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Below is a short video about a portion of the Roman London wall preserved in a London car park at Coleman Street. Discovered in the 1950s, the wall dates to around AD190-225. It is probably part of the plans to build fortifications by Septimius Severus. This is the only section standing of the northern side of the London Wall surviving today. https://www.exploringgb.co.uk/blog/roman-wall-london-underground-car-park

The video below has corrected some of my misconceptions about Mithraism. 1. Roman Mithraism is quite distinct from and doesn't really connect to Eastern or Persian traditions, including the Iranian god Mitra (Mithra). 2. The cult probably began in Rome during the late first century AD and quickly gained popularity among soldiers stationed at the frontiers. 3. Mithraism mostly attracted members from the middle and lower social classes instead of the Roman elite. Roman Mithras and the Indo-Iranian Mitra differ in their beliefs and practices, reflecting their distinct cultural contexts. In Iran, Miθra was seen as a protector of oaths and the cosmic order, embodying stability and justice. In Roman Mithraism, he assumed a more mysterious role as a guardian of the soul, thereby adding a spiritual dimension. Features such as initiation stages, cave shrines, and the tauroctony are characteristic of Roman Mithraism but are absent from Iranian worship, highlighting their cultural distinctions. The earliest clear archaeological evidence of Mithraism appears in Rome around the late first century AD, particularly in Rome itself, eastern Gaul, Britain, and military regions along the Rhine and Danube. Notably, mentions in the eastern provinces are rare, suggesting the movement was less popular there. The Roman cult of Mithras was often called “Eastern” because people believed its foreign roots gave it a touch of prestige and mysterious wisdom. Linking Mithras to Persia added an exotic and intriguing appeal, even though it actually developed in Rome. The “Eastern” label mostly reflected Roman perceptions of foreign religious knowledge rather than any genuine historical ties. Mithraism mainly attracted soldiers, freedmen, craftsmen, laborers, and slaves. While it wasn't as popular among the aristocracy, it often thrived on military sites, in workshops, and in local neighborhoods. This shows how deeply woven into daily Roman life Mithraism was, bearing more resemblance to other Roman mystery cults than to the aristocratic or priestly Persian traditions. Sites of worship of Mithras: Some previous posts about Mithraism:

My wife enjoys the TV series The Pitt. It’s about events in a trauma center in Pittsburgh.

Research is continuing at Roman Magna Fort at Hadrian’s Wall. A terracotta head, a suspected goddess, has been found at the site (pictured above and below). https://www.bbc.com/news/articles/c62w2g7dwpeo This is one of the many finds discovered at the site (see post below).

There have been (possibly an excessive number of) earlier posts about the enigmatic ancient dodecahedron (see below). Roman dodecahedra have puzzled archaeologists since 1739, when the first 12-sided bronze artifact was found in the English Midlands. Over nearly three hundred years, both experts and enthusiasts have proposed numerous theories about why these objects were valued, but their true purpose remains unconfirmed. One perplexing issue is that dodecahedra were found outside the Italian peninsula, mostly in Celtic regions of the Empire. The video below argues that these dodecahedra were of Celtic origin rather than Roman origin. There have been at least 116 dodecahedra found in the Roman Empire: Austria, Belgium, France, Germany, Hungary, Luxembourg, the Netherlands, Switzerland, and the United Kingdom. None has been in the Roman heartland in Italy. They are always found north of the Alps. Bronze dodecahedra are primarily found in Celtic regions rather than in Italy, suggesting they were probably not created by the Romans. Supporters note that about 120 examples have been uncovered in areas historically inhabited by Celtic peoples, and none have been found in Italy, even though they are called “Roman.” Supporters argue that this geographic pattern indicates a local Celtic tradition instead of a Roman import. They also highlight that the objects’ consistent geometric design—comprising twelve pentagonal faces with knobs—displays variations in decorative details. Some interpret this as evidence of regional Celtic artistic styles rather than standardized Roman manufacturing. A related argument highlights the lack of Roman documentation. No Roman texts, inscriptions, or depictions clarify their purpose, which is unusual for Roman tools or ritual items. This absence of evidence suggests that Romans may not have been the original creators but possibly encountered, adopted, or coexisted with an artifact of Celtic origin. Modern proponents, including independent researchers, frame the Celtic-origin hypothesis as more consistent with the archaeological context, suggesting that the objects may have served ritual, astronomical, or measurement functions within Celtic societies. At 13:20 in the video below, a medieval manuscript is mentioned that might contain information about the dodecahedra.

