BRAZIL, SOUTH AMERICA, WORLD

9,000-Year-Old Rock Art Suggests Early Humans Interacted with Dinosaur Footprints

9,000-Year-Old Rock Art Suggests Early Humans Interacted with Dinosaur Footprints

9,000-Year-Old Rock Art Suggests Early Humans Interacted with Dinosaur Footprints

In Brazil, researchers have made an extraordinary discovery of ancient rock art dating back over 9,000 years, found alongside dinosaur footprints from the Cretaceous Period, approximately 66 million years ago. This significant find took place in Serrote do Letreiro, located in the Sousa Basin.

Led by researchers Leonardo P. Troiano, Heloísa B. dos Santos, Tito Aureliano, and Aline M. Ghilardi, the study indicates that prehistoric hunter-gatherers in Brazil crafted enigmatic rock  art designs, referred to as petroglyphs, alongside dinosaur footprints. These discoveries provide important insights into the relationship between paleontology and archaeology, especially at the Serrote site.

The study conducted by Leonardo P. Troiano and his team has uncovered important insights into ancient rock art in Brazil.

Although the petroglyphs were initially discovered in 1975, it is only recently that researchers have found these carvings situated near substantial dinosaur footprints, aided by the cutting-edge application of drone technology.

These footprints are thought to be from dinosaurs that roamed during the Cretaceous Period, which concluded approximately 66 million years ago.

The researchers propose that prehistoric humans intentionally placed these carvings next to the dinosaur prints, with some petroglyphs located just 2 to 4 inches away and potentially depicting the footprints themselves. This suggests that ancient people were not only aware of the footprints but also interacted with them meaningfully.

Credit: Scientific Reports (Sci Rep) ISSN 2045-2322 (online)

Leonardo Troiano, the study’s lead author and an archaeologist from Brazil’s National Institute of Historic and Artistic Heritage, emphasized that the individuals who created the petroglyphs were likely drawn to the footprints, selecting the location specifically because of their presence.

Troiano noted that these ancient humans found the footprints significant, which aligns with the location of Serrote do Letreiro, or “Signpost Hill,” situated near the Valley of the Dinosaurs, a conservation area famous for its numerous fossilized dinosaur footprints.

In 2023, Troiano and his team conducted research with a group of middle-school students who helped survey the site. The students not only learned about the intersection of paleontology and archaeology but also assisted in photographing the specimens.

The team identified tracks from various dinosaur types, including meat-eating theropods, long-necked sauropods, and two-legged ornithopods, such as iguanodontian dinosaurs.

The petroglyphs discovered primarily consist of circles filled with lines and other geometric shapes, attributed to humans who lived in the region between 9,400 and 2,620 years ago.

Troiano described these ancient people as small, seminomadic groups of hunters and gatherers who utilized stone tools. The rock carvings were created using two techniques: perforation and scraping. Perforation involves using a stone hammer to create depressions, while scraping entails rubbing a stone against the surface to form engravings.

The petroglyphs offer crucial evidence about the historical population and shed light on the rituals and practices of that time. “I think rock art creation was embedded in some sort of ritual context: people gathering and creating something, perhaps utilizing some psychotropics,” said Troiano, adding that these people were interested in “what the footprints represent.”

Credit: Scientific Reports (Sci Rep) ISSN 2045-2322 (online)

Supporting Troiano’s hypothesis, Jan Simek, a distinguished professor of anthropology at the University of Tennessee, remarked that the study presents a compelling example of how ancient people observed and integrated fossils into their spiritual experiences and interpretations.

He noted that this case exemplifies the human tendency to connect the spiritual realm with unexplained phenomena in the surrounding world.

EUROPE, ROMANIA, WORLD

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase, dating back to A.D. 160–200, is not just a ceramic artifact; it is considered a unique graphic and epigraphic testimony to the existence of gladiatorial combats in the Roman city of  Camulodunum, now known as Colchester, illuminating the cultural and social dynamics of these games.

A new study led by Glynn J.C. Davis and John Pearce, in collaboration with experts in archaeology, epigraphy, and isotopic analysis, reveals that the Colchester Vase is more than just a decorative artifact; it is suggested to be a commissioned piece that documents a real combat event that took place in the city.

Recent discoveries surrounding the Colchester Vase have revealed its significance as a vital record of gladiatorial games in Roman Britain, showcasing the intricate connections between local culture, military influence, and the performers who captivated audiences of the time.

