Councillor David Whipp said the flooding lasted almost a week
A water company has been accused of a “disgraceful” slow response after raw sewage “fountained” from a broken mains pipe and flooded a football pitch in Lancashire.
The burst pipe released uncontrolled sewage into Stocks Beck river, Pendle, which made its way into the River Ribble and on to both the football and cricket playing fields in Barnoldswick.
Councillor David Whipp, from Pendle Council, said the flooding on 23 August lasted almost a week and United Utilities (UU) did not take “effective action” until he reported it to the Environment Agency.
UU apologised and said its teams “quickly responded” to the incident with a temporary fix.
“On the Sunday 24 August, I saw contractors working on the sewer and assumed the problem had been fixed,” the Liberal Democrat councillor told the Local Democracy Reporting Service.
“But I was horrified when I was called to the site on the Wednesday to find massive amounts of black sewage spewing out over the adjacent football pitch and into the stream from the broken sewer.”
LDRS
Uncontrolled sewage flowed out of the burst pipe and into the Stocks Beck river
He added: “Even worse was the following day, when sewage was fountaining two metres into the air following a heavy rain shower.”
He said it took three reports to the Environment Agency before UU managed to contain the spill.
Mr Whipp claimed UU’s initial response was a “disgrace” and that he would be raising questions about the incident at a council committee meeting.
“I’m demanding answers, not only about short-term repairs, but their plans to renew the ageing sewer system and prevent horrific incidents like this in future,” he said.
‘Complex damage’
UU said its team installed a “temporary solution” until a full repair could be carried out.
“Due to the complexity of the damage and heavier rain than anticipated, we increased our operational response to ensure no further spills to the environment occurred,” a the company said.
“We apologise for any inconvenience this has caused and we continue to work closely with both the cricket and football clubs to ensure that, once our repair is complete, we make-good their facilities.”
The drug is used by some to treat mental health problems
Those who use cannabis to self-medicate are at greater risk of paranoia than recreational users, the largest survey into the drug has found.
The three-year study, published under two reports, was the first to investigate why users decided to start using cannabis and how this reason affected the length of time they took it.
Those who took the drug to treat anxiety, depression or pain reported higher paranoia scores and used the drug for longer than those who tried it for fun.
Senior study author Dr Tom Freeman, from the University of Bath, said: “If somebody’s using to self-medicate, this can then lead to a longer-term chronic pattern of use.”
A total of 3,389 former and current cannabis users aged 18 and over completed the Cannabis and Me survey as part of the study.
The first study report revealed that, on average, users consumed 10 to 17 joints per week or 206 units of tetrahydrocannabinol (THC), the main psychoactive compound in cannabis.
It found that those who began using the drug to cope with anxiety, depression, or because others in their household were already using it, consumed significantly higher weekly amounts.
The second study report focused on the relationship between childhood trauma, paranoia and cannabis use.
More than half of the respondents reported experiencing some form of trauma, the research found.
Handout
Dr Tom Freeman said self-medicating cannabis users were likely to use for longer
Dr Freeman said: “It is the first UK study to look at specific cannabis use, with very detailed measures of cannabis use, and also its health effects on people who use.
“Those people who use cannabis for more social, recreational purposes tended to have fewer problems and use less cannabis in the long term.
“What we found was that people who use cannabis to manage mental health problems, such as anxiety and depression, or because family members were using it, they had a higher level of cannabis use and greater risk.”
The Cannabis and Me study was funded by the Medical Research Council and jointly led by the University of Bath and King’s College London.
Veteran soap stars Sue Johnston and Ricky Tomlinson have been reunited on the set of Brookside for a long-awaited return of the TV drama.
Camera crews descended on the famous cul-de-sac on Wednesday as part of a one-off special episode to mark Hollyoaks’ 30th anniversary.
The pair, who later worked together in BBC sitcom The Royle Family, will reprise their roles as Liverpudlian matriarch Sheila Grant, later Corkhill, and trade unionist Bobby Grant.
“It will be lovely to take part in Brookside again especially to work alongside Sue Johnston,” Tomlinson said, speaking ahead of filming.
“I’m looking forward to being on the close again after all these years.”
The Grant family launched Brookside, which began on the first night of Channel 4 in 1982.
Audiences quickly warmed to the married couple as they settled into their first-owned home with their three children.
The pair were joined on set by Brookside favourites including Paul Usher as Barry Grant, John McArdle as Billy Corkhill, Philip Olivier as Timothy “Tinhead” O’Leary, Suzanne Collins as Nikki Shadwick and Michael Starke as Thomas “Sinbad” Sweeney.
Conceived by Sir Philip Redmond, who had already created school drama Grange Hill and went on to create Hollyoaks, Brookside drew in audiences of nine million viewers at its peak before it broadcast for a final time on 4 November 2003.
The show, set in Liverpool, was known for its hard-hitting storylines and took on issues surrounding issues including rape, bullying and incest.
This will be the first time that Brookside Close has been on air since it ended.
The series famously concluded with Jimmy Corkhill, played by the late Dean Sullivan, daubing a letter “d” on to the sign, leaving it as “Brookside Closed” before driving out of the cul-de-sac.
