t know, this is not something archaeologists have looked at. Was weaving done by both men and women? We would assume men were involved in any commercial environment, but this is just our conception.
"We are taking Roman domestic life into a more intellectual realm," Dr Allison said, adding a caution. "Domestic life in the past was not necessarily the same as it is nowadays."
Dr Allison is one of a small number of prestigious ‘New Blood’ research appointments made recently at the University of Leicester. These lectureships offer young and talented research staff an opportunity to pursue their research, with a reduced teaching load during the first four years of employment and funding for research travel.
When the University first advertised the New Blood appointments nearly 1000 applications were received for the 21 posts on offer. Two New Blood appointments were made in the School of Archaeology and Ancient History.
###
The Insula of the Menander in Pompeii vol 3: the finds, a contextual study by Dr Penelope M Allison is published by Oxford University Press. It is part of a five-volume detailed study of one Pompeian city block by the British Pompeii Committee.
Contact: Penelope Allison
pma9@le.ac.uk
01-162-522-735
University of Leicester
Tuesday, April 24, 2007
Unique Ancient Thracian Chariot Unearthed in Bulgaria
Source: Sofia News Agency
A completely intact Thracian chariot was unearthed by the Bulgarian archaeologist Vesselin Ignatov on Friday, Darik News reported.
The chariot was found near a burial barrow close to the central Bulgarian town of Nova Zagora. Ignatov and his team have already dated the finding to 2 century BC. The chariot has two wheels with its roof made of heavy bronze in the form of eagle heads and a folding iron chair, where the driver sat. The chariot was aimed to be pulled by three horses.
The uniqueness of the finding is that it is completely intact, with all its parts on place except the wooden ones, and now we can calculate its precise size and how exactly it was placed in the tomb, Ignatov said. He believes a second chariot will be found as the excavations continue.
Luckily this time the archaeologists reached the incredible finding before the treasure hunters, because they usually look only for gold and coins and destroy all other valuable objects.
Another Thracian chariot was found near the Sadievo village and another one was found near Korten, so now that there is a third one the regional historical museum in Nova Zagora town plans to open a museum of the Thracian chariots.
A completely intact Thracian chariot was unearthed by the Bulgarian archaeologist Vesselin Ignatov on Friday, Darik News reported.
The chariot was found near a burial barrow close to the central Bulgarian town of Nova Zagora. Ignatov and his team have already dated the finding to 2 century BC. The chariot has two wheels with its roof made of heavy bronze in the form of eagle heads and a folding iron chair, where the driver sat. The chariot was aimed to be pulled by three horses.
The uniqueness of the finding is that it is completely intact, with all its parts on place except the wooden ones, and now we can calculate its precise size and how exactly it was placed in the tomb, Ignatov said. He believes a second chariot will be found as the excavations continue.
Luckily this time the archaeologists reached the incredible finding before the treasure hunters, because they usually look only for gold and coins and destroy all other valuable objects.
Another Thracian chariot was found near the Sadievo village and another one was found near Korten, so now that there is a third one the regional historical museum in Nova Zagora town plans to open a museum of the Thracian chariots.
Monday, April 23, 2007
Roman bath in Ankara to be restored
Source: Turkish Daily News
The Turkish Ministry of Culture initiated a new project aiming to restore a historical "Roman Bath" in Ankara. The excavation, which will be carried out within the framework of a five-year project, started last week.
Under the guidance of Hikmet Denizli, Director of the Museum of Anatolian Civilizations, several archeologists, chemists, and geology and geophysics engineers from Ankara University will participate in the excavations. The Museum of Anatolian Civilizations will be in charge of the restoration activities and examination of unearthed pieces in laboratories, as well.
During the excavations, the bath and the street with Roman columns will be connected to each other and the shops located on the street will be unearthed. A lighting system will be installed at the historical site, and new paths will be opened for visitors, as well. The Roman Bath will also be covered with a large tent in order to protect the site from rain and snow.
Roman Bath:
The Roman bath in Ankara was constructed on the orders of Emperor Caracalla between the years A.D. 212-217. Spreading over nearly 65,000 square meters, The Roman bath consists of a thousand architectural works, cemetery steles, inscriptions, tablets, water pipes and sarcophaguses.
The Turkish Ministry of Culture initiated a new project aiming to restore a historical "Roman Bath" in Ankara. The excavation, which will be carried out within the framework of a five-year project, started last week.
Under the guidance of Hikmet Denizli, Director of the Museum of Anatolian Civilizations, several archeologists, chemists, and geology and geophysics engineers from Ankara University will participate in the excavations. The Museum of Anatolian Civilizations will be in charge of the restoration activities and examination of unearthed pieces in laboratories, as well.
During the excavations, the bath and the street with Roman columns will be connected to each other and the shops located on the street will be unearthed. A lighting system will be installed at the historical site, and new paths will be opened for visitors, as well. The Roman Bath will also be covered with a large tent in order to protect the site from rain and snow.
Roman Bath:
The Roman bath in Ankara was constructed on the orders of Emperor Caracalla between the years A.D. 212-217. Spreading over nearly 65,000 square meters, The Roman bath consists of a thousand architectural works, cemetery steles, inscriptions, tablets, water pipes and sarcophaguses.
Friday, April 20, 2007
Minoan Seminar: THE DANCE IN MINOAN SOCIETY
Minoan seminar
27April 2007, 19.00
Dr Stella Mandalaki
23 rd Ephoreia of Prehistoric and Classical Antiquities
THE DANCE IN MINOAN SOCIETY
The Seminar will be in Greek with English captions to slides
Archaeological Society, Panepistemiou 22
Abstract
Dancing and music have been indispensable elements of human existence from ancient to modern times. In every civilization, from primitive to contemporary, dance movements accompany daily life and ritual actions, expressing in the most immediate manner a variety of sentiments. The semiotic content of dance is particularly broad and includes every kind of rhythmic movement, quite different from everyday, human kinetic activities, is accompanied by music or song and is deliberately executed by the dancer. The multifaceted function of dance in society compels the researcher of this subject to examine dance phenomena together with socio-political structures in order to interpret them in their entirety. At the same time, the study of dance has the potential to give a better understanding of the society in which it takes place. In this particular approach, different dances are distinguished based on Minoan iconography, taking into consideration the conventional methods of depicting Minoan movement, the provenance and chronology of the finds, as well as comparable dance scenes from Mainland Greece and the Aegean.