The vase, crafted in the kilns west of Colchester, features intricate decorations and inscriptions that name individual arena performers, suggesting it was a commissioned piece celebrating a local event.

Among the names that have intrigued researchers is Memnon, identified as a secutor—a type of gladiator known for battling against retiarii, who wielded nets and tridents. The name Memnon, derived from Greek mythology, evokes the legendary Ethiopian king associated with the Trojan War, hinting that it may have served as a stage name, a common practice among gladiators to enhance their personas in the arena.

The inscription reveals that Memnon participated in at least nine combats, suggesting he had a notable career within the competitive world of Roman entertainment, where success was often measured by the number of fights fought and victories achieved.

The inscription below the rim of the Colchester Vase.

Another noteworthy name in the inscription is Valentinus, linked to the Legio XXX Ulpia Victrix, which was stationed in Xanten, modern-day Germany.

This connection raises intriguing questions about the relationship between gladiators and the Roman military, a topic that has sparked considerable debate among historians. Some scholars propose that certain legions may have maintained their own groups of gladiators for entertainment purposes.

The absence of recorded combats for Valentinus in the inscription may indicate that he was a tiro, or novice gladiator, embarking on his journey in the arena, where the path to fame and glory often began with a single fight.

Recent research has challenged previous assumptions about the vase’s inscription, revealing that it was likely cut before the vessel was fired, rather than afterward as previously believed.

This finding is supported by the quality of the lettering and the absence of ragged edges, suggesting a skilled artisan was involved in its creation.

The Colchester Vase was ultimately used as a cremation urn, containing the remains of a non-local male over 40 years old. While it is unlikely that he was one of the performers, his connection to the event adds another layer of significance to the artifact.

The Colchester Vase contributes to a growing body of evidence that highlights the existence of Roman spectacles in the city. Among these findings are fragments of wall paintings featuring gladiators, molds for creating relief figures, and a knife with a handle designed in the likeness of a murmillo, another class of gladiator.

While no amphitheater has yet been discovered in Colchester, the existence of a Roman circus—the only one documented in Britannia—bolsters the idea that the city served as a hub for public entertainment, where chariot races and gladiatorial contests were integral to the local culture.

The Colchester Vase inscription.

Furthermore, the commercial and military ties between Colchester and the Lower Rhine region likely played a crucial role in the movement of gladiators and animals for these events. Epigraphic evidence from the Germanic territories indicates the capture of bears for venationes, or wild animal combats, which may provide context for the hunting scene illustrated on the Colchester Vase.

The Colchester Vase was discovered in 1853 during excavations in the western cemetery area of Colchester, England. It was found as part of a burial group consisting of four vessels.

The vase’s intricate decorations and inscriptions quickly attracted attention, leading to its recognition as a significant artifact that provides valuable insights into the cultural practices of Roman Britain, particularly regarding gladiatorial games and public entertainment.

This discovery is part of Colchester Museums’ ongoing “Decoding the Dead” project, which aims to explore the cultural and social dynamics of gladiatorial games in the north-west provinces of the Roman Empire.

EUROPE, ITALY, WORLD

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A recently rediscovered 13th-century fresco in Ferrara, Italy, offers significant insights into the medieval practice of utilizing Islamic tents to conceal high altars in Christian churches. This fresco, believed to be the only surviving representation of its kind, provides valuable evidence of a lesser-known Christian tradition.

The fresco, which is only partially visible, was identified by Dr. Federica Gigante, a historian from Cambridge University. It is thought to depict a real tent, now lost, that the artist may have encountered within the same church.

The original tent, characterized by its vibrant colors and adorned with jewels, could have been a diplomatic gift from a Muslim leader or a trophy acquired from a battlefield.

Dr. Gigante’s research, published in The Burlington Magazine, posits that a prominent figure, such as Pope Innocent IV—who donated several valuable textiles to the Benedictine convent church of S. Antonio in Polesine, Ferrara—may have been responsible for providing such a tent.

“Initially, it seemed implausible and overly exciting to consider that this could be an Islamic tent,” Dr. Gigante remarked. “I dismissed the idea at first but returned to it years later with more experience and a bolder research approach. It is unlikely that we will find another image like this; my belief is that it is quite unique.”

The fresco serves as crucial evidence of the integration of Islamic elements into key Christian practices, including the celebration of Mass. Dr. Gigante noted, “Islamic textiles were associated with the Holy Land, from which pilgrims and crusaders brought back the most precious examples.

The existence of artistic continuity from the time of Christ justified their use in a Christian context. Medieval Christians admired Islamic art, often without fully recognizing its origins.”

