Category Archives: EUROPE

EUROPE, GREECE, WORLD

Archaeologists Uncover Asini’s Hidden Ancient Port Beneath the Waves of Greece

Archaeologists Uncover Asini’s Hidden Ancient Port Beneath the Waves of Greece

Archaeologists Uncover Asini’s Hidden Ancient Port Beneath the Waves of Greece

An international team of underwater archaeologists has made a groundbreaking discovery at the submerged site of Asini, near  Tolo in Argolis, Greece, unearthing significant remnants of an ancient port infrastructure that promises to reshape our understanding of Mediterranean maritime history.

This research is part of a broader underwater archaeological initiative that began in 2022, a collaborative effort involving the Ephorate of Underwater Antiquities of Greece, the Swedish Institute at Athens, Stockholm University, the University of Gothenburg, and the Nordic Maritime Group.

Under the leadership of Greek archaeologist Dr. Panagiota Galiatsatou, alongside Swedish experts Prof. Ann-Louise Schallin and Dr. Niklas Eriksson, the team meticulously examined a key area of the submerged harbor.

The 2024 fieldwork concentrated on the northwestern edge of a submerged artificial platform, an area previously identified as retaining much of its original form. Utilizing high-resolution photogrammetry, the archaeologists documented a 16-square-meter section in detail, uncovering significant architectural remains indicative of the ancient port’s infrastructure.

The findings included numerous stones and fragments of construction materials, suggesting a gradual collapse of the structure over time.

Among the most intriguing discoveries were ceramic fragments, including ostraca from amphorae embedded within the stone structures and a broken vessel located in an area designated as “Sector 4A.”

These artifacts are expected to provide critical insights into the dating of the submerged port, potentially linking them to the period when the platform was operational or to the time following its abandonment.

The departure point consisted of an anchored boat near the excavation site in Asini. Credit: Ministry of Culture of Greece

Asini boasts a continuous occupation history dating back to prehistoric times, complicating efforts to pinpoint the exact construction date of the artificial port. However, the new findings bolster the hypothesis that this infrastructure was vital for maritime trade throughout various historical epochs.

Previous excavations in 2021 and 2022 had already indicated the extensive size of the port, revealing that the main structure consists of a large artificial platform in shallow waters, with indications of rooms or buildings that suggest a multifunctional use beyond mere trade.

Looking ahead, the archaeological team plans to conduct further excavations on the upper section of the artificial platform. This next phase will involve careful sediment removal, both by hand and through controlled dredging, to uncover additional structural elements.

All findings will be documented in situ using advanced 3D imaging techniques, allowing for high-precision models that facilitate further analysis without disturbing the original context of the artifacts.

Ceramic fragments, including amphora pieces embedded in stone structures. Credit: Ministry of Culture of Greece

The results from the 2024 excavation campaign are set to be published in the scientific journal Opuscula, edited by the Swedish Institutes of Athens and Rome, along with other specialized publications focused on archaeology and maritime studies.

The discoveries at Asini are poised to provide essential clues about ancient maritime trade and the construction of port facilities, enhancing our understanding of how ancient civilizations interacted with their maritime environments.

As the research continues, the site of Asini may yield further revelations about the complexities of ancient trade networks and the architectural ingenuity of past societies, underscoring the enduring significance of this submerged port in the Mediterranean’s rich historical tapestry.

Cover Image Credit: Fieldwork on the seabed at the submerged port in the ancient Greek city of Asini. Credit: Ministry of Culture of Greece

DENMARK, EUROPE, WORLD

Woodhenge Found in Denmark: A Link Between Denmark and Britain’s Neolithic Past

Woodhenge Found in Denmark: A Link Between Denmark and Britain’s Neolithic Past

Woodhenge Found in Denmark: A Link Between Denmark and Britain’s Neolithic Past

In a stunning revelation, archaeologists have unearthed a remarkable structure dubbed “woodhenge” in Denmark, a discovery that not only illuminates the ancient practices of Neolithic societies but also invites us to reconsider the interconnectedness of prehistoric cultures across Europe.