The most important Minoan dance performed throughout the Minoan era was the womens open circular dance which was performed with the same brilliant gusto in both the palatial and rustic setting in the context of ritual activities for the epiphany of the female divinity of nature. Typical elements of this particular dance are the exclusive participation of women, the free, circular motion of the dancers and the gestures of invocation notably in the raising of the arms above the head which is accompanied by a light backward inclination of the body. During the post-palatial period, the dance is accompanied with offerings of first-fruits, while the lead danseuse does not perform the characteristic gestures appropriate to her role, but rather accompanies the dance with an instrument. In the same period, dance took place in cemeteries, thereby acquiring a funerary character. In this instance, the object was cause the epiphany of the divinity in order that he deceased might have a safe journey to Hades.
During the performance of the open, circular dance in the West Courts of Minoan palaces, the measured entrance of dancers in two parallel lines led up to the main dance position. The movement was accompanied by the raising of one hand above the head.
The form of the open circle and the sacred character of the dance differentiate the womens circular dance from that of the men which was of the closed kind with hands on shoulders and took place in paved areas or inside the circular enclosures of cemeteries during funeral rites.
In the dance around sacred trees and rocks, the dancing of the leader is accompanied by two parallel or alternating dance-mime actions of symbolic content, shaking the sacred tree and clasping the natural rock, features that lend a theatrical and dramatic character to the performance. Both sexes took part in the dance in open-air sanctuaries or in the palatial environment, within the context of performances connected with the epiphany of different divinities, male, female or pairs. The firm shaking of the tree-trunk not a wild tree but rather one planted inside the wooden enclosure - is probably intended to make the fruit fall. Clasping the rock has greater semiotic impact, since in most instances it is related to the immediate appearance of the divinity. This particular Minoan dance was also danced in mainland Greece with many variations on the original.
A dance for women, where the dancers are arranged in a triangle, seems to have been a particular favourite of the Minoans and Mycenaeans. Apart from the form, other characteristic features of the dance are the gesture of arms resting on the hips, the costume and the neckerchief.
Apart from these dances which are quite well defined, isolated representations or particular iconographic types are examined where the performance of the dance is unverified.
Next typical processional formations are mentioned and the development of the processional formation is examined over time. Important differences can be discerned by analysing the magnificent palatial processions with offerings of vases and robes to the divinity. In the Neopalatial period, the two sexes move in separate processions, maintaining a normal distance between them. However, in the Postpalatial period, men and women take part in the same procession, with differentiated sub-groups of different crowd density. Similar ceremonial processions also took place in the open-air to the accompaniment of music and singing, within the context of rites for the fertility of the earth.
Most of the dances mentioned had a close connection to epiphany, as well as being organized by a central authority and defined by convention. Spontaneous folk dances of a recreational character were not identified in this particular study, perhaps because they were not usually depicted in ancient civilizations. Although it is very difficult for evidence of Minoan dance to have survived into historic times, the magic exerted by the Minoan dance movements is preserved as a recollection in ancient authors who frequently refer to the dancing skills of the ancient Cretans.
27April 2007, 19.00
Dr Stella Mandalaki
23 rd Ephoreia of Prehistoric and Classical Antiquities
THE DANCE IN MINOAN SOCIETY
The Seminar will be in Greek with English captions to slides
Archaeological Society, Panepistemiou 22
Abstract
Dancing and music have been indispensable elements of human existence from ancient to modern times. In every civilization, from primitive to contemporary, dance movements accompany daily life and ritual actions, expressing in the most immediate manner a variety of sentiments. The semiotic content of dance is particularly broad and includes every kind of rhythmic movement, quite different from everyday, human kinetic activities, is accompanied by music or song and is deliberately executed by the dancer. The multifaceted function of dance in society compels the researcher of this subject to examine dance phenomena together with socio-political structures in order to interpret them in their entirety. At the same time, the study of dance has the potential to give a better understanding of the society in which it takes place. In this particular approach, different dances are distinguished based on Minoan iconography, taking into consideration the conventional methods of depicting Minoan movement, the provenance and chronology of the finds, as well as comparable dance scenes from Mainland Greece and the Aegean.
The most important Minoan dance performed throughout the Minoan era was the womens open circular dance which was performed with the same brilliant gusto in both the palatial and rustic setting in the context of ritual activities for the epiphany of the female divinity of nature. Typical elements of this particular dance are the exclusive participation of women, the free, circular motion of the dancers and the gestures of invocation notably in the raising of the arms above the head which is accompanied by a light backward inclination of the body. During the post-palatial period, the dance is accompanied with offerings of first-fruits, while the lead danseuse does not perform the characteristic gestures appropriate to her role, but rather accompanies the dance with an instrument. In the same period, dance took place in cemeteries, thereby acquiring a funerary character. In this instance, the object was cause the epiphany of the divinity in order that he deceased might have a safe journey to Hades.
During the performance of the open, circular dance in the West Courts of Minoan palaces, the measured entrance of dancers in two parallel lines led up to the main dance position. The movement was accompanied by the raising of one hand above the head.
The form of the open circle and the sacred character of the dance differentiate the womens circular dance from that of the men which was of the closed kind with hands on shoulders and took place in paved areas or inside the circular enclosures of cemeteries during funeral rites.
In the dance around sacred trees and rocks, the dancing of the leader is accompanied by two parallel or alternating dance-mime actions of symbolic content, shaking the sacred tree and clasping the natural rock, features that lend a theatrical and dramatic character to the performance. Both sexes took part in the dance in open-air sanctuaries or in the palatial environment, within the context of performances connected with the epiphany of different divinities, male, female or pairs. The firm shaking of the tree-trunk not a wild tree but rather one planted inside the wooden enclosure - is probably intended to make the fruit fall. Clasping the rock has greater semiotic impact, since in most instances it is related to the immediate appearance of the divinity. This particular Minoan dance was also danced in mainland Greece with many variations on the original.
A dance for women, where the dancers are arranged in a triangle, seems to have been a particular favourite of the Minoans and Mycenaeans. Apart from the form, other characteristic features of the dance are the gesture of arms resting on the hips, the costume and the neckerchief.
Apart from these dances which are quite well defined, isolated representations or particular iconographic types are examined where the performance of the dance is unverified.
Next typical processional formations are mentioned and the development of the processional formation is examined over time. Important differences can be discerned by analysing the magnificent palatial processions with offerings of vases and robes to the divinity. In the Neopalatial period, the two sexes move in separate processions, maintaining a normal distance between them. However, in the Postpalatial period, men and women take part in the same procession, with differentiated sub-groups of different crowd density. Similar ceremonial processions also took place in the open-air to the accompaniment of music and singing, within the context of rites for the fertility of the earth.