While it is well-documented that Islamic textiles were present in late medieval European churches, surviving fragments are typically found wrapped around relics or within the burials of notable individuals.

Some traces of Islamic textiles can be seen on church walls in Italy and in late medieval Italian paintings. However, depictions of Islamic tents from the Western Islamic world, such as those from Spain, are exceedingly rare, making this fresco potentially the only detailed, full-size representation identified to date.

Dr Federica Gigante examining the fresco in the Church of S. Antonio in Polesine, Ferrara, Italy.

Painted between the late 13th and early 14th centuries, the fresco illustrates a canopy over the high altar, transforming the apse into a tent with blue and gold drapery enveloping three walls, topped by a double-tiered, bejeweled conical canopy typical of Islamic design. “The artist invested considerable effort into rendering the textile lifelike,” Dr. Gigante stated.

The background features a blue sky dotted with stars and birds, creating the illusion of an outdoor tent. In the early 15th century, portions of the fresco were painted over with scenes depicting the lives of the Virgin Mary and Jesus Christ, which has drawn the attention of art historians who have overlooked the earlier sections.

Dr. Gigante first identified the depiction of Islamic textiles during a visit to the church a decade ago, but it required extensive research to confirm that the fresco represents an Islamic tent.

Dr. Gigante argues that the fresco depicts a real tent that may have been physically present in the convent church during the 13th century, serving as a direct reference for the artist.

It is already established that medieval churches employed precious textile hangings to obscure the altar, either permanently or during specific liturgical periods. Upon examining the fresco, Dr. Gigante observed that it illustrates the corner of a veil, painted as if drawn in front of the altar. She posits that the actual tent may have been adapted to function as a ‘tetravela’ or altar-curtains.

“If the real tent was only erected in the church on certain occasions, the fresco could have served as a visual reminder of its splendor when it was not present,” Dr. Gigante explained. “The interplay between painted and actual textiles is evident throughout Europe and the Islamic world during the late medieval period.”

Dr. Gigante’s study highlights the walls of the apse, which are adorned with nails and brackets that could have supported a hanging textile. She points to the fresco’s “extraordinarily precise details” as further evidence of its depiction of a real tent.

The fabric illustrated features blue eight-pointed star motifs within roundels, originally highlighted in gold leaf, mirroring the golden fabrics used in precious Islamic tents. Additionally, a band with pseudo-Arabic inscriptions runs along the top and bottom borders, while white contours emphasize contrasting colors, reflecting a trend in 13th-century Andalusi silk design.

The structure, design, and color scheme of the tent closely resemble the few surviving depictions of Andalusi tents, including those found in the 13th-century manuscript, the Cantigas de Santa Maria, as well as one of the rare surviving Andalusi tent fragments, the ‘Fermo chasuble,’ attributed to St. Thomas Becket, Archbishop of Canterbury.

NORTH AMERICA, U.S.A, WORLD

Archaeologists Discover a New Pyramid from the Caral Culture, Known as South America’s Oldest Civilization

Archaeologists Discover a New Pyramid from the Caral Culture, Known as South America’s Oldest Civilization

Archaeologists Discover a New Pyramid from the Caral Culture, Known as South America’s Oldest Civilization

The team from the Caral Archaeological Zone has discovered a new pyramidal structure in the “Sector F” of the Chupacigarro archaeological site, located one kilometer west of the Sacred City of Caral-Supe, a World Heritage site, in the Supe Valley, Barranca province, Lima Region, Peru.

The discovery was made by a multidisciplinary team from the Caral Archaeological Zone, led by Dr. Ruth Shady. Originally covered with huarango trees and bushes, the structure later revealed stone walls with at least three superimposed platforms and large ‘huancas’ (vertical stones) marking the corners of the building.

The structure, which is quadrangular in shape, features a central staircase that allows access to its summit. The “huancas” served not only a structural function but also a symbolic one, highlighting the ceremonial importance of the site.

The site contains 12 public or ceremonial structures distributed across hills, presided over by a Main Building with a sunken circular plaza. Additionally, residential areas have been identified on the periphery, suggesting a small urban center of 38.59 hectares with both public and private functions.

Chupacigarro is situated adjacent to a small water ravine, in proximity to the Sacred City of Caral Supe. The recently uncovered pyramid is an integral component of a broader network of architectural structures identified across multiple archaeological sites within the Supe Valley region.

In the walls, archaeologists discovered large rocks that had been placed vertically, which they have named “huancas”.

