Scientists Discover Secrets of Ancient Roman Concrete at Pompeii

The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
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Scientists Discover Secrets of Ancient Roman Concrete at Pompeii

The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)
The archaeological site of the ancient Roman city of Pompeii is seen in Pompeii, Italy, May 26, 2020. (Reuters)

Scientists excavating the ruins of Pompeii have discovered a construction site left frozen in time by the eruption of Italy's Mount Vesuvius volcano in 79 AD, clarifying the ingredients and methods behind the durable self-healing concrete the ancient Romans used to revolutionize architecture.

The site represents a building project that was underway when the eruption buried Pompeii under volcanic ash and rock. The researchers came across rooms where the walls were unfinished and piles of premixed dry material and tools for weighing and measuring were in place for preparing concrete.

"Studying it truly felt as if I had traveled back in time and was standing beside the workers as they mixed and placed their concrete," said Admir Masic, a Massachusetts Institute of Technology professor of civil and environmental engineering and leader of the study published on Tuesday in the journal Nature Communications.

An indispensable building material, concrete helped the Romans erect structures including stadiums like the Colosseum, domed temples like the Pantheon, public baths and other big buildings, aqueducts and bridges unlike any fashioned to that point in history. Because the concrete could harden underwater, it also was vital for constructing harbors and breakwaters.

The precise method they used to make their concrete has been a matter of debate, with recent archaeological discoveries appearing to contradict accounts given in a 1st century BC treatise by Roman architect and engineer Vitruvius.

The Pompeii discovery showed the Romans used a technique called "hot mixing" in which a material called quicklime - dry limestone that was previously heated - is combined directly with water and a blend of volcanic rock and ash, producing a chemical reaction that naturally heats the mixture. That differs from the method described by Vitruvius, who wrote about a century earlier.

"Pompeii preserves buildings, materials and even work in progress in the precise state they were in when the eruption occurred. Unlike finished structures that have undergone centuries of repair or weathering, this site captures construction processes as they happened," Masic said.

"For studying ancient technologies, there is simply no parallel," Masic said. "Its exceptional preservation offers a true 'snapshot' of Roman building practice in action."

The building under construction combined domestic rooms with a working bakery with ovens, grain-washing basins and storage. The evidence there indicated that the technique outlined by Vitruvius, known as slaked lime, was not used for building walls.

That method may have been outdated by the time of the project in Pompeii.

"Imagine what 100 years of difference could mean for the building technology. A good analogy could be the early telephones. In the 1920s-30s: rotary dialing, long-distance copper lines. In the 2020s: smartphones using packet-switched digital signals and wireless networks," Masic said.

The hot-mixing technique contributed to the self-healing properties of the concrete, chemically repairing cracks. The concrete contains white remnants of the lime used to make it, called "lime clasts," which can dissolve and recrystallize, healing cracks that may form with the infiltration of water.

The Romans industrialized concrete, beginning in the 1st centuries BC and AD.

"This allowed builders to construct massive monolithic structures, complex vaults and domes, and harbors with concrete that cured underwater. Concrete fundamentally expanded what could be built and how cities and infrastructures were conceived," Masic said.

The new understanding of Roman concrete may have relevance for modern architects.

"Modern concretes generally lack intrinsic self-healing capability, which is increasingly important as we seek longer-lasting, lower-maintenance infrastructure," Masic said. "So while the ancient process itself is not a direct replacement for modern standards, the principles revealed can inform the design of next-generation durable, low-carbon concretes."



Gold, Gems and Renoirs: France’s Museums Grapple with a Wave of Smash-and-Grab Thefts

 The entrance of the Renoir Museum is pictured after thieves stole four valuable Renoir paintings, in Cagnes-sur-Mer, Tuesday, Sept. 8, 2026. (AP)
The entrance of the Renoir Museum is pictured after thieves stole four valuable Renoir paintings, in Cagnes-sur-Mer, Tuesday, Sept. 8, 2026. (AP)
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Gold, Gems and Renoirs: France’s Museums Grapple with a Wave of Smash-and-Grab Thefts

 The entrance of the Renoir Museum is pictured after thieves stole four valuable Renoir paintings, in Cagnes-sur-Mer, Tuesday, Sept. 8, 2026. (AP)
The entrance of the Renoir Museum is pictured after thieves stole four valuable Renoir paintings, in Cagnes-sur-Mer, Tuesday, Sept. 8, 2026. (AP)

At a museum in eastern France, two men disguised with wigs used a sledgehammer and a hammer to smash a display case and make off with a 2,500-year-old gold necklace. The heist took under four minutes.

In a smash-and-grab at another French museum, three masked robbers stole 27 pieces of jewelry valued at more than 4.5 million euros (US$5.2 million), busting through two doors to break in.

Those thefts took place in July. This week, thieves sliced through a fence and climbed through the window of a museum on the French Riviera and fled with two paintings by Pierre-Auguste Renoir. They abandoned two other artworks by the Impressionist master as they made their escape.

The rash of the robberies, coming on the heels of last year's stunning jewel heist in France's most famous and most visited museum, the Louvre, show how the country is both blessed and cursed by its troves of treasure accumulated over centuries of conquest, creativity and having money to spend on art.

France's passion for paintings, sculptures, ancient artifacts and other valuables and curios is a source of national pride and identity. Thousands of museums that house collections big and small help transmit France's love of culture and history from one generation to the next. The biggest also draw millions of tourists who pump money into the French economy.