Most of the dances mentioned had a close connection to epiphany, as well as being organized by a central authority and defined by convention. Spontaneous folk dances of a recreational character were not identified in this particular study, perhaps because they were not usually depicted in ancient civilizations. Although it is very difficult for evidence of Minoan dance to have survived into historic times, the magic exerted by the Minoan dance movements is preserved as a recollection in ancient authors who frequently refer to the dancing skills of the ancient Cretans.
Greece to speak to British Museum next month about loan of artifacts
Source: ekathimerini
Greek officials and representatives of the British Museum may discuss possibly loaning the Parthenon Marbles to Greece when they meet on May 4, Culture Minister Giorgos Voulgarakis said yesterday. Voulgarakis was reacting to comments by Neil MacGregor, the director of the British Museum, who said that “in principle” the antiquities could spend three or six months in another country. However, MacGregor told Bloomberg News that the Greek government would first have to admit the Parthenon Marbles belong to the British Museum. “The Greek government has never asked for a loan of the material from the British Museum. The issue has always been about the permanent removal of all the Parthenon material in the BM collection to Athens,” said MacGregor. Voulgarakis said he read the comments “with interest..”
Greek officials and representatives of the British Museum may discuss possibly loaning the Parthenon Marbles to Greece when they meet on May 4, Culture Minister Giorgos Voulgarakis said yesterday. Voulgarakis was reacting to comments by Neil MacGregor, the director of the British Museum, who said that “in principle” the antiquities could spend three or six months in another country. However, MacGregor told Bloomberg News that the Greek government would first have to admit the Parthenon Marbles belong to the British Museum. “The Greek government has never asked for a loan of the material from the British Museum. The issue has always been about the permanent removal of all the Parthenon material in the BM collection to Athens,” said MacGregor. Voulgarakis said he read the comments “with interest..”
Thursday, April 19, 2007
Greeks could be allowed to borrow the Elgin Marbles
Source: Times Online
Dalya Alberge, Arts Correspondent
The British Museum has intimated that the Elgin Marbles could be lent to Athens.
Neil MacGregor, its director, said that, like any object in its collection, a loan would be possible if the Greek Government acknowledged the museum’s ownership of the sculptures.
The Greek authorities hailed his comments as unprecedented. One source told The Times: “This is the first time they’ve ever said they’d let them out of the museum. We’ve said we’re not disputing the ownership.”
The Marbles, now known as the Parthenon Marbles, have been the subject of a bitter dispute since the 19th century, when Lord Elgin, as the British Ambassador, removed them from the Acropolis in Athens.
In an interview with Bloomberg News, Mr MacGregor appeared to open the door to a compromise. Asked whether the trustees would consider a request from Athens to borrow the Marbles, he said: “There is no reason why any object in the museum, if it is fit to travel, shouldn’t spend three months, six months, somewhere else. So, in principle, absolutely yes.
“The difficulty at the moment is that the Greek Government has formally, and recently, refused to acknowledge that the trustees are the owners of the objects.” He said the Greek Government had never officially asked to borrow the treasures. “The issue has always been about the permanent removal of all the Parthenon material in the BM collection to Athens,” he said.
Victoria Solomonidis, the cultural counsellor at the Greek Embassy in London, said: “The words of Neil MacGregor are most welcome news. The Greek side is interested in the reunification of the Parthenon and the issue of ownership does not come into it.”
Eleni Corka, an official in the Greek Culture Ministry, told the BBC: “I believe that if we discuss the issue we will find ground which will be suitable and solutions which will be profitable for both sides.”
Britain has argued that when Lord Elgin bought and removed the Marbles between 1803 and 1812 he was acting legally and that, had he not done so, they would have suffered at least a further century of deterioration. Fearing their destruction in the conflict between the Greeks and the Turks, the 7th Earl secured permission from the Turks to remove the antiquities.
Campaigners have challenged whether the removal of the marbles has been of any benefit. Anthony Snodgrass, Laurence Professor Emeritus of Classical Archaeology at the University of Cambridge, has argued the British Museum’s Marbles now pale against those that Lord Elgin did not remove.
He believes original details that are absent from the British Museum’s creamy-white sculptures — which had a millimetre of the surface skin removed during the cleaning scandal of the 1930s — can be seen in the warm brown Greek figures that remain in Athens.
Looking at a depiction of two horsemen which Elgin did not remove, he noted that chisel marks and traces of colour in the crevices and folds of drapery, along with anatomical details such as veins on the horses’ bellies, are all missing from the London sculptures.
Eleni Cubitt, of the British Committee for the Reunification of the Parthenon Marbles, said: “It’s the first time Neil MacGregor has made a proposition of this kind.”
A multimillion-pound Acropolis Museum, with a spectacular gallery to house the Marbles, is due to be completed this summer.
A spokeswoman for the British Museum said that objects could not be lent to a country where their ownership is not recognised as vested in the museum.
The treasure
— The temple of Athena Parthenos, known as the Parthenon, was built on the Athens Acropolis, probably between 447 and 438BC. It is thought the sculptures were not finished until about 432BC
— The pediments, triangular gables at each end of the building, were decorated with sculptural groups showing the birth of Athena and the contest between Athena and Poseidon for the land of Attica
— Metopes or relief panels showing scenes from the battle between the Lapiths and centaurs also originally decorated the exterior of the building
— In 1816, MPs found that the collection was acquired legitimately by Lord Elgin as a private individual. The collection was acquired by the British Museum
— The suggestion that it be returned to Athens was raised in the Commons in 1816. Greeks began calling for its return in 1833
Source: British Museum
Dalya Alberge, Arts Correspondent
The British Museum has intimated that the Elgin Marbles could be lent to Athens.
Neil MacGregor, its director, said that, like any object in its collection, a loan would be possible if the Greek Government acknowledged the museum’s ownership of the sculptures.
The Greek authorities hailed his comments as unprecedented. One source told The Times: “This is the first time they’ve ever said they’d let them out of the museum. We’ve said we’re not disputing the ownership.”
The Marbles, now known as the Parthenon Marbles, have been the subject of a bitter dispute since the 19th century, when Lord Elgin, as the British Ambassador, removed them from the Acropolis in Athens.