Here is a video on some interesting facts about the series “Rome.”

It’s been a while since there has been a post about Hannibal’s elephants, which he brought over the Alps to terrorize Roman troops in 218 BCE. (See post below) Researchers have found ancient bones in Córdoba, Spain, that belonged to an African elephant, the type of elephant used by Hannibal and the Carthaginians (pictured below). The African elephant was not native to Spain. Hannibal used African elephants, in contrast to the larger Asian elephant used by Pyrrhus and later by the Seleucids, against Rome. These findings suggest that the elephant may have been: A Carthaginian war elephant stationed in Iberia before Hannibal’s march. A gift or trade animal from North Africa. A local elephant (unlikely, since native elephants were extinct by then). A symbolic or ritual animal used in elite ceremonies. The researchers also found spherical stones thought to be used for Carthaginian catapults (picture below) https://www.livescience.com/archaeology/romans/landmark-elephant-bone-finding-in-spain-may-be-from-time-of-hannibals-war-against-rome https://www.sciencedirect.com/science/article/abs/pii/S2352409X2600012X?via%3Dihub A good video about Hannibal’s drunk elephants:

A medieval ring has been found in Britain that features an ancient Roman intaglio as its centerpiece. The ring dates from 1200 to 1400 AD, while the Roman intaglio inset dates from the Augustan period of the Roman Empire. Key Points A metal detectorist found a 1-inch silver pendant dating from 1200–1400 CE in Essex, England. The pendant features a mirrored Latin inscription “SECRETVM.RICARDI” (“Richard’s secret/secret seal”) engraved to create wax impressions. Its centerpiece is a red Roman intaglio depicting a racing chariot. The intaglio in the Essex pendant dates to the late 1st century BCE or early 1st century CE. This comes from stylistic comparison with other Roman biga (two‑horse chariot) intaglios, which places it firmly in the early Roman Imperial period. Such reused gemstones are rare but known: medieval people sometimes incorporated ancient gems found while farming. The object illustrates Roman influence on medieval Britain, centuries after Rome's departure in 410 CE. The authorities in the U.K. have officially designated the pendant as a treasure, and the Braintree Museum is eager to acquire it, so the public can enjoy viewing it on display. https://www.popsci.com/science/medieval-pendant-roman-secret/ Medieval seal with Roman chariot intaglio found in Essex – The History Blog Rare medieval seal from the UK bears 'Richard’s Secret' inscription and Roman-era gemstone | Archaeology News Online Magazine Below is a previous post about the intaglios found in Roman Britain

Thank you for the wonderful video. Ancient Rome had its spectacular buildings and monuments. My only criticism of these reproductions is that they usually fail to capture the vibrant colors of the facades, whether in painting or in colorized marble. As I wrote previously, Ancient Rome was a city of bright colors and gaudy facades, more akin to modern-day Las Vegas than the sterile white-marble city Hollywood depicts. Here is a recent recreation of the Arch of Titus in Rome and its suspected vibrant colors. Here is a previous post about Rome’s potential use of colorized marble, creating vibrant, colorful marble structures.

Professor Gregory Aldrete provides an excellent video on life in the city of Ancient Rome. He examines the "five major hazards that characterized life in ancient Rome: floods, fires, famines, filth, and fevers." He nicely summarizes the grim realities faced daily by the typical Roman resident. According to a grisly (and perhaps exaggerated) statistic from the professor, it is estimated that 1500 corpses were abandoned in the streets of Rome each year, left to rot or to be scavenged by animals. (The above scenes were taken from the HBO series “Rome.”)