In a remarkable archaeological discovery, a team led by Sidsel Wåhlin at Vesthimmerland Museum has unearthed a structure dubbed “woodhenge” in Aars, a town in northwestern Denmark.

This ancient site, consisting of 45 wooden pieces arranged in a circle with a diameter of approximately 100 feet, is believed to date back to between 2600 and 1600 BC.

The find was made during construction work for a housing estate, revealing a significant connection to the Neolithic era.

Wåhlin described the discovery as “extraordinary” and a “once-in-a-lifetime” find, emphasizing its implications for understanding the cultural ties between Denmark and the British henge world.

The structure closely resembles the henges found in Britain and Ireland, which are characterized by their circular arrangements of stones or timber posts. This resemblance raises intriguing questions about the interactions and shared practices of Neolithic peoples across Europe.

Archaeologists are currently investigating the possibility of an inner circle at the Aars site, akin to the famous Stonehenge in Wiltshire, England, which is thought to have been constructed between 3100 BC and 1600 BC.

Wåhlin noted that these structures likely served as ritual centers, connected to sun worship and agricultural practices of the time.

The planning and construction of such monuments suggest a sophisticated understanding of their significance within the social and spiritual frameworks of the communities that built them.

The excavation team at the North Jutland timber circle site, with overlayed images showing where the posts would have been.

The discovery of the wooden circle in Aars is particularly noteworthy as it is the first of its kind that can be thoroughly investigated. Previous finds of timber circles on the Danish island of Bornholm have hinted at similar practices, but the Aars site offers a unique opportunity to explore the connections between early farming communities in Denmark and their counterparts in Britain.

In addition to the wooden circle, archaeologists have also uncovered an early Bronze Age settlement at the site, which includes a chieftain’s grave and a bronze sword.

This context enriches the narrative of the region’s history, suggesting a complex interplay of cultural influences. As the team continues to excavate, they are searching for “ritual deposits” such as flint arrowheads and daggers, which could provide further insights into the rituals and social structures of the late Stone Age and early Bronze Age.

Wåhlin expressed hope that ongoing research will reveal more about the connections between the Aars site and other Neolithic peoples, including those who constructed Stonehenge.

The influence of various regions is already evident in the pottery and burial practices discovered at the site, hinting at a rich tapestry of cultural exchange in prehistoric Europe.

As the investigation unfolds, the “woodhenge” discovery not only sheds light on Denmark’s ancient past but also invites us to reconsider the broader narrative of Neolithic societies and their enduring legacies.

EUROPE, ROMANIA, WORLD

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase: New Analyses Uncover Evidence of Gladiatorial Combat in Roman Britannia

The Colchester Vase, dating back to A.D. 160–200, is not just a ceramic artifact; it is considered a unique graphic and epigraphic testimony to the existence of gladiatorial combats in the Roman city of  Camulodunum, now known as Colchester, illuminating the cultural and social dynamics of these games.

A new study led by Glynn J.C. Davis and John Pearce, in collaboration with experts in archaeology, epigraphy, and isotopic analysis, reveals that the Colchester Vase is more than just a decorative artifact; it is suggested to be a commissioned piece that documents a real combat event that took place in the city.

Recent discoveries surrounding the Colchester Vase have revealed its significance as a vital record of gladiatorial games in Roman Britain, showcasing the intricate connections between local culture, military influence, and the performers who captivated audiences of the time.

The vase, crafted in the kilns west of Colchester, features intricate decorations and inscriptions that name individual arena performers, suggesting it was a commissioned piece celebrating a local event.

Among the names that have intrigued researchers is Memnon, identified as a secutor—a type of gladiator known for battling against retiarii, who wielded nets and tridents. The name Memnon, derived from Greek mythology, evokes the legendary Ethiopian king associated with the Trojan War, hinting that it may have served as a stage name, a common practice among gladiators to enhance their personas in the arena.

