Antiquity in full color

Since 2013, I have repeatedly highlighted how colorful our world was in Greek and Roman antiquity.
 

In my first post, Ancient Greece in full Technicolor, I explained the modern techniques used to analyze and define the true original color pigments applied on statues, reliefs, temples, theaters, and many other monuments in a world we know basically as bright white. The technique is very well explained in a video I posted in 2022, Gods in Color – How it’s done.
 
In our modern concept, marble is such a precious material because of its structure and natural color that shines by itself. Nobody in their right mind would apply paint to a marble bust, for instance. The vision of our forefathers was entirely different.
 

Our ancient world was very colorful as we witness inside the houses of Ephesos and Pompeii, or in Etruscan and Macedonian tombs, to name only a few examples. Why do we find it so difficult to accept and imagine that the outside of monuments and their statuary decoration was painted as well?
 
An answer to this intriguing question is given in this French video (with English subtitles), Les couleurs de l’antiquité, which is well worth watching. However, it may not be available after 11 June 2026.
 
It’s always a pleasure to share this kind of thorough research!

[Top picture by Marsyas]

Kayseri and its hidden Hippodrome

Kayseri was called Caesarea. To be named after Caesar, in this case Emperor Tiberius, who reigned from 14 AD to 37 AD, underscores its importance. 

The city was founded around 2000 BC as a trading post for the Hittites and the Assyrians. In Hellenistic times, it was known as Mazaka, and changed name again into Eusebia under Cappadocian rule. 

[Picture from Arkeonews]

The Hippodrome, however, is attributed to the Romans and was probably built in the 1^st century BC or early 1^st century AD. It has not been excavated yet, as it lies underneath the local market, which in turn sits on an ancient landfill that was heavily used from 1950 until 1980. Ten thousand tons of debris were deposited, creating a layer nearly 20 meters thick. It remained hidden until its contours appeared in a 19^th-century drawing, where it was labeled a Circus. 

The Roman Hippodrome is one of the three known examples found in Anatolia, i.e., in Ephesos and Pergamon. This structure is about 450 meters long, and its outlines with the curved ends remain intact. 

In late antiquity, Caesarea was an important city that may have counted 50,000 inhabitants. It sat on the main trade routes connecting to the Persian Royal Road and linking Sinope to the Euphrates.

There are no plans yet to start the excavation of the Hippodrome, partly because of the local open-air market that is still held there, partly because of the tons of debris that need to be removed. In the meantime, the site is registered as a protected area and will be monitored with geophysical equipment to gather as much information as possible. 

Visit ancient cities in Turkey by night

As of this year, 2025, major archaeological sites remain accessible until late in the evening, often after sunset. The idea is for tourists to avoid excessive daytime temperatures. These late opening hours, which will also apply to several museums, will apply until 1 October 2025. 

I can’t help wondering how safe such nighttime visits will be. Museums should not be a problem, but ancient sites are another issue. I can imagine admiring the temples, theaters, and statuary lit by floodlights, although with some cautiousness, but walking over uneven pavement may be quite hazardous. 

An excellent example is, for instance, Mount Nemrud, which will open already at 4 a.m. and close at 9 p.m. Watching the sunrise or sunset from up there is a unique and unforgettable experience. But climbing the high-stepped stairs to the monument is a challenge by daytime, so much more so by dawn or dwindling light! 

Anyway, for the brave ones or daredevils, I am sharing the sites and museums that offer extended variable visiting hours. 

Closing times for archaeological sites and museums in 2025:

Istanbul
Galata Tower – 11 p.m.
Hagia Sophia History and Experience Museum – 10 p.m.
Turkish and Islamic Arts Museum – 10 p.m.
Archaeology Museums (excluding closed sections) – 10 p.m.

Adiyaman
Nemrud – 4 a.m. to 9 a.m.

Ankara
Museum of Anatolian Civilizations – 9 p.m.
Ethnography Museum – 9 p.m.

