Candace Richards

The front face of a bar has a painted bright yellow border and three scenes. On the right is a black dog sitting with a chain to his collar. In the centre is a chicken with a big plumed tail. On the right are two upside down ducks.

An L shaped bar, made up of ceramic vats sunk into the counter doors is in the middle of a room with amphorae leaning against it and the wall behind. This side of the bar has a yellow background and main scene of a woman, sea nymph, half naked draped in thin falling away cloths, as she rides a sea horse through the ocean.

The end section of the bar photographed through the glass protecting the site. It has a jumble of amphorae standing on their pointed bases with a small uneven table (?) topped with vessels and a diminutive figure running along.

In the sun shine the ruins of a building are supported by scaffolding. On one side is a sign painted in red and on the other a scene with a winding snake and vegetation.

Pompeii, Regio V Thermopolium doesn't disappoint!

Overall though it is an incredibly beautiful space with stone etched interpretation panels, well produced sounds capes and narrations. It's bite sized archaeology, which enables you take time to get a sense of the thing you are looking at, or pop into to soak up the atmosphere in a hectic day.🏺📜🏛

The archaeological history of the site can be found online rather than in building. The oral histories of the discovery is a great project and fantastic resource to explore public perceptions of our discipline 70+ years ago compared to new discoveries today.
www.londonmithraeum.com/about/

Two people with backpacks on look at a large wall display of ancient Roman artefacts. The artefacts are varied made from ceramic, metal, wood and leather.

Displaying more finds from the site itself as part of the temple level (not in but cases along the sides) might have added some more detail and understanding? The only finds were as you entered and more 'a variety of material' rather than use of the site.

The immersive experience was interesting and offered some interpretation of how the space may have felt or sounded like during rites and festivals. But it somehow felt lacking to me.

In a dark room the ruins of stone and brick walls are preserved unevenly about a metre high. In the centre light shines on the outline of a figure riding a galloping bull wearing a billowing cape and soft beanie-like hat

I had a chance to visit the London Mithraeum and would love to hear other peoples thoughts!
Located under the Bloomberg building in central London, in the heart of the ancient Roman city, are the foundations of a 3rd C temple of Mithras, conserved and displayed in an immersive initiation experience.

Hidden women of history: Ennigaldi-Nanna, curator of the world’s first museum Ennigaldi-Nanna is largely unknown in the modern day. But in 530BC, this Mesopotamian priestess worked to arrange and label various artefacts in the world’s first museum.

A great article on Ennigaldi-Nanna @theconversation.com by Dr Louise Pryke
theconversation.com/hidden-women...

www.ledroimuseum.com

A limestone two story house sits on a small hill with new trees planted around it.

A series of ceramic fragments, including a rim and handle have fused together to form an odd shaped lump.

On the bottom of a cream coloured lamp is a line drawing od a person wearing a stripey red and black cloak and dress. Their face is obscured where the image has worn away over time.

A terracotta bathtub with a small internal seat and footwell is displayed in a museum. It has been restored from many fragments.

5 weeks in Cyprus @caari-cyprus.bsky.social = serious library time plus fun museum and heritage excursions. The Ledra city is super cute, displaying the finds from the excavations on site. A figurine factory means lots of wasters. Favourite find has to be the terracotta bath tub.

So dissapointed to miss this.

Kerameikos: The potters' quarter

You can read about our super fun exhibition 'Kerameikos' at Sydney Uni - Chau Chak Wing Museum in the latest Journal of Australian Ceramics. Exhibition extended until 2 Feb 2026! 🏺🏛️📜
search.informit.org/doi/abs/10.3...

@cypriotartleeds.bsky.social any ideas?

Make sure to repost / quote the original from the author!

