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The revelation of the building system of a Holy Gate at the entrance of the palace with the altars and the arms of the stone structure, which framed a platform and two more altars – the large oblong and the stepped altar – which had been revealed in earlier excavation periods was the most interesting. […]
Also of interest is a stone base, uncovered under the massive stones to the south of the entrance with the four altars. The plinth had fallen from an upper floor together with remains of burnt wood and four distinctive bronze objects/hooks, a finding leading to the hypothesis that they were links to a wooden plinth resting on it. This is an element that shows that the upper floor of a room to the east of the courtyard had a sacred character.
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The inscription was carved on a marble pedestal 42 inches high and 20 inches wide and was discovered in the Harbor Bath, one of the city’s four known public baths. The dedication names one Flavianus, organizer and sponsor of an athletic competition that took place every five years. At the second of these competitions, an athlete 
Kaikilianos (Caecilianus in Latin) was a popular name in 2nd and 3rd century Asia Minor and north Africa, appearing on dozens of inscriptions. There are funerary inscriptions and dedications referencing members of the prominent Caeciliani family who held magistracies and priesthoods (both traditional Roman and early Christian) and more commonly, their freedmen who adopted the family name after manumission.
[Excavation leader Mehmet] Tekocak pointed out that previous inscriptions suggest that Anemurium was a center for training athletes in antiquity. “We know that athletes from here participated in national and international competitions and won awards. Therefore, Anemurium, in addition to being a port city on the Eastern Mediterranean trade route, was also likely an important center for training athletes in antiquity,” he said.
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Analysis of small samples from the spade identified the wood as oak harvested from the center of the tree. This is a very hard, dense wood, making the spade a powerful tool.
The spade has been hewn from one solid piece of wood and would have required many hours of manual work to create, making it a precious tool to its prehistoric owner. It could easily have been reused and refashioned for other purposes if broken or damaged, making the incredible survival of this piece even more fascinating.
By the Middle Bronze Age, people across the country were settled into rural agricultural lifestyles that we might recognise today, with farmsteads, villages and extensive field systems. However, there is little evidence to suggest that there was a permanent domestic settlement where the spade was uncovered. Instead, archaeologists are exploring the idea that people were visiting this site seasonally.
During this period, the Arne Moors would have been prone to flooding in the winter months, and then drying out over summer. This would have provided the opportunity for past populations to make use of its rich natural resources. It could have been used as a place to cut and dry peat, as pasture for grazing animals or for hunting, fishing, gathering rushes for thatch and basket weaving and perhaps cultivating crops. The spade was found in a circular ditch that could have served several functions, including as a means of drying or protecting those useful resources.
The spade is currently undergoing conservation to ensure that it can be studied further without damaging the prehistoric wood. Meanwhile, Wessex Archaeology has scanned the spade and created a 3D model so it can be examined in close detail virtually.
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In the 1st century A.D., the design of the Roman villa had been unchanged for six hundred years or so. The model domus was centered around the atrium. It had a pool (impluvium) in the middle and small rooms (alae and cubicula) on the sides. The triclinium (banquet hall) was used as the receiving room where clients during the day, and the tabulina (a room across the atrium from the entrance that opened onto a back peristyle garden) is where the portraits of the family’s ancestors and booty won in wars by the masters of the house were displayed. By the 2nd century, the atrium would be replaced by a central peristyle courtyard that public and private rooms opened onto.
The two rooms currently being investigated are located in the rear part of the house. In the first, in addition to the mythological painting with Hippolytus and Phaedra , the splendidly decorated walls in the 4th style show other scenes taken from the repertoire of classical myths: a representation of a symplegma (embrace) between a satyr and a nymph , a painting with a divine couple, perhaps Venus and Adonis, as well as a scene, unfortunately damaged by the Bourbon explorations, in which one can probably recognize a Judgement of Paris.
A window, next to the small painting with Hippolytus and Phaedra , opens onto a small courtyard, where building work was in progress at the time of the eruption, characterised at the entrance by the presence of a small lararium (domestic altar) with a rich painted decoration with plant and animal motifs on a white background .
The courtyard has a covered area preceding a large pool with red painted walls. A small channel ran around it, allowing rainwater to be conveyed to the mouth of a well connected to a cistern below.
