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Ancient Roman masterpieces emerge from a London demolition pit

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Ancient Roman masterpieces emerge from a London demolition pit

Museum of London Archaeology specialist Han Li lays out plaster fragments found in London from a Roman building that was demolished some time before A.D. 200.

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LONDON — A remarkable archaeological endeavor in the heart of the British capital has brought to light one of the most extensive collections of painted Roman wall plaster ever unearthed in the city.

Thousands of vibrant fragments, which once adorned a high-status Roman building, offer an unprecedented glimpse into the artistic sophistication and daily life of ancient Londinium, and their rearrangement is showcasing artworks that have remained hidden for over 1,800 years.

The discovery, made at “The Liberty” development site in the city’s Southwark neighborhood, builds upon previous significant finds in the area, including intricate mosaics and a rare Roman mausoleum.

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The sheer volume of the plaster fragments, however, was not immediately apparent to archaeologists.

The material was found discarded in a sizable pit, shattered as a consequence of Roman-era demolition activities that occurred before A.D. 200.

The painstaking process of reassembling these fragments has been a monumental undertaking, experts say, akin to solving an immense historical puzzle.

Leading this intricate reconstruction effort was the Museum of London Archaeology (MOLA) where Han Li, the senior building material specialist, spent three months meticulously laying out and piecing together the fragments.

The result is a stunning restoration that allows these ancient frescoes to be viewed in their original splendor for the first time in nearly two millennia.

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“This has been a ‘once in a lifetime’ moment, so I felt a mix of excitement and nervousness when I started to lay the plaster out,” Li said in a MOLA press release.

Sections of floral decoration are seen on the Liberty wall plaster. The recovered artworks depict bright yellow panel designs interspersed with black sections, exquisitely decorated with motifs of birds, fruit, flowers and lyres.

Sections of floral decoration are seen on the Liberty wall plaster. The recovered artworks depict bright yellow panel designs interspersed with black sections, exquisitely decorated with motifs of birds, fruit, flowers and lyres.

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“Many of the fragments were very delicate and pieces from different walls had been jumbled together when the building was demolished,” well before the Romans had abandoned Britain as their empire began to recede, he said. “The result was seeing wall paintings that even individuals of the late Roman period in London would not have seen.”

The recovered artworks depict bright yellow panel designs interspersed with black sections, exquisitely decorated with motifs of birds, fruit, flowers and lyres.

Such panel designs were a common feature in Roman wall decoration, according to MOLA, but the prevalence of yellow panels was unusual. Similar designs have been identified at only a handful of sites across Britain, including the opulent Fishbourne Roman Palace, about 60 miles to the southwest of this site.

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Beyond their aesthetic appeal, the fragments offer unique insights into Roman artistry and literacy. Among the more than 120 boxes of painted plaster, archaeologists uncovered what appears to be the first known example of a painter’s signature in Roman Britain.

Framed by a tabula ansata — a decorative tablet that’s typically used to sign artworks — an inscription includes the Latin word 'FECIT,' meaning "has made [this]."

Framed by a tabula ansata — a decorative tablet that’s typically used to sign artworks — an inscription includes the Latin word ‘FECIT,’ meaning “has made [this].”

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Framed by a tabula ansata — a decorative tablet that’s typically used to sign artworks — the inscription includes the Latin word ‘FECIT,’ meaning “has made [this].” But the section bearing the artist’s name is missing, leaving their identity a mystery.

Further intriguing details include ancient graffiti left by the building’s occupants or visitors. One fragment features a nearly complete ancient Greek alphabet, the only known instance of such an inscription from Roman Britain.

The precise scoring of the letters suggests a skilled hand, indicating it was not merely writing practice but possibly served a practical purpose, such as a checklist or reference. Another piece reveals the face of a weeping woman, depicted with a hairstyle characteristic of the Flavian period, which dated from A.D. 69-96.

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The artistic influences evident in these frescoes extend beyond Britain, drawing inspiration from wall decorations found in other parts of the Roman Empire, such as Xanten and Cologne in Germany, and Lyon in France. Some fragments even mimic high-status wall tiles, such as red Egyptian porphyry and African giallo antico marble, styles also seen in Londinium north of the River Thames, the southern English town of Colchester, and Pompeii in Italy.

London was originally founded as a city — Londinium — soon after the Roman invasion in A.D. 43, and has consistently yielded significant archaeological treasures. In recent years, numerous excavations have unearthed remnants of Roman roads, buildings and artifacts, continuously reshaping historians’ understanding of this ancient metropolis.