But keeping all that wealth safe is costly and difficult. Criminals see museums as soft targets. The brazen and agonizing theft of 88 million euros ($102 million) worth of crown jewels from display cases in the Louvre's Apollo gallery served as a wake-up call. But it was only the most shocking example of broader threats to museums, and not just in France.

“When the jewels of a French king disappear, to be melted down because of the price of gold, it is tragic. It breaks everyone’s heart,” said Guillaume Poitrinal, president of a foundation that funds the renovation and protection of French cultural sites, the Fondation du patrimoine.

“We need to make it more difficult to steal works of art and objects that are part of France’s cultural heritage and belong to all French people. That is absolutely essential. And to achieve that, we need to invest,” he said in an interview with The Associated Press.

The Renoir heist took just minutes

Before dawn Tuesday, two robbers made off with “Portrait of Madame Colonna Romano” and “Young Woman at the Well.” They dropped “Portrait of Madame Pichon” and “Coco Reading” as they fled through the garden of the Renoir Museum in Cagnes-sur-Mer.

They cut through a fence with an electric knife or saw and entered the museum through the ground floor, said Bryan Masson, mayor of the town between Cannes and Nice on the Mediterranean coast.

The heist took under three minutes. Masson estimated the artworks' value at 9 million euros ($10.5 million). Offloading well-known, stolen art is impossible through legitimate channels, so the paintings could prove to be worth little or nothing for the thieves.

European police agency Europol says museum heists are becoming more violent, with sledgehammers, axes, crowbars and even explosives used for break-ins and to smash display cases.

Thieves also are increasingly targeting museum items with gold and other precious metals that can be melted down and with gemstones that can be removed and sold, the agency said in a report in August. Criminals believe “museum security measures are less robust than those in jewelry stores,” it said.

The ancient necklace stolen July 24 from the museum in Châtillon-sur-Seine, eastern France, was crafted from nearly half a kilo (a pound) of gold.

A record 10 burglaries targeted French and other European museums this summer, according to Jean-Christophe Castelain, director of Le Journal des Arts, a bimonthly revue of the art world.

“Eight of those 10 involved jewelry, coins or antique objects that can easily be melted down,” he said.

A distraught museum director shares her pain

The Lalique Museum in Wingen-sur-Moder, further east near France's border with Germany, has not reopened since the July 5 theft of jewelry there from six display cases busted open with sledgehammers and hammers. The public museum celebrates 19th-century jeweler and glassmaker René Lalique and his successors.

The pain is still raw for its director, Véronique Brumm Schaich. Her voice cracked with emotion during an interview. The museum is seeking 200,000 euros ($233,000) for security upgrades.

“Robbers’ tactics are evolving,” she said. “The recent examples show that we are not the only ones who need to go further in our efforts.”

Because of government budget squeezes, it's not yet clear how much funding will come from public coffers, she said. The museum is also collecting private donations, because “these are things that are extremely expensive,” she said.

“These are difficult times,” she said. “A burglary never comes at a good time, but this one came at an especially bad time.”

Some of the funding that the Fondation du patrimoine provides, including for museums, comes from a national lottery. To help boost museum revenues, the foundation is also launching a pass that will grant subscribers access to 500 museums, monuments and châteaux.

“France is a country where we love passing the buck,” said Poitrinal, the foundation president. “People say it is the state’s responsibility or the city’s responsibility. I say it's quite simple: it is everyone’s responsibility.”


Saudi Arabia’s Red Sea Museum Opens Submissions for Sea Art Fair

The community initiative encourages participants to transform recycled or repurposed materials into artworks
The community initiative encourages participants to transform recycled or repurposed materials into artworks
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Saudi Arabia’s Red Sea Museum Opens Submissions for Sea Art Fair

The community initiative encourages participants to transform recycled or repurposed materials into artworks
The community initiative encourages participants to transform recycled or repurposed materials into artworks

The Red Sea Museum in Historic Jeddah has announced an open call for submissions for its upcoming Sea Art Fair, inviting children, families, emerging artists, and creatives of all ages to participate.

The community initiative encourages participants to transform recycled or repurposed materials into artworks reflecting the Red Sea's marine life, coastal heritage, and local narratives. No prior professional artistic experience is required.

Submissions remain open until October 1. Following an evaluation period from October 5 to 20, selected works will be announced on October 25, with final pieces due by October 30.

The exhibition will take place from November 12 to 14 at the museum's historic Bab Al-Bunt building, advancing its mission to celebrate Red Sea culture and heritage through artistic expression and community engagement.


New Riyadh Exhibition Draws Inspiration from Travels of Ibn Battuta

The Saudi flag. Asharq Al-Awsat
The Saudi flag. Asharq Al-Awsat
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New Riyadh Exhibition Draws Inspiration from Travels of Ibn Battuta

The Saudi flag. Asharq Al-Awsat
The Saudi flag. Asharq Al-Awsat

The Misk Art Institute has announced the launch of its art exhibition "Along the Way," opening on September 16 at Prince Faisal bin Fahd Arts Hall in Riyadh and running through March 31, 2027.

The exhibition features 34 artists from Saudi Arabia and around the world, alongside a rare collection of historical manuscripts.

Drawing inspiration from the travels of Ibn Battuta, the exhibition explores travel as a transformative journey of knowledge and self-discovery, examining themes of maps, wayfinding, memory, and humanity's connection to nature through paintings, sculptures, installation art, and photography.

The exhibition also displays rare historical manuscripts, including the Book of Fixed Stars by Al-Sufi and Nuzhat al-Qulub by Al-Qazwini, which contains a circular world map, alongside an engraved brass astronomical disc from Persia, reflecting Islamic civilization's contributions to navigation and astronomy.