The inscription reveals that Memnon participated in at least nine combats, suggesting he had a notable career within the competitive world of Roman entertainment, where success was often measured by the number of fights fought and victories achieved.

The inscription below the rim of the Colchester Vase.

Another noteworthy name in the inscription is Valentinus, linked to the Legio XXX Ulpia Victrix, which was stationed in Xanten, modern-day Germany.

This connection raises intriguing questions about the relationship between gladiators and the Roman military, a topic that has sparked considerable debate among historians. Some scholars propose that certain legions may have maintained their own groups of gladiators for entertainment purposes.

The absence of recorded combats for Valentinus in the inscription may indicate that he was a tiro, or novice gladiator, embarking on his journey in the arena, where the path to fame and glory often began with a single fight.

Recent research has challenged previous assumptions about the vase’s inscription, revealing that it was likely cut before the vessel was fired, rather than afterward as previously believed.

This finding is supported by the quality of the lettering and the absence of ragged edges, suggesting a skilled artisan was involved in its creation.

The Colchester Vase was ultimately used as a cremation urn, containing the remains of a non-local male over 40 years old. While it is unlikely that he was one of the performers, his connection to the event adds another layer of significance to the artifact.

The Colchester Vase contributes to a growing body of evidence that highlights the existence of Roman spectacles in the city. Among these findings are fragments of wall paintings featuring gladiators, molds for creating relief figures, and a knife with a handle designed in the likeness of a murmillo, another class of gladiator.

While no amphitheater has yet been discovered in Colchester, the existence of a Roman circus—the only one documented in Britannia—bolsters the idea that the city served as a hub for public entertainment, where chariot races and gladiatorial contests were integral to the local culture.

The Colchester Vase inscription.

Furthermore, the commercial and military ties between Colchester and the Lower Rhine region likely played a crucial role in the movement of gladiators and animals for these events. Epigraphic evidence from the Germanic territories indicates the capture of bears for venationes, or wild animal combats, which may provide context for the hunting scene illustrated on the Colchester Vase.

The Colchester Vase was discovered in 1853 during excavations in the western cemetery area of Colchester, England. It was found as part of a burial group consisting of four vessels.

The vase’s intricate decorations and inscriptions quickly attracted attention, leading to its recognition as a significant artifact that provides valuable insights into the cultural practices of Roman Britain, particularly regarding gladiatorial games and public entertainment.

This discovery is part of Colchester Museums’ ongoing “Decoding the Dead” project, which aims to explore the cultural and social dynamics of gladiatorial games in the north-west provinces of the Roman Empire.

EUROPE, ITALY, WORLD

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A 13th-Century Italian Fresco Reveals the Medieval Church’s Use of Islamic Altar Tents

A recently rediscovered 13th-century fresco in Ferrara, Italy, offers significant insights into the medieval practice of utilizing Islamic tents to conceal high altars in Christian churches. This fresco, believed to be the only surviving representation of its kind, provides valuable evidence of a lesser-known Christian tradition.

The fresco, which is only partially visible, was identified by Dr. Federica Gigante, a historian from Cambridge University. It is thought to depict a real tent, now lost, that the artist may have encountered within the same church.

The original tent, characterized by its vibrant colors and adorned with jewels, could have been a diplomatic gift from a Muslim leader or a trophy acquired from a battlefield.

Dr. Gigante’s research, published in The Burlington Magazine, posits that a prominent figure, such as Pope Innocent IV—who donated several valuable textiles to the Benedictine convent church of S. Antonio in Polesine, Ferrara—may have been responsible for providing such a tent.

“Initially, it seemed implausible and overly exciting to consider that this could be an Islamic tent,” Dr. Gigante remarked. “I dismissed the idea at first but returned to it years later with more experience and a bolder research approach. It is unlikely that we will find another image like this; my belief is that it is quite unique.”