The sheer scale and detail of the Southwark plaster collection provide an unparalleled opportunity, according to MOLA, to study Roman domestic art and the lives of its inhabitants.

Research into each plaster piece is ongoing, with Han Li and his MOLA colleagues continuing to analyze the work of these ancient painters. Their efforts will involve comparing the Liberty wall paintings with other examples from Britain and the broader Roman world.

The findings will be published, and the fragments archived for future academic study, with plans for eventual public display, allowing contemporary audiences to witness these extraordinary artistic legacies from a bygone era.

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Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants

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Cheddar bay biscuits, cheap margs and memories: Readers share their nostalgia for chain restaurants

Affordable, familiar and reassuring are the features that make American chain restaurants a near-ubiquitous presence throughout the country; it is almost as if they are baked into our roadside culture.

Despite well-documented financial struggles, a tough economy and shifting diet trends, these restaurants withstand time.

This series explores why these places have such strong staying power and how they stay afloat at a time of rapid change.

Read our first three pieces in this series, including how these restaurants leverage nostalgia to attract diners, how they attempt to keep costs affordable, and how social media has changed the advertising game – and become a vital key to restaurants’ success. 

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America’s chain restaurants are not the most glamorous places to eat. And yet, as we’ve reported, they hold a special place in many Americans’ hearts.

We asked readers what comes to mind when they think of restaurants like Olive Garden, Applebee’s or Texas Roadhouse — and you shared plenty of stories.

Not all of the respondees waxed poetic about the merit of these restaurants. David Horton, 62, from New York, for example, said: “The food is mostly frozen and only has flavor from the incredible amounts of sodium they use.”

But overwhelmingly, responses described vivid childhood memories shared in booths looking excitedly over laminated menus and the type of adolescent rites of passage that seem right at home in the parking lot of a suburban chain restaurant.

There’s a science behind why these sorts of memories have such a hold on us.

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The feeling of nostalgia is linked closely to food and smell, and these restaurant chains are often where core memories – like graduation celebrations or first dates – are made.

Chelsea Reid is an associate professor at the College of Charleston who studies nostalgia. And she’s no more immune to nostalgic feelings than anyone else even though she has a better understanding of the chemistry behind the feeling.

“Even just saying Red Lobster, I can kind of picture the table and the things that we would do and the things we’d order, and my mom getting extra biscuits to take home,” she said.

A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.

A Red Lobster restaurant is seen in Fairview Heights, Ill., in 2005.

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Her nearest Red Lobster closed down, but a local farmers’ market sells a scone reminiscent of Red Lobster’s famed Cheddar Bay Biscuits – a scent she says immediately transports her back to those childhood family outings to the seafood chain.

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“I can see my mom wrapping these up in a napkin and putting them in her purse for when we would be like, ‘hey, we’re hungry,’ and she pulls out a purse biscuit.”

Full disclosure: Your intrepid reporters are not without sentimentality. Before launching this project, when it was just a kernel of an idea, we talked frequently about the role these restaurants played in our own lives.

Jaclyn: I distinctly remember cramming into a booth at my local Chili’s in my hometown, Cromwell, Ct., for most birthday dinners until the age of 13 or so.

I’d be surrounded by my mom, dad and brother, and I got to pick whatever I wanted. Except I always chose the same thing: Chicken crispers with a side of fries, topping the night off with the molten lava chocolate cake we’d share as a family.

I can picture it so clearly, down to the booth we’d sit in. Now, my family is spread out. But my love for Chili’s runs deep, and I still get warm and fuzzy when I think about it.

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These days, I’m in my 30s, and I need to worry about my health and getting in 10,000 steps a day. So, no, I don’t regularly go to Chili’s now.

But when I do? Those chicken crispers I had as a kid are still on the menu, and yes, I’m likely to order them today (even if on my adult tastebuds, the salt content quickly turns my mouth into the Sahara Desert).

And it’s not to celebrate my birthday. It’s because one of my best friends is telling me she’s getting a divorce over cheap, and sugary, margaritas.

Alana: When the pandemic struck in 2020 and much of the country went into lockdown, there I was mostly alone in my one bedroom apartment, staring at the walls.

After what seemed like a lifetime, I was finally able to expand my tiny COVID bubble.

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One of my first “dining out” experiences during that time was in the parking lot of the Hyattsville, Md., Olive Garden where my friend and I sat in absolute glee to be reunited – not just with one another, but also the chain’s staple soup (zuppa toscana for me, please), salad and breadsticks (you can have all the breadsticks if I can have your share of the salad tomatoes).

