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)
TT

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.”



British Treasury to Cover Bayeux Tapestry for Estimated £800 Million

This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
TT

British Treasury to Cover Bayeux Tapestry for Estimated £800 Million

This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)
This photo provided by Bayeux townhall shows a technician inspecting the famed Bayeux tapestry in Bayeux, Normandy, in 8th January, 2020. (Ville de Bayeux via AP/File photo)

The British Treasury is set to insure the Bayeux Tapestry against damage for an estimated £800 million while it is on loan to the British Museum next year, reported the BBC.

The 70m-long embroidery depicting the Battle of Hastings in 1066 will travel from France to London as part of a deal between the two nations' governments.

The artifact's transit and its time in storage and on display will be covered under the Government Indemnity Scheme (GIS). Indemnity insurance covers situations like loss or damage.

The Treasury said without the long-standing scheme, “public museums and galleries would face a substantial commercial insurance premium, which would be significantly less cost effective.”

There are concerns about the move, as some French art experts have suggested the nearly 1,000-year-old work was in far too a delicate state to be transported - something French officials have denied.

It is understood the Treasury has received an initial valuation for covering the Bayeux Tapestry that has been provisionally approved. The loan will not be formally confirmed until it receives the final valuation.

That final valuation is estimated to be around £800 million.

The Bayeux Tapestry will be displayed in the Sainsbury Exhibitions Gallery of the British Museum from next September until July 2027 while its current home, the Bayeux Museum, undergoes renovations.

Comprising 58 scenes, 626 characters and 202 horses, the huge masterpiece charts a contested time in Anglo-French relations when William The Conqueror took the English throne from Harold Godwinson, becoming the first Norman king of England.

The government's indemnity scheme allows art and cultural objects to be shown publicly in the UK which "might not have been otherwise because the cost of insurance would have been too high".

The scheme - first set up in 1980 - has facilitated numerous high-value loans, including Vincent van Gogh's 1888 work "The Bedroom" to the National Gallery.

In exchange for the Bayeux Tapestry, the British Museum will loan items to France, including the 7th Century Anglo-Saxon artifacts discovered at the Sutton Hoo burial site in Suffolk and the 12th Century Lewis chess pieces.


Kolkata’s Iconic Trams Face Final Stop as Modernization Rolls in

Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
TT

Kolkata’s Iconic Trams Face Final Stop as Modernization Rolls in

Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)
Passengers sit inside a decorated tram during the 152nd anniversary celebrations of trams in Kolkata, India, February 24, 2025. (Reuters)

For more than a century, trams have rumbled past Kolkata's crumbling colonial facades, with their chiming bells contributing to the city's soundtrack as they ferried generations of ​commuters.

Now, Asia's oldest tram network is on the brink of disappearing as authorities consider pulling the plug on a mode of transport that has become more nostalgia than necessity.

The West Bengal government plans to shut down the 152-year-old system, keeping only a short heritage route. The decision has sparked a court battle as residents and heritage advocates fight to keep ‌the trams ‌rolling.

"As children, we would take the ‌trams ⁠for ​fun, ‌but as I grew older it became a necessity," said Abha Maity, 44, recalling rides to school and college. "I can’t imagine Kolkata without them."

Once a highlight of the city's streets, the wobbly trams now struggle for space amid traffic jams - competing with buses and yellow taxis - as Kolkata builds modern infrastructure and seeks faster transport.

Kolkata introduced ⁠horse-drawn trams in 1873 and electrified them in 1902. At its peak, the ‌network boasted more than 340 trams and ‍covered the entire city. Today, ‍only two routes remain, with a fleet of about 10.

"When ‍I joined, more than 340 trams were running. Now it's down to seven or eight," said Bacchu Sidda, a conductor for 36 years who still checks his duty roster pinned on a board ​at the last functioning depot in Gariahat.

The government began selling depots and scrapping cars years ago, prompting a citizens' ⁠group called Calcutta Tram Users Association (CTUA) to take the fight to court. CTUA has campaigned since 2016 to save what remains of the system.