Antalya
Antalya Museum – 10 p.m.
Alanya Museum – 10 p.m.
Aspendos – 10 p.m.
Patara – 10 p.m.
Side – 10 p.m.
Nekropol Museum – 10 p.m. 

Aydin

Didyma – 9 p.m.

Denizli
Hierapolis – 11 p.m.

Erzurum

Erzurum Museum – 9 p.m.

Gaziantep
Zeugma Mosaic Museum – 9 p.m.

Izmir
Ephesos – 11 p.m. (Wednesday, Thursday, Friday, Saturday)
Museum Izmir Culture and Arts Factory – 9 p.m.

Mugla
Bodrum Museum of Underwater Archaeology – 10 p.m.

Nevsehir - Cappadocia
Zelve-Pasa Baglari – 9 p.m.
Derinkuyu Underground City – 9 p.m.
Kaymakli Underground City – 9 p.m.
Ozkonak Underground City – 9 p.m.

Samsun
Samsun Museum – 10 p.m.

Sanliurfa
SanliUrfa Museum – 9 p.m.
Haleplibahce Mosaic Museum – 9 p.m.

Notion in Asia Minor

In antiquity, the coast of Asia Minor was a string of famous and powerful cities and towns, each with its own history. Some are only slowly revealing their presence and their treasures. 

One such relic is Notion, located roughly 50 kilometers from Izmir. One day, driving back from Izmir to Ephesos, I skirted the peninsula's entire south coast, passing cities like Teos and Claros. However, my intention was to stop at Clazomena, Colophon, and Notion. Life is such that it deviates us from our initial plan. It so happened that I frequently stopped to take in the vistas leading me from promontories into deep bays - a landscape from the beginning of time, I thought. As a result, I never made it to Notion … 

[Picture from Kelsey Museum of Archaeology, University of Michigan]

I may not have missed much because the first archaeological surveys started in 2014. Mapping Notion revealed a city laid out conform to the Hippodamian plan sitting on two promontories overlooking the Aegean Sea. Inside the remains of sturdy fortification walls, research exposed beside the ever-present Agora, a Theater, a Bouleuterion, a Heroon, a Temple of Athena, and a large housing district. Notion flourished from the 2^nd century BC until the 1^st century AD, after which it was abandoned in favor of Ephesos which became the major center of commerce in Roman times. 

The city’s origin goes back to at least the 6^th century BC when it was part of the Persian Empire like the rest of Asia Minor. Inevitably, it got involved in the Graeco-Persian Wars of the 5^th and 4^th centuries BC and was conquered in turn by Athens and Persia. 

During those uncertain times, it is thought that Notion was occupied and/or defended by “barbarian” mercenaries. This is documented through the hoard of Persian gold darics found under the floor of one of the houses. The coins were probably buried there to be recovered later on. The daric with its particular face featuring the figure of a kneeling archer was the equivalent of a month’s pay for a mercenary foot soldier. Based on their style, these darics were probably minted during the 5^th century BC in Sardes, which lies about 100 kilometers to the north. 

Darics rarely surface in Greek or Hellenistic cities and to find such a collection buried in a jar is astonishing. 

I remember seeing my first Darics in Sicily at The Medagliere, the strong room of the Archaeological Museum in Syracuse. It was quite a shock because I knew the coins only from pictures and was not expecting to find them here. On the other hand, their presence raised the question of how they had reached Sicily – probably carried west by early colonists from mainland Greece who settled in Magna Graecia. 

Life surely is full of surprises.

Reading and decoding inscriptions

Today’s visitors will inevitably come across many inscriptions when visiting ancient sites or museums. Reading Greek or Latin is not for everybody, and understanding the meaning of the text and context is reserved only for the happy few. The stone or marble support has more often than not suffered from wear and tear, leaving the untrained eye to merely guess its value. 

We are lucky to find an explanation next to the inscription, rarely a full translation, as those are reserved for scholars. Well, the text may be boring, but it also may contain some exciting twists and turns. Yet, who wants to know? 