In an interview with Bloomberg News, Mr MacGregor appeared to open the door to a compromise. Asked whether the trustees would consider a request from Athens to borrow the Marbles, he said: “There is no reason why any object in the museum, if it is fit to travel, shouldn’t spend three months, six months, somewhere else. So, in principle, absolutely yes.
“The difficulty at the moment is that the Greek Government has formally, and recently, refused to acknowledge that the trustees are the owners of the objects.” He said the Greek Government had never officially asked to borrow the treasures. “The issue has always been about the permanent removal of all the Parthenon material in the BM collection to Athens,” he said.
Victoria Solomonidis, the cultural counsellor at the Greek Embassy in London, said: “The words of Neil MacGregor are most welcome news. The Greek side is interested in the reunification of the Parthenon and the issue of ownership does not come into it.”
Eleni Corka, an official in the Greek Culture Ministry, told the BBC: “I believe that if we discuss the issue we will find ground which will be suitable and solutions which will be profitable for both sides.”
Britain has argued that when Lord Elgin bought and removed the Marbles between 1803 and 1812 he was acting legally and that, had he not done so, they would have suffered at least a further century of deterioration. Fearing their destruction in the conflict between the Greeks and the Turks, the 7th Earl secured permission from the Turks to remove the antiquities.
Campaigners have challenged whether the removal of the marbles has been of any benefit. Anthony Snodgrass, Laurence Professor Emeritus of Classical Archaeology at the University of Cambridge, has argued the British Museum’s Marbles now pale against those that Lord Elgin did not remove.
He believes original details that are absent from the British Museum’s creamy-white sculptures — which had a millimetre of the surface skin removed during the cleaning scandal of the 1930s — can be seen in the warm brown Greek figures that remain in Athens.
Looking at a depiction of two horsemen which Elgin did not remove, he noted that chisel marks and traces of colour in the crevices and folds of drapery, along with anatomical details such as veins on the horses’ bellies, are all missing from the London sculptures.
Eleni Cubitt, of the British Committee for the Reunification of the Parthenon Marbles, said: “It’s the first time Neil MacGregor has made a proposition of this kind.”
A multimillion-pound Acropolis Museum, with a spectacular gallery to house the Marbles, is due to be completed this summer.
A spokeswoman for the British Museum said that objects could not be lent to a country where their ownership is not recognised as vested in the museum.
The treasure
— The temple of Athena Parthenos, known as the Parthenon, was built on the Athens Acropolis, probably between 447 and 438BC. It is thought the sculptures were not finished until about 432BC
— The pediments, triangular gables at each end of the building, were decorated with sculptural groups showing the birth of Athena and the contest between Athena and Poseidon for the land of Attica
— Metopes or relief panels showing scenes from the battle between the Lapiths and centaurs also originally decorated the exterior of the building
— In 1816, MPs found that the collection was acquired legitimately by Lord Elgin as a private individual. The collection was acquired by the British Museum
— The suggestion that it be returned to Athens was raised in the Commons in 1816. Greeks began calling for its return in 1833
Source: British Museum
Wednesday, April 18, 2007
Priceless artifacts returned to Ancient Agora
Source: Athens News Agency
A poignant ceremony was held at the Ancient Athens Agora's Stoa of Attalus on Wednesday to mark the return of six priceless black-glazed ceremonial pottery pieces from the collection of eminent British scholar and philhellene Martin Robertson.
The miniature artifacts were bequeathed to the Athens Agora's museum, as stipulated in Robertson's will, following his death in December 2004. The author of the authoritative "A History of Greek Art" (Cambridge University Press 1975), considered his magnum opus, inherited the items from American archaeologist Lucy Talcott, the recording secretary of Agora excavations in the 1930s and ‘40s.
The artifacts were officially presented by one of Robertson's sons, Stephen, at the ceremony, who stressed that he was bringing a gift by his father to "his beloved Greece". Stephen Robertson also drew a comparison to the ongoing campaign for return of the Parthenon Marbles to Athens, saying Wednesday's ceremony can demonstrate to the British Museum's administration that a similar return of antiquities is not impossible.
On his part, the curator of the Acropolis archaeological site, Alexandros Mantis, expressed his thanks to the Robertson family, before noting that the artifacts return marks the eighth repatriation over the past year of artifacts taken from Acropolis-related sites.
Finally, Culture Minister George Voulgarakis expressed his satisfaction with the fact the ceremony coincided with UNESCO's World Heritage Day.
A poignant ceremony was held at the Ancient Athens Agora's Stoa of Attalus on Wednesday to mark the return of six priceless black-glazed ceremonial pottery pieces from the collection of eminent British scholar and philhellene Martin Robertson.
The miniature artifacts were bequeathed to the Athens Agora's museum, as stipulated in Robertson's will, following his death in December 2004. The author of the authoritative "A History of Greek Art" (Cambridge University Press 1975), considered his magnum opus, inherited the items from American archaeologist Lucy Talcott, the recording secretary of Agora excavations in the 1930s and ‘40s.
The artifacts were officially presented by one of Robertson's sons, Stephen, at the ceremony, who stressed that he was bringing a gift by his father to "his beloved Greece". Stephen Robertson also drew a comparison to the ongoing campaign for return of the Parthenon Marbles to Athens, saying Wednesday's ceremony can demonstrate to the British Museum's administration that a similar return of antiquities is not impossible.
On his part, the curator of the Acropolis archaeological site, Alexandros Mantis, expressed his thanks to the Robertson family, before noting that the artifacts return marks the eighth repatriation over the past year of artifacts taken from Acropolis-related sites.
Finally, Culture Minister George Voulgarakis expressed his satisfaction with the fact the ceremony coincided with UNESCO's World Heritage Day.
Tuesday, April 17, 2007
Ancient city Allianoi to be monitored under water
Source: Turkish Daily News
Near Bergama, the ancient thermal spa Allianoi, which was in danger of being submerged and lost forever to the waters of Yortanlı Dam, the construction of which has been completed, will still be a touristic spot after being flooded by the dam's waters because of a State Water Affairs (DSİ) conservation project.
The project, ratified by the İzmir Committee for the Conservation of Cultural and Natural Heritage, awaits for final approval from the Culture and Tourism Ministry's Scientific Committee. The ancient spa will be covered by a one-meter wall to keep the movable historic ruins and findings above the alluvium soil after the spa was submerged by the Yortanlı Dam and these pieces will be displayed in a museum that will be built close to the dam.
Ayhan Sarıyıldız of the DSİ said the ancient spa will continue to be viewable for tourists thanks to underwater cameras that will be attached to different spa sections and underwater archaeologists will continue to excavate the area.
