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Ancient Roman Bust Seized from Massachusetts Museum in Looting Probe 

The bust known as “Portrait of a Lady” was acquired in 1966 by the Worcester Art Museum. (Worcester Art Museum)
The bust known as “Portrait of a Lady” was acquired in 1966 by the Worcester Art Museum. (Worcester Art Museum)
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Ancient Roman Bust Seized from Massachusetts Museum in Looting Probe 

The bust known as “Portrait of a Lady” was acquired in 1966 by the Worcester Art Museum. (Worcester Art Museum)
The bust known as “Portrait of a Lady” was acquired in 1966 by the Worcester Art Museum. (Worcester Art Museum)

A bronze bust believed to depict the daughter of an ancient Roman emperor has been seized from an art museum in Massachusetts by New York authorities investigating antiquities stolen from Türkiye.

The seizure is the latest in an ongoing investigation into a smuggling network involving objects looted from Bubon in southwestern Türkiye and trafficked through Manhattan. A spokesperson for Manhattan District Attorney Alvin Bragg did not provide further details of the investigation.

The bust known as “Portrait of a Lady” was acquired in 1966 by the Worcester Art Museum about 40 miles (64 kilometers) west of Boston. The seizure comes weeks after the Manhattan district attorney’s office seized a statue thought to portray the Roman emperor and philosopher Marcus Aurelius from a Cleveland, Ohio, museum.

Worcester Art Museum officials said in a statement that the bust taken from their possession dates from A.D. 160 to 180 and is believed to be a life-sized portrayal of a daughter of Marcus Aurelius or another Roman emperor, Septimius Severus.

Museum officials said they had “limited information” about the bust’s history when they acquired it nearly six decades ago.

“We are very thankful for the new information provided to us,” said Matthias Waschek, the museum’s director. “The ethical standards applicable to museums are much changed since the 1960s, and the Museum is committed to managing its collection consistent with modern ethical standards.”

The bust shows a young woman with a heavy-lidded gaze and hair carefully combed into waves.

Marcus Aurelius ruled as Roman emperor from A.D. 161 to 180 and was a Stoic philosopher whose “Meditations” have been studied over the centuries. Septimius Severus’ reign from A.D. 193 to 211 was marked by his efforts to convert the government into a military monarchy.

Türkiye first made claims about the Marcus Aurelius statue in 2012 when it released a list of nearly two dozen objects in the Cleveland museum’s collection that it said had been looted from Bubon and other locations. Museum officials said at the time that Türkiye had provided no hard evidence of looting.

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Culture

Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
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Morocco's Women Rug Weavers Battle to Save Age-old Craft

Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP
Women in southern Morocco have kept on the tradition of weaving carpets despite its meagre earnings - AFP

In southern Morocco, women are the guardians of the age-old craft of carpet weaving, an intricate art form that often leaves them with meagre earnings.

Women like Ijja Benchri, who creates carpets on a wooden weaving loom outside her small home in the village of Taznakht, follows traditions going back many generations.

"I started when I was 11 or 12, imitating the women I saw weaving," said Benchri, 60.

Known for their bold geometric patterns and vibrant colors, the handwoven rugs are a fixture in local markets and a favorite among tourists.

In 2022, traditional carpets accounted for nearly 22 percent of the kingdom's artisan exports, according to government data, AFP reported.

The mountain villages around Taznakht are famous for their Ait Ouaouzguite carpets, named after a native Amazigh tribe, one among a grouping of several communities indigenous to North Africa long referred to as Berbers.

The carpets are woven by the women on small traditional looms, either at home or in specialised workshops.

They are then categorized into various styles, depending on their region of origin and their designs.

Some of Morocco's finest rugs are crafted from high-quality sheep wool in Jbel Sirwa just south of the Atlas Mountains, and dyed using natural pigments from plants like henna, pomegranate peels, or indigo.

Though industrial dyes have replaced natural ones for most weavers because they are cheaper and can be produced more quickly.

"This tradition has been handed down for centuries, from mothers to daughters," said Safia Imnoutres, who leads a local women's weaving cooperative.

She was one of the women showcasing their creations at a recent festival in Taznakht dedicated to safeguarding the heritage.

- 'Comes from within' -

Creating a single carpet can take two to four weeks depending on its size, said Benchri, speaking in Tamazight, the community's language recognized as an official language alongside Arabic in Morocco.

"I choose the colors as I go, according to my feelings," she added.

Imnoutres also described the process as "instinctive", guided by emotion rather than a predetermined design.

"Weaving is an expression of the women's feelings, when they are joyful, when they are melancholic," she added. "It's an art that comes from within."

But beyond its artistic value, weaving is a vital source of income.

Every Thursday, many travel to a weekly market to sell their rugs, often to middlemen who set the prices.

On average, a large rug sells for just 250 Moroccan dirhams (around $24), with its final price later raking astronomical profits.

In cities like Marrakech, some 250 kilometres (160 miles) north of Taznakht, they are sold in bazaars for up to ten times the original price.

Other rugs are listed at up to $6,000 on online platforms.

"We earn very little," said Benchri. "The intermediaries decide the price, and we have no choice but to accept it because this is our livelihood."

These diminishing returns, she added, have contributed to making the craft less attractive for younger women and jeopardising the handcraft tradition.

Additionally, the influx of cheaper, machine-made rugs has deepened competition.

To address these challenges, a new exhibition space in Taznakht allows some weavers to sell their work directly to buyers, cutting out middlemen.

The center also tries to open new avenues for these women to sell their products independently through courses in digital marketing.

"If this heritage isn't made financially viable, we risk losing it," Imnoutres warned.