In the decoration of the lararium, a bird of prey in flight stands out in the upper part, probably an eagle, holding a palm branch in its talons, and in the lower part the main scene composed of two facing snakes, framing an altar with a circular and grooved shaft on which the offerings are placed. From the left, we can recognize: the pine cone, a raised element supporting an egg, what appear to be a fig and a date. Filling the background of the scene are two shrubs with lanceolate leaves and yellow and red berries on which three sparrows are moving.
The atrium was an architectural expression of Roman societal hierarchy. It’s where clients of powerful men came to petition their patrons and fulfill their obligations to them in the morning salutatio. The nobility of the family, their ancestry, war trophies, currently wealth, their position in the social 
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The statue was found during construction just outside the defensive walls of the ancient city in an area where a river once flowed in antiquity. It was lying on its back in a thick sand drift when the construction crew exposed it. The contractor immediately alerted the Varna Regional Museum of History to the find and archaeologists recovered the statue.
The sculpture is larger-than-life-sized and made of high-quality white marble. It depicts an adult man with a short beard wearing a neatly draped toga. He holds a scroll in his left hand. The statue stands on a plinth with a Greek inscription. The initial translation of the inscription identifies the person being depicted as one G(aius) Marius Hermogenes, but epigraphic experts are working on fully deciphering and researching the text now.
The ancient city of Odessos (modern-day Varna) was founded in the 6th century B.C. by colonists from the Greek city of Miletus. They built the city on the site of an earlier Thracian settlement going back to the late Bronze Age (13th-12th c. B.C.). It flourished thanks to its location on the Black Sea and proximity to gold and copper mines. Its prosperity peaked under the Roman Empire around the time the sculpture was made.
The statue is now at the Regional Museum of History where conservators will analyze, clean and stabilize it for future display.
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The Wangzhuang site was a large settlement from the middle and late Dawenkou periods (ca. 3500 – 2600 B.C.). This is the second season of excavations and archaeologists have discovered 45 new tombs and fully excavated 27 of them. The newly-discovered tomb, dubbed M27, covers more than 180 square feet. It is a single chamber tomb with an outer coffin and an inner coffin.
According to Zhu Guanghua, associate professor at Capital Normal University and one of the lead archaeologists involved in the excavation, “The latest discovery indicates that the Wangzhuang ruins are not an ordinary settlement, but rather the capital of a prehistoric kingdom.” The tomb was filled with over 100 pieces of pottery, nearly 200 jade ornaments, bone tools, and animal remains, including pig mandibles, symbolizing wealth in that era.
Archaeologists were particularly excited by the evidence of cultural fusion uncovered at the site. Li Xinwei, deputy director of the Institute of Ancient History at the Chinese Academy of Social Sciences, said: “Its discoveries testify to the initial exchanges of early Chinese civilization, providing evidence for the nature of diversity within Chinese civilization. This site offers important examples for studying cultural fusion across different prehistoric regions.” Artifacts found at the site suggest influences from both the eastern and central regions of ancient China, as well as from the Yangtze River basin, indicating that the Wangzhuang inhabitants engaged in a wide array of cultural exchanges.
The remains of chickens, dogs, cattle and pigs have been found at Dawenkou sites, but pig bones constitute the overwhelming majority, about 85%, of the total. The importance of the pig in Dawenkou culture is underscored by the presence of pig bones in burials. Pig mandibles in particular have been found in tombs with the richest artifacts.
Early Dawenkou burials are comparatively egalitarian, about the same size with the same range and number of grave goods. By the time M27 was built, the culture had begun to stratify and it showed in the diversity of the tombs. The larger tombs had more burial objects of higher quality, some imported, indicating an established social hierarchy.
Previously, it was thought that Chinese civilization primarily emerged from the Yellow River valley. However, as recent findings from sites like Wangzhuang demonstrate, many autonomous cultures across different regions interacted and influenced one another, creating a more complex picture of ancient China’s development.
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University of St. Andrews archaeologists were granted rare permission to explore the Treasury building by the Jordanian government. They did a geophysical survey to assess the area inside and around the Treasury for condition. Electromagnetic conductivity and ground penetrating radar scans revealed the presence of underground chambers. The team then excavated the areas pinpointed in the scans.
Petra became a popular tourist destination after its rediscovery, with the Treasury as the most iconic representative of its rock-cut architecture. It vaulted to even greater international fame in the modern era when its dramatic facade was used as the setting for the denouement of Indiana Jones’s Grail quest.
Professor Bates said: “It was an incredible privilege to be able to survey at such an iconic site and to have the geophysics verified with an excavation so soon is a rare opportunity. The extent of the discovery was so unexpected but will likely shed light on not only the Treasury building but also on the whole of the Nabatean society.’
