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Treasures from the Deep: Uncovering the Secrets of the Elgin Marbles’ Sunken Ship

by Jasmine
written by Jasmine

Newly Discovered Treasures from the Sunken Ship of the Elgin Marbles

In 1802, the H.M.S. Mentor, a ship owned by the controversial Lord Elgin, sank off the coast of Greece, carrying a trove of artifacts looted from the Parthenon and other Greek heritage sites.

Over 200 years later, marine archaeologists have been exploring the wreck, recovering a wealth of new artifacts, including gold jewelry, cooking pots, chess pieces, and other items connected to the original cargo.

Elgin’s Controversial Legacy

Lord Elgin, the British Ambassador to the Ottoman Empire, commissioned the Mentor to transport the artifacts to Great Britain. His actions remain a source of controversy, with many accusing him of looting valuable antiquities from Athens.

Elgin claimed to have permission to remove the artifacts, but the legality of his actions is disputed. His excavations left the Parthenon severely damaged, prompting objections from antiquities enthusiasts at the time.

The Sunken Treasures

The Mentor sank en route to Malta, where it was scheduled to dock before continuing its journey. All passengers and crew survived, but the valuable cargo was lost—at least initially.

Elgin recovered most of the artifacts in subsequent salvage missions, including the famous Parthenon Marbles, which are now housed in the British Museum. However, researchers have long suspected that additional artifacts remained trapped in the sunken ship.

Underwater Explorations

Since 2009, underwater archaeologists have been conducting annual excavations at the Mentor wreck site, searching for artifacts overlooked by Elgin’s salvagers. Previous expeditions have yielded personal belongings of the ship’s passengers and crew, as well as fragments of Egyptian sculptures and ancient shipping jars.

This year’s finds include a gold ring, gold earrings, a piece of cookware, and wooden pulleys. These newly discovered treasures provide valuable insights into the ship’s contents and the lives of those on board.

The Ongoing Debate over the Elgin Marbles

The newly discovered artifacts are the property of the Greek government, but the status of the Elgin Marbles remains a point of contention. Both Great Britain and Greece claim ownership of the friezes.

Greece argues that the marbles were illegally removed from Athens and should be returned to their rightful home. Great Britain maintains that Elgin acquired the artifacts legally and that they are now an important part of the British Museum’s collection.

Historical Context

At the turn of the 19th century, Athens was under the control of the Ottoman Empire. Elgin had a letter of instruction allowing him to remove artifacts, but the validity of this document is contested.

Elgin’s removal of 247 feet of sculpted frieze, 15 metopes, and 17 figures from the Parthenon sparked outrage among many contemporaries. The massive project bankrupted Elgin, and he later sold the collection to the British government.

Scholarly Perspectives

Scholar Izidor Janzekovic notes that even Elgin’s contemporaries considered his actions controversial. Many objected to the removal of artifacts from the deteriorating Parthenon, fearing further damage.

Art historian Mary Beard suggests that Elgin’s motives were complex. Some believe he sought to enhance his family’s reputation by acquiring the marbles, while others argue that he was genuinely dedicated to preserving them.

Greece’s Proposal for a Temporary Exchange

In 2009, Greece opened a museum near the Parthenon with spaces reserved for the missing sections of the frieze. More recently, Greece has proposed a temporary swap with the British Museum to mark the 200th anniversary of the Greek War for Independence.

Greece has offered to exchange several artifacts never previously allowed to leave the country in exchange for a temporary loan of the marbles. The British Museum has expressed willingness to consider the request but has not made any concrete commitments.

The debate over the Elgin Marbles continues to simmer between Greece and Great Britain, with no easy resolution in sight. The newly discovered treasures from the Mentor wreck serve as a reminder of the complex history and ongoing controversy surrounding these iconic artifacts.