The short video above suggests that the peak of Ancient Rome’s urban architecture was around AD 320, a time when its design and structure were at their best. (Interestingly, the most innovative phase was actually in the 1st and 2nd centuries AD.) I wondered why AD 320 is seen as the height of Rome’s structural achievement. Historians and archaeologists often point to this period because: Nearly every major imperial-era monument still stood and was maintained. The Colosseum, Pantheon, imperial fora, baths, temples, basilicas, and aqueducts — all intact. Constantine’s building boom added new monumental structures rather than replacing the old ones. His basilicas and triumphal arches were layered over an already dense architectural landscape. Urban infrastructure like aqueducts, sewers, roads, and public spaces remained operational and maintained. No major sack or catastrophic depopulation had yet occurred. The Visigothic sack of 410 (only 90 years after this peak) and subsequent declines were still ahead. Note: In AD 320, Pagan temples remained officially open, and Christianization had not yet resulted in their closure. Rome’s architectural landscape in AD 320 includes the Colosseum, Pantheon, Roman Forum and Imperial Fora, Circus Maximus, major temples, prominent baths such as Caracalla and Diocletian, aqueducts, roads, bridges, and early Christian basilicas such as Lateran and St. Peter’s. In AD 320 Constantine was co-emperor along with Licinius. (Licinius governed the Balkans and Eastern provinces, while Constantine ruled the West.) At that time, Christianity was tolerated but not yet the official state religion. Paganism still dominated state ceremonies, priesthoods, festivals and public identity in AD 320. Christianity was growing rapidly (especially in the West) but had no exclusive status. (The Empire would not adopt Christianity as its official religion until AD 380 under Theodosius I. Following AD 320, Constantinople rapidly emerged as the actual hub of the empire's power, wealth, and growth, whereas Rome transformed into a symbolic, historic, and religious capital rather than a political center.

Two tombs dating to the Roman Republic have been discovered in Rome's Parco delle Acacie. One tomb contained a stone sarcophagus and three cremation urns, while the other held the remains of a man’s skeleton. The tombs were discovered in a cemetery located near a shrine dedicated to the deified Hercules. Hercules served as a guardian figure, protecting the deceased from hostile forces. He safeguarded their journey into the underworld and watched over their graves. https://www.livescience.com/archaeology/romans/2-400-year-old-hercules-shrine-and-elite-tombs-discovered-in-romes-suburbs https://archaeology.org/news/2026/01/23/2400-year-old-tombs-and-possible-shrine-uncovered-in-rome/

In Essex, Britain, in 2024 a copper-alloy ornament of a panther resting its paws on a severed head was discovered. It dates from AD43-200. Originally yellow-orange, the ornament is thought to be part of a pair of decorative items on a carriage. https://www.bbc.com/news/articles/c17zp8pl0pjo

(Scene of Brutus feasting with Cato and Pompey while besieging Caesar from the HBO series “Rome.”) The above video made me wonder: How did Romans preserve food for storage and long journeys? Here are a few ways: 🏺 Core Preservation Methods Salting: One of the most widespread preservation methods, salting drew moisture from meat and fish, slowing bacterial growth. Romans relied heavily on this technique for pork, fish, and even certain vegetables. Smoking: Meat and fish were suspended over low, smoldering fires. The smoke dehydrated the food while infusing it with antimicrobial compounds and distinctive flavors. Pickling: Many foods were preserved by submerging them in brine, vinegar, or a combination of both. This method worked especially well for vegetables, fruits, and some meats. Drying: Fruits, meats, and grains were commonly dried in the sun or wind. The warm, dry Mediterranean climate made dehydration a particularly effective and accessible technique. Storing in oil or honey: Items such as fruits, cheeses, and even prepared dishes could be submerged in olive oil or honey to limit air exposure and slow spoilage. Fermentation: Certain foods, most famously garum (a fermented fish sauce), were preserved through controlled decomposition aided by salt. This process created long-lasting, nutrient-rich condiments. Cool storage: Wealthier Romans sometimes used deep cellars, snow pits, or imported ice to keep food cool. While effective, this method was limited to those with the resources to maintain such facilities. 🍇 Why These Methods Worked Roman preservation techniques focused on controlling moisture, acidity, salt concentration, and exposure to air—the same scientific principles that underpin modern food preservation. These methods were essential for sustaining large urban populations and provisioning armies, enabling food to travel long distances and remain edible across changing seasons. A previous post on Roman cool storage: Here is a longer video on Roman food preservation:

Here’s a good description on the find. (Be sure to set the translation to English.)