Noting that they developed the best possible plan in order to save Allianoi and that there was no other alternative available, he said the project will be in line with the Culture and Tourism Ministry's Scientific Committee's decision.
Meanwhile, Allianoi excavation head Ahmet Yaraş opposed the DSİ's project. Yaraş said the project would not save the ancient city, which would be at last submerged in the waters of Yortanlı Dam, adding, “The DSİ offered a project which anticipates a one-meter wall around the ancient city. However, it will not prevent the ancient city from being flooded by the dam's waters. According to them, the solution is to cover the face of historic ruins. Their goal never changed. However, it is not a solution to permit submerging the ancient city under water; it is a deception. Unfortunately, they have mislead politicians and the public by claiming that they would save the ancient city. Their project doesn't intend to protect the ancient city.”
Project is misleading:
He also said they would take the issue to the European Court of Human Rights if the project were ratified by the Culture and Tourism Ministry.
Historically, Allianoi is well known as the land of the god of health Asklepios. The ancient city was established during the Hellenistic Age and reached its peak during the reign of Roman emperor Hadrian. It was considered as one of the most important health centers for nearly 15 centuries, starting from the sixth century B.C. through to the 11th century. Allianoi was famed for its thermal spring center and was known as the most important healing complexes during Hadrian's rule (117-138). Over the last five years, excavations revealed two impressive gates, marble stone-paved streets, shops, houses adorned with mosaics, large town squares, public fountains and rest areas to be used after having a bath. Surprisingly, the latest findings, such as mosaics, marble stones and some wood pieces designed for houses, were the most preserved pieces ever seen on an archaeological site because they had been covered with alluvium soil.
The ancient city is in danger of being submerged and lost forever to the waters of Yortanlı Dam, the construction of which started in 1994. The excavations, kicked off in 1998, have only uncovered the 20 percent of the ancient city.
Near Bergama, the ancient thermal spa Allianoi, which was in danger of being submerged and lost forever to the waters of Yortanlı Dam, the construction of which has been completed, will still be a touristic spot after being flooded by the dam's waters because of a State Water Affairs (DSİ) conservation project.
The project, ratified by the İzmir Committee for the Conservation of Cultural and Natural Heritage, awaits for final approval from the Culture and Tourism Ministry's Scientific Committee. The ancient spa will be covered by a one-meter wall to keep the movable historic ruins and findings above the alluvium soil after the spa was submerged by the Yortanlı Dam and these pieces will be displayed in a museum that will be built close to the dam.
Ayhan Sarıyıldız of the DSİ said the ancient spa will continue to be viewable for tourists thanks to underwater cameras that will be attached to different spa sections and underwater archaeologists will continue to excavate the area.
Noting that they developed the best possible plan in order to save Allianoi and that there was no other alternative available, he said the project will be in line with the Culture and Tourism Ministry's Scientific Committee's decision.
Meanwhile, Allianoi excavation head Ahmet Yaraş opposed the DSİ's project. Yaraş said the project would not save the ancient city, which would be at last submerged in the waters of Yortanlı Dam, adding, “The DSİ offered a project which anticipates a one-meter wall around the ancient city. However, it will not prevent the ancient city from being flooded by the dam's waters. According to them, the solution is to cover the face of historic ruins. Their goal never changed. However, it is not a solution to permit submerging the ancient city under water; it is a deception. Unfortunately, they have mislead politicians and the public by claiming that they would save the ancient city. Their project doesn't intend to protect the ancient city.”
Project is misleading:
He also said they would take the issue to the European Court of Human Rights if the project were ratified by the Culture and Tourism Ministry.
Historically, Allianoi is well known as the land of the god of health Asklepios. The ancient city was established during the Hellenistic Age and reached its peak during the reign of Roman emperor Hadrian. It was considered as one of the most important health centers for nearly 15 centuries, starting from the sixth century B.C. through to the 11th century. Allianoi was famed for its thermal spring center and was known as the most important healing complexes during Hadrian's rule (117-138). Over the last five years, excavations revealed two impressive gates, marble stone-paved streets, shops, houses adorned with mosaics, large town squares, public fountains and rest areas to be used after having a bath. Surprisingly, the latest findings, such as mosaics, marble stones and some wood pieces designed for houses, were the most preserved pieces ever seen on an archaeological site because they had been covered with alluvium soil.
The ancient city is in danger of being submerged and lost forever to the waters of Yortanlı Dam, the construction of which started in 1994. The excavations, kicked off in 1998, have only uncovered the 20 percent of the ancient city.
Monday, April 16, 2007
Egypt, German row over Nefertiti deepens
Source: IOL
Cairo - Egypt on Sunday threatened to ban future displays of its ancient artifacts in Germany if Berlin refuses to return a 3 400-year-old bust of Queen Nefertiti for a temporary exhibition.
"(Egypt) will never again organise antiquities exhibitions in Germany if it refuses a request, to be issued next week, to allow the bust of Nefertiti to be displayed in Egypt for three months," antiquities supremo Zahi Hawass told parliament, according to the official MENA news agency.
His comments came after German Culture Minister Bernd Neumann refused to allow the bust of Nefertiti - renowned as one of history's great beauties - to be exhibited in Egypt because it was too delicate to be transported.
"Experts have reservations about taking Nefertiti on a long trip, which we have to take seriously," Neumann said in reaction to a campaign launched in Germany under the title "Nefertiti travels" to loan the bust to Egypt for a limited period.
Cairo and Berlin have frequently crossed swords over the limestone bust, which was unearthed by German archaeologists in an artist's studio on the banks of the Nile and taken to Germany under a 1913 agreement.
It was described by Adolf Hitler as "a true treasure".
A row broke out in 2003 when the Berlin museum allowed artists to temporarily attach the bust to a bronze statue of a naked woman.
Nefertiti was the wife of Pharaoh Akhenaton, remembered for having switched his kingdom to monotheism with the worship of one sun god, Aton.
Hawass has made it his mission to retrieve Egypt's widely scattered antiquities that can be found in museums around the world.
But the Prussian Cultural Heritage Foundation, which is responsible for Berlin's art treasures, also ruled out a return to Egypt, saying: "After 3 000 the lady is travel weary." - Sapa-AFP
Cairo - Egypt on Sunday threatened to ban future displays of its ancient artifacts in Germany if Berlin refuses to return a 3 400-year-old bust of Queen Nefertiti for a temporary exhibition.
