Stonehenge’s ‘Altar Stone’ Originally Came from Scotland, Not Wales, New Research Shows

The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
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Stonehenge’s ‘Altar Stone’ Originally Came from Scotland, Not Wales, New Research Shows

The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)

The ancient ritual meaning of Stonehenge is still a mystery, but researchers are one step closer to understanding how the famous stone circle was created.

The unique stone lying flat at the center of the monument was brought to the site in southern England from near the tip of northeast Scotland, researchers reported Wednesday in the journal Nature. It’s not clear whether the 16-foot (5-meter) stone was carried by boat or through land — a journey of more than 460 miles (740 kilometers).

“It’s a surprise that it’s come from so far away,” said University of Exeter archaeologist Susan Greaney, who was not involved in the study.

For more than a hundred years, scientists believed that Stonehenge’s central sandstone slab — long called the “altar stone” — came from much closer Wales. But a study last year by some of the same researchers showed that the stone didn’t match the geology of Wales’ sandstone formations. The actual source of the stone remained unknown until now.

For the study, the team was not permitted to chip away rocks at the site, but instead analyzed minerals in bits of rock that had been collected in previous digs, some dating back to the 1840s. They found a match in the sandstone formations of Orcadian Basin in northeast Scotland, a region that includes parts of the tip of the Scottish peninsula as well as the Orkney Islands.

“That geological ‘fingerprint’ isn’t repeated in any other area of sediment in the UK,” said Aberystwyth University geologist Nick Pearce, a study co-author.

Greaney said the difficult logistics of moving the stone such a long distance show a high level of coordination and cultural connection between these two regions of ancient Britain.

Stonehenge was constructed around 5,000 years ago, with stones forming different circles brought to the site at different times. The placement of stones allows for the sun to rise through a stone “window” during summer solstice. The ancient purpose of the altar stone — which lies flat at the heart of Stonehenge, now beneath other rocks — remains a mystery.

“Stonehenge isn’t a settlement site, but a place of ceremony or ritual,” said Heather Sebire, senior curator at English Heritage, who was not involved in the study. She said that past archaeological excavations had not uncovered evidence of feasting or daily living at the site.

Previous research has shown cultural connections — such as similarities in pottery styles — between the area around Stonehenge and Scotland’s Orkney Islands. Other stones at Stonehenge came from western Wales.

While Britain is dotted with other Neolithic stone circles, “the thing that’s unique about Stonehenge is the distance from which the stones have been sourced,” said Aberystwyth University’s Richard Bevins, a study co-author.



Archaeologists at Pompeii Use AI to Reveal the Face of One of the Victims

A view of the Pompeii Archeological Park, near Naples, southern Italy, on Dec. 14, 2022. (AP)
A view of the Pompeii Archeological Park, near Naples, southern Italy, on Dec. 14, 2022. (AP)
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Archaeologists at Pompeii Use AI to Reveal the Face of One of the Victims

A view of the Pompeii Archeological Park, near Naples, southern Italy, on Dec. 14, 2022. (AP)
A view of the Pompeii Archeological Park, near Naples, southern Italy, on Dec. 14, 2022. (AP)

Archaeologists at the ancient Roman site of Pompeii have used artificial intelligence for the first time to digitally reconstruct the face of a victim of the AD 79 eruption of Mount Vesuvius that smothered the city, offering a new way to understand one of history’s most famous natural disasters.

The digital portrait represents an older man who was among two victims discovered as they attempted to flee the city toward the coast of what is now Italy during the volcanic eruption. Researchers believe the man died earlier in the disaster, during a heavy fall of volcanic debris.

The reconstruction was developed by the Pompeii Archaeological Park in collaboration with the University of Padua and is based on archaeological survey data from excavations near the Porta Stabia necropolis, just outside the walls of the ancient city.

Pompeii, a UNESCO World Heritage site near Naples, was buried under ash and pumice when Mount Vesuvius erupted nearly 2,000 years ago, preserving the city and thousands of its inhabitants in remarkable detail.

Archaeologists found the victim holding a terracotta mortar, which they interpret as an improvised attempt to shield his head from falling lapilli, the small volcanic stones rained down during the eruption.

Ancient accounts, including those of Roman writer Pliny the Younger, describe residents using objects to protect themselves as ash and debris blanketed the city.

The man was also carrying an oil lamp, a small iron ring and 10 bronze coins, personal objects that offer insight into his final moments, as well as daily life in Pompeii before the catastrophe.

The digital portrait was created using artificial intelligence and photo-editing techniques designed to translate skeletal and archaeological data into a realistic human likeness.

