Stonehenge’s ‘Altar Stone’ Originally Came from Scotland, Not Wales, New Research Shows

The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
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Stonehenge’s ‘Altar Stone’ Originally Came from Scotland, Not Wales, New Research Shows

The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)
The world heritage site of Stonehenge is seen in Wiltshire, England on Dec. 17, 2013. (AP)

The ancient ritual meaning of Stonehenge is still a mystery, but researchers are one step closer to understanding how the famous stone circle was created.

The unique stone lying flat at the center of the monument was brought to the site in southern England from near the tip of northeast Scotland, researchers reported Wednesday in the journal Nature. It’s not clear whether the 16-foot (5-meter) stone was carried by boat or through land — a journey of more than 460 miles (740 kilometers).

“It’s a surprise that it’s come from so far away,” said University of Exeter archaeologist Susan Greaney, who was not involved in the study.

For more than a hundred years, scientists believed that Stonehenge’s central sandstone slab — long called the “altar stone” — came from much closer Wales. But a study last year by some of the same researchers showed that the stone didn’t match the geology of Wales’ sandstone formations. The actual source of the stone remained unknown until now.

For the study, the team was not permitted to chip away rocks at the site, but instead analyzed minerals in bits of rock that had been collected in previous digs, some dating back to the 1840s. They found a match in the sandstone formations of Orcadian Basin in northeast Scotland, a region that includes parts of the tip of the Scottish peninsula as well as the Orkney Islands.

“That geological ‘fingerprint’ isn’t repeated in any other area of sediment in the UK,” said Aberystwyth University geologist Nick Pearce, a study co-author.

Greaney said the difficult logistics of moving the stone such a long distance show a high level of coordination and cultural connection between these two regions of ancient Britain.

Stonehenge was constructed around 5,000 years ago, with stones forming different circles brought to the site at different times. The placement of stones allows for the sun to rise through a stone “window” during summer solstice. The ancient purpose of the altar stone — which lies flat at the heart of Stonehenge, now beneath other rocks — remains a mystery.

“Stonehenge isn’t a settlement site, but a place of ceremony or ritual,” said Heather Sebire, senior curator at English Heritage, who was not involved in the study. She said that past archaeological excavations had not uncovered evidence of feasting or daily living at the site.

Previous research has shown cultural connections — such as similarities in pottery styles — between the area around Stonehenge and Scotland’s Orkney Islands. Other stones at Stonehenge came from western Wales.

While Britain is dotted with other Neolithic stone circles, “the thing that’s unique about Stonehenge is the distance from which the stones have been sourced,” said Aberystwyth University’s Richard Bevins, a study co-author.



Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.


ALECSO Celebrates Opening of Arabic Calligraphy Center in Saudi Arabia

Arabic calligraphy adorns wrcades, Walls of the Grand Mosque of Makkah - SPA
Arabic calligraphy adorns wrcades, Walls of the Grand Mosque of Makkah - SPA
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ALECSO Celebrates Opening of Arabic Calligraphy Center in Saudi Arabia

Arabic calligraphy adorns wrcades, Walls of the Grand Mosque of Makkah - SPA
Arabic calligraphy adorns wrcades, Walls of the Grand Mosque of Makkah - SPA

The Arab League of Educational, Cultural and Scientific Organization (ALECSO) congratulated Saudi Arabia on the opening of the Prince Mohammed bin Salman Global Center for Arabic Calligraphy in Madinah on December 22, 2025.

In a statement, ALECSO called the center a significant addition to the Arab and Islamic cultural landscape, noting its role in preserving Arabic calligraphy and enhancing its global presence, SPA reported.

This achievement reflects the Kingdom's commitment to culture and heritage, aligning with Saudi Vision 2030’s objectives of fostering cultural creativity and reinforcing Arabic identity.

ALECSO emphasized that such institutions serve as global bridges for cultural exchange and ensure the relevance of traditional arts through dedicated research and training facilities.