A dual carriageway that was partly shut due to severe flooding has new pumps in place to reduce the risk of future closures.
The A421, which links the A1 and M1 south of Bedford, was closed for nearly three weeks last September after a month’s worth of rain fell in less than 48 hours, leaving the highway submerged at the Marston Moretaine interchange.
Although the road flooded again in July, due to a generator fault affecting temporary pumps, National Highways said long-term measures were now in place.
The agency added the pumps had been relocated away from the lowest part of the road, ensuring water could be pumped away “as quickly as possible”.
Following last year’s flooding, National Highways removed 72 million litres of water before the road reopened in October.
Work to relocate the pumping station to higher ground began in March, with officials confident the upgrade would prevent further emergency closures despite the area being deemed a flood risk.
Police were called to assist with lane closures during the July incident this year, which was resolved later that day once the mechanical fault was identified and fixed.
When the major flooding occurred, the pumps were located at the lowest point of the road, putting them under water.
National Highways said the relocation of the pumps would mean the equipment itself should not get submerged in any future flood.
Martin Fellows, regional director of operations in the East of England, said: “We won’t have the same issues with the road itself because the pumps will operate independently [on higher ground], and therefore will ensure we can pump the water away as quickly as possible should a problem occur.”
While exercise is essential, it’s crucial to balance intensity with rest and recovery. In an August 20 Instagram post, Simran Valecha, a health, wellness, and weight loss expert, explained why you should pay attention to your body’s needs, and not overdo your workouts. According to her, a positive and relaxed mindset can help you get the most out of your workouts. Also read | Ditch weight loss drugs: Doctor says these 5 daily habits melt fat better than any diet and you are probably ignoring it
Your HIIT workouts can raise your cortisol levels, which could be causing fat storage around your belly, as per Simran Valecha. (Representative picture)
Your workouts can be why you aren’t losing weight
Simran said in her post that ‘your workouts could be slowing your weight loss.’ She wrote in her caption, “Yes, you heard me right — your workouts could be the reason you aren’t losing weight!” In her post, she explained that High-Intensity Interval Training (HIIT) can increase cortisol levels, a stress hormone. Elevated cortisol can lead to fat storage around the belly, she said.
Simran added that if you don’t give your muscles time to recover between workouts, they can become fatigued. This can make your workouts less effective, as your muscles aren’t able to respond and adapt as well, she said. Moreover, if you’re stressed or anxious about your workouts, it can negatively impact their effectiveness, and this stress can lead to decreased motivation, poor performance, and reduced benefits from exercise, Simran added.
Mental stress around your workout could be a reason your workouts aren’t effective.(Shutterstock)
3 things to know for weight loss
1. “Your HIIT workouts can raise your cortisol levels, which could be causing fat storage around your belly,” Simran said.
2. She added, “Not resting your muscles is a very big reason your body is no longer reacting to the workout.”
3. “Mental stress around your workout is also a reason your workouts aren’t effective,” Simran said.
Need more tips? From exercising more to focusing on dal as the main source of protein, click here to know the weight loss mistakes you might be making.
Note to readers: This report is based on user-generated content from social media. HT.com has not independently verified the claims and does not endorse them.
This article is for informational purposes only and not a substitute for professional medical advice.
Integration will advance Samsung’s AI-powered functionality to help users discover information, connect with content and get more from their screens
Microsoft Copilot with its 2025 lineup of TVs and Smart Monitors
Samsung Electronics Co., Ltd. today announced a new integration of Microsoft Copilot with its 2025 lineup of compatible TVs and Smart Monitors,[1] building on Samsung’s commitment to offering even more personalised and intelligent features on screen with Samsung Vision AI.
With Copilot built into the display, users can access Microsoft’s powerful AI companion through a simple voice command or click of the remote, making it easier to search, learn and engage with content directly from their screens.
“Through our open AI partnerships, Samsung is setting a new standard for AI-powered screens,” said Kevin Lee, Executive Vice President of the Customer Experience Team at the Visual Display (VD) Business of Samsung Electronics. “Copilot makes it fun and easy to quickly get what you need through tailored experiences, whether you’re learning something new, enjoying entertainment, tackling everyday tasks or more.”
A More Connected AI Experience
Copilot’s integration expands on a richer, more contextual smart display experience. The integration also enables Copilot’s conversational AI in Samsung Daily+, Samsung’s lifestyle hub that offers services across entertainment, wellness, food and more.
Copilot can be accessed through the Samsung Tizen OS home and Samsung Daily+, enabling conversational AI support for a range of scenarios[2]. Through natural voice interaction, Copilot offers personalised recommendations, relevant information and interactive learning experiences. Whether viewers are curious about something they’re watching or looking to explore a topic further, Copilot can respond instantly— all from the largest screen in the user’s home.
“Copilot on Samsung TVs is designed to feel like an AI companion in your living room,” said David Washington, Partner General Manager, Microsoft AI. “Together with Samsung’s leadership in display technology, we’re bringing people a shared experience that helps them discover something to watch, ask questions, make plans, or simply enjoy a moment together, all on the biggest screen in their home.”