The fresco serves as crucial evidence of the integration of Islamic elements into key Christian practices, including the celebration of Mass. Dr. Gigante noted, “Islamic textiles were associated with the Holy Land, from which pilgrims and crusaders brought back the most precious examples.

The existence of artistic continuity from the time of Christ justified their use in a Christian context. Medieval Christians admired Islamic art, often without fully recognizing its origins.”

While it is well-documented that Islamic textiles were present in late medieval European churches, surviving fragments are typically found wrapped around relics or within the burials of notable individuals.

Some traces of Islamic textiles can be seen on church walls in Italy and in late medieval Italian paintings. However, depictions of Islamic tents from the Western Islamic world, such as those from Spain, are exceedingly rare, making this fresco potentially the only detailed, full-size representation identified to date.

Dr Federica Gigante examining the fresco in the Church of S. Antonio in Polesine, Ferrara, Italy.

Painted between the late 13th and early 14th centuries, the fresco illustrates a canopy over the high altar, transforming the apse into a tent with blue and gold drapery enveloping three walls, topped by a double-tiered, bejeweled conical canopy typical of Islamic design. “The artist invested considerable effort into rendering the textile lifelike,” Dr. Gigante stated.

The background features a blue sky dotted with stars and birds, creating the illusion of an outdoor tent. In the early 15th century, portions of the fresco were painted over with scenes depicting the lives of the Virgin Mary and Jesus Christ, which has drawn the attention of art historians who have overlooked the earlier sections.

Dr. Gigante first identified the depiction of Islamic textiles during a visit to the church a decade ago, but it required extensive research to confirm that the fresco represents an Islamic tent.

Dr. Gigante argues that the fresco depicts a real tent that may have been physically present in the convent church during the 13th century, serving as a direct reference for the artist.

It is already established that medieval churches employed precious textile hangings to obscure the altar, either permanently or during specific liturgical periods. Upon examining the fresco, Dr. Gigante observed that it illustrates the corner of a veil, painted as if drawn in front of the altar. She posits that the actual tent may have been adapted to function as a ‘tetravela’ or altar-curtains.

“If the real tent was only erected in the church on certain occasions, the fresco could have served as a visual reminder of its splendor when it was not present,” Dr. Gigante explained. “The interplay between painted and actual textiles is evident throughout Europe and the Islamic world during the late medieval period.”

Dr. Gigante’s study highlights the walls of the apse, which are adorned with nails and brackets that could have supported a hanging textile. She points to the fresco’s “extraordinarily precise details” as further evidence of its depiction of a real tent.

The fabric illustrated features blue eight-pointed star motifs within roundels, originally highlighted in gold leaf, mirroring the golden fabrics used in precious Islamic tents. Additionally, a band with pseudo-Arabic inscriptions runs along the top and bottom borders, while white contours emphasize contrasting colors, reflecting a trend in 13th-century Andalusi silk design.

The structure, design, and color scheme of the tent closely resemble the few surviving depictions of Andalusi tents, including those found in the 13th-century manuscript, the Cantigas de Santa Maria, as well as one of the rare surviving Andalusi tent fragments, the ‘Fermo chasuble,’ attributed to St. Thomas Becket, Archbishop of Canterbury.

EUROPE, WORLD

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

Sensational Discovery: Miniature Gold Box Lock from Roman Era Found

The detectorist Constantin Fried has unearthed a miniature gold box lock dating back to the Roman era in Petershagen, located on the border between Lower Saxony and North Rhine-Westphalia.

According to the Landscape Association of Westphalia-Lippe (LWL), the lock is estimated to be from the 3rd to 4th century AD and is made of pure gold, marking it as a unique and sensational find for researchers.

The tiny lock, measuring just 1.2 by 1.1 centimeters, was examined using a neutron computed tomography scanner at the Paul Scherrer Institute in Villigen, Switzerland.