“The vastness of archaeological data is now such that only with the help of artificial intelligence will we be able to adequately protect and enhance them. If used well, AI can contribute to a renewal of classical studies,” Pompeii park director Gabriel Zuchtriegel said in a statement.

The project aims to make archaeological research more accessible and emotionally engaging for the public while maintaining a scientific foundation, researchers said.


Visual Arts Commission's Bedayat Exhibition Attracts Over 13,000 Visitors

Visual Arts Commission's Bedayat Exhibition Attracts Over 13,000 Visitors
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Visual Arts Commission's Bedayat Exhibition Attracts Over 13,000 Visitors

Visual Arts Commission's Bedayat Exhibition Attracts Over 13,000 Visitors

The “Bedayat: Beginnings of the Saudi Art Movement” exhibition highlighted the early development of the art movement in Saudi Arabia, showcasing the experiences of pioneering artists and their contributions to shaping the local visual arts scene.

Organized by the Visual Arts Commission and held at the National Museum of Saudi Arabia in Riyadh, the exhibition attracted more than 13,000 visitors throughout its run, SPA reported.

The exhibition was accompanied by a diverse cultural program comprising around 17 events, including workshops, panel discussions, and specialized courses, led by a select group of experts.

This exhibition is part of the commission’s efforts to document Saudi Arabia’s artistic heritage and strengthen its presence both locally and internationally, contributing to the development of the cultural sector and enhancing its sustainability.


Diriyah Company Awards $490 Million Construction Contract for Iconic Saudi Arabia Museum of Contemporary Art

Diriyah Company Awards $490 Million Construction Contract for Iconic Saudi Arabia Museum of Contemporary Art
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Diriyah Company Awards $490 Million Construction Contract for Iconic Saudi Arabia Museum of Contemporary Art

Diriyah Company Awards $490 Million Construction Contract for Iconic Saudi Arabia Museum of Contemporary Art

Diriyah Company has awarded a $490 million construction contract for the Saudi Arabia Museum of Contemporary Art (SAMoCA), in Diriyah.

The contract has been awarded to a joint venture between Hassan Allam Construction Saudi L.L.C., and Albawani Company Ltd., reflecting Diriyah Company’s ambition to develop a major cultural destination that attracts visitors and supports long-term growth.

SAMoCA is a flagship project by the Museums Commission. It aims to document, research, exhibit, and champion Saudi modern and contemporary art practices. The museum will serve as a premier center of artistic exploration, deepening understanding and appreciation of Saudi modern and contemporary art, while supporting Saudi artists across generations to imagine and shape the Kingdom’s creative possibilities, SPA reported.

The museum, designed by Godwin Austen Johnson, one of the Gulf’s most established UK-based firms, with multidisciplinary support from Rafaat Miller Consulting, has a gross floor area of 45,252 sqm and a total built-up area of 77,428 sqm. Notably, SAMoCA has recently achieved Mostadam Gold sustainability certification at both the design and construction stages.

The new museum at Diriyah will serve as the flagship home of SAMoCA, while SAMOCA at JAX Center continues to operate as a dynamic exhibition space in Riyadh’s creative district.

Group Chief Executive Officer of Diriyah Company Jerry Inzerillo said: “The Saudi Arabia Museum of Contemporary Art will provide Saudi and international artists with a truly world-class platform – one that invites global voices to engage with the Kingdom as it is today.

This iconic asset will further elevate Diriyah’s reputation as the Kingdom’s capital of culture – and underscores our unwavering commitment to developing a vibrant city that serves our community, and the nation at large.”

Chief Executive Officer of the Museums Commission Eng. Abdullah bin Abdulaziz Al-Hammad added: “The Saudi Arabia Museum of Contemporary Art will be the epicenter of Saudi modern and contemporary art. Set against the historic legacy of Diriyah, it is designed to document and champion generations of Saudi artists, from pioneers to emerging voices, while inviting international dialogue into that story. We are committed to ensuring this dynamic platform remains accessible and inspiring for all.”

Diriyah, the $63.2 billion integrated urban development, has now awarded over $29 billion in construction contracts. Once complete, it will contribute approximately $18.6 billion directly to the Kingdom’s GDP, create more than 180,000 jobs, will be home to an estimated 100,000 people and welcome 50 million annual visits.

It will also include museums, shopping districts, a university, the Diriyah Opera House, the Diriyah Arena, a variety of food and beverage outlets, and nearly 40 world-class resorts and hotels spanning its two main masterplans.