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Archaeological Art

Terracotta Treasures: Uncovering History in Ancient Myra

by Kim
written by Kim

Terracotta Treasures Unearthed in Ancient Myra: A Journey into History

Discovery of Terracotta Figurines

Turkish archaeologists have made an extraordinary discovery at the ancient town of Myra, uncovering over 50 terracotta figurines dating back to the Hellenistic period (around 323-31 B.C.). These exquisite sculptures, intricately crafted and meticulously painted, offer a glimpse into the artistry and beliefs of an ancient civilization.

The figurines, each standing just a few inches tall, depict a diverse array of subjects, including humans, gods, and animals. Rams, horsemen, women with children, and a boy carrying fruit are among the human figures, while mythic characters such as Leto, Artemis, Apollo, and Heracles represent the divine realm.

Preservation and Significance

Miraculously, some of the figurines still bear traces of the vibrant pigments that once adorned them, revealing shades of red, blue, and pink. This remarkable preservation provides valuable insights into the clothing and customs of ancient Myra.

Nevzat Çevik, the lead archaeologist at Akdeniz University, expressed his astonishment at the discovery, describing it as “an unexpected big surprise.” He believes that the figurines offer a unique opportunity to connect with the ancient people of Myra, as if they had “resurrected and ran through the time tunnel” to the present day.

Excavation and Artifacts

The figurines were discovered during excavations of the town’s Roman-era theater and an older Hellenistic theater located beneath it. In addition to the terracotta figures, the team also unearthed a wealth of other artifacts, including ceramic, bronze, lead, and silver objects, scattered around the Hellenistic theater.

Myra: A Crossroads of Cultures

Myra, strategically situated at the mouth of the Andriacus River on Turkey’s southern coast, flourished as an important Mediterranean port city for centuries. It fell under the control of various regional powers, including the Persians, Lycians, and Romans.

The city’s rich history is evident in its impressive Roman theater, built in the third century A.D., and its iconic rock-cut tombs, carved into the hillsides between the fifth and third centuries B.C. These elaborate tombs, often resembling wooden houses and shrines, are a testament to the architectural prowess of ancient Myra.

Excavations and Future Plans

Excavations at Myra have been ongoing for over a decade, shedding light on the city’s past. This summer, project coordinators brought a team of researchers and workers to the site in Antalya’s Demre district, leading to the discovery of the terracotta figurines.

The team continues to piece together remnants of additional figurines, with plans to share them with the Museum of Lycian Civilizations in Demre for public display. These terracotta treasures will undoubtedly enhance our understanding of ancient Myra and the broader history of Anatolian archaeology.

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Archaeological Art

Anthropomorphic Stelae: Neglected Treasures of Eastern Europe

by Kim
written by Kim

Anthropomorphic Stelae: Neglected Treasures of Eastern Europe

History and Cultural Significance

Across the vast steppes of Eastern Europe, anthropomorphic stone stelae have stood as silent sentinels for centuries. These flat, human-like monuments, dating back to 4,000 B.C., bear witness to the rich cultural heritage of the region.

In the late medieval period, Turkic nomads known as the Polovtsians continued the tradition of carving and placing stelae along the steppes near the Black Sea. These statues served as representations of ancestors, deities, or other significant figures.

Neglect and Destruction

Despite their cultural and historical importance, anthropomorphic stelae have faced centuries of neglect and destruction. Orthodox Church authorities in the 16th century targeted the statues, believing them to be embodiments of evil spirits. They were destroyed, reused as building materials, and even used as target practice in World Wars I and II.

Current Threats

Today, these fragile remnants of the past face new threats. Many are available for sale on the black market, while others are still used as building materials or decorative elements in homes and gardens.

Preservation Efforts

Recognizing the urgency of preserving these unique artifacts, researchers from Poland and the Czech Republic have been working to maintain the stelae stored in the Veliklanadolskyi Forest Museum in East Ukraine. Led by Aneta Gołębiowska-Tobiasz, they have published a book documenting their years of work.

The Road Ahead

The researchers hope to establish a tourist trail showcasing the stelae in both museums and their natural settings. However, their first challenge lies in convincing local communities of the importance of preserving these mysterious rocks.