As global leader in the TV market for 19 consecutive years[3], Samsung is in a unique position to create the most intuitive and supportive AI companion for the home.
To learn more, visit www.samsung.com/au
[1] Copilot is currently available in Australia on 2025 Smart Monitors M9. M8 and M7 models. Copilot will be available on 2025 TV models including, Micro RGB, Neo QLED, OLED, The Frame Pro, and The Frame in Q4 2025. Availability will expand to additional regions and models over time and may vary by market.
[2] In Australia, Copilot can currently be accessed through the Samsung Tizen OS home and Samsung Daily+ on 2025 Smart Monitor M9, M8 and M7 models. Select Samsung 2025 Smart TV owners will follow the same route in Q4 2025 when Copilot expands to the following TVs: Micro RGB, Neo QLED, OLED, The Frame Pro, and The Frame. Availability will expand to additional regions and models over time and may vary by market.
[3]Source – Omdia, Feb 2025. Based on overall TV market share by manufacturer on an annual unit & revenue basis.
New Bespoke AI Washer brings industry-leading A-65% energy efficiency with AI-enhanced features like AI Wash+
Second-generation Bespoke AI Laundry Combo delivers upgraded capacity and user-focused improvements
New Bespoke AI Washer brings industry-leading A-65% energy efficiency with AI-enhanced features like AI Wash+. Image simulated for illustrative purposes. Cables not shown.
Samsung Electronics Co., Ltd. has unveiled its latest laundry innovations at IFA 2025 in Berlin, including a new Bespoke AI Washer with A-65% energy efficiency[1] and the second-generation Bespoke AI Laundry Combo™[2]. These new models demonstrate Samsung’s ongoing commitment to delivering energy savings, intelligent features and stylish designs that align with the evolving needs of users around the world.
“With the new A-65% washer, Samsung has pushed the boundaries of convenience and energy efficiency once again,” said Jeong Seung Moon, EVP and Head of the R&D Team, Digital Appliances (DA) Business at Samsung Electronics. “With AI-driven features like the new AI Wash+, innovative hardware upgrades, and a wider choice of design options, we aim to deliver personalised experiences that reduce effort and maximise satisfaction.”
A-65% Bespoke AI Washer: A New Milestone in Energy Efficiency
Samsung will unveil its new A-65% washer at IFA 2025. Image simulated for illustrative purposes. Cables not shown
Following the A-55% Bespoke AI Washer[3] introduced at IFA 2024, Samsung will unveil its new A-65% washer1, which consumes 65% less energy than the minimum energy efficiency requirements for a Class A rating in the European market1. This elevated performance is achieved through enhanced motor efficiency, improved circulation, and refined washing algorithms.
The new washer also features the enhanced AI Wash+[4], which now intelligently adapts to an expanded range of fabric types, including outdoor wear and denim. By detecting the weight, soiling level and fabric type, AI Wash+ automatically adjusts the amount of water and detergent, along with the wash time to deliver optimal results.
This model will feature Samsung’s intuitive 7” touch screen for an elevated user experience with innovative features and functionality, as well as seamless integration with SmartThings[5].
To complement the washer, Samsung is also introducing a matching dryer that includes AI Dry+, which detects fabric type[6] and moisture level to optimise drying time.
Availability of the new Bespoke AI Washer and matching dryer has not been announced in Australia.
Second-Gen Bespoke AI Laundry Combo: Taking Convenience One Step Further
Samsung to showcase a second generation Bespoke AI Combo at IFA 2025. Image simulated for illustrative purposes. Cables not shown
At IFA 2025, Samsung has also showcased the second-generation Bespoke AI Laundry Combo, building on the popularity of the globally launched first-generation model. First launched to the Korean market earlier this year, this new model exemplifies the latest advancements in Samsung’s AI-powered laundry solutions.
Retaining the same external dimensions, the updated Combo delivers a 3kg increase in drying capacity[7]. These improvements were made possible through structural enhancements, including a more densely arranged heat exchanger fin layout that expands the heat transfer surface area and a more powerful preheating capability from the heater system.
The second-generation model also introduces a range of practical upgrades aimed at enhancing everyday usability. Upgraded from the first generation’s AI Wash & Dry, the second-generation model’s AI Wash & Dry + adds denim and outdoor to the list of detectable fabric types.[8] Auto Open Door+ – a feature unique to the Combo – automatically opens the door after washing or drying to help reduce moisture and odour, while blowing air into the tub after wash-only cycles to lower humidity and keep the interior fresh. The model also offers optimised cycles for modern routines, including a 79-minute Super Speed cycle, a 49-minute single garment cycle, and a 39-minute shirt cycle[9]. To make navigating these options easier, the 7” touchscreen features a new Dial Theme interface that prominently displays six frequently used cycles in a clean, circular layout for more intuitive control.
Availability of the new Bespoke AI Laundry Combo has not been announced in Australia.
For more information, visit: https://www.samsung.com/au/washers-and-dryers/washer-dryer-combo/
[1] Based on Samsung internal testing dated 14 August 2025, in accordance with EU Regulation No. 2019/2014, EU Regulation No. 2019/2023, EN 60456:2016/A11:2020-12, CLC/TS 50677:2019, and CLC/TS 50707:2020. The energy consumption of this 9KG model is EEI 17.5, which is 66.3% more energy efficient compared to the minimum threshold of energy efficiency class A (EEI 52 for 9KG models). Tested with Eco 40-60 program. Samsung Australia has not announced availability of this product locally.