Here’s a more in-depth article on the discovery. The article also discusses the concept of “predictive archaeology.” https://www.zmescience.com/science/archaeology/basilica-in-italy-is-first-confirmed-building-by-vitruvius-the-father-of-architecture-experts-call-it-the-discovery-of-the-century/

The Basilica of Vitruvius has been discovered in Fano, Italy. Vitruvius was the great Roman architect of the first century BCE. The basis for the claim is Vitruvius himself, who described this specific building in De Architectura, the only structure he attributes to himself. https://arkeonews.net/archaeologists-confirm-fano-discovery-as-vitruvius-legendary-basilica-a-turning-point-for-classical-architecture/ Archaeologists state that the uncovered ruins correspond to the proportions, layout, and architectural features Vitruvius described for the basilica. These features include a rectangular public building, along with consistent dimensions and structural elements. Here is Vitruvius’ description of the structure: https://share.google/JZKoQhGBTuwm3QfVw

A medieval manuscript dating to about 500 years ago shows ink paw prints left by a cat that walked across the pages while the ink was still fresh. The discovery was reported in a Croatian library, where scholars observed the smudged prints in a handwritten manuscript. It's a reminder that daily life — including cats' mischievous behavior — has remained largely unchanged over the centuries. A Cat Left Paw Prints on the Pages of This Medieval Manuscript When the Ink Was Drying 500 Years Ago

Here is the academic article on the research. (Pictured below are the carbonate samples from the Republic baths in Pompeii.) https://press.uni-mainz.de/hygienic-conditions-in-pompeiis-early-baths-were-poor/

A recent study involved the mineral deposits found in the communal baths of Pompeii, buried under the lava of the eruption of Mount Vesuvius in AD 79. Results indicate that the water in the communal areas was probably not changed regularly. Although not surprising, this reminds us that ancient standards for hygiene were different than modern day. Researchers examined mineral deposits in the city’s communal baths to understand how the water systems functioned prior to the AD 79 eruption. 🧪 What the study suggests Mineral deposits in the pipes and basins indicate gradual accumulation over time, not regular flushing. Chemical signatures of the deposits suggest that fresh water was not regularly circulated through the communal pools. Bathing areas likely reused water for extended periods, particularly in the warm rooms where evaporation increased mineral concentration. It seems that maintenance practices are a bit more relaxed than we first thought, suggesting a more lackadaisical approach to hygiene. https://www.euronews.com/culture/2026/01/15/lava-up-new-mineral-study-reveals-buried-dirt-about-bath-time-in-ancient-pompeii

Extensive archaeological research has been underway in Colchester (see previous posts below). Recently, a pair of conjoined rings, possibly for a child, has been discovered. The rings are dated from the 1st and 3rd centuries AD. Colchester was the site of the Roman city of Camulodunum. Also discovered were 98 pieces of marble imported from Greece, Egypt, and Turkey (pictured below). This brings the total to 2,000 pieces of marble discovered in an earlier dig in the 1950s. https://www.bbc.com/news/articles/cn0yq8kwv4do.amp Here's a previous post about the use of colored marble in the Roman Empire:

Recent archaeological finds in Wales support the belief that the Roman presence in Rome was more extensive than previously believed. (See previous posts below.) The latest finds suggest an extensive villa in Western Wales at Port Talbot. Ground-penetrating scanning devices have located the villa less than a meter below the surface of Margam County Park. It is well preserved and may yield interesting finds in the future. https://www.bbc.com/news/articles/cgk8j1gkxelo.amp https://www.ancient-origins.net/news-history-archaeology/roman-villa-wales-00102444# https://share.google/43MF6529rX3sajiwo

The “House of the Griffins” is an aristocratic home on the Palantine Hill, dating from the first and second century BCE during the Roman Republican era. Due to the fragile frescoes and narrow access, the public will be able to visit only by tours led by guides using head-mounted smartphones. It is hoped that this method will allow access to while minimizing humidity and CO2, preserving the delicate art. The house is well known for its frescoes and mosaics, including the griffin (lion/eagle) imagery. https://www.timeslive.co.za/news/world/2026-01-13-ancient-roman-home-opens-to-public-with-remote-guided-tours/