Anthropomorphic Stelae: A Call to Action

The anthropomorphic stelae of Eastern Europe are貴重な cultural treasures that have been neglected for far too long. It is imperative that we take action to preserve these relics of the past for future generations.

By raising awareness, supporting research, and promoting responsible tourism, we can help ensure that these enigmatic monuments continue to inspire and captivate visitors for centuries to come.

Additional Information

  • Anthropomorphic Stelae in Museums: Several museums in Eastern Europe house collections of anthropomorphic stelae, including the National Museum of History of Ukraine in Kyiv and the Hermitage Museum in Saint Petersburg.
  • Tourist Trail Proposal: The proposed tourist trail would connect museums and outdoor sites where stelae can be viewed in their natural surroundings.
  • Online Resources: The Veliklanadolskyi Forest Museum website provides information on the stelae and the ongoing preservation efforts.
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Archaeological Art

Preserving Our Past: Protecting Prehistoric Rock Art in Utah’s Nine Mile Canyon

by Jasmine
written by Jasmine

Prehistoric Rock Art Defaced in Utah’s Nine Mile Canyon

Vandalism at the World’s Longest Art Gallery

On Memorial Day weekend, vandals in Utah defaced a centuries-old petroglyph in Nine Mile Canyon, the world’s longest art gallery. The Pregnant Buffalo petroglyph, one of over 10,000 pieces of rock art in the canyon, was marred with initials and the date.

Ancient Heritage Damaged

The petroglyphs in Nine Mile Canyon are a priceless cultural heritage, some dating back over 1,000 years. The Bureau of Land Management (BLM) has strict rules to protect these fragile sites, including prohibiting touching, climbing on ruins, removing artifacts, and marking rock surfaces.

A Growing Problem

Graffiti on prehistoric rock art has been a problem in Nine Mile Canyon for centuries, but it has decreased in recent decades. However, this latest incident, along with the toppling of a hoodoo at Goblin Valley State Park and the theft of a dinosaur track near Moab, suggests a resurgence of disrespect for cultural and geological history.

Archaeologists Condemn Vandalism

Archaeologist Jerry Spangler, who visited the site before the vandalism, expressed outrage. He called on the BLM to investigate the matter thoroughly and emphasized the importance of preserving these irreplaceable treasures for future generations. “A rock art panel is not someone’s private canvas,” he said.

License Plate Leads to Suspects

This time, Spangler and local landowners were able to obtain a license plate number, providing a potential lead in the investigation. The BLM is working to identify and apprehend the vandals responsible.

Preventing Future Vandalism

Protecting prehistoric rock art from vandalism requires a multifaceted approach. The BLM is increasing patrols and working with local communities to raise awareness about the importance of these sites. Visitors are urged to respect the rules and report any suspicious activity.

Educational Programs

Educational programs are also crucial. Schools and museums can teach students about the cultural significance of prehistoric rock art and the consequences of vandalism. Public outreach campaigns can raise awareness among the general population.

Community Involvement

Local communities have a vital role to play in protecting rock art sites. Landowners can monitor their property and report any suspicious activity to the BLM. Volunteer groups can organize cleanups and restoration projects.

Legal Consequences

Vandalizing prehistoric rock art is a federal crime. The Archaeological Resources Protection Act of 1979 imposes severe penalties, including fines and imprisonment. The BLM is committed to prosecuting those who damage or destroy cultural resources.

Preserving Our Past for the Future

Prehistoric rock art is a tangible connection to our ancestors and a reminder of the rich cultural heritage of the American West. It is our collective responsibility to protect these irreplaceable treasures for generations to come. By working together, we can prevent vandalism, educate the public, and ensure that the world’s longest art gallery remains intact for centuries to come.

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Archaeological Art

Rare Nude Horseman Carving Unearthed at Roman Fort Offers Glimpse into Ancient Beliefs

by Jasmine
written by Jasmine

Rare Carving of Nude Horseman Unearthed at Roman Fort

Discovery and Significance

Amateur archaeologists Richie Milor and David Goldwater made a remarkable discovery during annual excavations at Vindolanda, a Roman fort in northern England. They unearthed a rare sandstone carving depicting a nude horseman, the first of its kind found at the site. The carving is believed to date back to the fourth century A.D.