The twelve identified structures, classified as either public or ceremonial edifices, are strategically dispersed throughout the landscape, positioned atop the small hills that characterize the ravine and encircling a central communal space. These constructions were erected by the Caral civilization, which thrived in ancient Peru from approximately 3000 to 1800 B.C.

The Caral civilization is one of the oldest and most advanced civilizations in ancient Peru, existing between approximately 3000 and 1800 B.C. in the Supe Valley. This civilization made significant advancements in agriculture, architecture, and social organization.

Caral is known for its large pyramids, public buildings, and complex social structures. Additionally, while Caral did not use a written language, it possessed a complex social hierarchy and trade network. These characteristics contributed to Caral’s prominent status among Andean civilizations.

The architectural structures at the Chupacigarro site exhibit a diverse range of sizes, orientations, and formal characteristics, suggesting a correlation with their functional purposes.

Notably, residential architecture has been identified along the periphery of the site. A prominent building oversees a series of smaller structures, featuring a sunken circular plaza that is characteristic of this historical period.

These significant findings have prompted experts to assert the existence of a small urban settlement that once thrived in the area, which spans nearly 38.59 hectares.

Under the leadership of Dr. Ruth Shady, the research team responsible for the Chupacigarro discovery is now set to undertake a comprehensive mapping of the entire site to gain a clearer understanding of its overall dimensions and significance.

Archaeologists excavating the Chupacigarro archaeological site discovered a previously unknown quadrangular pyramidal structure, designated as Sector F, covering an area of 38.59 hectares.

In addition to the architectural findings at Chupacigarro, one of the most remarkable discoveries is a geoglyph depicting a profile head in the Sechín style, which can only be observed from a specific vantage point.

This significant finding underscores the ritual and symbolic importance of Chupacigarro, suggesting a connection to the Sacred City of Caral and the coastal populations of the Huaura Valley.

The geoglyph indicates that the site may have served as a focal point for cultural and ceremonial activities, facilitating access to both marine and agricultural resources that were vital to the communities in the region.

AFRICA, SOUTH AFRICA, WORLD

World’s Oldest Arrow Poison Discovered in South Africa, Dating Back 7,000 Years

World’s Oldest Arrow Poison Discovered in South Africa, Dating Back 7,000 Years

World’s Oldest Arrow Poison Discovered in South Africa, Dating Back 7,000 Years

In a groundbreaking discovery, archaeologists excavating Kruger Cave in South Africa have identified what may be the oldest confirmed multi-component arrow poison in the world, dating back 7,000 years.

The femur bone of an unspecified antelope, found during a 1983 excavation, contained three modified bone arrowheads embedded in its marrow cavity.

After lying in storage at the University of the Witwatersrand for nearly four decades, renewed archaeological investigations in 2022 prompted scientists to re-examine the femur and its contents.

A team from the University of Johannesburg, led by Associate professor Justin Bradfield focused on organic materials, conducted a detailed analysis of the chemical matrix surrounding the arrowheads.

The research revealed a complex recipe combining at least two toxic plant ingredients, including cardiac glycosides known to disrupt heart function. Notably, digitoxin and strophanthidin were identified, alongside ricinoleic acid, a by-product of the toxic lectin ricin.

The presence of these compounds suggests that ancient peoples were adept at mixing various plant toxins to create effective hunting poisons.

Interestingly, none of the plant species containing these toxins are native to the Kruger Cave area, indicating that the ingredients may have been sourced from distant locations or through established trade networks.

This finding challenges previous assumptions about the movement of non-domestic plants in southern Africa during this period.

Recent findings have revealed that the long-distance transport of non-domestic plants in Africa may have occurred much earlier than previously thought.

While researchers have long known that the transport of seashells as ornaments and currency was common throughout the continent well before 7,000 years ago, the movement of non-native plants at such an early date was unexpected.

There is faded rock art at the site (one of only seven rock art sites in the Magaliesberg), some of which was recorded by Harold Pager who worked at the site in the 1970s. He recorded 57 images painted on the walls, mostly human figures but also some animals and birds. Very few painted images are visible now. Photo Credit: The South African Archaeological Society

This discovery highlights the advanced knowledge of ancient peoples regarding plant acquisition and usage. The ability to identify which plants to gather, where to locate them, and how to utilize them effectively underscores the depth of traditional pharmacological knowledge systems that have existed for millennia.

This insight not only reshapes our understanding of ancient trade practices but also emphasizes the sophistication of early human societies in their interactions with the natural world.

