Study Suggests Younger Age for Chile's Important Monte Verde Archaeological Site

An aerial view of the of the Monte Verde archaeological site in southern Peru, in this 2023 photograph released on March 18, 2026. Todd Surovell/via REUTERS
An aerial view of the of the Monte Verde archaeological site in southern Peru, in this 2023 photograph released on March 18, 2026. Todd Surovell/via REUTERS
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Study Suggests Younger Age for Chile's Important Monte Verde Archaeological Site

An aerial view of the of the Monte Verde archaeological site in southern Peru, in this 2023 photograph released on March 18, 2026. Todd Surovell/via REUTERS
An aerial view of the of the Monte Verde archaeological site in southern Peru, in this 2023 photograph released on March 18, 2026. Todd Surovell/via REUTERS

The Monte Verde archaeological site in Chile, discovered in the 1970s, revolutionized the thinking about when humans entered the Americas, with scientists calculating decades ago that this former abode for ancient hunter-gatherers was about 14,500 years old. But a new study suggests it is much more recent than that.

Researchers said a fresh analysis of this Ice Age creek valley site found it dates to between 4,200 and 8,200 years ago. Such a date would make Monte Verde irrelevant to the longstanding scientific debate about when the initial peopling of the Western Hemisphere occurred.

"This finding suggests a later date of human arrival to the Americas than is widely believed," said University of Wyoming archaeologist Todd Surovell, lead author of the research published on Thursday in the journal Science.

The researchers used three scientific dating methods on material from in and around Monte Verde, located in southern Chile about 36 miles (58 km) from the Pacific coast.

"We sampled in the site area. We also sampled the same landforms upstream and downstream of the site," Reuters quoted Surovell as saying.

"These landforms are continuous throughout ⁠the valley, and our ⁠dating of them was consistent in all locations. We placed these into stratigraphic (soil and rock layers) context, and the dating errors of the previous investigators were immediately apparent," Surovell said.

Testing in 1997 concluded the site was 14,500 years old. That would make it more than 1,500 years older than the previous earliest-known human occupation sites south of the continental ice sheets that covered parts of North America at the time. Those sites were associated with North America's Clovis culture, known for distinctive stone tools and named for a locale in New Mexico.

Because Monte Verde was considered older and was thousands of miles south of the Clovis locations, scientists saw it as evidence that people must ⁠have been in the Americas much earlier than the Clovis sites had indicated.

Humans are thought to have crossed from Siberia into Alaska over an Ice Age land bridge, then later journeyed south.

The new research dated pieces of wood, sand deposited by the creek and a layer of ancient volcanic ash.

"The dating of the volcanic ash was especially important," Surovell said.

The ash was determined to have been deposited about 11,000 years ago. It was in a layer that was below the evidence of occupation, showing that the human presence must have come after that date, Surovell said.

Within the age range indicated by the new testing, Surovell said the Monte Verde human occupation most likely dates to 6,000 to 8,000 years ago.

Surovell said the site's older age was calculated using a technique called radiocarbon dating on wood recovered there. Surovell said while the wood indeed was 14,500 years old, it greatly predated the human occupation and was simply mixed among older material trapped in the banks of the creek.

"Imagine the stream undercutting the bank as ⁠it meanders in the valley. Materials ⁠in the bank then get transported and redeposited by the stream," Surovell said.

Vanderbilt University anthropologist Tom Dillehay, who has studied Monte Verde extensively since the 1970s, cited "many methodological and empirical errors" in the new study.

Its interpretation of the wood, Dillehay said, "disregards a vast body of well-dated cultural evidence associated with Monte Verde, including stone tools, wooden and bone artifacts, edible plant remains including seaweed and potatoes, hearths, human footprints, and animal meat and hide remains."

"These and other elements constitute a complex cultural context that has been extensively documented over five decades of interdisciplinary archaeological research," Dillehay said. "In turning to their data, it is a mixture of inventions and misunderstandings. They saw what they wanted to see, and came to the site with predetermined conclusions."

The timing of the peopling of the Americas remains contentious.

"Monte Verde is internationally recognized as one of the most significant archaeological sites on the American continent, having played a decisive role in replacing the longstanding 'Clovis First' paradigm," Dillehay said, a theory positing that the first inhabitants of the Americas arrived approximately 12,800 years ago.

Surovell said the new findings show Monte Verde postdates the Clovis sites.

"The Monte Verde site is still important for understanding the Holocene (geological epoch, beginning 11,700 years ago) human occupation of its region, but it no longer has much significance for understanding the initial peopling of the Americas," Surovell said.



UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
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UK Proposal to Charge Tourists to Visit Museums Sparks Backlash

FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo
FILE PHOTO: People walk in front of the British Museum in London, Britain, September 28, 2023. REUTERS/Hollie Adams/File Photo

Britain is considering introducing entry fees for tourists visiting some of England's most renowned museums, a proposal that has drawn criticism from restitution groups and countries while disputed artefacts remain on display.