[2] Samsung Australia has not announced availability of this product locally.
[3] Based on Samsung internal testing dated 20 August 2024, in accordance with EU Regulation No. 2019/2014, EU Regulation No. 2019/2023, EN 60456:2016/A11:2020-12, CLC/TS 50677:2019, and CLC/TS 50707:2020. The energy consumption of this 9KG model is EEI 22.3, which is 57.1% more energy efficient compared to the minimum threshold of energy efficiency class A (EEI 52 for 9KG models). Tested with Eco 40-60 program.
[4] AI Wash+ detection and sensing capabilities are based on our deep learning models trained using predefined set of data and may yield inaccurate or incorrect results. New datasets may be introduced to our learning models from time to time to enhance its accuracy.
[5] SmartThings available on Android and iOS devices. A Wi-Fi connection and a Samsung account are required.
[6] Based on an advanced AI algorithm, utilising weight, moisture content and drying temperature data, it can detect four types of fabric: normal, denim, towels and delicates. May yield inaccurate or incorrect results. New datasets may be introduced to our learning models from time to time to enhance its accuracy.
[7] Previous model WD25DB****** is 15kg, new model WD90F25*** is 18kg.
[8] Fabric type detection is available in the AI Wash+ cycle (wash mode) for loads up to 3kg. When multiple fabric types are mixed, the machine detects either general or the most similar characteristics. Optimal results may be achieved when washing items made of similar materials.
[9] Listed cycle times based on default product settings. Actual results and time required may vary depending on fabric type, moisture content, laundry composition, and usage conditions.
Common UI, Apps & Services; Device Connectivity will be provided to Home appliances through One UI platform.
Select Samsung appliances will receive up to 7 years of software updates in September, including 2024-launched models.
One UI shown on Bespoke AI Family Hub™ + French Door Refrigerator. Image simulated for illustrative purposes.
Samsung Electronics Co., Ltd. has announced the expansion of its proprietary One UI platform to its home appliance lineup, delivering a unified and intuitive software experience across compatible smartphones, TVs and now smart appliances. As a part of this initiative, some smart appliances will receive software updates for up to 7 years after launching[1], starting from 2024-launched home appliances being updated in September[2].
“By bringing One UI to smart appliances, we are transforming the way people interact with technology in their homes,” said Jeong Seung Moon, EVP and Head of the R&D Team of the Digital Appliances (DA) Business at Samsung Electronics. “This consistency ensures that the experience feels natural and familiar across all our devices.”
A Unified Software Experience Across Connected Samsung Products
With One UI, Samsung is unifying the user experience for the product categories of mobile devices, TVs and home appliances through the application of consistent design elements and functionality. This includes Apps & Services like Bixby[3], Gallery, and Samsung TV Plus[4], which are being made available across various types of screens to enable seamless device interaction and media consumption.
Device Connectivity is also enhanced through SmartThings[5], integrating the home’s devices into a unified ecosystem with easy access to helpful services like Family Care, Pet Care and Home Care[6]. When it comes to Common UI, users will get the benefit of familiar interfaces like Now Brief[7], which delivers personalised and relevant information at a glance. Now Brief offers family members a curated selection of useful content, including daily weather updates, family schedules, tailored recipes, and home insights such as how much time is left on the washing machine.
Up to 7-Year Software Support for Select Smart Appliances
Wi-Fi-enabled Samsung home appliances will be eligible for software updates for up to seven years after launching, starting from models launched in 2024[8]. This supports Samsung’s commitment to provide good value by enhancing functionality and prolonging security updates throughout the product lifecycle.
From September 2025, eligible 2024 launched models[9] will receive various software updates that bring enhancements in usability, intelligence and security:
Upgraded Security: Knox Matrix[10], Samsung’s security solution extending protection across compatible devices based on private block chain technology, will be extended to compatible Wi-Fi[11] enabled refrigerators, washers and dryers, and air conditioners[12]. These products will be protected through Knox Trust Chain[13], which allows connected appliances to monitor each other’s security status. Screen-equipped models like the Bespoke AI Family Hub™ + French Door Refrigerator, AI Home Side By Side Refrigerator with a 9-inch AI Home screen and Bespoke AI Heat Pump Combo with a 7-inch AI Home screen will also receive updates like encrypted Credential Sync and Passkey support. These screen appliances will also be updated with the Knox Security dashboard provided on 2025 models, which allow users to easily monitor the security status of connected appliances in real time.
Smarter Features: Select Family Hub™ appliances and refrigerators with 9-inch AI Home screens will benefit from the upgraded AI Vision Inside applied to 2025 products, which now supports the recognition of frequently used packaged foods in addition to a larger number of fresh foods[14]. Bixby[15] is also upgraded to support Voice ID, allowing it to recognise user voices and provide personalised experiences on shared devices. Users can also enable Bixby quickly and intuitively by simply double tapping on the screen.