This advanced imaging technique provided researchers with a detailed view of the lock’s interior. Although the external key and chain were missing from the find in Petershagen, the 3D images revealed gold rivets and links inside the lock.

Image credit: Landscape Association of Westphalia-Lippe (LWL)

This evidence confirms that the lock was functional approximately 1,600 years ago. Thanks to the insights gained from the CT scan, the LWL was able to create a 4:1 scale replica of the lock.

The chief archaeologist of the LWL, Michael Rind, speculates that “perhaps a member of a local elite brought this exquisite piece back as a souvenir or gift upon returning from military service in Rome,” given that similar but larger locks existed during the Roman period.

The LWL notes that many scientific questions remain unanswered. It is unclear how such an extremely small object could have been crafted without the modern tools we have today, such as artificial light or magnifying glasses.

Rind poses the question, “Was this a one-off creation, or are there similar precious miniatures that have yet to be discovered?” He emphasized that the extraordinary find from Petershagen showcases the high level of craftsmanship in provincial Roman metalworking and locksmithing.

ENGLAND, EUROPE, WORLD

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Britain’s Hidden Treasures: The Pieces of Rare Iron Age Helmet Found at Snettisham

Thanks to advanced scientific testing, the copper alloy fragments unearthed at Snettisham, Norfolk, at one of Britain’s most significant archaeological sites have been identified as parts of a highly uncommon Iron Age helmet.

The British Museum, which had been engaged in a 15-year project to examine 14 hoards of gold, silver, and bronze torcs (stiff, twisted metal rings worn as jewelry) discovered at Snettisham, Norfolk, between 1948 and the 1990s, made this amazing discovery.

At Snettisham, near Hunstanton, on a forested hillside with a view of the northwest Norfolk coast, amazing discoveries have been made. Because so many gold and silver alloy neck rings (also known as “torcs”) and coins were found at Ken Hill, the site of the discoveries is referred to as the “gold field.” Known as the “Snettisham Treasure,” these artifacts comprise one of the greatest concentrations of Celtic art and one of the largest collections of prehistoric precious metal objects ever found.

The items were discovered in at least 14 different hoards that were interred between 150 BC and 100 AD. These hoards covered the late Iron Age and early Roman eras, with the late Iron Age seeing the most activity.

Dr. Julia Farley, the Museum’s Iron Age curator and co-editor of The Snettisham Hoards, says this item is especially unique because there are only about ten known Iron Age helmets in Britain, and each one is unique.

The study’s confirmation that Iron Age metalworkers had perfected the art of mercury gilding—applying gold to bronze using a poisonous mercury-gold amalgam—was among its most startling findings. Both the helmet and the extensive collection of torcs from the Snettisham hoards were made in this way.

Metals conservator Fleur Shearman was jigsawing the pieces together when she realised one was a nose piece (centre) for a helmet and others were its eyebrows.

“There is a reason why everyone was so surprised in that room… helmets from Iron Age pre-Roman Britain, are just vanishingly rare,” Dr Farley, who co-edited The Snettisham Hoards with Dr Jody Joy told the BBC. “ And this one is a one-off, it’s got a kind of nasal bridge which is really unusual and these little brow pieces and it’s all hammered out from incredibly thin sheet bronze, and that’s a tremendously skilled thing to be able to do. We didn’t know they could do this in Britain 2,000 years ago”.

Dr. Joy, a former European Iron Age curator at the British Museum and one of the project’s top researchers, said the helmet fragments, which were previously believed to be pieces of a vessel, were long regarded as one of the unsolved mysteries of the Snettisham Hoards.

He explained that the materials had been meticulously reconstructed by metals conservator Fleur Shearman, who had put them together like a complicated archaeological jigsaw puzzle.

Researchers believed it was probably not complete when it was put into the ground because so much was missing. Most likely, Dr. Joy thinks, it was saved for personal or sentimental reasons, and might have even been used to carry other objects (like the torcs, for example).