"(Egypt) will never again organise antiquities exhibitions in Germany if it refuses a request, to be issued next week, to allow the bust of Nefertiti to be displayed in Egypt for three months," antiquities supremo Zahi Hawass told parliament, according to the official MENA news agency.
His comments came after German Culture Minister Bernd Neumann refused to allow the bust of Nefertiti - renowned as one of history's great beauties - to be exhibited in Egypt because it was too delicate to be transported.
"Experts have reservations about taking Nefertiti on a long trip, which we have to take seriously," Neumann said in reaction to a campaign launched in Germany under the title "Nefertiti travels" to loan the bust to Egypt for a limited period.
Cairo and Berlin have frequently crossed swords over the limestone bust, which was unearthed by German archaeologists in an artist's studio on the banks of the Nile and taken to Germany under a 1913 agreement.
It was described by Adolf Hitler as "a true treasure".
A row broke out in 2003 when the Berlin museum allowed artists to temporarily attach the bust to a bronze statue of a naked woman.
Nefertiti was the wife of Pharaoh Akhenaton, remembered for having switched his kingdom to monotheism with the worship of one sun god, Aton.
Hawass has made it his mission to retrieve Egypt's widely scattered antiquities that can be found in museums around the world.
But the Prussian Cultural Heritage Foundation, which is responsible for Berlin's art treasures, also ruled out a return to Egypt, saying: "After 3 000 the lady is travel weary." - Sapa-AFP
Sunday, April 15, 2007
Ancient Thessaloniki emerges, thanks to digging for metro
Tunnels will go deeper to spare antiquities
One outstanding find was the headless marble figure of a man found during work at Aghios Athanasios in Thessaloniki.
By Iota Myrtsioti - Kathimerini
Preliminary work on the metro is slowly bringing to light the story of Thessaloniki. The first architectural remains and portable finds discovered in the city’s historic center are just a sample of what the metro tunneling machine will turn up once it starts digging deeper.
Though the exploratory digs at 350 points along the 9.6-kilometer metro line that were begun last August have so far uncovered only a handful of portable finds, a museum has already been found to house them. It is the Alkazar (formerly Hamza Bey mosque). Refurbishment is under way, which will allow the monument to receive visitors by the end of the year, Culture Ministry General Secretary Christos Zahopoulos announced on Thursday, presenting the finds.
Part of the eastern cemetery of Thessaloniki with 35 graves was one of the expected finds. It was discovered by archeologists from the 16th Ephorate of Classical Antiquities in the Sintrivaniou district.
Of various types, set in close rows, the graves date from the Early Hellenistic to the Late Roman period (third century BC to third century AD). Eleven of them contained grave goods, including coins, figurines, bone clasps, clay and glass vases, gold and bronze jewelry, and a funerary stele bearing the name of the occupant, Epitherses Filonos Methemnaios.
Interment was the most common form of burial, noted ephorate chief Lilian Aheilara. The body was usually supine. Four burial sites showed signs of incineration.
In contrast, the Roman-era architectural remnants discovered at points along the projected metro line were a complete surprise.
Preliminary excavations unearthed various items including potsherds, plinths, slate paving, plaster, bones and stones at 42 other sites.
At Dimokratias Square, Venizelou and Aghias Sofias metro station sites, the 9th Ephorate of Byzantine Antiquities unearthed parts of walls, pipes and floors. One outstanding find was a headless marble figurine discovered in front of Aghios Athanasios.
The Attiko Metro construction company has already altered its plans in response to the successive finds, managing director Giorgos Yiannis announced. The tunnels will now go down to a depth of 31 meters, instead of 7-9 meters as stipulated in the original plan.
Saturday, April 14, 2007
Digger blunder at site of Roman fort
I could never understand why on earth British archaeologists use bulldozers in their digs... :-(
Source: EDP24
SHAUN LOWTHORPE
It was built to repel invaders from Roman Britain and for centuries withstood the vagaries of time.
But some of the buried artefacts at Caister, near Yarmouth, have met their match after archaeologists mistakenly used a mechanical digger to uncover the fort's secrets. Norfolk Archaeology Unit (NAU) was commissioned to carry out a dig last year ahead of plans to build houses on a garden bordering the north-east corner of the fort at Uplands Avenue.
A nationally important site, the fort was one of 12 built by the Romans stetching to the south coast, with the others in Norfolk being at Burgh Castle and Brancaster.
The area in question was covered by a thin layer of tarmac, yet beneath that it was straight down into undisturbed Roman deposits allowing a fresh picture to be built up of an area stretching from the fort's outer defences.
But when David Gurney, principal archaeologist at Norfolk Museums and Archaeology Service, went out to check on the progress of the work, he was horrified to see a 15m long by 1m trench dug out by a digger instead of being excavated by hand.
“On a scale of 1 to 10 in terms of damage to Norfolk's archaeology, this is a 10,” he said. “This was the first chance to dig a trench across the defences at Caister fort since the 1960s. It was a huge opportunity.
“The archaeology in that area has been destroyed,” he added. “We lost the opportunity to go through the different layers very carefully and recover the pottery and objects that would have helped us review the dating of the fort defences.
“There's a lot of archaeological work taking place all the time so there's bound to be the odd lapse. It's very unfortunate that it took place on such an important site.
“They made quite a serious mistake. There have been long discussions with the contractor and they are fully aware of the mistake they have made. Measures have been put in place to make sure it doesn't happen again.”
The incident happened last June, but the mistake has only now been unearthed after lying deep inside a council report due for discussion on Monday.
Jayne Bown, archaeology unit manager at NPS property consultants, which took over the running of the unit in 2005, said an approved plan had been produced and followed but there was a misunderstanding about how the dig was to be carried out.
“Once work was under way it became clear that there was a divergence of professional opinion on the scope and detail of the fieldwork required,” she said. “A wide-ranging discussion ensued and procedures have since been thoroughly reviewed.”
“NAU Archaeology is a successful organisation with clients across the country and we pride ourselves on working to high professional standards. The misunder-standing in this case was a very rare occurrence and we have acted promptly to reduce the likelihood of it ever recurring in the future.”
Source: EDP24
SHAUN LOWTHORPE
It was built to repel invaders from Roman Britain and for centuries withstood the vagaries of time.
But some of the buried artefacts at Caister, near Yarmouth, have met their match after archaeologists mistakenly used a mechanical digger to uncover the fort's secrets. Norfolk Archaeology Unit (NAU) was commissioned to carry out a dig last year ahead of plans to build houses on a garden bordering the north-east corner of the fort at Uplands Avenue.