Refined Interface: A refreshed One UI design — first seen on 2025 appliances — will come to 2024 models like refrigerators, washers, and ranges, offering intuitive navigation and region-specific settings.
By expanding One UI across product lines, Samsung is realising its vision of a cohesive, intelligent and secure home — where users enjoy familiar interfaces, personalised services and consistent control regardless of screen or device.
For more information on Samsung’s latest AI-powered home appliances and SmartThings innovations, please visit www.samsung.com/au
[1] Software updates are provided for up to 7 years from each appliance project’s initial launch, regardless of the local launch date.
[2] One UI 7.0 software will roll out from September. Software updates are provided to appliances excluding cases where hardware limitations, such as memory or chip performance, may restrict the updates.
[3] Bixby is Samsung’s brand of Internet of Things (IoT) voice assistant. Its service availability may vary depending on the country, language and dialect. Bixby updates include Voice ID and double tap initiation, available on 2024 Family Hub and AI Home refrigerators and washing machines.
[4] Coming to Australia via 2024 Family Hub and AI Home refrigerators and washing machines in September 2025.
. Ad-supported streaming service with content subject to change without notice. Internet connection and Samsung account required.
[5] Requires Samsung Account, internet connection and SmartThings enabled devices. Please visit www.samsung.com/au/apps/smartthings/ for a list of current compatible devices.
[6] To utilise Family Care, Pet Care and Home Care, appliance must support Wi-Fi and connect to SmartThings to activate service. The availability of each care service may vary by country.
[7] Now Brief will be available on home appliances from 2026. Now Brief feature requires a Samsung Account login. Service availability may vary by country, language, device model or apps. Some features may require a network connection.
[8] Products include SRF9400BFH, SRF9800BFH, SRFX9400BG, SRL4200S, SRL4200B, SRL4600BD, SRL4600SD, SRL4600S, SRL4600B, and WD18DB8995BZ.
[9] Products include SRF9400BFH, SRF9800BFH, SRFX9400BG, SRL4200S, SRL4200B, SRL4600BD, SRL4600SD, SRL4600S, SRL4600B, and WD18DB8995BZ.
[10] Knox Matrix is applied to all global regions uniformly, with the exception of China.
[11] May vary by model
[12] Product availability varies by country.
[13] Trust Chain enables connected devices to monitor each other for security threats. In case of an attack, it isolates compromised devices to safeguard the rest of the ecosystem, reconnecting them once the issue is resolved. Learn more here: https://news.samsung.com/au/the-knox-journals-the-passwordless-future-of-security
[14]AI Vision Inside in Australia can recognise 33 food items like fresh fruits and vegetables. This expands to 37 food items in other global regions If the food is not recognisable, it may be listed as an unknown item. AI Vision Inside cannot identify or list any food items in the fridge door bins or freezer. It recognises food items based on deep learning models, which may be updated periodically to improve accuracy. AI Vision Inside also recognises packaged food items that have been saved by the user, and up to 50 items can be saved with designated names. Packaged items are limited to those that keep a certain packaged form.
[15] Bixby is Samsung’s brand of Internet of Things (IoT) voice assistant. Bixby service availability may vary depending on the country. Bixby only recognises certain accents and dialects of English (India), English (UK), English (US), French (France), German (Germany), Italian (Italy), Korean (South Korea), Mandarin Chinese (China), Portuguese (Brazil), Spanish (Spain) and Spanish (Latin America).
Nic White’s retirement tour will continue in Townsville when the halfback partners returning Wallabies fly half Tom Lynagh and captain Harry Wilson against Argentina.
Andrew Kellaway has won the battle to fill the injured Tom Wright’s boots at fullback at Townsville Stadium on Saturday, in the other change to the side that lost narrowly in Cape Town a fortnight ago.
James O’Connor steered the ship in the two-game South African tour but will come off the bench behind 22-year-old Lynagh, who was badly concussed in the third Test against the British and Irish Lions last month.
White had announced his retirement in the lead-up to that game but will start for a fourth-straight Test after answering an SOS following veteran number nine Jake Gordon’s hamstring injury.
Tom Hooper will shift to the second row to replace Will Skelton, who has returned to French club duties, while Wilson has overcome a knee issue to wear the number eight as Rob Valetini moves to blindside flanker.
Carlo Tizzano will get his first action since the third Lions Test, named on a bench that also includes versatile back Filipo Daugunu.
The teams are effectively fighting for a crucial top-six ranking ahead of December’s World Cup draw that would ensure smoother passage to the final stages of the 2027 showpiece.
Los Pumas coach Felipe Contepomi has made three changes to the starting side that beat the All Blacks for the first time on home soil a fortnight ago.
He said there was no danger of an emotional lull after making history in Buenos Aires.
“Sport is a very interesting thing … I hate more losing than what I love winning,” Contepomi told reporters in Townsville on Thursday.
“I get out of that dressing room and I’m already starting to think on the next job.
“When you lose, I try not to take it longer than 24 hours, but sometimes it does. It hurts.
“So we started from zero the following day, preparing for Australia and trying to improve.”
Santiago Carreras will play fly half after replacing Tomas Albornoz (hand) early in their previous outing.
