Ancient Roman Temple Complex, with Ruins of Building Where Caesar Was Stabbed, Opens to Tourists 

Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
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Ancient Roman Temple Complex, with Ruins of Building Where Caesar Was Stabbed, Opens to Tourists 

Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)

Four temples from ancient Rome, dating back as far as the 3rd century B.C. stand smack in the middle of one of the modern city’s busiest crossroads.

But until Monday, practically the only ones getting a close-up view of the temples were the cats that prowl the so-called “Sacred Area,” on the edge of the site where Julius Caesar was assassinated.

With the help of funding from Bulgari, the luxury jeweler, the grouping of temples can now be visited by the public.

For decades, the curious had to gaze down from the bustling sidewalks rimming Largo Argentina (Argentina Square) to admire the temples below. That’s because, over the centuries, the city had been built up, layer by layer, to levels several meters above the area where Caesar masterminded his political strategies and was later fatally stabbed in 44 B.C.

Behind two of the temples is a foundation and part of a wall that archaeologists believe were part of Pompey’s Curia, a large rectangular-shaped hall that temporarily hosted the Roman Senate when Caesar was murdered.

What leads archaeologists to pinpoint the ruins as Pompey’s Curia? “We know it with certainty because latrines were found on the sides” of Pompey’s Curia, and ancient texts mentioned the latrines, said Claudio Parisi Presicce, an archaeologist and Rome’s top official for cultural heritage.

The temples emerged during the demolition of medieval-era buildings in the late 1920s, part of dictator Benito Mussolini’s campaign to remake the urban landscape. A tower at one edge of Largo Argentina once topped a medieval palace.

The temples are designated A, B, C and D, and are believed to have been dedicated to female deities. One of the temples, reached by an imposing staircase and featuring a circular form and with six surviving columns, is believed to have been erected in honor of Fortuna, a goddess of chance associated with fertility.

Taken together, the temples make for “one of the best-preserved remains of the Roman Republic,″ Parisi Presicce said after the Mayor of Rome Roberto Gualtieri cut a ceremonial ribbon Monday afternoon. On display in a corridor near the temples is a black-and-white photograph showing Mussolini cutting the ribbon in 1929 after the excavated ruins were shown off.

Also visible are the travertine paving stones that Emperor Domitian had laid down after a fire in 80 A.D. ravaged a large swath of Rome, including the Sacred Area.

On display are some of the artifacts found during last century’s excavation. Among them is a colossal stone head of one of the deities honored in the temples, chinless and without its lower lip. Another is a stone fragment of a winged angel of victory.

Over the last decades, a cat colony flourished among the ruins. Felines lounged undisturbed, and cat lovers were allowed to feed them. On Monday, one black-and-white cat sprawled lazily on its back atop the stone stump of what was once a glorious column.

Bulgari helped pay for the construction of the walkways and nighttime illumination. A relief to tourists who step gingerly over the uneven ancient paving stones of the Roman Forum. The Sacred Area’s wooden walkways are wheelchair- and baby-stroller-friendly. For those who can’t handle the stairs down from the sidewalk, an elevator platform is available.

The attraction is open every day except for Mondays and some major holidays, with general admission tickets priced at 5 euros ($5.50).

Curiously, the square owes its name not to the South American country but to the Latin name of Strasbourg, France, which was the home seat of a 15th-century German cardinal who lived nearby and who served as master of ceremonies for pontiffs, including Alexander VI, the Borgia pope.



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.