UN Agency Rejects Plan to Place Britain’s Stonehenge on List of Heritage Sites in Danger

Sheep graze beside the prehistoric monument at Stonehenge in southern England, on April 26, 2020, closed during the national lockdown due to the novel coronavirus COVID-19 pandemic. (AFP)
Sheep graze beside the prehistoric monument at Stonehenge in southern England, on April 26, 2020, closed during the national lockdown due to the novel coronavirus COVID-19 pandemic. (AFP)
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UN Agency Rejects Plan to Place Britain’s Stonehenge on List of Heritage Sites in Danger

Sheep graze beside the prehistoric monument at Stonehenge in southern England, on April 26, 2020, closed during the national lockdown due to the novel coronavirus COVID-19 pandemic. (AFP)
Sheep graze beside the prehistoric monument at Stonehenge in southern England, on April 26, 2020, closed during the national lockdown due to the novel coronavirus COVID-19 pandemic. (AFP)

The United Nations’ cultural agency rejected recommendations Wednesday to place Stonehenge on the list of world heritage sites in danger over concerns that Britain’s plans to build a nearby highway tunnel threaten the landscape around the prehistoric monument.

UNESCO experts had recommended listing Stonehenge, a prehistoric stone circle on a plain in southern England, as “in danger” over controversial plans to redevelop the nearby highway that would include the creation of a new tunnel aimed at trying to ease traffic along a stretch of road widely prone to gridlock.

Had the 46th session of the World Heritage Committee in New Delhi backed that recommendation, then British authorities would have come under pressure to think again.

UNESCO says a site’s inclusion on its List of World Heritage Sites in Danger is not punitive. Rather, it is aimed at drawing international attention to the urgent need for conservation measures and “encourage corrective action.” If issues are not rectified, sites face the possibility of being de-listed by UNESCO, though that is rare.

Britain was joined by others, including Kenya and Qatar in arguing that efforts to mitigate the effect on the site of the planned tunnel were sufficient and that it should not be added to the “in danger” list.

A spokesperson for the British government welcomed the decision over what is one of the country's “oldest and most celebrated sites.”

Stonehenge was built on the flat lands of Salisbury Plain in stages, starting 5,000 years ago, with the unique stone circle erected in the late Neolithic period about 2,500 B.C.

It was added to the UNESCO World Heritage List in 1986 — an honor bestowed upon sites that have special cultural or physical significance.

The highway project, which has been touted for decades and mired in legal challenges, is aimed at trying to ease traffic along a stretch of road prone to gridlock by moving the main highway underground and slightly farther away from the famous stone circle.

The A303 highway, which is a popular route for motorists traveling to and from the southwest of England, is often severely congested around the single-lane section of road near Stonehenge. As part of widespread improvements, a two-mile tunnel is being planned that will effectively remove the sight and sound of traffic passing the site, and cut journey times.

The plan has faced fierce opposition from local residents and archaeologists, as well as concern from UNESCO, over potential damage to the environment, wildlife and possible new archaeological finds.

Last week, campaigners seeking to halt the plan began their latest legal challenge at the UK's Court of Appeal.

Kenya, in amending the recommendation to list the site as in danger, focused on the fact that the main stone circle would be farther away from the road with the new construction, and not the experts' assessment that the road project would significantly impact the greater site. It also noted that Britain had considered more than 50 proposals for the highway plan.

After rejecting the proposal to list Stonehenge as in danger, the committee agreed to ask Britain for an updated report on the state of conservation of the property by December 2025.



Italy Displays Paintings from an Ancient Etruscan Tomb, Its Latest Cultural Acquisition

 People look at the newly acquired Tomb of Francois, a 4th-century BC masterpiece bought last month by Italy's Culture Ministry for 15 million euros, at the National Etruscan Museum of Villa Giulia in Rome, Italy, June 30, 2026. (Reuters)
People look at the newly acquired Tomb of Francois, a 4th-century BC masterpiece bought last month by Italy's Culture Ministry for 15 million euros, at the National Etruscan Museum of Villa Giulia in Rome, Italy, June 30, 2026. (Reuters)
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Italy Displays Paintings from an Ancient Etruscan Tomb, Its Latest Cultural Acquisition

 People look at the newly acquired Tomb of Francois, a 4th-century BC masterpiece bought last month by Italy's Culture Ministry for 15 million euros, at the National Etruscan Museum of Villa Giulia in Rome, Italy, June 30, 2026. (Reuters)
People look at the newly acquired Tomb of Francois, a 4th-century BC masterpiece bought last month by Italy's Culture Ministry for 15 million euros, at the National Etruscan Museum of Villa Giulia in Rome, Italy, June 30, 2026. (Reuters)

Italy on Tuesday put on display one of the best-known examples of Etruscan painting, panels from a tomb that it acquired for 15 million euros ($17 million) in the Culture Ministry’s buying spree of big-ticket pieces of the country's cultural heritage.

The ministry announced in May that it had acquired the fresco panels, dating from the 4th century, from members of the Torlonia family, one of Italy’s ancient noble families whose vast collection of antiquity has long been kept out of the public domain.