The study also highlights the significance of traditional pharmacological knowledge among ancient populations, as well as the potential of archaeobotany and organic chemistry to enhance our understanding of historical practices.

The ability to create complex recipes for poisons, adhesives, and medicines reflects advanced cognitive capacities of the makers.

This discovery adds to the growing body of evidence regarding the use of poisons in hunting technology, which has been documented across various cultures worldwide.

The findings at Kruger Cave illuminate ancient hunting practices while also demonstrating the advanced understanding of natural resource utilization by early human societies.

EUROPE, WORLD

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

The detectorist Constantin Fried has unearthed a miniature gold box lock dating back to the Roman era in Petershagen, located on the border between Lower Saxony and North Rhine-Westphalia.

According to the Landscape Association of Westphalia-Lippe (LWL), the lock is estimated to be from the 3rd to 4th century AD and is made of pure gold, marking it as a unique and sensational find for researchers.

The tiny lock, measuring just 1.2 by 1.1 centimeters, was examined using a neutron computed tomography scanner at the Paul Scherrer Institute in Villigen, Switzerland.

This advanced imaging technique provided researchers with a detailed view of the lock’s interior. Although the external key and chain were missing from the find in Petershagen, the 3D images revealed gold rivets and links inside the lock.

Image credit: Landscape Association of Westphalia-Lippe (LWL)

This evidence confirms that the lock was functional approximately 1,600 years ago. Thanks to the insights gained from the CT scan, the LWL was able to create a 4:1 scale replica of the lock.

The chief archaeologist of the LWL, Michael Rind, speculates that “perhaps a member of a local elite brought this exquisite piece back as a souvenir or gift upon returning from military service in Rome,” given that similar but larger locks existed during the Roman period.

The LWL notes that many scientific questions remain unanswered. It is unclear how such an extremely small object could have been crafted without the modern tools we have today, such as artificial light or magnifying glasses.

Rind poses the question, “Was this a one-off creation, or are there similar precious miniatures that have yet to be discovered?” He emphasized that the extraordinary find from Petershagen showcases the high level of craftsmanship in provincial Roman metalworking and locksmithing.

ENGLAND, EUROPE, WORLD

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Thanks to advanced scientific testing, the copper alloy fragments unearthed at Snettisham, Norfolk, at one of Britain’s most significant archaeological sites have been identified as parts of a highly uncommon Iron Age helmet.

The British Museum, which had been engaged in a 15-year project to examine 14 hoards of gold, silver, and bronze torcs (stiff, twisted metal rings worn as jewelry) discovered at Snettisham, Norfolk, between 1948 and the 1990s, made this amazing discovery.

At Snettisham, near Hunstanton, on a forested hillside with a view of the northwest Norfolk coast, amazing discoveries have been made. Because so many gold and silver alloy neck rings (also known as “torcs”) and coins were found at Ken Hill, the site of the discoveries is referred to as the “gold field.” Known as the “Snettisham Treasure,” these artifacts comprise one of the greatest concentrations of Celtic art and one of the largest collections of prehistoric precious metal objects ever found.

The items were discovered in at least 14 different hoards that were interred between 150 BC and 100 AD. These hoards covered the late Iron Age and early Roman eras, with the late Iron Age seeing the most activity.

Dr. Julia Farley, the Museum’s Iron Age curator and co-editor of The Snettisham Hoards, says this item is especially unique because there are only about ten known Iron Age helmets in Britain, and each one is unique.

The study’s confirmation that Iron Age metalworkers had perfected the art of mercury gilding—applying gold to bronze using a poisonous mercury-gold amalgam—was among its most startling findings. Both the helmet and the extensive collection of torcs from the Snettisham hoards were made in this way.

Metals conservator Fleur Shearman was jigsawing the pieces together when she realised one was a nose piece (centre) for a helmet and others were its eyebrows.

“There is a reason why everyone was so surprised in that room… helmets from Iron Age pre-Roman Britain, are just vanishingly rare,” Dr Farley, who co-edited The Snettisham Hoards with Dr Jody Joy told the BBC. “ And this one is a one-off, it’s got a kind of nasal bridge which is really unusual and these little brow pieces and it’s all hammered out from incredibly thin sheet bronze, and that’s a tremendously skilled thing to be able to do. We didn’t know they could do this in Britain 2,000 years ago”.

Dr. Joy, a former European Iron Age curator at the British Museum and one of the project’s top researchers, said the helmet fragments, which were previously believed to be pieces of a vessel, were long regarded as one of the unsolved mysteries of the Snettisham Hoards.