Contepomi has rejigged his back row with the inspirational Pablo Matera moving to number eight to accommodate flanker Marcos Kremer.
Prop Joel Sclavi will start, Geronimo Prisciantelli could debut off the bench while loosehead Boris Wenger should also earn his first cap after playing in the unofficial Test victory over the Lions.
The table before me was awash with colour: a shattered sea of pink, yellow, green, and black formed from large chunks and smaller fragments of plaster that had been painstakingly pieced back together to create a coherent whole. Two thousand years ago, these still-vibrant remains would have formed part of a fresco adorning one of the walls of a high-status building in Roman Southwark, clearly signalling the wealth and taste of its owner to anyone who ventured inside. They also represent just a portion of a major archaeological discovery that was unveiled earlier this year: one of the largest assemblages of painted wall plaster that has ever been found from Roman London.
This colourful collection, comprising thousands of individual fragments, was discovered during excavations by MOLA (Museum of London Archaeology) on the site of The Liberty, near London Bridge in Southwark. Between 2021 and 2024, these investigations (undertaken on behalf of Landsec, Transport for London, and Southwark Council ahead of the creation of a new cultural quarter) uncovered illuminating insights into the lives and livelihoods of people who lived south of the Thames during the Roman period, including elaborate mosaics and a grand mausoleum that formed part of a large later cemetery (see CA 386 and 402).
Han Li, MOLA’s Senior Building Material Specialist, works to reconstruct some of the thousands of fragments of Roman frescos that have been recovered from the site of The Liberty in Southwark.
Located across the river from the bustle of Londinium, this was a wealthy suburb whose residents built opulent houses along the waterfront. Excavations in the 1980s and in 2005 had already revealed the remains of some of these structures, including the northern part of a large building complex that was interpreted as a possible mansio (a residence for important travellers on official business) or a particularly luxurious private dwelling. It was constructed early in Roman London’s history, before AD 120, and although its owners had evidently lavished money on its design, commissioning mosaic floors and elaborately painted walls, MOLA’s more recent work on the site has revealed that the building was relatively short-lived. It was demolished sometime before AD 200, during which time the crumbled remains of its fine frescos were consigned to a large pit, where they would remain until their rediscovery almost 2,000 years later.
The painted wall plaster had been dumped in a large pit associated with the demolition of the building that they had once adorned.
Colourful clues
Over 120 boxes of plaster fragments – enough to cover an estimated 20 internal walls – were recovered from the site, and the challenge of piecing them back together has been taken up by Han Li, MOLA’s Senior Building Material Specialist. Drawing on parallels from across Europe and insights from other experts – including colleagues at the MOLA finds team, his predecessor Dr Ian Betts, and other scholars including those at the British School at Rome – for months Han has been painstakingly matching edges, images, and even common patterns of dirt or residue on some of the pieces’ surfaces in order to reconstruct long-vanished decorative schemes and tease out what they can tell us about the tastes and cultural connections of some of Roman London’s wealthier inhabitants.
Han has spent months painstakingly analysing individual fragments and comparing them to finds from across the Roman Empire in order to understand their original designs.
It was Han who was my guide as I gazed at the colourful fragments that had been carefully arranged on a table at MOLA’s headquarters in Hackney. Reconstructing a single, brightly painted wall, they formed a fairly typical design known from sites across the Roman Empire, with repeating panels in a block colour set above a dado painted to look like expensive imported stone. There would have also been a decorative frieze along the top, Han added, but these rarely survive well enough to be reconstructed – as this section of the plasterwork falls from the greatest height when its underlying wall is demolished, it tends to shatter into very tiny pieces, while lower elements generally form larger chunks that are more easily interpreted and reunited.
In this example, the wall had been painted a bright sunflower yellow – a shade that is not in itself unusual in Roman frescos, Han said, though it does not appear to have been a common choice for the main repeating panels. Red seems to have been the more popular colour, though examples of yellow panels are known from other sites including Fishbourne Palace in West Sussex, Silver Street in Lincoln, and Xanten in Germany – and, Han added, there may be others boxed up in archives that are still waiting to be reconstructed. Like those at Xanten, the Southwark structure’s panels were divided with black intervals edged in green and, by closely examining areas where the pigment has flaked away, we can tell that the whole wall was initially painted yellow before the bands were added, rather than setting these out first and then trying to ‘colour inside the lines’.
The black intervals themselves offered even more intricate details, providing the background for delicate images of fruit, flowers, and foliage; lyres; and white birds with long necks and red beaks, possibly some kind of wader, crane, or stork. Many of these had been found in multiple fragments, which Han had carefully fitted back together, and another recurring motif showed a tall candelabrum growing variously out of a slender stem or a bushy vertical spray of leaves and flowers. Thought to have originated in Pompeii, candelabrum imagery was evidently a popular theme as it is found in localised styles across the Roman Empire including at Xanten and Cologne in Germany, Lyon in France, and sites in Britain including Boxmoor in Hertfordshire and Leicester – demonstrating how far artistic ideas and interior design fashions can spread.