A nationally important site, the fort was one of 12 built by the Romans stetching to the south coast, with the others in Norfolk being at Burgh Castle and Brancaster.
The area in question was covered by a thin layer of tarmac, yet beneath that it was straight down into undisturbed Roman deposits allowing a fresh picture to be built up of an area stretching from the fort's outer defences.
But when David Gurney, principal archaeologist at Norfolk Museums and Archaeology Service, went out to check on the progress of the work, he was horrified to see a 15m long by 1m trench dug out by a digger instead of being excavated by hand.
“On a scale of 1 to 10 in terms of damage to Norfolk's archaeology, this is a 10,” he said. “This was the first chance to dig a trench across the defences at Caister fort since the 1960s. It was a huge opportunity.
“The archaeology in that area has been destroyed,” he added. “We lost the opportunity to go through the different layers very carefully and recover the pottery and objects that would have helped us review the dating of the fort defences.
“There's a lot of archaeological work taking place all the time so there's bound to be the odd lapse. It's very unfortunate that it took place on such an important site.
“They made quite a serious mistake. There have been long discussions with the contractor and they are fully aware of the mistake they have made. Measures have been put in place to make sure it doesn't happen again.”
The incident happened last June, but the mistake has only now been unearthed after lying deep inside a council report due for discussion on Monday.
Jayne Bown, archaeology unit manager at NPS property consultants, which took over the running of the unit in 2005, said an approved plan had been produced and followed but there was a misunderstanding about how the dig was to be carried out.
“Once work was under way it became clear that there was a divergence of professional opinion on the scope and detail of the fieldwork required,” she said. “A wide-ranging discussion ensued and procedures have since been thoroughly reviewed.”
“NAU Archaeology is a successful organisation with clients across the country and we pride ourselves on working to high professional standards. The misunder-standing in this case was a very rare occurrence and we have acted promptly to reduce the likelihood of it ever recurring in the future.”
Wednesday, April 11, 2007
Archaeology bridges gap between modern people, past cultures
Source: The Columbus Dispatch
BRADLEY T. LEPPER
What is the value of archaeology? Why should anyone care about the broken bits and pieces of past lives scattered across the landscape?
Paul Minnis, an archaeologist at the University of Oklahoma, asked several colleagues this question. Their answers were published in the Society for American Archaeology's November newsletter.
One of the best answers was provided by Barbara Little, who edited a recent book on the public benefits of archaeology. She wrote: "Our history is an anchor, a vantage point and a library. Archaeology is the tool for expanding that history."
William Faulkner once said, "The past isn't dead. It isn't even past." This speaks to the enduring power of the past for informing and enriching our lives.
Yet, as Little also observed, the power of the past can be abused as a weapon.
In Afghanistan, for example, the Taliban destroyed ancient Buddhist statues and other relics in acts of archaeological terrorism. In a story broadcast last month on National Public Radio, Soraya Sarhaddi Nelson reported that Afghanistan's National Museum in Kabul was hit by rockets and pillaged by looters. Much of what was left was smashed by the Taliban.
Now, however, museum staff members are working hard to rebuild this national treasure. They cut an inscription into a marble post in front of the building to express their faith in the sustaining power of their past: "A nation stays alive when its culture stays alive."
Rory Stewart, who directs a nonprofit group working with the museum, told Sarhaddi Nelson that the key to success was getting ordinary Afghans to reconnect with their heritage.
In Ohio, during the 18 th and early 19 th centuries, European-American settlers destroyed many of the monuments erected by ancient American Indian cultures. The farmers and town-builders of that era simply didn?t acknowledge the earthen mounds and enclosures as part of a heritage they had any obligation to preserve or understand.
Since then, several decades of archaeological investigation have added the achievements of indigenous cultures to our expanded view of Ohio's history. Archaeological parks preserve many important sites, and museums display the artifacts made and used by hundreds of generations of Ohioans.
These special places allow us to reconnect with our heritage, which did not begin in 1803, 1776 or even 1492. It began with the original discovery of Ohio by the first Americans more than 14,000 years ago.
Bradley T. Lepper is curator of archaeology at the Ohio Historical Society.
blepper@ohiohistory.org
BRADLEY T. LEPPER
What is the value of archaeology? Why should anyone care about the broken bits and pieces of past lives scattered across the landscape?
Paul Minnis, an archaeologist at the University of Oklahoma, asked several colleagues this question. Their answers were published in the Society for American Archaeology's November newsletter.
One of the best answers was provided by Barbara Little, who edited a recent book on the public benefits of archaeology. She wrote: "Our history is an anchor, a vantage point and a library. Archaeology is the tool for expanding that history."
William Faulkner once said, "The past isn't dead. It isn't even past." This speaks to the enduring power of the past for informing and enriching our lives.
Yet, as Little also observed, the power of the past can be abused as a weapon.
In Afghanistan, for example, the Taliban destroyed ancient Buddhist statues and other relics in acts of archaeological terrorism. In a story broadcast last month on National Public Radio, Soraya Sarhaddi Nelson reported that Afghanistan's National Museum in Kabul was hit by rockets and pillaged by looters. Much of what was left was smashed by the Taliban.
Now, however, museum staff members are working hard to rebuild this national treasure. They cut an inscription into a marble post in front of the building to express their faith in the sustaining power of their past: "A nation stays alive when its culture stays alive."
Rory Stewart, who directs a nonprofit group working with the museum, told Sarhaddi Nelson that the key to success was getting ordinary Afghans to reconnect with their heritage.
In Ohio, during the 18 th and early 19 th centuries, European-American settlers destroyed many of the monuments erected by ancient American Indian cultures. The farmers and town-builders of that era simply didn?t acknowledge the earthen mounds and enclosures as part of a heritage they had any obligation to preserve or understand.
Since then, several decades of archaeological investigation have added the achievements of indigenous cultures to our expanded view of Ohio's history. Archaeological parks preserve many important sites, and museums display the artifacts made and used by hundreds of generations of Ohioans.
These special places allow us to reconnect with our heritage, which did not begin in 1803, 1776 or even 1492. It began with the original discovery of Ohio by the first Americans more than 14,000 years ago.
Bradley T. Lepper is curator of archaeology at the Ohio Historical Society.
blepper@ohiohistory.org
Heracleion and Canopus back to light
Source: Deutsche Welle
"It's a Bit Like Modern Surgery"
DW-WORLD.DE spoke to French marine archeologist Franck Goddio, who brought lost parts of the legendary port of Alexandria and the ancient cities of Heracleion and Canopus back to light.