In antiquity, people would read the latest laws and decrees, regulations and agreements, peace treaties, manumission of slaves, grave markers, boundary stones, milestones, etc., as they walked through public spaces. Some of these texts are still in situ, particularly those engraved on the walls of still-standing monuments. The majority, however, has found a place in the museum for safekeeping and is often out of sight. 

The most familiar examples of inscriptions are those chiseled on grave steles, sarcophagi, and tombs. They also appear on the pedestals of statues lining streets such as Phaselis’ Harbor Street or Olympia’s road to the Stadium. Others serve to identify the deities, kings, and emperors that fill the sanctuaries and agoras, or the niches of theatres, stadiums, libraries, baths, Nymphaeums, and other public buildings. 

But some inscriptions will surprise many of us. 

For instance, this stele at the Louvre Museum holds the accounts of the Parthenon Treasury. The text covers both sides of the stele made of Pentelikon marble and illustrates how democracy works. Athens’ magistrates submitted the public accounts to the citizens for all to see. The front side, beneath a relief of the Sacred Olive Tree flanked by Athena and the people (demos), displays the expenses for military operations, religious ceremonies, and the Panathenaic festival held in honor of their patron goddess for 410-409 BC. The reverse side has the expenditures for 407-406 BC.

In Butrint, Albania, a striking series of inscriptions is carved on the outside walls of the Roman Theater of Buthrotum, as the city was called in antiquity. 

They are hard to read but worth our attention because these are manumissions, slaves who had gained their freedom for whatever reason. Their sheer number is mind-blowing!

As surprising and revealing are the Edicts on prices! Who would have thought that there were strict rules to define the prices of goods in antiquity! 

The first such example I encountered was at Ptolemais in Libya, proclaimed by Emperor Diocletian in 301 AD.

Also by Diocletian is the Edict on maximum prices for products and labor discovered in Halicarnassus, dated to 301 AD. The Emperor hoped to stave off a financial crisis and prevent inflation. 

Although this tablet was unearthed in Bodrum (the modern name for Halicarnassus), bits of similar Edicts were also found in Pergamon, Aizanoi, Aphrodisias, and Stratonikea. It is quite surprising to read that the Edict from Halicarnassus consists of 37 parts. Part 9, for instance, is about shoes and boots … 27 different kinds and sizes are listed!

Taxes are another matter that deserves attention. One such inscription that is hard to miss can be seen on Curetes Street in Ephesos, close to the Library. 

This tax law was written in the second half of the 4^th century AD, during the rule of Emperors Valentian I, Valens, and Gratian.

Less obvious is Alexander’s tax remission from the wall of the Temple of Athena in Priene, now exhibited in the British Museum in London. 

Alexander contributed to the cost of building the unfinished temple, and in return, he was allowed to dedicate it: “King Alexander dedicated the temple of Athena Polias”. 

This text was followed by a longer inscription setting out the terms of an agreement between Alexander and Priene under which the city was to be exempt from taxation. 

Not all inscriptions were written in Greek or Latin, and I find it fascinating to hunt for these exceptions. 

Having a closer look at Lycia’s sarcophagi strewn throughout the landscape, I discovered texts that seemed to be written in Greek but are in Lycian, as they contain several odd letters that do not exist in the Greek alphabet. Antiphellos and Limyra have good illustrations of Lycian texts.

Another case is to be found in Sillyum, some 25 kilometers northeast of Antalya, an often overlooked site, although the hillside is easily spotted in the otherwise flat plain of Pamphylia. 

It takes some detective work to locate the inscription in the Pamphylian language carved in the doorpost of a Hellenistic building – a very rewarding effort though!

The people of ancient Side also had a language of their own. A small inscription has survived and can be seen at the local museum located inside the remains of the Roman Baths.

After Alexander conquered Lycia and Pamphylia, Greek became the lingua franca, and the local tongues disappeared.