He explained that the materials had been meticulously reconstructed by metals conservator Fleur Shearman, who had put them together like a complicated archaeological jigsaw puzzle.

Researchers believed it was probably not complete when it was put into the ground because so much was missing. Most likely, Dr. Joy thinks, it was saved for personal or sentimental reasons, and might have even been used to carry other objects (like the torcs, for example).

The torcs came in a range of sizes and were buried in 14 separate Iron Age metal hoards recovered in Norfolk.

In the fields and forests of Ken Hill, close to Snettisham, about 400 torcs have been found, and their varied sizes indicate that they can be worn as neck, arm, or bracelet rings.

The Snettisham Great Torc, one of the most intricate golden artifacts to emerge from ancient world excavations, was among the more than 60 rings that were found to be whole or nearly whole.

The British Museum, in partnership with Norwich Castle Museum, which owns a portion of the collection, began this extensive research project because the torcs had been largely left unexamined for many years.

Researchers from the British Museum were able to uncover minute details about these ringed objects, like wear patterns and polishing on areas that would have come into contact with the body or clothing, thanks to advanced scientific analysis, which included the use of electron microscopes.

The wear and tear on these valuable and valued items was significant, the researchers concluded, as it suggested they’d been worn by their owners for a long time and were prized possessions.

The team confirmed that the torcs (metal rings) were likely worn by men, women, and even younger individuals, rather than being reserved exclusively for high-status men.

Dr Farley told BBC: “Torcs are unique, individual, you wear them on your body [while] coins are mutually indistinguishable. You can give them to lots of people and they can be scattered and brought back. So the two things don’t work well together.

Our theory is these torcs are too special, too unique and too important to be melted down and turned into coins, and instead people decided to have a ceremony to bring people together and put them in the ground.”

EUROPE, TURKEY, WORLD

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

Archaeologists in Izmir, Turkey have made an extraordinary discovery in the ancient city of Metropolis: Approximately 2,000 bronze  statue fragments have been found in a section believed to have served as an “ancient scrap yard”.

The excavations are being carried out within the scope of the ‘Heritage to the Future Project’ of the Ministry of Culture and Tourism, under the direction of Prof. Serdar Aybek, Professor of Archaeology at Dokuz Eylül University, and in cooperation with the Sabancı Foundation.

Archaeologists have discovered evidence of many civilizations, from the earliest settlements in the Late Neolithic Age to the Classical Age, from the Hellenistic Age to the Roman, Byzantine, and Ottoman periods, in the ancient city of Metropolis, also called the “City of Mother Goddess,” where excavations have been going on since 1990.

In the ancient city, where many monumental structures were unearthed,  these fragments, uncovered in an area believed to have served as an “ancient scrap yard,” offer a unique glimpse into the cultural and religious shifts of the region during the Late Antiquity period.

Professor Serdar Aybek stated that the bronze statue fragments were found in a corner of a space referred to as an “ancient scrap yard,” where they had been broken apart for melting and stored in bulk.

Aybek explained that the findings include statue pieces from the Hellenistic period and figures from the Roman era, describing them as “extraordinary discoveries, even for our field of work. We have uncovered approximately 2,000 bronze statue fragments,” he said.

He highlighted the significance of the bronze statues being broken into pieces, noting, “The collection and recycling of statues in the Late Antiquity provide concrete evidence in Metropolis. Among the findings are parts such as heads, eyes, fingers, and sandals.”

Drawing attention to the dismantling of these statues, Aybek said, “In the Late Antiquity, as mythological beliefs were abandoned in favor of monotheistic religions and Christianity became dominant in the region, bronze statues from mythological and earlier eras were dismantled.

Although we do not yet have archaeological evidence to confirm this claim, we can suggest that a significant portion of them was repurposed for minting coins.

During that period, rather than producing new materials, bronze groups, mainly consisting of outdated or damaged statues, were broken apart by the ancient scrap yard worker and prepared for melting.”

The fragments might be from the statues built to honor the benefactors listed in the “Metropolitan Apollonios” inscription, according to Aybek, who also underlined the historical significance of bronze statues in antiquity.

What makes this discovery even more remarkable is the evidence of recycling practices that date back over a millennium.

In addition to the fragmented statues, archaeologists discovered square and rectangular bronze plates that were probably used for statue casting and repair. This implies that, at its height, Metropolis might have served as a center for the creation or repair of bronze statues.

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