Since then, that friend and many others have moved away – too far to meet up for a sit-down over a (mostly) hot meal at a reasonably priced restaurant in a city not famed for being cheap.

I recently revisited the Hyattsville Olive Garden for this story. And even though my life is now different, my friends have moved away, and the world has shifted, there it was, exactly the same.

And I liked it.

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Many readers said that these restaurants were the type of place a family who could rarely afford to eat outside a home could treat themselves on rare occasions.

Like Julie Philip, 51, from Dunlap, Ill., who wrote: “Growing up in the 70’s and 80’s, Red Lobster was an Easter tradition. We would dress up, go to church, then drive close to an hour to Red Lobster.”

She continued, “It was one of only a few days a year that we could afford to eat at a ‘fancy restaurant.’ I remember my parents remarking that they had to spend $35 for our family of four. I no longer consider Red Lobster a ‘fancy restaurant,’ but as an adult, my family and I often still eat there at Easter. I remind my kids that we are keeping up a family tradition and I tell them stories of my childhood while eating.”

The original Applebee's restaurant was called T.J. Applebee's Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.

The original Applebee’s restaurant was called T.J. Applebee’s Rx for Edibles & Elixirs and it opened in Decatur, Ga., in 1980.

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For Sarah Duggan, an Applebee’s parking lot evokes a key memory from young adulthood.

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Duggan, 32, from North Tonawanda, N.Y., wrote that every time she sees an Applebee’s, she remembers the time her friend, in an act of teenage rebellion, got her belly button pierced in the parking lot of a Long Island Applebee’s — inside the trunk of the piercer’s “salvage-title PT Cruiser.”

Duggan held the flashlight.

She wrote, “I can’t picture those sorts of college kid shenanigans happening in the parking lot of a regular Long Island diner or other independent restaurant, but it seems right that it was at Applebee’s.”

She continued, “It makes me think about how nobody, from riotous camp counselors to your spouse’s grandparents, looks or feels out of place at a chain restaurant.”

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New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding

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New Video Shows Plane Carrying NASCAR’s Greg Biffle Exploding

NASCAR’s Gregg Biffle
Jet Turns Into Ball Of Flames …
Shocking Video Shows

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President Trump to add his own name to the Kennedy Center

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President Trump to add his own name to the Kennedy Center

President Donald Trump stands in the presidential box as he visits the John F. Kennedy Center for the Performing Arts in Washington, D.C, on March 17, 2025.

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Jim Watson/AFP via Getty Images

The John F. Kennedy Center for the Performing Arts will now have a new name — the “Trump-Kennedy Center.” White House press secretary Karoline Leavitt announced the news on social media Thursday, saying that the board of the center voted unanimously for the change, “Because of the unbelievable work President Trump has done over the last year in saving the building.”

Shortly after the announcement, Ohio Democrat Rep. Joyce Beatty, an ex-officio member of the board, refuted the claim that it was a unanimous vote. “Each time I tried to speak, I was muted,” she said in a video posted to social media. “Participants were not allowed to voice their concern.”

When asked about the call, Roma Daravi, vice president of public relations at the Kennedy Center, sent a statement reiterating the vote was unanimous: “The new Trump Kennedy Center reflects the unequivocal bipartisan support for America’s cultural center for generations to come.”

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Other Democrats in Congress who are ex-officio members of the Kennedy Center Board, including Sen. Chuck Schumer and Rep. Hakeem Jeffries issued a statement stating that the president is renaming the institution “without legal authority.”

“Federal law established the Center as a memorial to President Kennedy and prohibits changing its name without Congressional action,” the statement reads.

Earlier this year, Trump installed himself as the chairman of the center, firing former president Deborah Rutter and ousting the previous board chair David Rubenstein, along with board members appointed by President Biden. He then appointed a new board, including second lady Usha Vance, White House Chief of Staff Susie Wiles, Fox News host Laura Ingraham and more.

Trump hinted at the name change earlier this month, when he took questions before becoming the first president to host the Kennedy Center Honors. He deferred to the board when asked directly about changing the name but said “we are saving the Kennedy Center.”

The president was mostly hands off with the Kennedy Center during his first term, as most presidents have been. But he’s taking a special interest in it in his second term, touring the center and promising to weed out programming he doesn’t approve of. His “One Big Beautiful Bill” included $257 million for the building’s repairs and maintenance.

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Originally, it was called The National Cultural Center. In 1964, two months after President Kennedy was assassinated, President Lyndon Johnson signed legislation authorizing funds to build what would become the John F. Kennedy Center for the Performing Arts.

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