Today we have another contribution from Time Travels Magazine in which Ben Churcher writes about the remains that can be found of the Persian wars in Greece today.
View of the Acropolis, Athens.
The road from the Plain of Marathon to downtown Athens is, as we all know, around 40 km due to the length of the modern marathon that supposedly commemorates a run undertaken in 490 BCE to announce to the Athenians that they had defeated the Persians. First, to put one thing straight, the runner was not, as the eminent scholar tells me, made by a Greek soldier Pheidippides. Pheidippides was not a soldier but a professional long-distance runner who, a few days before the Battle of Marathon, made a run from Athens to Sparta where he reached Sparta the day after he left Athens. Secondly, common belief has it that when the runner reached Athens to announce the victory that he collapsed and died after delivering his message. Again this is wrong.
Just a short walk from the Pantheon in Rome, in Piazza di Pietra, are the majestic remains of the Temple of the deified Hadrian (Hadrianeum) built by Antoninus Pius, Hadrian’s adopted son and successor. Of the original temple, only eleven columns with capitals and the cella wall are still visible today.
Temple of Deified Hadrian (Hadrianeum), Campus Martius, Rome © Carole Raddato
In 1696, during the pontificate of Pope Innocent XII, the surviving part of the temple was incorporated into a large building designed by Carlo Fontana to house the central Customs Office. In 1879-82 the building was modified and its baroque decoration was replaced by a simpler one; in 1928 the wall of the cella was freed from later additions. Today the building houses the Borsa Valori di Roma, Rome’s stock exchange. Read more…
Osama Shukir Mohammed Amin sets out on a detective journey to discover the mysterious history of Iddi-Sin’s stela in Iraqi Kurdistan. Going back into this region’s troubled past, he disentangles a family dispute and discovers what really happened to this exquisite artefact.
I posted a picture on my personal Facebook page of what is commonly called “the rock of the Martyr Ghareeb Haladiny” (Kurdish: به ردي شه هيد غه ريب هه له ديني; Arabic: صخرة الشهيد غريب هلديني), which depicts a limestone stela of Iddi(n)-sin, king of Simurrum. Shortly after, one of my friends phoned me. He was very upset. He said that the “title” of the rock with respect to Martyr Ghareeb is wrong and that the rock was found by local people of the village of Qarachatan, and that Martyr Ghareeb had nothing to do with the rock. “They have altered the stela’s history and ignored the role of people of the village of Qarachatan, who found and protected this rock for 15 years,” he said.
Interviewing Mr. Nejem-Alddin Ahmad (who stands between the stela and Mr. Hashim Hama Abdullah, the director of the Sulaymaniyah Museum.
A few days later, I met with Mr. Hashim Hama Abdullah, the director of the Sulaymaniyah Museum (Sulaymaniyah Governorate of Iraqi Kurdistan), where the stela is currently housed and displayed to the public. I told him what my friend said. He replied: “Yes the matter is complicated and the rock has passed through very turbulent times. It is a long subject that we have not uncovered its root till this moment. Many rings of its chain are still lost. Some people from Qarachatan village claimed that they did find and store the stela.”
The right edge of the stela. The edge has been broken and a large fragment has been lost. This has resulted in a large lacune; the cuneiform signs at the beginning of the lines have been lost. March 30, 2015.
“OK, let’s uncover the truth,” I suggested. “Let’s go there and meet the people who have any information about the stela.” Mr. Hashim replied positively and phoned Mr. Nejem-Alddin Ahmad, one of the Museum’s employees. Mr. Nejem-Alddin still lives in Qarachatan village and is the guard of the rock-relief of Rabana (mountain Rabana looks over the village and the relief lies on the cliff of that mountain, about 3-4 Km far from the village).
The New Acropolis Museum in Athens opened its doors to the public on June 20th 2009. Since then, millions of visitors have flocked to its airy halls. It was decided that a new museum was needed to replace the old nineteenth-century museum building (situated on the Acropolis) in order to house the ever increasing amount of archaeological material and to act as a fit and proper house for the marble sculptures of the Parthenon. We are so used to seeing old artefacts housed in old buildings, drowned in artificial light, but this museum, with its vast glass walls and lofty atmosphere, brings a true feeling of vitality to what it holds. It is because of this that the New Acropolis Museum is easily in my ‘Top 5 Museums’ list; how could it not be when the museum building itself is part of the attraction?