Archaeologist Pearce Paul Creasman, Executive Director of ACOR, said: “There is so much that we have yet to learn about The Treasury. When was this remarkable structure built, and why? Little did we know that this dig might completely change what we know about The Treasury and help solve the mysteries of the Nabataean people. With the support of the Jordanian government, this excavation is bringing us closer than ever to answers.”
The survey and excavation were filmed for the two-part season premier of Excavation Unknown that debuted October 9th on the Discovery Channel.
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Discovered in 1489 in the remains of an ancient domus on the Viminal Hill, the larger-than-life-size statue of Apollo is an early 2nd century Roman marble copy of a Greek bronze from around 330 B.C. probably by Athenian sculptor Leochares, famous for having worked on the Mausoleum of Halicarnassus, one of the seven wonders of the ancient world. It depicts the god, nude except for his sandals and a cloak clasped at his shoulder, having just shot an arrow from his bow. It was in excellent condition and almost intact, missing only the left hand the right forearm (and the bow which would originally have been a metal accessory held in his left hand).
The statue was immediately bought by Cardinal Giuliano della Rovere, future patron of Michelangelo’s frescoes in the Sistine Chapel. Giuliano della Rovere was elected Pope and ascended the Throne of Peter as Julius II in 1503. In 1508, he had the Apollo moved to the Cortile del Belvedere, the enclosed courtyard that connected the Vatican Palace to the Villa Belvedere, the papal summer retreat on the summit of Vatican hill. Julius enlisted the Renaissance master architect Bramante to design the courtyard immediately after his election and part of the design was niches and dedicated spaces to display his burgeoning ancient statuary collection. The Apollo was the nucleus of what would become the immense collection of ancient sculptures in the Vatican Museums.
Once the Apollo Belvedere went on display in the courtyard, it became instantly famous, widely copied and studied by artists all over Europe. In the mid-18th century, German art historian Johann Joachim Winckelmann lauded it as the pinnacle of Classical Greek aesthetics. “Of all the works of antiquity that escaped destruction,” he wrote, “the statue of Apollo represents the highest ideal of art.” It made Napoleon’s short list of the greatest art to steal from Italy after his victory there in 1796, and it was in Louvre from 1798 until 1815.
It was restored once early on (between 1532 and 1533) by Giovannangelo Montorsoli, who replaced the missing left hand and replaced the damaged right forearm. He added a chunk to the tree trunk by Apollo’s side to act as a support for the new forearm. It was also restored by the sculptor Antonia Canova in 1816 after the Apollo returned to Rome from its Napoleonic captivity in Paris. Canova mounted an additional support to the plinth.
Restorers also replaced Montorsoli’s left hand with a more accurate replica, a cast taken from the “hand of Baia”, a fragment from another Roman copy of the Greek statue, this one made of plaster. They brought the statue even closer to its original look by cleaning it thoroughly but cautiously, revealing a previously unknown purplish color in the god’s abundant curls. Experts believe these are the traces of a solution used in the application of gold leaf to his hair or to a laurel wreath he wore.
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An emergency excavation of the Yuanbaoshan stone mound tomb, the largest surviving circular piled stone tomb of the Hongshan culture, began this May after looters targeted it in November 2023. The outer wall of the circular mound is 23.5 meters (77 feet) in diameter and two meters (6.5 feet) high at the highest point. It is a stepped wall built in six or seven layers. Black cylindrical pottery vessels were placed on the northern wall and were still in situ when unearthed. Bowl-shaped vessels were found on the boundary wall of the inner circle mound.
Inside the main body of the structure, archaeologists discovered human osteological remains, fire pits and cylindrical pits. A small number of burials with fragments of human bone have been found in the rubble of the tomb wall, outside the outer boundary wall, inside the tomb and outside the altar. The tombs are mostly vertical pit stone burials with some smaller cylindrical tombs. Almost all of them are secondary burials.
The cylindrical tombs are made of stones, some paved with slabs on the floor and ceiling. Small jade objects are buried inside of them. The larger vertical pit stone tombs have stepped tomb passages and contain more imposing jade offerings that refer to the identity of the deceased.
Other objects include stone tools, clams, shellfish and bone tools. Analysis of the jade objects found the objects intended as sacrificial offerings were made of poor-quality jade but there were more of them in a wider variety of shapes. The jade used in tombs is very high-quality, very heavy and of fine craftsmanship.
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