Archaeologists Lift the Lid on a 1,700-year-old Roman Sarcophagus Hidden beneath Budapest

This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
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Archaeologists Lift the Lid on a 1,700-year-old Roman Sarcophagus Hidden beneath Budapest

This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)
This photo released by Budapest History Museum shows an intact Roman sarcophagus after its lid was lifted at an archeological site in Budapest, Hungary, Sept. 30, 2025. (Gabor Lakos, Budapest History Museum via AP)

A remarkably well-preserved Roman sarcophagus has been unearthed in Hungary’s capital, offering a rare window into the life of the young woman inside and the world she inhabited around 1,700 years ago.

Archaeologists with the Budapest History Museum discovered the limestone coffin during a large-scale excavation in Óbuda, a northern district of the city that once formed part of Aquincum, a bustling Roman settlement on the Danube frontier.

Untouched by looters and sealed for centuries, the sarcophagus was found with its stone lid still fixed in place, secured by metal clamps and molten lead. When researchers carefully lifted the lid, they uncovered a complete skeleton surrounded by dozens of artifacts, The AP news reported.

“The peculiarity of the finding is that it was a hermetically sealed sarcophagus. It was not disturbed previously, so it was intact,” said Gabriella Fényes, the excavation’s lead archaeologist.

The coffin lay among the ruins of abandoned houses in a quarter of Aquincum vacated in the 3rd century and later repurposed as a burial ground. Nearby, researchers uncovered a Roman aqueduct and eight simpler graves, but none approaching the richness or pristine condition of the sealed tomb.

Keeping with Roman funerary customs, the sarcophagus held an array of objects: two completely intact glass vessels, bronze figures and 140 coins. A bone hair pin, a piece of amber jewelry and traces of gold-threaded fabric, along with the size of the skeleton, point to the grave belonging to a young woman.

The objects, Fényes said, were “items given to the deceased by her relatives for her eternal journey.”

“The deceased was buried very carefully by her relatives. They must have really loved who they buried here,” she said.

During the Roman period, much of what is now Hungary formed the province of Pannonia, whose frontier ran along the right bank of the Danube River less than a mile (1.6 kilometers) from the site. A short distance away stood a legionary camp guarding the empire’s border, and the newly found structures are believed to have been part of the civilian settlement that grew around it.

Anthropologists will now examine the young woman’s remains, a process expected to reveal more about her age, health and origins. But even now, the grave’s placement and abundance of artifacts offer strong clues.

The sarcophagus and its contents “definitely make it stand out,” said Gergely Kostyál, a Roman-period specialist and coleader of the project. “This probably means that the deceased was well-to-do or of a higher social status.”

“It is truly rare to find a sarcophagus like this, untouched and never used before, because in the fourth century it was common to reuse earlier sarcophagi,” he added. “It is quite clear that this sarcophagus was made specifically for the deceased.”

Excavators also removed a layer of mud roughly 4 centimeters (1.5 inches) thick from inside the coffin that Fényes hopes could contain more treasures.

“I suspect we could find jewelry. We haven’t found any earrings or other jewelry belonging to the woman, so I hope that these small items will turn up during the sifting of the mud,” she said.

For Fényes, the discovery of the Roman sarcophagus is not only of scientific significance, but an emotionally resonant insight into the devotion displayed by people in an ancient time.

“I was very touched by the care and expression of love that we were able to get a glimpse of,” she said. “Even now, I shudder to think how painful it must have been for the people at that time to bury this young lady.”



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


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.