Above: It is estimated that the frescos would have covered 20 internal walls. Here, one surface has been reconstructed, revealing its yellow panels interspersed with black bands containing intricate images. At the bottom, a pink dado imitates expensive marble veneers. Faith Vardy’s illustration, shown below, imagines how the scheme would have looked when complete.
Artful designs
To modern eyes, these decorative schemes might appear rather ‘busy’, even gaudy – but to the people who commissioned them they would have represented the epitome of taste and style, and a highly visible statement of their status within Roman society. Some of the individual pigments would have also been chosen to impress; contemporary visitors would not have missed the use of Egyptian blue, a vivid synthetic shade that was much more costly than natural earth colours. Perhaps because of this expense it had been used only sparingly on the frescos that Han showed me (picking out details of the lyres and candelabra, as well as a face with a wig, probably representing a theatrical mask, from another wall) but its presence, however small, would have surely been a source of great pride.
Fragmentary images of white birds with long necks and red feet – possibly depicting some kind of wader, crane, or stork.
There were also more budget-friendly methods at work; beneath the yellow panel, the same wall’s dado had been skilfully painted to look like speckled pink marble, fooling the eye into imagining exotic (and expensive) stone veneers. On an adjacent table, a group of fragments painted in the same way but using a slightly different shade of pink suggested that at least one other room had been decorated in a similar way, while a third set spoke of something rather more high-end. These last fragments were painted with a darker pigment imitating red Egyptian porphyry, a highly prized crystal-flecked volcanic stone. Adding to this prestigious picture, Han noted, the white speckles of this ‘stone’ had been hand-painted and carefully splashed (in contrast to those of the pink marbles which appear to have been achieved more casually). Still more pieces came from a pale band with hand-painted veins, representing giallo antico, a kind of yellow marble from North Africa.
The fresco also featured images of lyres; the stringed instruments bear traces of expensive Egyptian blue pigment.
While these schemes may not have all been in place at the same time, the building’s interiors had clearly been designed to impress. Perhaps there was an element of ‘keeping up with the Joneses’ at work, as Roman Southwark seems to have boasted a number of elegantly appointed residences. One of the most impressive examples was excavated by MOLA (then MoLAS) at Winchester Palace, a short distance from The Liberty, in 1983-1990. There, beneath the 12th-century bishop’s residence that gives the site its name, archaeologists found part of a high-status Roman building – and within one of its rooms was a large section of painted plaster that had peeled away from its wall and collapsed face-down onto the floor (CA 124). Two superimposed skins of plaster had survived intact; the earlier of the pair, dating to the mid-2nd century, was the most ornate, combining architectural imagery depicting a colonnaded building, sweeping swathes of garlands, and the figure of a cupid. These Classical details led some to suggest that a Mediterranean artist had been brought in to execute the work – certainly, it appears that no expense had been spared, as the fresco also featured expensive materials like imported red cinnabar and gold leaf. Then, probably in the 3rd century, the entire scene had been plastered over and repainted with a much plainer geometric design.
These changes echo evidence from The Liberty’s building, which was in use for around a century, and would have seen numerous reworkings and redecorations over this period – the plasterwork that we see today would not have been the work of one artist, or even one team, but of successive groups of artisans serving the changing tastes and budgets of different inhabitants. While examining the fragments of imitation stone and a white wall with vivid red and black bands and lines, Han highlighted examples where the surface had been pecked, creating keying to support a new layer of plaster that could be painted afresh. In other cases, successive layers were still in place, speaking of repeated replasterings, and, as at Winchester Palace, some of these later surfaces carried much plainer decorative schemes. This might reflect a room switching function from a public space to something more utilitarian, Han said, perhaps changing from client-facing to a storeroom. There is also a wider pattern of Roman frescos becoming simpler and less well-executed over time, he added; possibly because of a wider economic decline that placed fancy frescos beyond the reach of many (and, with no work on offer, the best artists may not have been motivated to train successors, essentially de-skilling the next generation), or perhaps representing a shift in fashion towards a more minimalist approach.
Sections of floral decoration adorning some of the plaster fragments from The Liberty.
Secrets from the City
Elaborately decorated dwellings were not limited to the south side of the river, however; significant discoveries have also been made within the walls of Londinium itself. Over the last 40 years, successive excavations along Fenchurch Street (by MOLA’s forerunner, the Department of Urban Archaeology; Wessex Archaeology; and Pre-Construct Archaeology) have revealed quantities of painted plaster, including floral and foliage motifs, from numerous houses. Another major collection of plaster fragments was recovered by the DUA at 25-51 St Mary Axe in 1989-1990; like those from The Liberty, these had been dumped en masse, and their decorations speak of extensive areas of imitation marble (as well as hints of yellow panels).
Elaborate Roman frescos have been identified in other high-status buildings, both in Southwark and across the river in the City of London. This fragment, showing a candelabrum motif together with parakeets and deer, was part of a large area of plaster discovered by MOLA at 21 Lime Street.