Not all Seven Wonders of the World are the same

We like to believe that the list of the Seven Wonders of the World in antiquity was well-established, but that is not entirely correct. 

In the 1^st century BC, Diodorus mentions them by name: the Great Pyramid of Giza, the Hanging Gardens of Babylon, the statue of Zeus in Olympia, the Temple of Artemis in Ephesos, the Mausoleum of Halicarnassus, the Colossus of Rhodes, and the Lighthouse of Alexandria. This is the list we follow nowadays, but the importance of each monument has been subject to personal taste and appreciation of its time. 

Well before Diodorus, many writers had their opinions on the matter. The oldest known is, for instance, Herodotus who, in the 5^th century BC does not mention the Hanging Gardens of Babylon but provides a very detailed description of the Walls of Babylon built with baked bricks cemented together with bitumen. The ramparts were 72 kilometers long, 10 meters thick, and 22 meters high! A striking feature is that the top of the wall was wide enough for two four-horse chariots to pass each other. The intermittent towers were 27 meters high. 

Callimachus of Cyrene, who lived in the 3^rd century BC, chose to include the Ishtar Gate of Babylon – a marvel that has been reconstructed inside the Pergamon Museum in Berlin (see: A mental reconstruction of Alexander’s triumphal march into Babylon). 

Philo of Byzantium in 225 BC lists the Walls of Babylon, but not the Lighthouse of Alexandria, which had not been built yet. He said he had actually seen the Hanging Gardens but omitted to situate them in Babylon. Their existence remains questionable, and there still is an unconfirmed theory that these gardens were in Nineveh. They were described as vaulted terraces, raised one above another, and resting upon cube-shaped pillars. These were hollow and filled with earth to allow trees of the largest size to be planted. The pillars, the vaults, and the terraces were constructed of baked brick and bitumen. The Gardens were initiated by King Nebuchadnezzar II around 575 BC. Philo tells of the Statue of Zeus by Phidias in Olympia, the bronze Colossus of Rhodes featuring Helios (the Sun), and the Temple of Artemis in Ephesos. He further includes the Tomb of King Mausolos in Halicarnassus, and the Pyramids of the Giza plateau, not singling out the Great Pyramid. 

Antipater of Sidon, who lived in the 2^nd/1^st century BC writes that he laid eyes on the ‘walls of lofty Babylon on which is a road for chariots’, and the Hanging Gardens; the statue of Zeus in Olympia, the Colossus of the Sun in Rhodes, the huge achievement of the high pyramids in Giza, the vast tomb of Mausolos at Halicarnassus; and the Temple of Artemis in Ephesos saying ‘that [as] it mounted to the clouds those other marvels lost their brilliancy’. 

Strabo, in the 1st century BC, gives by far the most detailed description of the Seven Wonders. 

The Great Pyramid of Giza in Egypt, the oldest and only wonder that still exists, was erected around 2560 BC. It is the largest of the three Pyramids at Giza, which are all equally important, as stated by Philo of Byzantium. The proportions of the Great Pyramid are colossal. The original height from the base to the peak was about 147 meters. The length of each side at the base averaged around 230 meters. The theories about its construction and function are widespread and are by no means conclusive. 

The statue of Zeus in Olympia stood inside the Temple of Zeus. The large sitting Zeus was made of ivory and gold by Phidias in 436 BC. Although he was seated, Zeus stood 12.4 meters high, meaning that his head nearly touched the ceiling. Nothing much of the temple remains, but its impressive East and West pediments are exhibited in full glory at the local museum (see: Olympia, in the footsteps of Pausanias). 

The first Temple of Artemis in Ephesus goes back to the 7^th century BC. After its destruction, it was completely rebuilt to an unheard scale of 115 x 55 meters, i.e., larger than the Parthenon in Athens. The Artemis venerated in this temple is represented with many breasts, and is clearly not of Greek origin but imported from the East (see: Alexander’s presence in Ephesus). Nothing remains today to prove its grandeur and glory.

