Archaeologists Lift the Lid on a 1,700-year-old Roman Sarcophagus Hidden beneath Budapest

This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
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Archaeologists Lift the Lid on a 1,700-year-old Roman Sarcophagus Hidden beneath Budapest

This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)

A remarkably well-preserved Roman sarcophagus has been unearthed in Hungary’s capital, offering a rare window into the life of the young woman inside and the world she inhabited around 1,700 years ago.

Archaeologists with the Budapest History Museum discovered the limestone coffin during a large-scale excavation in Óbuda, a northern district of the city that once formed part of Aquincum, a bustling Roman settlement on the Danube frontier.

Untouched by looters and sealed for centuries, the sarcophagus was found with its stone lid still fixed in place, secured by metal clamps and molten lead. When researchers carefully lifted the lid, they uncovered a complete skeleton surrounded by dozens of artifacts, The AP news reported.

“The peculiarity of the finding is that it was a hermetically sealed sarcophagus. It was not disturbed previously, so it was intact,” said Gabriella Fényes, the excavation’s lead archaeologist.

The coffin lay among the ruins of abandoned houses in a quarter of Aquincum vacated in the 3rd century and later repurposed as a burial ground. Nearby, researchers uncovered a Roman aqueduct and eight simpler graves, but none approaching the richness or pristine condition of the sealed tomb.

Keeping with Roman funerary customs, the sarcophagus held an array of objects: two completely intact glass vessels, bronze figures and 140 coins. A bone hair pin, a piece of amber jewelry and traces of gold-threaded fabric, along with the size of the skeleton, point to the grave belonging to a young woman.

The objects, Fényes said, were “items given to the deceased by her relatives for her eternal journey.”

“The deceased was buried very carefully by her relatives. They must have really loved who they buried here,” she said.

During the Roman period, much of what is now Hungary formed the province of Pannonia, whose frontier ran along the right bank of the Danube River less than a mile (1.6 kilometers) from the site. A short distance away stood a legionary camp guarding the empire’s border, and the newly found structures are believed to have been part of the civilian settlement that grew around it.

Anthropologists will now examine the young woman’s remains, a process expected to reveal more about her age, health and origins. But even now, the grave’s placement and abundance of artifacts offer strong clues.

The sarcophagus and its contents “definitely make it stand out,” said Gergely Kostyál, a Roman-period specialist and coleader of the project. “This probably means that the deceased was well-to-do or of a higher social status.”

“It is truly rare to find a sarcophagus like this, untouched and never used before, because in the fourth century it was common to reuse earlier sarcophagi,” he added. “It is quite clear that this sarcophagus was made specifically for the deceased.”

Excavators also removed a layer of mud roughly 4 centimeters (1.5 inches) thick from inside the coffin that Fényes hopes could contain more treasures.

“I suspect we could find jewelry. We haven’t found any earrings or other jewelry belonging to the woman, so I hope that these small items will turn up during the sifting of the mud,” she said.

For Fényes, the discovery of the Roman sarcophagus is not only of scientific significance, but an emotionally resonant insight into the devotion displayed by people in an ancient time.

“I was very touched by the care and expression of love that we were able to get a glimpse of,” she said. “Even now, I shudder to think how painful it must have been for the people at that time to bury this young lady.”



French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
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French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)

The oldest bridge in Paris has begun to vanish this week, as the artist JR — who is known as the “French Banksy” — began inflating a giant “cave” over the Pont Neuf.

The monumental, rocky illusion is swallowing the 17th-century landmark, which has carried Parisians across the Seine for more than 400 years. By Thursday, it looked as if a prehistoric cliff had risen in the heart of the city.

The inflation process, which was carried out overnight — after being delayed by bad weather — is the most dramatic stage yet of a project more than a year in the making.

One of the most ambitious public artworks Paris has seen in decades, which has been funded by the sale of JR’s work and a handful of corporate partners, does not open to the public until June 6.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press earlier this year at his studio in the city’s east, wearing his trademark hat and shades.

The transformation of the bridge has been documented by the AP since March with time-lapse cameras, including one fixed on a rooftop terrace high above the river, watching the bridge slowly disappear day by day.

From the outside, the installation looks like a rocky mass that “literally” breaks the landscape, said JR, who is famous for pasting enormous photographs on buildings, walls and rooftops around the world. This time he wanted Parisians to do something unusual on their busiest bridge: stop.

Visitors will be able to walk for free through a long, dark tunnel that lets in no daylight and where, according to JR, people “will lose track of time.”

The numbers are startling. The structure is 120 meters (393 feet) long and 18 meters (59 feet) tall — which is as high as a six-story building.

Yet it is built almost entirely from air — 80 fabric arches filled with 20,000 cubic meters of it — and weighs only about five tons. The fabric was hand stitched by 25 artisans in a village in Brittany.