The torcs came in a range of sizes and were buried in 14 separate Iron Age metal hoards recovered in Norfolk.

In the fields and forests of Ken Hill, close to Snettisham, about 400 torcs have been found, and their varied sizes indicate that they can be worn as neck, arm, or bracelet rings.

The Snettisham Great Torc, one of the most intricate golden artifacts to emerge from ancient world excavations, was among the more than 60 rings that were found to be whole or nearly whole.

The British Museum, in partnership with Norwich Castle Museum, which owns a portion of the collection, began this extensive research project because the torcs had been largely left unexamined for many years.

Researchers from the British Museum were able to uncover minute details about these ringed objects, like wear patterns and polishing on areas that would have come into contact with the body or clothing, thanks to advanced scientific analysis, which included the use of electron microscopes.

The wear and tear on these valuable and valued items was significant, the researchers concluded, as it suggested they’d been worn by their owners for a long time and were prized possessions.

The team confirmed that the torcs (metal rings) were likely worn by men, women, and even younger individuals, rather than being reserved exclusively for high-status men.

Dr Farley told BBC: “Torcs are unique, individual, you wear them on your body [while] coins are mutually indistinguishable. You can give them to lots of people and they can be scattered and brought back. So the two things don’t work well together.

Our theory is these torcs are too special, too unique and too important to be melted down and turned into coins, and instead people decided to have a ceremony to bring people together and put them in the ground.”

EUROPE, TURKEY, WORLD

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

2,000 Bronze Statue Fragments Found in Ancient Scrap Yard

Archaeologists in Izmir, Turkey have made an extraordinary discovery in the ancient city of Metropolis: Approximately 2,000 bronze  statue fragments have been found in a section believed to have served as an “ancient scrap yard”.

The excavations are being carried out within the scope of the ‘Heritage to the Future Project’ of the Ministry of Culture and Tourism, under the direction of Prof. Serdar Aybek, Professor of Archaeology at Dokuz Eylül University, and in cooperation with the Sabancı Foundation.

Archaeologists have discovered evidence of many civilizations, from the earliest settlements in the Late Neolithic Age to the Classical Age, from the Hellenistic Age to the Roman, Byzantine, and Ottoman periods, in the ancient city of Metropolis, also called the “City of Mother Goddess,” where excavations have been going on since 1990.

In the ancient city, where many monumental structures were unearthed,  these fragments, uncovered in an area believed to have served as an “ancient scrap yard,” offer a unique glimpse into the cultural and religious shifts of the region during the Late Antiquity period.

Professor Serdar Aybek stated that the bronze statue fragments were found in a corner of a space referred to as an “ancient scrap yard,” where they had been broken apart for melting and stored in bulk.

Aybek explained that the findings include statue pieces from the Hellenistic period and figures from the Roman era, describing them as “extraordinary discoveries, even for our field of work. We have uncovered approximately 2,000 bronze statue fragments,” he said.

He highlighted the significance of the bronze statues being broken into pieces, noting, “The collection and recycling of statues in the Late Antiquity provide concrete evidence in Metropolis. Among the findings are parts such as heads, eyes, fingers, and sandals.”

Drawing attention to the dismantling of these statues, Aybek said, “In the Late Antiquity, as mythological beliefs were abandoned in favor of monotheistic religions and Christianity became dominant in the region, bronze statues from mythological and earlier eras were dismantled.

Although we do not yet have archaeological evidence to confirm this claim, we can suggest that a significant portion of them was repurposed for minting coins.

During that period, rather than producing new materials, bronze groups, mainly consisting of outdated or damaged statues, were broken apart by the ancient scrap yard worker and prepared for melting.”

The fragments might be from the statues built to honor the benefactors listed in the “Metropolitan Apollonios” inscription, according to Aybek, who also underlined the historical significance of bronze statues in antiquity.