The Mausoleum of Halicarnassus (see: Halicarnassus, capital of Caria) from about 350 BC was a rectangular monument measuring 40 x 30 meters, and about 45 meters high. It was decorated with scenes from Greek mythology, such as the battle of the Centaurs with the Lapiths and fighting Amazons, although scholars disagree on their precise position. It is certain, however, that the statues of King Mausolos and his wife/sister Artemesia riding in a four-horse chariot, now at the British Museum, stood at the very top of the Mausoleum. The tomb survived in pretty good condition for many years despite recurrent earthquakes, but the final blow happened in 1494 when the Knights of St John of Rhodes invaded the area and reused the stones of the Mausoleum to build their castle. Remnants are still visible to modern visitors on the walls of Bodrum Castle. 

The Colossus of Helios in Rhodes, the work of Chares of Lindos, was completed in 282 BC. It stood near the entrance of the harbor, although the exact location is unknown. The Colossus wore a crown of sun rays – hence its name, Colossus of Helios - and held up a torch. It was made of bronze and rested on a marble pedestal. With a height of 33 meters, it is considered the tallest bronze from antiquity. It was the shortest-lived ancient wonder that disappeared 60 years after its construction due to a severe earthquake. Its legend lives on, though. 

The Lighthouse or Pharos of Alexandria was the last wonder added to the list of seven, replacing the Walls of Babylon. It was conceived in three stages: a square stone base, an octagonal middle section, and a cylindrical shape at the top. Inside, a fire would guide the seafarers into the harbor of Alexandria. By day, they were led by the smoke, and at night by its bright light (see: Alexandria’s past futures). The Lighthouse stood over 100 meters tall, and its light could be seen 50-60 kilometers out at sea. Its construction was completed between 300 and 280 BC during the reigns of Ptolemy I Soter and his son, Ptolemy II Philadelphus.  

The ancient historians of Alexander the Great have spent very little ink on these Seven Wonders – or the texts simply have not reached us. The Temple of Ephesos, which was burnt down the night Alexander was born, was still under construction at the time of his visit. But the king must have witnessed the grand Mausoleum of Halicarnassus and the main features of Babylon, such as its Walls, the Ishtar Gate (which he used to enter the city), and the Gardens if they were indeed part of the Royal Palace. Strangely enough, Giza and its Pyramids are absent from all documents, as if they never existed!

Restoration or reconstruction?

There is a thin line between the restoration of an object or a building and its reconstruction. A good restorer will preserve the authenticity of the piece like a statue, while strengthening and improving its overall condition. When it comes to monuments, the restoration is meant to improve the visual impression and to help the onlooker imagine how it looked in its days of glory. A reconstruction, however, numbs our imagination and produces a modern rendition instead of recreating what once was. 

An example of excellent restoration is, for instance, the Philippeon in Olympia, Greece. When I first visited the site in the early 1970s, only a few stone blocks outlined the contour of the monument; there was not much to get excited about. When I returned more recently, I was much impressed by the skillful restoration of the Philippeon showing three steps on which three full-size Ionic columns had been reassembled. It does not seem like much but it was enough to complete my mental picture of Philip’s monument. 

Meanwhile, it has become fashionable to create an environment that will attract tourists, meaning to cash in on the money. Plans to that effect have been suggested, for instance, to clear the swamp occupying the old harbor of Ephesos and turn it into a place where tourists can anchor their yachts. A ridiculous idea because it does not help recreating the aspect of the ancient harbor and it truly destroys any possible picture from antiquity. 

There also is the case of the Monument of Opramoas, a wealthy citizen of Rhodiapolis, Turkey. This benefactor contributed largely to the reconstruction of the city that was hit by the severe earthquake of 141 AD. The walls of a monument built in his honor were covered with an inscription – the longest in Lycia - to commemorate his deeds. Archaeologists carefully retrieved these stones and piled them up next to the theater, where I discovered them in 2008.

