Conservation of the Rendezvous Creek and Nursery Swamp 2 Aboriginal painting sites,Namadgi National Park,ACT

Abstract

The unique range of Late Holocene Aboriginal paintings in the granodiorite rock shelter at Rendezvous Creek is threatened by dust stirred up by people visiting. Weddellite and whewellite are preferentially developed in specific dripline and rock face zones at Rendezvous Creek in response to distinct environmental factors. Exfoliation and water wash remove pigments at Nursery Swamp 2. Conservation measures are proposed to reduce the accumulation of dust at Rendezvous Creek and to slow the deterioration of the paintings at both sites.     

Bumpit: The Painted House at Lynsted,Kent

Abstract

The extensive wall-paintings at Bumpit are an important example of decoration in a late-Elizabethan-period house. They date to the last part of the 16th century and formed part of a very extensive scheme of building and embellishment. The house and its paintings are described in detail to provide a record of this important ensemble, and the characteristics of the paintings discussed to enable them to be seen in a wider context.     

Digital Technology in Research and Documentation of Hunter-Gatherer Rock Art in South Africa

The use of digital technology to enhance and manipulate photographs of rock paintings affords researchers insights into imagery that was formerly invisible or obscure. Image enhancement and manipulation software have greatly increased the data set available for study. There is a wide range of techniques available in the digital repertoire, depending on the aim of the research. Here, three South African case studies are discussed in which hunter-gatherer rock paintings are enhanced and manipulated to create digital “tracings” using the computer programmes Adobe Lightroom, Adobe Photoshop and DStretch. The results obtained with these simple techniques are presented here, because they might prove useful for rock art research elsewhere in the world. It must be noted, however, that these technological developments do not eliminate the subjective nature of recording and interpreting rock art or the necessity of a theoretical framework in which to understand the imagery.     

Three-dimensional recording by laser scanning of the petroglyphs at Rombald's Moor,West Yorkshire

Abstract

A variety of methods have been used to depict and document petroglyphs, from hand sketching to close-range photogrammetry. Most methods, however, record only a two-dimensional image, whereas petroglyphs are by their nature three-dimensional. Additionally, most methods suffer from inaccuracies resulting from the skill and subjectivity of the recorder or distortions imposed by the equipment and conditions under which the panel was viewed. Conventional three-dimensional recording techniques such as the use of traditional moulding and casting materials, may damage the petroglyph itself. An assessment of the various shortcomings of established rock art recording methods resulted in the field-testing of laser scanning with the objective of obtaining a quantitative, three-dimensional record of petroglyph panels and the creation of non-contact replicas. This paper presents the principles behind laser scanning and an account of field trial results of laser scanning rock art in situ at Rombald's Moor, West Yorkshire, England. The work presented was undertaken as part of the Rock Art Pilot Project commissioned by English Heritage in July 1999.     

The protection and management of the megalithic art of Galicia,Spain

Abstract

Megalithic art is an important cultural resource in many regions of Western Europe. In this contribution we look at examples from Galicia, in the north-west corner of the Iberian Peninsula. A vast project has been underway since 1998, surveying and characterizing megalithic paintings, a field of research previously unexplored in any systematic way. Through defining the extent and state of conservation of megalithic paintings, the aim of the project is to be able to recommend adequate measures for their protection and preservation. It is hoped that this interdisciplinary effort will be combined with a consistent policy of display and promotion that will ensure a growing public awareness of the value of these fragile artistic works, while avoiding unnecessary losses in this part of our cultural heritage.     

Desiccated plant macrofossils from the medieval castle of Marmorera,Switzerland, with a note on the identification of leaves of Cyperaceae

Abstract

During restoration work at the medieval castle of Marmorera, Graubünden canton, Switzerland, numerous desiccated plant remains were found — in a rock crevice that was protected from precipitation by a massive rock shelter. The identification of the remains showed that the majority could not have grown at the castle, but must have been transported to the site. Many of the plants came from warmer climates and were imported from lower lying regions, indicating the position of the castle at an important transalpine route. Among the finds was a lump of grass-like leaves for which for a method of preparation and identification was developed. The leaves turned out to be of Carex species that grow in wet habitats which were probably used as litter or as bedding material.     

DISTINCT,LATE BRONZE AGE (c. 1650 bc) WALL‐PAINTINGS FROM AKROTIRI,THERA, COMPRISING ADVANCED GEOMETRICAL PATTERNS*

This paper studies a set of wall‐paintings of the Late Bronze Age (c. 1650 bc ) initially decorating the internal walls of the third floor of the edifice called ‘Xeste 3’, excavated at Akrotiri, Thera, whose restoration is now in progress. It deals with the methods used for the drawing of the geometrical figures appearing in these wall‐paintings. It is demonstrated that most of the depicted configurations correspond with accuracy to geometrical prototypes such as linear spirals and canonical polygons. It is pointed out that the steady lines of the figures, their remarkable repeatability, the precision of the geometrical shapes and their even distribution in the wall‐paintings indicate a very distinctive use of the ‘Xeste 3’ third floor, which is now investigated.     