"Egypt's Sunken Treasures," an exhibition of artifacts unearthed during Goddio's excavations, went on show in Bonn on Thursday.
DW-WORLD.DE: After thousands of excursions to sunken cities and shipwrecks around the world, your living room must look like an adventurous place.
Franck Goddio: Well, it's not an adventure. I would say it's a job, and we are doing this job very professionally. We plan each mission carefully and train our staff for that, and before starting, there is a lot of paperwork that has to be done.
Before you started to search for sunken treasures, you studied mathematics and worked as a financial consultant. How does that fit with archaeology?
Goddio devoted himself to marine archeology in the 1980sBildunterschrift: Großansicht des Bildes mit der Bildunterschrift: Goddio devoted himself to marine archeology in the 1980s
As a matter of fact, it does help. After 10 years in finance, I decided to take a one-year break. I looked at what at the time has been done in underwater archaeology, and I realized that there was a need for a privately funded independent institute that could work for governments and other institutions.
You opened such an institute for underwater archaeology in Paris in 1985. Were you always sure that it would become a success story?
Maybe I was a little naive at the beginning. When I started to search for the sunken parts of Alexandria in 1984 the geophysical instruments that you need for missions like that didn't exist.
But you did find ancient Alexandria in the end.
But for Alexandria, it took years and years because we had to perform a four-year geophysical survey before we even had a detailed map that showed that there was something under the sediment. It's a bit like modern surgery. You use the scanner, and then afterwards, when you know where to search, you do the operation at the right place.
Are you still thrilled by your work?
It's very hard work because for months and months you only sail along straight lines in the harbor, towing instruments and registering data in order to create an electronic map. When you start to see the map, you get this feeling that there is something down there. And only then does it become thrilling.
It seems that your work has little in common with an Indiana Jones adventure.
Not at all, on the contrary I would say. My job is to prevent adventure.
When you take artifacts from the ancient port of Alexandria, you put them in different colored baskets. Does the color mean something?
The color is in fact no criteria, but you need these baskets in order to desalinate the artifacts. When you raise it from the sea, where the object has been for some 2,000 years, you have to remove the salt. For a small artifact, this can take a few days. For a very big artefact, like the statue of Hapi (editor's note: a more than five-meter or 16-feet high statue), we needed 18 months to remove the salt.
What happens if you don't do that?
The stone will disintegrate. Chemical reactions will make the stone weaker, until it finally disintegrates.
The exhibition in Bonn is showing 500 artifacts, most of them from Alexandria. What kind of feeling should the exhibition evoke in visitors?
We found all the artifacts right next to each other. They were on the same place for thousands of years and supplemented each other, they were literally living together. In the exhibition you can see that they speak to each other.
Who owns the artifacts?
They belong to Egypt of course. All artifacts that you see in the exhibit in Bonn will one day end up in a museum which will be built for them -- in Alexandria.
"Egypt's Sunken Treasures" runs until Jan. 27, 2008 at the Art and Exhibition Hall of the Federal Republic of Germany in Bonn.
Richard Fuchs interviewed Franck Goddio (ncy)
"It's a Bit Like Modern Surgery"
DW-WORLD.DE spoke to French marine archeologist Franck Goddio, who brought lost parts of the legendary port of Alexandria and the ancient cities of Heracleion and Canopus back to light.
"Egypt's Sunken Treasures," an exhibition of artifacts unearthed during Goddio's excavations, went on show in Bonn on Thursday.
DW-WORLD.DE: After thousands of excursions to sunken cities and shipwrecks around the world, your living room must look like an adventurous place.
Franck Goddio: Well, it's not an adventure. I would say it's a job, and we are doing this job very professionally. We plan each mission carefully and train our staff for that, and before starting, there is a lot of paperwork that has to be done.
Before you started to search for sunken treasures, you studied mathematics and worked as a financial consultant. How does that fit with archaeology?
Goddio devoted himself to marine archeology in the 1980sBildunterschrift: Großansicht des Bildes mit der Bildunterschrift: Goddio devoted himself to marine archeology in the 1980s
As a matter of fact, it does help. After 10 years in finance, I decided to take a one-year break. I looked at what at the time has been done in underwater archaeology, and I realized that there was a need for a privately funded independent institute that could work for governments and other institutions.
You opened such an institute for underwater archaeology in Paris in 1985. Were you always sure that it would become a success story?
Maybe I was a little naive at the beginning. When I started to search for the sunken parts of Alexandria in 1984 the geophysical instruments that you need for missions like that didn't exist.
But you did find ancient Alexandria in the end.
But for Alexandria, it took years and years because we had to perform a four-year geophysical survey before we even had a detailed map that showed that there was something under the sediment. It's a bit like modern surgery. You use the scanner, and then afterwards, when you know where to search, you do the operation at the right place.
Are you still thrilled by your work?
It's very hard work because for months and months you only sail along straight lines in the harbor, towing instruments and registering data in order to create an electronic map. When you start to see the map, you get this feeling that there is something down there. And only then does it become thrilling.
It seems that your work has little in common with an Indiana Jones adventure.
Not at all, on the contrary I would say. My job is to prevent adventure.
When you take artifacts from the ancient port of Alexandria, you put them in different colored baskets. Does the color mean something?
The color is in fact no criteria, but you need these baskets in order to desalinate the artifacts. When you raise it from the sea, where the object has been for some 2,000 years, you have to remove the salt. For a small artifact, this can take a few days. For a very big artefact, like the statue of Hapi (editor's note: a more than five-meter or 16-feet high statue), we needed 18 months to remove the salt.
What happens if you don't do that?
The stone will disintegrate. Chemical reactions will make the stone weaker, until it finally disintegrates.
The exhibition in Bonn is showing 500 artifacts, most of them from Alexandria. What kind of feeling should the exhibition evoke in visitors?
We found all the artifacts right next to each other. They were on the same place for thousands of years and supplemented each other, they were literally living together. In the exhibition you can see that they speak to each other.
Who owns the artifacts?
They belong to Egypt of course. All artifacts that you see in the exhibit in Bonn will one day end up in a museum which will be built for them -- in Alexandria.
"Egypt's Sunken Treasures" runs until Jan. 27, 2008 at the Art and Exhibition Hall of the Federal Republic of Germany in Bonn.
Richard Fuchs interviewed Franck Goddio (ncy)
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