The Riace Bronzes: Warriors Rescued From the Sea

On 21 and August 22, 1972 near the Ionian coast of Marina di Riace, the police and the men of the Archaeological Superintendence of Reggio Calabria made a spectacular recovery of two large bronze statues, buried for centuries under the sand of the sea bottom: from then on they were known as the Riace bronzes. The statues had been sighted six days before by Stefano Mariottini, a Roman chemist doing underwater fishing.

It was the first great mass phenomenon related to underwater archeology: ancient beauty seems to have an almost immediate impact in our time. The need for beauty is still connected to Greek culture, Greek beauty is still the most understandable; it was founded on nature with a strong intellectual foundation, the artists were also men expert in geometry and theoretical calculation.

The soil inside the statues was analyzed and it became clear that the so-called Bronze A - the younger one with the "nasty" air, teeth coated in silver, a peremptory look, a position turning to his right - had been cast in the city of Argos,The other statue, Bronze B (the older one) would instead be Amphiaraus, a warrior prophet who foresaw his own death beneath the walls of Thebes. Both in fact participated in the legendary expedition of the city of Argos against Thebes, which had a disastrous ending.

The bronzes have considerable muscle elasticity being in a position defined as "chiasmus" (from the Greek letter "chi"). More specifically, bronze A (the Young man) appears more nervous and vital, while bronze B (the Old man) seems more relaxed. The statues convey a remarkable sense of power, mainly due to the arms being strongly distanced from the body. The bent arm was certainly holding a shield, the other hand a weapon. Bronze B's head is oddly shaped and appears small because it allowed the placement of a Corinthian helmet. The right arm and the left arm of the B underwent a second welding, probably for a restoration in antiquity.

The study of the materials and casting technique reveals a certain difference between the two statues, which might be attributed to different artists or, if made by the same artist, to distinct periods or different places.

The first civilization capable of realism had used exaggeration to go further, and it's that instinct which still dominates our world today. The ancient Greeks cared about physical perfection, and so did Michael Angelo: he too created unrealistic bodies that were more than human, what artists chose to exaggerate was to express more than realism could."

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Crusade era hand granade used by Islamic forces, 12th century

The hand grenade is a handsome example of a weapon in common use by Islamic forces during the Crusader (1099-1187), Ayyubid (1187-1250) and Mamluk (1260-1516) periods. It is made of unglazed ceramic and embossed with grooves and tear drop-shaped designs. It has a domed top over a spherical body that tapers to a point. They were filled with incendiary material – petroleum, naphtha, Greek fire — and thrown or catapulted into the enemy camp where they exploded fire that water could not put out on their targets. There’s a small hole in the top into which flammable liquid could be poured and a wick added once the grenade was loaded.

There is historical and archaeological evidence of this type of vessel being used in war. For one thing, clusters of them have been found in fortresses, castles and moats. The 12th century historian Mardi ibn Ali al-Tarsusi mentioned in the military manual he wrote for Saladin in 1187 that terracotta vessels with incendiary contents were launched from catapults or thrown from ramparts. Other sources from the 12th, 13th and 14th centuries describe the clay gourds in more detail, explaining how they were used in battle and the various launching methods. Chemical analysis of residue inside several similar pieces discovered traces of rock salt, pine resin and other flammable materials. One gourd on display in the National Museum of Damascus has an inscription that leaves no question as to its bellicose purpose: “This kind of projectile is useful for targeting the enemy.”

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This drawing was made 700 years ago by a 7-years-old boy named Onfim who lived in Novogrod.

In the 1950s, archaeologists working near the historic city of Novgorod, Russia, uncovered an extraordinary treasure trove: hundreds of birch bark fragments inscribed with handwritten texts, dating from the 11th to the 15th century. These 915 birch bark manuscripts (known as beresty) provide an unparalleled window into the daily lives, communications, and even the school experiences of medieval Russians.