What makes this discovery even more remarkable is the evidence of recycling practices that date back over a millennium.

In addition to the fragmented statues, archaeologists discovered square and rectangular bronze plates that were probably used for statue casting and repair. This implies that, at its height, Metropolis might have served as a center for the creation or repair of bronze statues.

EUROPE, POLAND, WORLD

Hidden Royal Trove of rulers of Poland and Lithuania discovered in the underground vaults of Vilnius Cathedral in Lithuania

Hidden Royal Trove of rulers of Poland and Lithuania discovered in the underground vaults of Vilnius Cathedral in Lithuania

Hidden Royal Trove of rulers of Poland and Lithuania discovered in the underground vaults of Vilnius Cathedral in Lithuania

A unique find was made in the dungeons of the Vilnius Cathedral: The royal funerals of the Polish and Lithuanian monarchs were discovered in the underground vaults of Vilnius Cathedral in Lithuania.

Found last month, the treasure includes crowns, scepters, orbs, and other regalia once intended for the tombs of 15th and 16th-century rulers.

A cache of Polish and Lithuanian royal treasures was buried in 1939, at the start of World War II. A scepter, crowns, medallions, rings, and plaques were hurriedly collected and placed in a crypt in the Vilnius Cathedral, where they would be concealed for almost nine decades.

Last December, researchers inspecting the cracks and cavities in the walls of the Lithuanian church’s vaults uncovered the handsome trove, bringing to light princely and historical artifacts that have survived centuries.

Presented to the public during a press conference earlier this week, the artifacts were described as “priceless treasures” by Archbishop Gintaras Grušas of the Vilnius Archdiocese.

“These burial insignia of the monarchs of Lithuania and Poland are magnificent works of goldsmithing and jewelry. They symbolize a long-standing tradition of Lithuanian statehood and Vilnius’s role as a cultural and political center,” Grušas said.

The royal jewelry discovered at the Vilnius Cathedral.

Vidmantas Bezaras, Director of Lithuania’s Department of Cultural Heritage (KPD), called the discovery “one of the greatest in the history of today’s heritage protection,” adding, “What generations of historians and heritage enthusiasts have dreamed of has now come true.

This discovery enriches our understanding of Lithuania’s history, strengthens our sense of statehood, and allows us to present this remarkable history to visitors from around the world.”

The treasures in the stash bear the insignia of rulers including Alexander Jagiellon, King of Poland from 1501–06; and Elizabeth of Habsburg and Barbara Radziwiłł, the first and second wives of Sigismund Augustus, who reigned as king from 1548–72. Both kings were key members of the Jagiellon dynasty, which ushered in Poland’s golden age in the 16th century.

A scepter discovered at the Vilnius Cathedral.

The crowns of the king, Elizabeth, and Barbara were among the hoard, as were a host of coffin plates and votive offerings, including rings, crosses, and bishops’ insignia.

According to the Vilnius Cathedral, the set of regalia was first discovered in its basement in 1931, when a flood revealed the burial chambers of the Grand Duke of Lithuania and King of Poland.  In September 1939, the jewelry was collected in a newspaper and placed in a niche in the staircase when war threatened the structure. Time forgot its precise location, but its existence was never forgotten.

A crown discovered at the Vilnius Cathedral.

While the regalia required a little more effort, the treasury was rediscovered in 1985. Using non-invasive techniques like georadar, thermal imaging, metal detectors, and the testimony of a witness who was there when the regalia was hidden, the Vilnius Archdiocese hired experts to look for the location, but they were unable to find it.

Unfortunately, funding was not secured for their 2023 plan to map the vaults in detail using a 3D scanner. Ultimately, an endoscopic camera was inserted through the walls’ pre-existing holes and cracks on December 16, 2024.

The long-lost royal funerary regalia was finally captured on camera after multiple unsuccessful attempts. In order to document, catalog, and relocate the items to a safe location, the wall was taken down and the items were taken out.