Study Firms up Date of Famous Ancient Shipwreck off Cyprus 

Amphoras and grain mills are seen in a museum dedicated to the ancient Kyrenia merchant ship that sank off the coast of Cyprus, at Kyrenia Castle in Cyprus, February 9, 2024. Adam Dunham/Handout via Reuters
Amphoras and grain mills are seen in a museum dedicated to the ancient Kyrenia merchant ship that sank off the coast of Cyprus, at Kyrenia Castle in Cyprus, February 9, 2024. Adam Dunham/Handout via Reuters
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Study Firms up Date of Famous Ancient Shipwreck off Cyprus 

Amphoras and grain mills are seen in a museum dedicated to the ancient Kyrenia merchant ship that sank off the coast of Cyprus, at Kyrenia Castle in Cyprus, February 9, 2024. Adam Dunham/Handout via Reuters
Amphoras and grain mills are seen in a museum dedicated to the ancient Kyrenia merchant ship that sank off the coast of Cyprus, at Kyrenia Castle in Cyprus, February 9, 2024. Adam Dunham/Handout via Reuters

When scientists in the 1960s excavated the wreck of an ancient Greek merchant ship off the northern coast of Cyprus, what they found was an amazing time capsule from a pivotal period in the Mediterranean world following the death of Alexander the Great.

But determining the date of the Kyrenia shipwreck with any sort of precision has proven difficult, and some previous scientific dating yielded conclusions that conflicted with the archeological evidence. Researchers have now calculated this timeline with new precision using improved techniques that they said can be applied to date other ancient shipwrecks as well.

By analyzing organic material from the wreck, including the vessel's wooden timbers, almonds from its cargo, and a gaming piece called an astragalus made from animal bone and used like dice, they concluded that the ship went down around 280 BC. That is a bit later than prior scientific dating estimates but a better match for the archeological evidence.

Sturt Manning, a Cornell University professor of classical archaeology, called the Kyrenia vessel an "iconic ship from the early Hellenistic period, central to the history of ancient maritime technology."

The ship, about 46 feet (14 meters) long, was built of wood with lead sheathing, with one mast bearing a square sail, and likely carrying a crew of four. It sank about a mile (1.6 km) off the coast. Aboard were nearly 400 amphoras - large two-handled pottery storage jars - some filled with almonds and others apparently with wine, along with heavy millstones as ballast.

"Likely it was going to or from Cyprus, and the cargo - amphora types - suggest it was trading in the Aegean and east Mediterranean area. The main cargo comprised amphora of a type associated with the island of Rhodes in the southeast Aegean," said Manning, lead author of the study published in the journal PLOS ONE.

Using various lines of evidence, the researchers determined that the ship had been constructed between about 345-313 BC and sank between about 286-272 BC.

The death in 323 BC of Alexander, who had conquered wide swathes of the Mediterranean region and beyond, led to regional scrambles for power. Cyprus became a contested area pitting successors of Alexander ruling in the Aegean region versus those in Egypt, with the latter winning control of the island.

The Kyrenia ship's remains are displayed at a museum in Cyprus.

"Ancient shipwrecks hold several unique sources of information for archaeologists to reconstruct the human past. In underwater sites like where the Kyrenia was buried, archaeological materials decay much more slowly. As a result, organic materials like wood, seeds or rope can be much better preserved than on land," said University of Georgia anthropology professor and study co-author Brita Lorentzen.

The discovery of a deepwater shipwreck off the coast of Israel, dating to roughly 1300 BC, was announced just last week.

"Ships were a critical source of transportation in the ancient world, which allowed people to move from one place to another, create social networks, and exchange trade goods and ideas. A shipwreck's contents can tell us specifically which items were being traded or exchanged, where and how people were moving around by sea, which groups of people were in contact with one another, and how they were impacted by these early social and economic networks," Lorentzen said.

This ship's timbers were embalmed decades ago using the chemical compound polyethylene glycol (PEG) to preserve the wood on land. This complicated the use of radiocarbon dating, a technique for determining an object's age based on the decay over time of a radioactive form of carbon.

"Adding PEG prevents ship timbers from drying out, shrinking and turning to dust out of the water. But it also contains petroleum, with lots of carbon from long-dead organic remains," Lorentzen said.

The researchers devised improved methods to remove PEG so radiocarbon dating could be used for the timbers. They also used radiocarbon dating on the almonds and astragalus.

Analysis of annual growth rings in trees also helps govern the dating of ancient wooden artifacts. The researchers found a discrepancy in a scientific standard used in analyzing wood from this time period to convert radiocarbon measurements into calendar dates for the northern hemisphere, and updated it.

"The work here is relevant to ancient shipwrecks generally," Manning said.



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.