Prehistoric Bird Watching in Southern Iberia? The Rock Art of Tajo de las Figuras Reconsidered

ABSTRACT

This paper studies the relationship between humans and birds in the recent prehistory of the Southern Iberian Peninsula. With its high number of bird, mammal, and anthropomorphic paintings, a small rock shelter –Tajo de las Figuras– provides an excellent case study to address this topic. The cave is situated in an ecosystem that, as we will argue, favoured human-bird interactions and enabled prehistoric groups to engage with a diverse and rich bird community at particular times of the year. Even though the recorded depictions can generally be integrated into the wider ‘Schematic’ style regime characterising the recent prehistory of the region, they exhibit some outstanding features including a highly distinct naturalism. This naturalism enables us to identify the represented birds, not only at the family but also at the species level. Our contribution describes these pictorial data and contextualises them with the ecology, archaeology, and archaeozoology of the area. We intend to show that the singularity of the image-corpus registered at Tajo de las Figuras mirrors the unique conditions of human-bird interactions at the time. We suggest that the significance of the images derives from the special location of the cave in the wider landscape encouraging early practices of bird watching.     

‘Startling; Nay,Almost Repulsive’: Light Effects and Nascent Sensation in John Everett Millais’s The Rescue

Taking Pre-Raphaelite painter John Everett Millais’s The Rescue (1855) as a case study of shifting aesthetic and moral frameworks, the essay investigates the ways in which mid-century British debates regarding the proper representation of light effects illuminate anxieties about a physically embodied viewer, one who encountered pictures in individualized ways that required regulation and guidance. Represented light, as an element that had a measurable effect on the senses, clearly stimulated a physical response and therefore brought the body to the fore in the art encounter. Types of painting that forcefully engaged the somatic self could become suspect and consequently subject to a process by which they were designated as ‘sensation’, a category in fraught relation with the disappearing ‘sublime’. Combining close visual analysis, a discussion of The Rescue’s novel subject matter, remarks by its first beholders, and nineteenth-century aesthetic theory, the article reflects on the ways in which discourses of art revealed anxieties about the formation of the modern subject and argues that The Rescue is a node in which the death of the sublime meets the birth of sensation.     

The ‘Triple R’ Approach on the Restoration of Archaeological Dry Stone City Walls: Procedures and Application to a UNESCO World Heritage Site in Oman

The ‘Triple R’ approach on the restoration of dry stone walls, using recognizable, reversible and respectful constructive techniques is here illustrated. A set of restoration procedures are explained and applied to a UNESCO World Heritage site in Al-Baleed (Salalah, Sultanate of Oman) in the ‘Land of Frankincense’. The procedures were adapted in an innovative way to take into account the climate features of the Indian Ocean area (specifically, the effects of the monsoon season). All the restoration procedures aimed at conserving the site’s original architectural features by using only suitable stones and materials found on-site. Specific procedures have been adopted to consolidate walls, gates, foundations and sloping surfaces. Simple on-site mechanical tests and evaluation methods have been developed for a quick assessment of the safety level of the restored walls to ease future archaeological excavations. The application is related to a waterfront side of the ancient city built around the ninth century and added to over the next five centuries. These restoration procedures allowed for further archaeological excavations with new findings is here described.