The Francois Tomb was discovered in 1857 by the French archaeologist Alessandro Francois in Vulci, on land owned by the Torlonia family. The frescoes were detached from the necropolis in 1863 and became part of the Torlonia private collection, while the contents of the tomb were divided up among Francois, colleagues and the family.

The Italian government has been trying to get possession of the tomb since 1921, as part of its effort to bring back into the Italian public patrimony artifacts and antiquities that were acquired or looted during the boom of archaeological excavations in the 1800s and beyond.

The Etruscan Civilization occupied swaths of what is today central Italy for centuries was a major Mediterranean trading power. Much of it was destroyed by the subsequent Roman Empire.

The tomb is opening to the public Wednesday at Rome’s Villa Giulia National Etruscan Museum. Alongside the fresco panels are jewels, Etruscan vases and other items that were discovered inside the tomb, now belong in museum collections around the world and were loaned to Italy for the exhibition.

The tomb marks the Culture Ministry’s third major acquisition this year of expensive, culturally important artworks. It paid $14.9 million for Antonello da Messina’s “Ecce Homo” and around $35 million for a rare portrait by Caravaggio depicting Maffeo Barberini, the future Pope Urban VIII.

The funds have come from the ministry’s annual budget for acquisitions, but Culture Minister Alessandro Giuli has prioritized buying fewer, bigger-ticket items of cultural importance rather than smaller, lesser artworks and antiquities, officials said.

“In recent months, the Ministry of Culture has invested a great deal of money in acquiring masterpieces,” said Massimo Osanna, director general of Italian museums in the ministry.

Giuli has said the tomb is a “fundamental” part of Italian history that was now being returned to the Italian public to enjoy.

Luana Toniolo, director of the Villa Giulia museum, called the tomb one of the greatest masterpieces of antiquity and Etruscan painting, and one of the best preserved. Among other things, the paintings depict the sacrifice of Trojan prisoners and battles of Etruscan heroes.


Sunken Treasures Exhibition Showcases Historic Maps of the Red Sea

Historic maps of the Red Sea on display at the "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition. (SPA)
Historic maps of the Red Sea on display at the "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition. (SPA)
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Sunken Treasures Exhibition Showcases Historic Maps of the Red Sea

Historic maps of the Red Sea on display at the "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition. (SPA)
Historic maps of the Red Sea on display at the "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition. (SPA)

Historic maps of the Red Sea on display at the "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition document the strategic importance of this vital maritime corridor and reflect how geographers, travelers, and cartographers viewed the region over the centuries.

More than geographical illustrations, the maps serve as historical records of the Red Sea's role as a gateway for trade, pilgrimage, and cultural exchange linking Asia, Africa, and Europe, the Saudi Press Agency said on Tuesday.

Among the exhibits at the Red Sea Museum is a 17th-century map that provides an early depiction of the region. It highlights mapmakers' understanding of the Red Sea's importance as a major maritime route connecting the Mediterranean Sea with the Indian Ocean, while illustrating the ports and shipping routes that played a central role in global commerce.

The maps demonstrate how the Red Sea's strategic location made it a hub for economic and cultural exchange. Merchant vessels carrying spices, incense, textiles, and minerals sailed its waters alongside ships transporting pilgrims from across the Islamic world, establishing the Red Sea as one of history's busiest and most influential maritime routes.

The collection also reflects the evolution of geographical and navigational knowledge. Compiled using the expertise of sailors, captains, and travelers, the maps documented coastlines, islands, and ports, serving as essential references for maritime navigation before the advent of modern navigational technologies. They also illustrate the accumulation of scientific knowledge that deepened understanding of the Red Sea's geography and maritime environment.


Historic Jeddah Enriches Visitor Experience with Traditional Crafts and Cultural Activities

Historic Jeddah offers immersive cultural experiences through interactive programs that combine learning with hands-on participation. (SPA)
Historic Jeddah offers immersive cultural experiences through interactive programs that combine learning with hands-on participation. (SPA)
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Historic Jeddah Enriches Visitor Experience with Traditional Crafts and Cultural Activities

Historic Jeddah offers immersive cultural experiences through interactive programs that combine learning with hands-on participation. (SPA)
Historic Jeddah offers immersive cultural experiences through interactive programs that combine learning with hands-on participation. (SPA)

Historic Jeddah offers immersive cultural experiences through interactive programs that combine learning with hands-on participation, enabling visitors to explore local heritage and discover traditional crafts in an environment that blends creativity and education, further strengthening its position as a vibrant cultural destination, the Saudi Press Agency said on Tuesday.

The activities featured a variety of workshops, including handmade bookbinding, mosaic art for children, painting on canvas bags, and crafting perfumes from natural ingredients, providing participants with opportunities to explore diverse artistic materials and techniques.

These activities reflect the concept of a comprehensive cultural experience by going beyond showcasing handicrafts to allowing visitors to observe production processes, interact with artisans, and participate in workshops, educational tours, and community programs, thereby deepening their understanding of traditional crafts and their historical and cultural significance.

The experience presents a model that uses culture to discover both place and people, transforming a visit to Historic Jeddah into an educational journey that extends beyond sightseeing by bringing together heritage, creativity, and community engagement, reinforcing the Kingdom’s cultural identity.