The Museum Entrance at Night-Time.
One of the things that strikes me on each visit to this museum is just how much you can see in every single direction. On the first floor, you can look down and see the ruins of the archaeological site upon which the museum was built. If you look to your sides you will see ceiling-high displays of some of the finest Greek pottery. “Mind your back!” You nearly walked straight into a votive dedication to Asclepius, which thanks the god for healing an ancient Athenian’s ear, foot, and eye ailments (with the affected parts carved into the marble). In stooping down to look at some low-level displays you stand up and find yourself at the feet two Nikai statues, and if you look up, you see the ‘Bluebeard pediment’ looming where the first floor ramp meets the second floor. If you are looking for ancient Greek art and artefacts, you have certainly come to the right place! The entire first floor of the museum is this long gradual ramp, and it displays artefacts that were found on the slopes of the Acropolis (video displays, a shop and a cloakroom fill the rest of the floor). Read more…
I visited one of my relatives who resides at Lake Darbandikhan. It was a holiday. I was chatting with him about the relief of “Horen Shekhan” (Kurdish: هۆرێن و شێخان; Arabic هورين- شيخان) at Darband-i-Belula (Belula Pass). I told him that at the main hall of the Sulaymaniyah Museum, there is a large wall poster of a rock relief; the poster’s caption says that this is the “Relief of Belula Pass.” Where is this rock-relief of Belula Pass is located? He did not know the answer, but his son-in-law said that there is an ancient structure on a mountain at Darband-i-Belula (Kurdish: ده ربندي بيلوله) . “There is a sign on the road, I read it, which says that this the Akkadian relief of Belula Pass, but I have not seen that thing because it lies high up in the mountain,” he added.
Fantastic! I said: “Can you take me there, please, at least I can start from there?” He agreed. This archaeological trip was entirely unplanned but I always take my Nikon gear with me wherever I go!
Finally, we have found it! One my friends climbed up, in a very risky situation to sit down before the relief. Note the location of the relief and the very small space in front of it.
When I was planning my archaeological trip to Sardinia I discovered, thanks to vici.org (an Archaeological Atlas of Antiquity I have mentioned here before), that there were many Roman bridges still standing all across the country. Some are left abandoned and almost completely covered with vegetation but others are perfectly preserved. Ancient Roman bridges are an exceptional feat of Roman construction and, as I said before, I hold a certain fascination for these impressive ancient structures. I previously wrote about the Roman bridges I saw in Portugal here and in Southern France here.
Roman bridge Ozieri, dating to the 2nd century AD and restored in the 3rd4th century AD. It has six arcades for a total length of 87.50 metres (287 ft), Sardinia Carole Raddato CC BY-SA
When the Romans began their conquest of Sardinia in 238 BC, there was already a road network built by the Punic who had inhabited the island since around 550 BC. However the Punic road network was only linking the coastal towns, leaving out the interior of the island completely. The Romans built four major roads (viae principales): two along the coasts and two inland, all with north-south direction. The road network, initially built for military reasons, was then maintained and restored continuously for economic reasons.
Maya architecture has three regional styles. Jim O’Kon, a specialist in Maya engineering, and technology encounters a range of exotic animals in deepest rainforest while finding the style of the Ruta Rio Bec.
Driving across Mexico’s Yucatan Peninsula and traversing the Maya cities on the Ruta Rio Bec is a voyage brimming with ancient history blended into the experience of traversing a jewel of a rainforest. The magnificent Maya ruins constructed in the Rio Bec regional style are situated in the midst of a Biosphere Reserve that is home to exotic species of fauna including monkeys, jaguars, crocodiles, toucans, macaws, parrots, wild boars, tapirs and dangerous snakes.
The jungle route affords the traveller the opportunity to view an incredible array of towering rainforest trees, a variety of exotic carnivorous plants, orchids of different species and myriads of insects. As you traverse the Maya sites it seems as though you are alone in the jungle and entering a state of suspended time. On the Ruta Rio Bec you will find yourself in mysterious places, zones of lost time and an enigma of otherworldly design.
Hormiguero Structure. Photo © Jim O’Kon.