A Medieval Mailbox: Letters, Notes, and Even a Marriage Proposal

Most of the discovered birch bark items consist of letters, notes, and business receipts, revealing the everyday hustle and bustle of medieval Novgorod. Imagine these scraps as the equivalent of today’s handwritten mail and personal notes. Among them, one piece stands out for its heartfelt sentiment: a marriage proposal from a man named Mikita to his beloved Anna. The note reads:

“Marry me — I want you and you want me, and the witness to that is Ignat Moiseev.” (Item 377)

This tender message offers a surprisingly intimate glimpse into relationships and social customs nearly a millennium ago.

The Most Enchanting Finds: Medieval Schoolboy Scribbles

Yet, the most captivating and unusual manuscripts are those linked to a 13th-century classroom. These birch bark fragments were once used by young students learning to write and read. The boys practiced alphabets, copied short texts, and gradually filled the bark with their scribbles and doodles — a testament to the universal experience of childhood boredom and creativity.

Bark: The Perfect Medieval Blackboard

Birch bark proved to be an excellent writing surface for the era. It was abundant, easy to cut into manageable pieces, and perfect for short-term writing exercises. Unlike expensive parchment or vellum, birch bark could be readily used and discarded, making it ideal for school exercises and casual notes.

Onfim and His Epic Doodles

Among the most famous scribblers was a boy named Onfim, whose drawings survive vividly on these bark pieces. His doodles include rough but expressive sketches: a figure brandishing a sword triumphing over a monstrous beast, individuals with exaggeratedly large hands, and other playful images.

Onfim even signed his name next to the victorious warrior figure, immortalizing himself as a young hero of medieval Novgorod. These drawings offer a rare, heartwarming peek into the life of a 13th-century child, capturing moments of joy, imagination, and the universal urge to create art even during tedious lessons.

What These Manuscripts Reveal About Medieval Society

Beyond their charm, these birch bark manuscripts serve as a critical historical record. They reveal:

• Literacy in everyday life: The texts show that literacy was not confined to monks or nobles but was spreading among merchants, officials, and even children.

• Social interactions: Personal letters and business notes provide details on trade, family life, and social norms.

• Education practices: The schoolboy writings reveal teaching methods, curricula, and children’s experiences in medieval Russian schools.

• Artistic expression: The drawings prove that creativity was an essential part of childhood even 800 years ago.

Visit Novgorod’s Museum to See These Unique Artifacts

Today, many of these birch bark manuscripts are housed in museums in Novgorod and Moscow, offering historians, educators, and curious visitors a tangible connection to medieval life. They are among the most important archaeological discoveries for understanding the culture and everyday experiences of Eastern Europe’s medieval past.

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Sixty-five years after it crash-landed on a beach in Wales, an American P-38 fighter plane has emerged from the surf and sand where it lay buried

Sixty-five years after it crash-landed on a beach in Wales, an American P-38 fighter plane has emerged from the surf and sand where it lay buried — a World War II relic long forgotten by the US government and unknown to the British public.

The Lockheed “Lightning” fighter, with its distinctive twin-boom design, has suddenly reappeared due to unusual conditions which caused the sands to shift and erode.
It was first spotted by a family enjoying a day at the beach on July 31 and a team of US specialists were informed and flew over to survey the site.

The twin-engine P-38, a radical design conceived by Lockheed design genius Clarence “Kelly” Johnson in the late 1930s, became one of the war’s most successful fighter planes, serving in Europe and the Pacific.
Some 10,000 were built, and about 32 complete or partial airframes are believed to still exist, perhaps 10 in flying condition.
The Wales Lightning, built in 1941, reached Britain in early 1942 and flew combat missions along the Dutch-Belgian coast.

Second Lt. Robert F. “Fred” Elliott, 24, of Rich Square, North Carolina, was on a gunnery practice mission on Sept. 27, 1942, when a fuel supply error forced him to make an emergency landing on the nearest suitable place — the Welsh beach.

His belly landing in shallow water sheared off a wingtip, but Elliott escaped unhurt.

Less than three months later, the veteran of more than 10 combat missions was shot down over Tunisia, in North Africa.
His plane and body were never found.

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