Our new piece is out in @nature.com big mihi to all my co-authors it was a pleasure to work with you on this @lanipai.bsky.social @niiyokamigaabaw.bsky.social @napaaqtuk.bsky.social @sereananaepi.bsky.social @1nativesoilnerd.bsky.social Bradley Moggridge and Brittany Kamai
tinyurl.com/yc4y9kfk

Essential reading!
"Scientists must also attend to their own racism. It is not enough to be non-racist. Structural issues and inequities exist in the Western academy. Those who avoid engaging with racism and colonialism in scientific works and spaces merely promote the status quo." 🏺📜🏛

Experimental archaeology recreating tin smelting using tin ore in a crucible, surrounded by charcoal powered by a simple skin bellows plus insets of tin ore used (alluvial cassiterite excavated from a Bronze Age site in Cornwall) and a sectioned crucible showing the tin metal produced (credit: R. Alan Williams & Great Orme Mines).

Experimental #archaeology of tin smelting. South-west Britain was a major source of tin for bronze production, with British tin reaching as far as the major Bronze Age civilisations of the Eastern Mediterranean 🏺

Learn more 🆓 doi.org/10.15184/aqy...

Outsode an outstretched hand holds up a copper coloured shiny angular pot with a black base. It glistens in the sun.

I'm not all about ancient stuff... I also like to make pots!

My first raku firing was an amazing time and the kiln gods were smiling upon me. Thanks to the instruction of Blake Clay, instagram: www.instagram.com/_blake_clay?...

Banner for 'Advances in Archaeological Practice' featuring a call for papers, set against an orange background.

📢 Call for Papers: "Advances in Archaeological Labor Management"📢

We invite submissions for a themed issue on “Advances in Archaeological Labor Management,” to be published in Aug 2026. Abstract submission deadline: Sep 1, 2025. Find out more: cup.org/3Ibus9e

@saa-aap.bsky.social
#archaeology

Fabulous new article on the experience of girlhood in Ancient Egypt by the phenomenal @julia-hamilton.bsky.social - great research and great teaching as always 🔥

The final chapter, 20, offers a distribution guide to the known publicly accessible collections in the region - 66 in total. Each institution is given a short entry that situates the ancient Med. artefacts within its broader collections, with the aim of increasing visibility of these materials 🏺📜🏛.

Chapter 19 by Caleb Hamilton offers new perspectives and a distinctly Māori framework, exploring whether the use of tikanga could be offered to mummified Egyptian human remains held within museums in Aotearoa New Zealand, aligning with attitudes towards the display and care of kōiwi tangata.🏺📜🏛

Chapter 18 is on developing collaborative holistic research practices for the ethical care, treatment, interpretation, and display of Egyptian human remains at CCWM. The authors aim to encourage all who care for human remains in their collections to think more critically about ‘best practice’ 🏺📜🏛

Chapter 17 from ANU Classics Museum discusses recent restitution of three Italian objects and shares detail of the processes in a way that might benefit other institutions, hoping to encourage a wider dialogue around restitution that focuses on the realities and opportunities that can arise.

So good to hear! Thanks Anna 😍

Chapter 16 by Brit Asmussen and @cairojim.bsky.social explores the sticky-ness of objects. They consider the relevance of antiquities held in museums and the varied contributions they make to the contemporary world via people’s engagement with them today.

Chapter 15 by Lilly Withycombe focuses on a screen-based exhibition interactive that the National Museum of Australia developed to introduce visitors to ancient polychromy through a playful medium and to encourage a closer interaction with objects within blockbuster travelling exhibitions 🏺📜🏛

Chapter 14 by the Hellenic Museum team explores recent projects 'WHO ARE YOU? Athens, Aotearoa and the Art of Marian Maguire', 'Becoming You' and 'Greek Love' as practical examples of the use of ancient Mediterranean-based collections for social wellbeing and the exploration of identity 🏺📜🏛

Chapter 13 from the CCWM at Sydney Uni team uses four case studies to demonstrate how we are widening participation with ancient Med collections through OBL, community co-developed programming and taking collections out of the museum environment. 🏺📜🏛