Free admission to Britain's national museums and galleries was introduced in 2001 by former Labour Prime Minister Tony Blair in a bid to make culture more accessible to all.

Last month, the UK government said it would work with the museum sector to explore the potential benefits of charging international visitors at ⁠national museums, including how ⁠this could support the arts sector. It would provide an update of the consultation before the end of the year, it said.

However, the proposal is facing backlash amid growing calls worldwide for artefacts to be sent back to their communities or countries of origin, Reuters reported.

Although some efforts have been made to confront the long-standing issue, artifacts as well as human ⁠remains taken during the colonial era are still held in various museums across Europe. Some long-standing claims for artifacts involving the British Museum include Greece's Parthenon Sculptures, known as Elgin marbles, and Nigeria's Benin Bronzes.

The British Museum has previously said that the strength of its collection lies in enabling millions of visitors to understand the world's cultures and how they are interconnected.

Ghana, which has some of its regalia and other artifacts in British institutions, said charging foreign visitors to view such objects raises issues of "fairness," particularly where restitution discussions remain ongoing, ⁠foreign minister ⁠Samuel Okudzeto Ablakwa told Reuters.

The proposal, if implemented, would be "unethica," said Eric Phillips, vice chair of the Caribbean Community's reparations commission, a bloc of 15 member states including Jamaica and Barbados.

"Why should we have to pay to see our heritage?" Phillips said.

Arley Gill, chairman of Grenada's national reparations committee, said the priority should be to return the artifacts to their "rightful owners."

Open Restitution Africa (ORA) said Africans and others already face barriers to accessing artifacts taken from their countries and held in Western museums, including visa requirements and travel costs.

"Introducing entry fees further compounds these inequalities," ORA said.

Meanwhile, the US-based non-profit Restitution Study Group said a fee exemption for such visitors would be a "meaningful gesture."

The government declined to comment on the criticism.


Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
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Riyadh Art Unveils 75 Works in Expanding Public Art Collection Across Capital

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA
The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs. SPA

The Royal Commission for Riyadh City, through its “Riyadh Art” program, has unveiled 75 new artworks as part of a growing permanent collection installed across key locations in the capital.

The initiative forms part of broader efforts to expand the presence of public art in urban spaces, with additional installations planned in the coming period.

The program aims to enrich daily life in Riyadh by integrating art into the urban fabric, contributing to a dynamic cultural environment that reflects the capital's regional and international stature.

As one of the world’s largest public art initiatives, the Riyadh Art program now features 75 installations, with plans to expand the collection by adding 115 more works. The current collection includes contributions from 35 Saudi artists and 100 international artists representing 45 countries.

Among the internationally renowned artists featured are Anish Kapoor, Giuseppe Penone, and Jeff Koons, alongside prominent Saudi artists such as Zaman Jassim, Mohammed Alsaleem, and Manal AlDowayan.

The artworks are strategically distributed across major streets, public squares, cultural centers, and key urban hubs, enabling residents and visitors to engage with them as part of their everyday environment and reinforcing the role of art in public life.

The collection comprises both commissioned and acquired works. Commissioned pieces are specifically designed to respond to their surroundings, integrating with the urban context and patterns of movement within each location.

Recent commissions were selected through an international competition that attracted 161 artists, with 72 shortlisted participants submitting 70 proposals. These contributions have helped shape a diverse and evolving collection spanning the city’s main axes and public spaces.


New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
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New Tools Rescue Old Art at Madrid’s Prado Museum

A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)
A conservator works on the restoration of gilded moldings at the Prado museum's sculpture restoration department in Madrid on October 23, 2025. (Pierre-Philippe Marcou/ AFP)

In a quiet space secluded from the throngs of daily visitors to Madrid's Prado art museum, a team of experts perpetuate an ancient tradition of restoring centuries-old European cultural treasures.

Creations by some of art's most illustrious names -- Goya, Velazquez, Rubens, Caravaggio, Bosch and El Greco -- are conserved in the vast, bright space at one of the world's most-visited museums.

The Prado has always put an emphasis on the conservation and restoration of art since it opened to the public in 1819.

Cutting-edge technology and modern tools to analyze and treat paintings and sculptures allow Almudena, Marta, Maria, Alvaro, Alicia, Elena, Sonia and Eva to maintain the tradition.

The team is capable of caring for the museum's most prized collections as well as works from other institutions.

In February, the Prado launched the restoration of "Pablo de Valladolid", an emblematic portrait that Spanish master Velazquez produced in the 17th century.

But the work will first undergo a deep technical analysis by new equipment, the museum said in a statement.

Scanning technology will allow the experts to identify and locate the materials used by the artist, while multispectral infrared reflectography will reveal details invisible to the naked eye.

Everything contributes to a deeper understanding of the artist's technique, the work's state of conservation and preparing its restoration.