Roaring Rocks: An Audio-Visual Perspective on Hunter-Gatherer Engravings in Northern Sweden and Scandinavia

This article attempts to extend the study of rock-art beyond the visual to include the non-visual experiences and perceptions of human beings. It is argued that there is 'more than meets the eye' when interpreting rock-art. Rather than restricting interpretation to the visual, the relationship between rock 'art', rock-art 'site' and the wider landscape is considered as articulated within a socially and historically specific Neolithic (ca. 4000-500 BC) hunter-gatherer 'mindscape'. An audio-visual perspective is argued, where the auditory sense and visual experience of the landscape combine in a vital interplay that is essential to the interpretation of 25 out of about 80 known rock-engraving sites in northern Scandinavia (ca. 33%). These sites have in common a strong water-centric focus; in particular noisy, running water. This approach provides a more profound understanding of these rock-art sites and the prehistoric use of 'images' as transmitters of different kinds of knowledge from the mundane to the esoteric. It is argued that the ebb and flow of water and human breath are analogous within a frame of enquiry that also considers shamanistic practice in approaching and experiencing these rock-engraving sites.     

Rock surface luminescence dating of prehistoric rock art from central Iberia

Rock art paintings are notoriously difficult to date numerically. Recently, luminescence dating has been shown to provide reliable rock surface burial ages in various archaeological settings. Here we use the cross-cutting relationship between a fallen rock and two paintings of the Iberian Levantine (older) and Schematic (younger) styles to constrain the age of the paintings by dating the rockfall event using rock surface luminescence dating. Infrared-stimulated luminescence (IRSL) signals as a function of depth into the buried face of the talus border indicate that the IRSL signal measured at 50°C (IR₅₀) was sufficiently reset to a depth of about 1.6 mm prior to burial. An uncorrected IR₅₀ age of 1.6 ± 0.2 ka was calculated for the rockfall event by dividing the surface equivalent dose (D_e) by the total dose rate. This age was corrected using both conventional and field-to-laboratory saturation approaches to yield indistinguishable ages of 2.7 ± 0.5 and 2.9 ± 0.3 ka, respectively. Since the panel with Schematic art was first available to the artist after the rockfall, we conclude the Schematic rock art at Villar del Humo is younger than ~2.9 ka. The Levantine rock art was painted on a panel constrained by the talus boulder before detachment, and so it is likely to be older than ~2.9 ka.     

Bede,iconoclasm and the Temple of Solomon

In Bede's lifetime (c.673–735) the churches at Wearmouth‐Jarrow were richly decorated with panel paintings from Rome. This essay examines the significance that those paintings held for Bede and his community, and it reveals the strategies that Bede employed to defend them in his commentary on the Temple of Solomon (De templo), which was written after images had become a contentious issue in Byzantium during the reign of Emperor Leo III (714–41). This has important implications for our understanding of Bede's place in the intellectual landscape of early eighth‐century Europe, and it shows the ambitious nature and topical relevance of his mature exegetical programme.     

Bringing the Art Inside: a Preliminary Analysis of Black Linear Rock-art from Limestone Caves in Erromango,Vanuatu

While surveying and recording rock-art on Erromango over two field-seasons in 1996 and 1997, I had the pleasure of working with Vanuatu Cultural Centre (VCC) fieldworkers Jerry Taki and Sophie Nempan Sei. During this time, both Jerry and Sophie constructed a context of ‘meaning’ for the ‘black linear’ pictures that predominate in the rock-art of the island. Their ideas were highly influential in determining the direction of my research. Jerry spoke of the association of rock-art with warfare and women. Sophie identified certain motifs as clan designs, particularly those located in sites close to where she lives, at Happyland village in the south of the island. The aim of this paper is to understand more about the rock-art of Erromango by combining local knowledge and archaeological techniques of rock-art analysis. I focus on the black linear rock-art, describing its temporal placement and context of production. Temporal information is gleaned from patterns of superimposition among particular rock-art techniques and motif forms, as well as from independent archaeological and ethnographic contexts. It is proposed that black linear rock-art belongs to the most recent period of rock-art production on Erromango, likely within the last 400 years. Rock-art production and use is explored through artistic motifs evident on other items of material culture, including objects which are known, from ethnographic records, to be produced by either women or men. I suggest that black linear motifs were at least in part produced by women, perhaps to register their connection to place during periods of displacement. In accordance with Jerry's statements, ethnographic and archaeological evidence indicates that a salient feature of the island's social landscape over the last 400 years was small and large-scale intra- and inter-island wars. The black linear rock-art is interpreted in relation to this unstable social context.     