Experts at the Vindolanda Charitable Trust are studying the carving to determine its significance. The lack of inscriptions or identifying marks makes it challenging to identify the figure depicted, but its attributes suggest it may represent either Mercury, the god of travel, or Mars, the god of war.

Attributes and Symbolism

The horseman’s nudity is a key clue in identifying the figure. According to historian Jeffrey M. Hurwit, nudity in ancient Greek and Roman art often symbolized divine or heroic status. The horseman’s spear, a common attribute of Mars, further supports this interpretation. However, the possibility of Mercury is raised by the presence of two circular features on the horseman’s head, which could represent wings, a symbol associated with the god.

Context and Speculation

The discovery of the carving near fourth-century calvary barracks suggests a connection to military deities. Soldiers stationed at Vindolanda may have created their own depiction of Mars or Mercury, or even a deity combining characteristics of both.

Historical Background

Vindolanda, located about a mile south of Hadrian’s Wall, was established as a permanent Roman outpost in the late 80s A.D. It played a crucial role during the construction of Hadrian’s Wall, providing supplies and workers. The fort was occupied by Roman soldiers until 370 A.D., when they withdrew as part of Rome’s departure from Britain.

Archaeological excavations at Vindolanda have yielded numerous notable finds, including wooden tablets with handwritten notes from Roman soldiers, sandals, combs, textiles, swords, arrowheads, ceramics, bronze statues, and even a leather mouse and boxing gloves.

Ongoing Research and Exhibition

The newly discovered horseman carving is a significant addition to Vindolanda’s archaeological treasures. Experts continue to study the carving, seeking to unravel its mysteries and shed light on the beliefs and practices of Roman soldiers stationed at the fort.

The carving will be exhibited at the Vindolanda Museum through September 24, providing visitors with an opportunity to view this rare and enigmatic artifact firsthand.

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Archaeological Art

Repatriated Treasures: U.S. Returns Millions of Dollars Worth of Looted Antiquities to Turkey

by Jasmine
written by Jasmine

U.S. Returns Looted Antiquities Worth Millions to Turkey

Historical Significance of the Artifacts

Over 50 years ago, farmers in southwestern Turkey stumbled upon an extraordinary archaeological discovery at Bubon, an ancient Roman site. The area, believed to have been a shrine honoring the emperor and his family, contained numerous rare bronze statues of Roman emperors and empresses.

The statues, including a headless bronze figure of Emperor Septimius Severus dating to 225 C.E., are considered priceless artifacts providing valuable insights into Roman history and artistic craftsmanship.

Illegal Sale and Smuggling

Tragically, instead of reporting the discovery to authorities as required by law, locals sold the statues, and they were subsequently smuggled out of the country. The looting was driven by commercial interests, with villagers seeking financial gain.

Investigations and Repatriation

Over the decades, the Manhattan District Attorney’s Office, known for its dedicated Antiquities Trafficking Unit, has played a pivotal role in investigating and prosecuting cases involving the illegal trade in antiquities.

In recent years, the office has intensified its efforts, leading to the seizure of numerous looted artifacts, including several from the prestigious Metropolitan Museum of Art.

After extensive investigations, the Manhattan District Attorney’s Office, in collaboration with Turkish authorities, successfully repatriated 12 looted antiquities to Turkey last month. The collection, valued at $33 million, included the headless statue of Septimius Severus, a sculpture of a head dating to 290 C.E., and a bronze head of Caracalla, the eldest son of Septimius Severus.

International Cooperation and Legal Consequences

The repatriation ceremony in New York City was attended by Turkish Consul General Reyhan Ozgur, who emphasized that the return of the artifacts sends a strong message: “Illegal purchase, possession, and sale of cultural artifacts will have consequences.”

The latest repatriation is part of a growing global effort to combat antiquities trafficking and ensure the rightful return of stolen artifacts to their countries of origin.