The plan was to sort them out to reproduce the original inscriptions. Well, the project has materialized but the gaps of the missing stone blocks have been amply filled with bright white marble blocks. The shiny out-of-place square monument draws the visitor's attention away from the theater and other noteworthy monuments. A bad reconstruction. 

[The reconstructed Opramoas Monument]

Very recently the Palace of Aegae (modern Vergina) reopened to the public after being closed since 2007. I agree that it was in dire need to be cleaned and restored. The ruins were covered with moss and dirt after years of neglect and did close to nothing to reflect the wealth and glory of Macedonia’s heyday.

When I saw the first pictures of the Palace as it is presented to us today, my heart sank. The result is a reconstruction. Archaeologists reused the bits of broken columns they found on the spot but the new white marble column drums dwarf the original elements. As they stand mostly around the central Peristyle, they are taking my attention away from the general layout and the precious mosaic floors. The most beautiful mosaic with the Rape of Europa next to the entrance, which was hitherto hidden underneath a tarp, is now exposed to full view. Thank you.

[Picture of Aegae's Palace from The Archaeologist]

The difference between restoration and reconstruction is very thin, I agree. The Palace of Aegae, the scene of so much history, was hardly visited. Not everybody is blessed with the ability to mentally rebuild the missing walls, columns, corridors, and rooms. The present reconstruction will draw crowds of tourists who do not have to make that effort and simply accept what is there. 

[Picture from Smithsonianmag]

This is especially true for the Parthenon on Athens' Acropolis. To see a temple as it would have looked on the day it was built is a major incentive for those who lack imagination or who are too lazy to make the effort. The excuse in Athens is that the Parthenon had been badly restored in the 1930s. The cement parts had to be replaced with marble and the rusted metal clamps had to make way for titanium ones. In the long run, this kind of repair does pay off. Besides, we have much more advanced techniques and deeper insight into the construction of a Classical temple than 150 years ago. Still, it remains debatable whether the transformation of the Parthenon is to be seen as a restoration or a reconstruction.

Museum of Tripoli, Libya

There are several reasons to write about the Archaeological Museum of Tripoli. It is one of those ‘must-see’ places that sadly are off the beaten track for the average tourist, especially since Gaddafi has been eliminated and the country has not regained its stability. 

I was privileged to visit this wonderful collection just before the outbreak of the Arab Spring, unaware of the quantity and high quality of artwork that awaited me. It must be said that I discovered these treasures on my first day in Libya, and, as always, I should have returned after my tour of the archaeological sites as well. 

Anyway, I took in as much as I could, fully aware that the best pieces from any excavation made their way to the museum in the country’s capital. Tripoli was no exception. 

The bulk of the collection comes from Leptis Magna, second to Rome (see: An introduction to Leptis Magna in Libya). 

The first statues I see are two magnificent Roman copies of Praxiteles’ originals from the 4th century BC. One is the Diadumenos, a young athlete who is tying the ribbon of victory around his head. The other is Apollo-Antinous, hinting at Dionysus, combining the body of Apollo with the head of Antinous, the lover of Emperor Hadrian. Both life-size marbles were recovered from the Baths of Hadrian in Leptis Magna. The arched vaults of these baths from the 2nd century AD have simply collapsed, burying and saving their precious statues in the process. 

Stealing the show is the marble Apollo playing the lyre. He is a little taller than life-size and as true to life as imaginable. Apollo’s delicate hands and fingers seem to strike the strings as he holds his instrument with his left hand and the plectrum in his right. The lyre is intact, except for the strings, and it is a unique opportunity to have a close-up look. His eyes, whose traces of paint make them alive, stare melancholically into the distance. They are a vivid reminder of all the painted statues in antiquity. Apollo’s body is truly worthy of a god. 