A bone potter’s stylus from the 5th century BCE has been discovered in Sicily. The stylus features a Dionysian head and a prominent phallus. A potter’s stylus is a precision tool used on clay to create lines, marks, textures, and inscriptions. This is a potter’s stylus rather than a writing stylus for several reasons. The bone material, opposed to the metal of a writing stylus, along with the wear patterns and archaeological context, all suggest a potter’s stylus. Below is a picture of a woman with a writing stylus. A fascinating 5th-century BCE bone stylus was discovered in Gela, Sicily. It features a distinctive Dionysian head and provocative phallic imagery, carved directly onto what archaeologists identify as a potter’s stylus—an essential tool for shaping and decorating clay vessels. This rare find stands out as unique in Greek archaeology, with no similar examples known to date. The stylus was unearthed during excavations in the Orto Fontanelle area, a place rich in evidence of ancient workshops. Its craftsmanship, imagery, and signs of use suggest it belonged to a talented artisan who may have used it for both everyday tasks and symbolic purposes. 🧱 Why This Is a Potter’s Stylus (Not a Writing Stylus) Archaeologists identify the tool as a potter’s stylus based on several technical and contextual clues: It features two distinct ends, ideal for shaping, incising, smoothing, or adding fine details to clay. Writing styluses, like those used on wax tablets, typically have a sharp point for writing and a flat, spatula-like end for erasing. Interestingly, this artifact doesn't quite match the typical design of a writing stylus. This tool, measuring 13.2 cm, stands out as both longer and more durable than most Greek writing styli, which were typically made for small handheld tablets. These sturdy bone tools are often found in pottery workshops, underscoring how their strength and leverage supported artisans. Microscopic analysis reveals abrasions consistent with clay work rather than the fine scratches seen in wax writing. The rounded, smooth wear at the ends of the tool indicates it was used repeatedly on soft clay, making it a significant piece of archaeological evidence. The stylus was discovered in an area associated with craft production, rather than in a typical home or administrative space where writing tools are usually found. Nearby, there are also pottery fragments and remnants of workshop activity, further contextualizing the find. 5. Decorative Iconography Writing styluses were often simple and practical tools. However, potters’ tools occasionally featured personal or protective symbols, especially in workshops where artisans sought divine blessing. The Dionysian head and phallic symbols reflect Dionysian themes of creativity, fertility, and transformation, which are fitting within a craft setting. 🧰 What Is a Potter’s Stylus? A potter’s stylus is a handy little tool that ancient ceramic artists used to create beautiful works of art. They used it to gently carve lines into soft clay, add delicate details to vessels or figurines, smooth rough edges, and decorate with lovely patterns before firing. These charming tools were usually made of bone, wood, or metal and often had multiple ends for different functions. 🍇 Symbolism and Meaning The stylus features an intricately carved head, probably depicting Dionysus, with a prominent phallus along its shaft. In Greek culture, Dionysus symbolized fertility, creative inspiration, transformation, and protection. Phallic imagery was commonly used to ward off bad luck and invite abundance. On a potter’s tool, the artisan might have regarded the stylus not just as a practical tool but also as a meaningful ritual talisman, adding a special touch of significance to their work. 🏛️ Why This Find Matters This discovery reveals how Greek artisans imbued their tools with profound religious and symbolic meanings, offering rare insight into the lively ritual activities in workshops in Classical Sicily. Notably, this is the only known instance of a potter’s stylus decorated with both erotic and divine symbols. https://www.livescience.com/archaeology/dionysus-and-his-erect-penis-depicted-on-2-500-year-old-bone-stylus-found-in-sicily https://arkeonews.net/erotic-symbolism-on-a-potters-tool-rare-5th-century-bc-bone-stylus-found-in-sicily/

A healing sanctuary has been discovered in Tenea, Greece. Pictured above are clay body parts, probable votive offerings to the gods. (Votive offerings are objects that people dedicate to a deity or sacred place as part of a prayer, request, or expression of thanks.) Tenea claimed descent from Trojan prisoners captured by Agamemnon, leading to their worship of Apollo, who favored the Trojans. Similarly, the Romans believed they they were descended from Trojan refugees including Aeneas. The complex was probably used for centuries as depicted in the coin findings. These coins range from a stater from Corinth (550-510 BCE) to more recent coins from Gordian III (AD 238-244) and Constantine (AD 306-337). The coins ranging from the 6th century BCE Corinthian stater to the Constantine bronze shows nearly a millennium of activity at the site. The healing sanctuary is thought to have been used until the early third century AD when it was converted into a large cemetery used until the fifth century AD. Earlier excavations at the site had discovered a gold ring inlaid with semiprecious stone carved with an image of Apollo and two serpents. The serpents are associated with Asclepius, Apollo’s son, representing the healing aspect of the medical arts. No dedicatory inscriptions have been found, but the serpent imagery and the Apollo ring make an Apollo-Asclepius cult possible. https://share.google/hYZDU8z7qFpj9t4ql https://www.athens24.com/news/results-of-the-ancient-tenea-research-at-chiliomodi-corinthia-new-findings-on-a-building-linked-to-mystery-healing-rituals.html https://archaeology.org/news/2025/03/18/monumental-tomb-uncovered-in-fabled-greek-city/