Margherita of Cortona: Women,Preaching, and the Writing of Hagiography

Abstract

This article examines Margherita of Cortona (1247–97), who took a penitent habit in the late 1270s. In 1290 Margherita was granted permission to rebuild the church of San Basilio near her cell and a secular priest became her confessor. After her death in 1297, her former confessor, the Franciscan Giunta Bevegnati, composed Margherita's Legenda, which provides an account of her life, conversion and penitence, her conversations with Christ, and her charitable works. In addition to the Legenda, there is also an altarpiece, portraying Margherita and scenes from her life, and the seventeenth-century watercolour paintings that reproduce the frescos which once decorated the church of Santa Margherita, the former San Basilio. Following a short introduction to Margherita's life, and a brief examination of preaching for women in the Middle Ages and its prohibitions, the article examines how the biographer, Giunta Bevegnati, represents the relationship of Margherita to preaching and sermons, in particular focusing on passages in Margherita's Legenda, where her efficacious speech or performance has a clear impact on an audience and her biographer does not use the term 'preach' for her utterances. Finally, the extent to which Margherita's biographer uses hagiography for homiletic purposes is discussed.     

Review

Anders Hagen, Bergkunst. Jegerfolkets helleristninger og malninger i norsk steinalder. (Rock Art. The rock carvings and paintings of hunters in the Norwegian Stone Age.) J. W. Cappelens Forlag A.s. Oslo 1976.     

Preparation for Deep Learning:

ABSTRACT

Norman H. Hardy is not a well-known historical character, so an element of salvage exists in bringing his art and book illustration to a wider audience. His short career as an artist with the Sydney Mail and the 68 paintings in The Savage South Seas in 1907 open up a wider discourse concerning the links between art and photography, between visitation and recording in the field, between art and journalism, and between popular imagination and the publishing practices for illustrated travelogues. Hardy's paintings of Papua, Solomon Islands and New Hebrides reached a wide audience and provide a close-up, intimate record of Indigenous life in the islands, as well as hinting at complex encounters between Islanders and traders. The visual evidence in The Savage South Seas also contributes to debates about the motivations of early 20th-century Euro-American travellers, authors and purchasers of books on the Pacific and provides yet another citation of notions of faraway lands and people in the Pacific as perceived by distant readers and audiences.     

Computer vision methods and rock art: towards a digital detection of pigments

A non-invasive procedure for assessing and interpreting the pigments of rock art paintings through computer vision and photogrammetric techniques is presented. The method is designed to document and interpret poorly preserved pigments by making use of advanced techniques of photogrammetry and computational imaging. Two different software solutions that were developed by the authors have been used for this purpose. Finally, two case studies of rock art paintings from Spain have been analysed, which show the reliability of the method.     

The lesser gods of the Sahara

Abstract

Following a highly publicised expedition in the 1950s, the Tassili-n-Ajjer mountains of the Central Sahara (Algeria) were presented to the world as ‘the greatest museum of prehistoric art in the whole world’. Many of the claims of the expedition's leader, Henri Lhote, were misleading. A number of the paintings were faked, and the copying process was fraught with errors. The ‘discovery’ can only be understood within the political and cultural context of the time, namely the Algerian Revolution, France's attempt to partition Algeria, and the prevailing views of the Abbé Breuil, the archadvocate of foreign influence in African rock art. The expedition's methods caused extensive damage to the rock art while the accompanying looting of cultural objects effectively sterilized the archaeological landscape. Any restitution process must necessarily include a full recognition of what was done and the inappropriateness of those values.     

Technological art and Studio International’s eclectic vanguardism

ABSTRACT

This article takes the editorship by Peter Townsend of Studio International, to which the author contributed regularly between 1969 and 1972, as a starting-point to recall decisive personal encounters with Roy Lichtenstein’s paintings, Wen-Ying Tsai’s sculptures, Jasia Reichardt’s exhibition Cybernetic Serendipity and the British Society for Social Responsibility in Science. It goes on to re-endorse the earlier argument that a long historical time-scale was required for the aesthetic implications of photography to become clear, and that, like photography, the computer and holography are technological media whose immediate interactions with aesthetics and the culture at large will take many decades to pan out. Earlier claims about the relationship between art and ecology are then reviewed. Finally the article suggests that though world politics have changed considerably since the 1960s and 1970s, artists have undiminished opportunities to grapple with the challenges of new technologies directly, rather than retreating into a closed system.     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

Microclimate analysis of deteriorated wall paintings: With restitution of original decoration through imaging

Abstract

The restoration of deteriorated wall paintings in an underground environment requires at the outset a complex analytical approach designed to clarify the deterioration processes. These can be identified and prioritized using continuous microclimatic monitoring with multichannel analytical loggers, providing abundant data on climatology, airflow and hydrogeology in real or semireal time. The investigator can therefore have an almost instantaneous idea of the evolving microclimatic conditions of the monument, identifying among other variables the condensation or evaporation phases of the walls and the rising or sinking of the underground water table when the monument ‘has its feet in the water’, as in the case described here of St Emilion (France). In addition, electronic image capture in situ can be used to decode and restitute very damaged paintings that have become difficult to read, with a view to their being eventually presented to the public.