The elegant Muse Calliope is sitting nearby, listening carefully to his tune. More remarkable statues gather around Apollo. An unspecified sea goddess is looking up to him, and Mars is standing in a niche behind him. The slender Isis is wearing a diadem, and Venus is very similar to other copies of the famous Aphrodite of Cnidos (see: Was Alexander the Great aware of Cnidos?). Hadrian definitely had an outspoken taste for beauty! 

Another large group of statues and busts is brought together from the theater of Leptis Magna, consisting mainly of Roman emperors: Augustus, Tiberius, Claudius, Marcus Aurelius, Lucius Verus, etc. Even Augustus' wife, Livia and granddaughter, Agrippina the Elder, are present. Upstairs, in the Mezzanine, there is a statue of Faustina, the wife of Marcus Aurelius. 

Inside the theater of Leptis Magna stood a small temple dedicated to Ceres-Augusta, goddess of the harvest – our word for cereal derives from the name Ceres. A seated statue of this goddess also found its way to the museum. 

The goddess Cybele, with the many breasts (or whatever they represent) as worshiped in Ephesos, was unearthed in the sanctuary of the amphitheater. A Roman copy of a Greek original Diana/ Artemis, as displayed at the Louvre in Paris and the Archaeological Museum of Antalya, is also exhibited. 

The Ancient Forum of Leptis Magna yielded a rather damaged Dionysus with satyr and panther, and a headless Lady Fortuna wearing a beautifully draped tunic. 

The museum’s impressive main hall also displays four delicate mosaics from a private villa in Leptis Magna. It dates from the 2nd century AD and depicts scenes of daily life in and around the Nile – hence its name, Villa of the Nile. 

Upstairs, a special room holds the original reliefs of the Arch of Septimius Severus (see: A solid gold bust of Septimius Severus), proof of the political loyalty of the inhabitants of Leptis Magna in the 3rd century. The relief of Septimius Severus standing between his two sons, Caracalla and Geta, was meant to express the good harmony inside the imperial family. Here is also a statue of Caracalla as a child. 

The Cyrene Room has a wooden scale model of the Agora, which, unfortunately, is meaningless unless one has visited the site. Nearby are faceless goddesses believed to represent Persephone from the necropolis of Cyrene. Also, a rare Minerva wearing the Aegis tied to her waist as opposed to her Greek version, Athena, who wears it around her shoulders. She also holds her owl and carries the spear and shield. The statue is carefully carved in pure Greek tradition. 

The Archaeological Museum of Tripoli has a rich collection of mosaics from the 2nd century AD. Many villas were built along the Mediterranean coast by wealthy landowners who loved to show off. One such example is the Roman Villa of Zliten, some 200 km east of Tripoli. It yielded a large floor mosaic executed in a wonderful combination of opus sectile and clearly outlined opus vermiculatum. The central panel is filled with different sorts of fish, and the border with less peaceful scenes of gladiator fights. From the same villa comes the floor mosaic representing the Four Seasons. Tajura is located closer to Tripoli, where another Roman villa from the 2nd century AD has been spotted. A large mosaic with geometric figures and the head of the sea god, Amfitritus, in its center has been removed from the Villa of the Nereids. 

Unfortunately, I did not visit any of these villas since they were usually closed to preserve them. Under the present chaotic regime, I wonder how many of these precious villas have survived the revolt and looting in the wake of Gaddafi’s execution. 

From Ghirza, a Roman fortress near Misrata, an entire Mausoleum from the 4th century AD has been moved to the entrance hall of the museum. It has a strange mixture of different styles that can hardly be defined. 

It is, of course, preferable to leave such constructions and the precious statues and mosaics in situ, but in case of political unrest and war, the artifacts are generally better protected inside the walls of a museum. It so happens that the Archaeological Museum of Tripoli is housed inside the so-called Red Castle of Tripoli. In 2011, following the outbreak of the Libyan Civil War, the museum was closed, but rebels managed to break into the museum and steal a few of Gaddafi’s belongings that were kept in a special room. Previously, the most valuable artifacts had been moved to a safer location. As of 2020, the museum is still closed.