"I love my trams more than myself," said Deep Das, 19, a journalism student and CTUA member. "If they disappear, it will be like a part of my body has left me."

Despite resistance, authorities are pouring billions into upgrading Kolkata's infrastructure, focusing on metro expansion, wider roads and new highways to ease congestion.

For now, the fate of Kolkata's aging trams awaits a ‌court review, as they continue carrying some passengers who view them as living memories of the city's past.


Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition
TT

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

Visual Arts Commission Announces 'Bedayat: Beginnings of Saudi Art Movement' Exhibition

The Visual Arts Commission has announced "Bedayat: Beginnings of Saudi Art Movement"—a seminal exhibition that celebrates and documents the formative years of Saudi Arabia's art scene and the emergence of a pioneering generation of artists between the 1960s and 1980s, SPA reported.

The exhibition will be on view from January 27 through April 11, 2026, at the National Museum of Saudi Arabia in Riyadh.
The exhibition traces the evolution of artistic practices in the Kingdom, as shaped by the cultural, social, and economic transformations that began in the mid-twentieth century.

Extensive research initiated by the Visual Arts Commission—encompassing more than 80 site visits as well as 120 comprehensive artist reports and recordings from 50 interviews—informs the exhibition. Developed with an advisory team that includes artist Abdulrahman Alsuliman, Dr. Mohammed Alrusais, and Dr. Charbel Dagher, the research draws on academic expertise alongside firsthand accounts from artists and key figures of the period to capture early exhibition history, educational activity, and the locally-rooted language of expression that emerged during these decades.

Curated by Qaswra Hafez, the exhibition spans painting, sculpture, works on paper, and diverse archival materials—many exhibited publicly for the first time. Focusing on the pivotal decades of the 1960s through 1980s, it charts how practitioners of this generation engaged Saudi Arabia’s deep-rooted heritage while participating in international artistic exchange. Developing distinctive visual languages that brought modernist currents into dialogue with local contexts, they established cultural institutions and artist networks via grassroots initiatives alongside public and private patronage and support for the visual arts.

Presented at the National Museum of Saudi Arabia in the historic Al Murabba’a district, the exhibition brings together the work of key figures across three decades, highlighting a pivotal period in which modern and abstract artistic practices emerged within the Kingdom.

Bedayat: Beginnings of Saudi Art Movement is structured in three parts: the Foundation of the Modern Art Movement in Saudi Arabia, which studies the emergence of the visual arts scene in the interplay between individual initiative and state support; Currents of Modernity, which explores the artistic concerns that shaped Saudi artistic production; and Modernist Pioneers, which spotlights four artists—Mohammed Al-Saleem, Safeya Binzagr, Mounirah Mosly, and Abdulhalim Radwi.

Reflecting on the significance of the exhibition, CEO of the Visual Arts Commission Dina Amin stated: “We celebrate here the history of modern art in Saudi Arabia, and we are proud to foreground its rich legacy by honoring the pioneering figures as well as the public and private initiatives whose collective efforts shaped the art scene of this era. We hope this exhibition contributes to an enduring continuum, offering meaningful access to the depth and diversity of our visual arts history.”

Curator of the exhibition Qaswra Hafez said: “Through Bedayat, we are presenting a comprehensive and research-driven account of Saudi modern art. Through archival study, pioneering artworks, and firsthand narratives, we are preserving the foundations of our modern art movement for future generations. This project is both a tribute to our early artists and a lasting cultural legacy that will continue to inform and inspire audiences across the Kingdom and beyond.”

Bedayat: Beginnings of Saudi Art Movement forms part of the Visual Arts Commission’s broader efforts to archive and document Saudi visual culture, advancing the historical record and supporting ongoing research in the field.

The exhibition will be followed by a comprehensive publication and an original documentary film, offering an in-depth perspective on the foundations of Saudi modern art and a long-lasting resource for the public and researchers. An extensive public program of talks, workshops, and masterclasses will further explore key themes, including early art education, the role of pioneering teachers and institutions, and archival preservation practices.