Role of Farmers and Catalogs

Interestingly, some of the farmers who had been involved in the looting decades ago have assisted investigators in identifying stolen pieces by examining images from catalogs and museum websites. This collaboration has proven invaluable in the recovery of these precious artifacts.

Preserving Cultural Heritage

The return of these looted antiquities to Turkey is a significant victory for cultural heritage preservation. The artifacts not only hold historical and artistic value but also represent the rich cultural identity of Turkey.

By repatriating these stolen treasures, the U.S. and Turkey reaffirm their commitment to protecting and preserving cultural heritage for future generations.

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Archaeological Art

Unveiling the Secrets of a 4,000-Year-Old Bronze Age Goldwork Toolkit: A Journey into Ancient Craftsmanship

by Jasmine
written by Jasmine

Unearthing the Ancient Art of Goldwork: A 4,000-Year-Old Toolkit’s Tale

Archaeologists Unravel the Secrets of a Bronze Age Toolkit

In 1801, amidst the enigmatic landscape of Stonehenge, archaeologists stumbled upon an earthen mound containing the remains of two individuals accompanied by a treasure trove of artifacts. Fast forward over two centuries, and researchers have finally unlocked the secrets surrounding these Bronze Age grave goods and their owner.

A recent study published in the journal Antiquity reveals that an ancient toolkit discovered in the grave was likely used to craft exquisite gold objects. Researchers meticulously examined the artifacts using advanced techniques, including scanning electron microscopy and energy dispersive spectrometry. Their findings unveiled gold residue on five of the artifacts, matching the elemental composition of other Bronze Age gold objects.

Deciphering the Purpose of the Tools

Microwear traces on the tools hinted at their diverse uses, ranging from smoothing materials to hammering. The researchers propose that these tools were employed to create “multi-material objects where a core object was crafted in a material like jet, shale, amber, wood or copper and decorated with a thin layer of gold sheet.”

Intriguingly, the Bronze Age users repurposed certain ancient items, such as stone battle axes, for goldworking. This intentional repurposing suggests that these objects carried historical significance, imbuing the materials they worked with a sense of heritage.

Insights into the Identity of the Buried Craftsman

The toolkit revelations shed light on the identity of one of the two individuals buried at the site, a man adorned with an elaborate costume dubbed “the shaman.” Lisa Brown, the Wiltshire Museum curator, believes that “the man buried at Upton Lovell, close to Stonehenge, was a highly skilled craftsman, who specialized in making gold objects.”

His ceremonial cloak, adorned with pierced animal bones, hints at his potential role as a spiritual leader. In the early Bronze Age, such individuals possessed a unique understanding of the transformative power of metalworking, holding a revered position within their society.

The Significance of Stone in Bronze Age Goldwork

The study highlights the crucial role of stone in the Bronze Age goldmaking process. Researchers discovered that stones with specific properties and histories were deliberately selected for their involvement in this practice. Oliver Harris, an archaeologist at the University of Leicester, explains that “we have shown how central stone is to the process of making gold and how stones with certain properties and histories were preferentially selected to be part of this practice.”

Exploring the Cultural and Technological Legacy

The toolkit’s discovery provides a glimpse into the advanced craftsmanship and cultural significance of goldworking in the Bronze Age. It unveils the intricate techniques employed by skilled artisans to create stunning ornaments and objects of both aesthetic and spiritual value.

Moreover, it underscores the importance of repurposing and the continuity of traditions across generations. The use of ancient battle axes in goldworking demonstrates the enduring reverence for the past and the ingenuity of Bronze Age craftsmen in adapting existing tools to new purposes.

Conclusion

The unearthed toolkit near Stonehenge serves as a testament to the ingenuity and artistry of Bronze Age craftsmen. It offers valuable insights into their techniques, the significance of goldwork, and the cultural beliefs that shaped their society. As we delve deeper into the mysteries of the past, such archaeological discoveries continue to enrich our understanding of human history and the enduring legacy of ancient craftsmanship.

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