Nothing digs into the historic stone.

Cut the air and the cliff would sink like a held breath — a collapse JR’s engineers spent weeks rehearsing in a hangar at Orly airport to be sure that if the power ever failed, the rock would come down gently.

The artwork, called La Caverne du Pont Neuf, is a tribute to a Parisian artistic legend.

In 1985, artist Christo and his wife, Jeanne-Claude, wrapped the same bridge in pale golden fabric — 13 kilometers of rope, a decade of arguing with city hall, three million visitors in two weeks. The act helped invent the idea of monumental art in modern cities.

A square beside the bridge now carries their names.

“It’s pretty hard to go after them,” JR said.

His idea, he said, is to bring “mineral and nature” back to the heart of the city. He is not covering the bridge but undressing it — sending the dressed stone back to the limestone quarries from which Paris itself was cut.

The cave is also a warning. JR built it as a nod to Plato’s allegory, in which prisoners mistake shadows on a wall for the real world.

“What are our caves today? Our phones,” he said. “Because we believe that our algorithm on social media is the reality.”

Then he walks straight into the contradiction: to enter his cave about screens, visitors raise their phones.

The tech company Snap has built an augmented-reality layer that shows what the eye cannot.
The sound is a low, mineral hum from Thomas Bangalter, formerly of Daft Punk — who was 10 the year Christo wrapped the bridge.

The cave will be open around the clock from June 6-28, closing the bridge to traffic and visible from the quays, from passing boats, even from the top of the Eiffel Tower.

It will coincide with Paris Fashion Week, World Music Day and the all-night Nuit Blanche arts festival.

When it comes down, the fabric will be reused or recycled. Air, JR likes to say, leaves no scar.
Then, like the golden wrapping 40 years before, the cave will be gone — and the Pont Neuf, older than the republic and older than the revolution, will reappear exactly as it was.


Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
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Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP

As Britain's wartime leader, Winston Churchill was known for his stirring speeches, but a new London exhibition explores another side to his creativity -- as a passionate and prolific artist.

The exhibition opening Saturday at the Wallace Collection will be the most significant display of the statesman's paintings for more than 60 years, including over 50 canvases, many of them rarely seen in public.

Churchill first tried painting during World War I after he resigned from the government over the 1915 failed Dardanelles naval attack.

This was a "very difficult time in his life" when "he suddenly finds himself with all this unwanted leisure time", Lucy Davis, co-curator of the exhibition, told AFP.

"And he discovered painting as a way of releasing the stress, the anguish that the situation had caused him."

The museum presents a chronological survey starting with his first paintings, created with advice from renowned artist John Lavery, then canvases painted in the 1920s at Chartwell, the country house where Churchill lived with his family.

Largely self-taught while associating with well-known painters, Churchill quickly became interested in landscape painting and drew inspiration from holidays in the south of France to create brightly colored canvases dominated by blues and ochre.

- 'Loved the light' -

Churchill "saw painting as a spur to travel" and "just loved the light and warmth and atmosphere, which he captures so beautifully", said Davis.

A whole room is dedicated to canvases inspired by trips to Morocco, including "The Tower of the Koutoubia Mosque", the only painting that Churchill did during World War II. A gift to US President Franklin D. Roosevelt, the painting recently belonged to Hollywood star Angelina Jolie.

The exhibition ends with the postwar period when Churchill, defeated in a general election, began painting again and continued until his death in 1965, with some of his works going on display at the Royal Academy.

Churchill had previously shown paintings at various galleries, but always under an assumed name.

As a statesman, Churchill went down in history for his wartime leadership, but as an artist, he had little interest in depicting current world events, the curator stressed.

"He was a wartime leader. He was known for these very stirring wartime speeches. But in these paintings, you really see his joie de vivre, his witty side, his playful side."

One painting at the exhibition is an exception: "The Beach At Walmer", painted in 1938 as fears grew of imminent war.

It shows a sandy beach in southern England with bathers paddling. But in the foreground, a black cannon points at the sea, suggesting a looming threat.


Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo
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Saudi Heritage Commission Discovers Abbasid-Era Gold Jewelry in Qassim

The Saudi Heritage Commission logo
The Saudi Heritage Commission logo

Saudi Arabia’s Heritage Commission announced the discovery of a collection of Abbasid-era gold jewelry at the archaeological site of Diriyyah in Qassim Region during the fourth season of excavation and survey work.

The discovery includes 100 gold pieces adorned with floral and geometric motifs, along with architectural remains from the Abbasid period, including stone foundations, mud walls, pottery, and metal tools.

The findings indicate human settlement dating back to the late third century AH and highlight the site’s historical importance along pilgrimage and trade routes.

The discovery reflects the Heritage Commission’s ongoing efforts to document and preserve the Kingdom’s archaeological heritage, supporting cultural development goals aligned with Saudi Vision 2030.