Elsewhere in the City, at 21 Lime Street, MOLA excavated the remains of a wealthy residence which had once stood close to London’s first forum (and was demolished when this public facility was expanded in the 2nd century). A collapsed wall preserved a large section of fresco measuring 2.5m by 1.5m (8.2ft by 4.9ft), revealing that one of its rooms had been painted with red panels interspersed with narrow green bands, as well as wider vertical stripes of black that were decorated with vines, theatrical masks, candelabra, deer, and parakeets (CA 320). This was not the first such find in the area; back in 2007, another MOLA dig at 8-13 Lime Street had uncovered another house with a collapsed plastered wall, this time boasting a yellow dado, red panels, and a green border that included images of flowers, birds, bunches of grapes, and candelabra (CA 226).
Timber and clay were the main building materials of early Roman London; their relatively humble nature holds the key to the survival of so many early frescos.
This list is not exhaustive, but the examples given above testify to the popularity of frescos within Roman London, as well as of certain ‘stock’ motifs, with foliage, birds, masks, and candelabra appearing at multiple locations. In his report on the St Mary Axe finds, published in the Transactions of the London & Middlesex Archaeological Society (volume 70, 2019), Ian M Betts wonders whether there might have been a school of specialist wall painters operating in London, in the same way that (based on stylistic comparisons) it is speculated that schools of mosaicists were working in different parts of Britain. We cannot know for sure, but the common design elements seen in different frescos of this period do at least offer illuminating insights into fashions of the time.
Reconstructing the frescos from The Liberty is an ongoing process.
Another key characteristic shared by the houses mentioned above is that, despite the evident wealth of their inhabitants, their walls were constructed not from stone but from timber and clay. These were the main building materials of early Roman London, and their relatively humble nature holds the key to the survival of so many early frescos, Han said. Clay walls, sundried bricks, and wattle and daub held little reuse value, meaning that when buildings were demolished their materials were not robbed out and recycled elsewhere. For the same reason, plaster finds from stone buildings are much scarcer, and our understanding of how high-status buildings from the later Roman period – when London had many more masonry structures – were decorated is rather patchier.
Encountering the artists
As well as showcasing the skills of the artists who painted them, the fragmentary frescos from The Liberty also offer interesting insights into how such surfaces were created. Han showed me the outline of a flower that was never coloured in but was later painted over in white – perhaps it had been deemed surplus to requirements, or had been quickly sketched to instruct an apprentice tasked with creating more of the same – which reveals how such images were drawn using a compass. Just as illuminating, however, are hints of the process going wrong. Frescos are created by applying paint when the plaster is still wet, and the artists would have worked from the top down to prevent leaks from spoiling already completed sections. On one of the fragments of imitation stone, Han pointed out flecks of red that had spattered onto an area of black, suggesting somewhat rushed work. Perhaps the artist had been racing to finish the work because the plaster was drying too quickly – certainly, there are spots where the bonding had failed and the colour had flaked away, indicating that the surface had not been wet enough when the pigment was added. Elsewhere, a scar left by the clumsy movement of a trowel hints at someone else working with more haste than care – humanising details that bring the anonymous artisans back into focus.
Part of a tabula ansata, representing the signature of one of the artists who created some of the recently discovered frescos. Tantalisingly, the person’s name is missing, leaving behind only the word ‘FECIT’ (‘made this’).
One of the artists had not intended to remain nameless, however. On one of the fragments, Han has identified part of a tabula ansata, an image of a decorative tablet which was used to sign artworks in the Roman world. Tantalisingly, the word ‘FECIT’ (‘made this’) has survived, but the name of the individual in question has broken away and has not yet been found. The crucial piece may yet emerge from the plaster still undergoing examination, but while its current absence is disappointing, the survival of the corresponding verb is more important, Han said. If it had been the other way around, with the name present and ‘FECIT’ lost, we would not know for certain that it represented one of the artists rather than captioning one of the images or representing another individual in some way. The text of the signature is skilfully executed (‘The “T” of “FECIT” goes from thin to thick, it is really beautiful penmanship,’ Han commented), and as the edges of the lettering have not flaked, it was very likely added while the plaster was still soft.
Reconstructed from two fragments, this tiny Greek alphabet is one of the more unusual graffiti identified on the painted plaster.
Elsewhere, similarly skilled writing is represented by a near-complete Greek alphabet, which was discovered across two pieces that have now been placed back together. It is the first example of its kind known from Roman Britain, though parallels are known from Italy (at Rome, Ostia, Pompeii, and Herculaneum), where they are thought to have served as some kind of tally or reference. The Southwark example does not look like casual writing practice either, Han commented – the letters are too well-executed (and too small to be a useful teaching aid) – rather, they suggest that someone in Southwark was able to use the Greek alphabet 2,000 years ago. Unlike the text of the tabula ansata, however, these letters had been scratched into the plaster when it was already dry – this was graffiti, not an integral part of the design. Nor was it the only example of a more casual addition to the plasterwork; another large fragment bears a drawing of a weeping woman with a distinctive hairstyle that was fashionable during the Flavian period (AD 69-96).
Analysis of the fragments is still ongoing, and the Southwark frescos may yet have many more secrets to reveal. The full results of this work will be published in due course, and the plaster pieces themselves will be preserved for future study, and the possibility of future display.
A Roman graffito from The Liberty depicting a weeping female face – her hairstyle was fashionable during the Flavian period.
LDRS
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