Archeologists Find Musket Balls Fired during 1 of the First Battles in US Revolutionary War

Five Revolutionary War musket balls, which are believed to be fired at the British by colonial militia men, are displayed at Minute Man National Historical Park, Monday, July 15, 2024, in Concord, Mass. (AP)
Five Revolutionary War musket balls, which are believed to be fired at the British by colonial militia men, are displayed at Minute Man National Historical Park, Monday, July 15, 2024, in Concord, Mass. (AP)
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Archeologists Find Musket Balls Fired during 1 of the First Battles in US Revolutionary War

Five Revolutionary War musket balls, which are believed to be fired at the British by colonial militia men, are displayed at Minute Man National Historical Park, Monday, July 15, 2024, in Concord, Mass. (AP)
Five Revolutionary War musket balls, which are believed to be fired at the British by colonial militia men, are displayed at Minute Man National Historical Park, Monday, July 15, 2024, in Concord, Mass. (AP)

Nearly 250 years ago, hundreds of militiamen lined a hillside in Massachusetts and started firing a barrage of musket balls toward retreating British troops, marking the first major battle in the Revolutionary War.

The latest evidence of that firefight is five musket balls dug up last year near the North Bridge site in the Minute Man National Historical Park in Concord. Early analysis of the balls — gray with sizes ranging from a pea to a marble — indicates colonial militia members fired them at British forces on April 19, 1775.

“As soon as they pulled one of them out of the ground, there was kind of a ‘look what I have,’” said Minute Man park ranger and historic weapons specialist Jarrad Fuoss, who was there the day the musket balls were discovered.

“And of course, everybody goes flocking to them like, ‘Oh, my gosh.’ We’re looking at them, and then the excitement continued to grow because it wasn’t just one,” he continued. “And the fact that we found five of them, which is incredible all these years later.”

Musket balls were previously found in the historic park of about a thousand acres outside Boston, which marks a series of opening battles of the American Revolution. About a decade ago, about 30 musket balls were found at the site known as Parker's Revenge, where the Lexington militia company led by Capt. John Parker ambushed British troops. In the early 19th century, Henry David Thoreau was walking in the area and found a few musket balls from what is believed to be the North Bridge fight.

The latest discoveries are the most ever found from that fight when militia leaders ordered their men to fire on government troops. The event led to the conflict escalating and was later dubbed the “shot heard round the world” by Ralph Waldo Emerson in his 1837 “Concord Hymn.”

About 800 British soldiers had started the day marching from Boston to Concord to destroy military supplies they believed that colony rebels had gathered. It ended with an eight-hour battle that stretched to the Charlestown neighborhood of Boston — covering 16 miles (26 kilometers) and leaving 273 British troops and 96 militiamen dead and wounded.

It prompted the militia to create an 11-month siege of Boston, leading to the Battle of Bunker Hill in June 1775, one of the bloodiest battles of the American Revolution.

“This is where everything kind of changes in an instant because that moment is treason. There is no turning back,” Fuoss said. “To be able to pull that out of the ground and know that we’re the first ones to touch that since somebody else was ramming it down the muzzle of their gun 250 years ago is one of those things that sends shivers all over your body.”

Joel Bohy, who was also on the dig site and is researching bullet strikes and bullet-struck objects from that day for a book, said the discovery helps “validate the historical record, as well as the types of arms that the provincial minute and militia companies carried that day.”

“Based upon the caliber of the balls and studying them, the general location, as well as the context of the site, it made the hair stand up on the back of my neck,” Bohy said, adding that he had “been fascinated with April 19 and the material culture since I was a 7-year-old — 51 years ago. So for me, it was a great day.”

The war continued for seven years after those first shots were fired, even past the July 4, 1776, adoption of the Declaration of Independence.

Nikki Walsh, the museum curator at the park, also said there was plenty to learn from the lead-cast musket balls that ranged in size from .40-caliber to .70-caliber. Given their various sizes, Walsh said, archeologists concluded they were from the militia. Those men brought their own weapons and ammunition to the fight, with some being imported, and others captured or purchased by the town or province from British or Dutch merchants, according to the National Park Service. On the other hand, the British had standardized all their ammunition.

And the fact that the musket balls were intact indicates fighters likely missed their mark.

“Since that lead is so malleable, you can see marks on them that indicate whether they’ve been fired, whether they were unfired and dropped,” she said. “If they had been fired and hit something, they would have likely smushed like a pancake.”

The musket balls have attracted intense interest from history buffs and tourists, with about 800 journeying to the park's visitor center over the weekend to get a first glimpse. The interest has also prompted the National Park Service to keep the exact location of the find under wraps, hoping to dissuade treasure hunters with metal detectors from showing up in search of more artifacts.

They are willing to disclose the general area of the find, a field just over a wooden bridge of the Concord River and just beyond two monuments — a 25-foot stone obelisk marking the 50th anniversary of the North Bridge fight and the Minute Man statue built to commemorate its 100th anniversary. Nearby, a smaller marker with British flags indicates where the first two British soldiers died in that battle.

Among those recently checking out the site was Jennifer Ayvaz, who came to the park with her husband, Tim, and their two children after her father heard about the discovery of the musket balls. As they passed Walsh, she offered to show the family the musket balls. Opening a tiny box, the family snapped photos and moved closer for a better look at the balls lined up in a row.

“It's incredible,” said Jennifer Ayvaz, who came from Castle Rock, Colorado, adding that her father would love to see the musket balls. “I wish he could be here with us. It's very neat. He is a huge history buff, and he is kind of living vicariously through us.”



Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."


Saudi Arabia Holds Cultural Event in Moscow to Mark Centenary of Ties with Russia

The event marked 100 years of Saudi-Russian bilateral relations. SPA
The event marked 100 years of Saudi-Russian bilateral relations. SPA
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Saudi Arabia Holds Cultural Event in Moscow to Mark Centenary of Ties with Russia

The event marked 100 years of Saudi-Russian bilateral relations. SPA
The event marked 100 years of Saudi-Russian bilateral relations. SPA

The Saudi Ministry of Education, in cooperation with the Kingdom’s embassy in Russia, organized an academic and cultural event titled “A Century of Friendship and Cultural and Scientific Exchange between the Kingdom of Saudi Arabia and the Russian Federation” at the headquarters of the Peoples' Friendship University of Russia in Moscow.

The event marked 100 years of bilateral relations since 1926 and aimed to strengthen cultural and educational exchange, which has grown over the past decades.

The opening ceremony was attended by Saudi Ambassador to Russia Sami Al-Sadhan, Deputy Minister for International Cooperation Dr. Latifa Al-Faryan, and Rector of the Peoples' Friendship University of Russia Dr. Oleg Yastrebov, along with several academic and diplomatic officials from both sides, and broad participation from Saudi scholarship students and international students.

During the ceremony, Al-Faryan said that the ministry is continuing its plans to expand high-quality international partnerships, strengthen cooperation in higher education, scientific research, and innovation, and support academic exchange programs.

The scientific and cultural event in Moscow featured a series of academic sessions with leading scholars from Saudi and Russian universities, alongside the honoring of several individuals and institutions that contributed to advancing joint scientific and cultural cooperation.

Holding the event in Moscow reflects the Saudi Ministry of Education’s direction to consolidate academic partnerships between Saudi Arabia and Russia and to strengthen educational cooperation as a pillar of bilateral relations, supporting sustained knowledge exchange and the development of educational and research opportunities between the two countries.


Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
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Diving Robot Explores Mystery of France's Deepest Shipwreck

Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration,  during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)
Marine Sadania, a maritime archaeologist in charge of scientific and heritage management for the PACA Coastal Observatory, observes the “ROV C 4000,” a remotely operated vehicle manufactured by the French company LD Travocean and designed for seabed exploration, during its launch aboard the Jason (BSAA), chartered for an archaeological mission on the wreck of the CAMARAT 4 off the coast of Ramatuel, in southeastern France on April 7, 2026. (Photo by Thibaud MORITZ / AFP)

Deep below the surface of the Mediterranean off the French coast, the pincer of a remotely guided underwater robot delicately closes around a centuries-old jug lying near a 16th-century shipwreck.

"You have to be extremely precise so as not to damage the site, so as not to stir up sediment," says navy officer Sebastien, who cannot give his second name for security reasons.

A two-hour journey from the French Riviera, Sebastien is overseeing the first of several archaeological missions on the deepest shipwreck in French territorial waters.

A routine army survey of the seabed uncovered the 16th-century merchant ship by chance last year in waters off the coast of Ramatuelle, close to Saint-Tropez.

Archaeologists believe the ship was sailing from northern Italy loaded with ceramics and metal bars before it sank.

Now the French navy and the culture ministry's underwater archaeology department are back to inspect the surviving artifacts lost more than 2,500 meters (1.5 miles) below sea level.

- Cannon, piles of jugs -

The navy is keeping secret the location of the wreckage site, which they have dubbed "Camarat 4" -- even if most people would unlikely have the means to reach a site so deep.

The sun has barely risen when the mission's navy tugboat arrives on site, carrying an underwater robot and two large containers acting as makeshift offices for marine archaeologists.

Its crew lower the robot -- which is equipped with cameras as well as pincers -- into the water.

A navy officer guides the robot down, linked to the ship through a long cable, as experts monitor its slow descent on screens.

An hour later, the device -- which is designed to plunge as deep as 4,000 meters -- is gliding over piles of round pitchers on the sea floor.

Slowly, through its cameras, it reveals the wreck to the team sitting on deck, AFP reported.

It captures footage of a cannon, as well as hundreds of pitchers and plates, decorated with floral motifs, crosses and fish.

The robot shoots eight pictures per second for three hours, grabbing more than 86,000 images that will then be used to create a 3D model of the site.

Archaeologist Franca Cibecchini is delighted the water is so clear.

"The visibility is excellent. You almost can't tell it's so deep," she says.

"It is most likely a merchant ship carrying glazed pottery from Liguria," a region in the northwest of Italy, Cibecchini adds.

She says it could have been loaded on to the ship in the ports of Genoa or nearby Savona.

- 'Valuable information' -

Marine Sadania, the lead archaeologist on the underwater dig, says findings will be key to understanding trade routes at the time the ship sank.

"We don't have very detailed texts about merchant ships in the 16th century, so this is a valuable source of information on maritime history," she says.

The experts hold their breath as the robot lowers a pitcher into a case as gently as possible, so as not to break it.

A third of all ceramics extracted from sea digs end up breaking, Sadania says.

In total, the team hauls up several jugs and plates.

Back on land, in a laboratory in the southern port city of Marseille, Sadania runs water over one of the jugs.

Dark blue lines run across its rounded side, creating rectangles, some of which are colored in with turquoise blue or decorated with saffron-yellow symbols.

"It's one of the deepest objects ever recovered from a wreck in France," she says.