Acoustics and Levantine rock art: auditory perceptions in La Valltorta Gorge (Spain)

This article explores the relevance of acoustics as a factor for in the production and active use of Levantine rock art in Spain. The renowned rock art area of La Valltorta Gorge serves as a case study. Two experiments are described; the first assessed whether the sites with the most painted motifs had better acoustics than those with fewer motifs. The second tested which areas in La Valltorta Gorge had better acoustics and whether there was a difference between the acoustics of the decorated area and the contiguous sectors of the Gorge where no paintings have been found. In both experiments different sounds and pitches were used. The results suggest a strong relationship between the painted areas and the sonority of the place, with the major sites generally having provided the best results, with the exception of the sonority when facing the rock art panels. It is suggested that La Valltorta Gorge was chosen to be decorated with a view to increasing the perceptual impact of the rituals that may have been held at rock art sites due to the amplification caused by the echoing and resonance.     

The chalcolithic period in the Levant

The Levant of the fourth millennium B.C. was scattered with numerous small farming communities. The agricultural activities were based on growing barley, wheat, lentils, and fruit trees. This was accompanied by raising sheep-goats, pigs, and cattle and occasionally using marine resources. The architecture and the thick accumulation of debris loaded with pottery refuse indicate that the sites were sedentary and occupied for long periods. The social organization of these communities does not seem to have been very complex. The evidence argues against the existence of hierarchies and high-status social units that had the power to dominate and permanently regulate production and distribution. The evidence of religious activities also indicates that a priesthood, if it existed, was not dominant in the regulation of social and economic activities. The rapid cultural changes in the Levant during the late fourth and early third millennium were probably caused by the impact of the events in Egypt and Mesopotamia. The local modifications were readjustments to the large-scale changes in the Near East which influenced the rural and provincial Levantine Chalcolithic societies.     

The Production and Circulation of Carthaginian Glass Under the Rule of the Romans and the Vandals (Fourth to Sixth Century ad): A Chemical Investigation

Fifty‐seven glass samples from Carthage dating to the fourth to sixth century ad were analysed using the electron microprobe. The results show that these samples are all soda–lime–silica glass. Their MgO and K₂O values, which are below 1.5%, suggest that they were made from natron, a flux that was widely used during the Roman period. The major and minor elements show that these samples can be divided into four groups, three of which correspond to the late Roman period glass groups that were found throughout the Roman Empire: Levantine I, and ‘weak’ and ‘strong’ HIMT. Of particular interest is our Group 2, which is technologically and compositionally similar to HIMT glass and the CaO and Al₂O₃ values of which are similar to those of Levantine I. Glass of similar composition has been reported by several authors and is predominantly found dating from the late fifth to seventh century. This could represent a ‘new’ glass group; therefore further study is needed to determine its origin. Also, this study suggests that the Vandal invasion in North Africa did not disrupt the glass trade between Carthage and the Levantine coast.     

Archaeological investigations and OSL dating of terraces at Ramat Rahel,Israel

Abstract

Dating terraces, the most prominent feature of the agricultural landscape in many parts of the world, is a problem for archaeologists. This study presents an interdisciplinary approach that combines archaeological survey and excavations with direct sediment dating of terrace fill using Optically Stimulated Luminescence (OSL). The study focuses on Ramat Rahel, a multi-period site located in the southern outskirts of modern Jerusalem, Israel, where, on a defined terraced slope chosen for a small-scale landscape archaeology project, three main phases of terrace construction and use were identified. The earliest phase dates to the Late Byzantine/Early Islamic period, the second to medieval times, and the last to the Ottoman period. The results enable a comprehensive reconstruction of the changing local landscape through time and demonstrate the validity of OSL, when combined with archaeological investigations, as a reliable method for terrace dating.     

Latest developments in rock art recording: towards an integral documentation of Levantine rock art sites combining 2D and 3D recording techniques

This paper presents a further step in the integral documentation of prehistoric rock art, combining 2D and 3D digital recording techniques. Image processing and digital enhancement techniques are an invaluable aid to obtain high quality and accurate 2D recordings, especially when working with faint motifs or complex superimpositions. But what constitutes a real breakthrough is the possibility of combining 2D digital tracings with metric 3D models, providing a whole set of metric outputs that improve our understanding of the motifs in their context and, at the same time, can be used to deliver accurate metric reproductions.     

Minateda rock shelters (Albacete) and post-palaeolithic art of the Mediterranean Basin in Spain: pigments,surfaces and patinas

The inorganic and organic fractions of two microsamples of prehistoric paint from the same site, the Minateda rock shelters, are analysed here for the first time. The two samples correspond to two rock shelters of different styles (Levantine and schematic) – Abrigo Grande de Minateda (The Great Rock Shelter of Minateda) and Abrigo del Barranco de la Mortaja (Del Barranco de la Mortaja Rock Shelter). Since its discovery, historiographical tradition has emphasised the Abrigo Grande de Minateda, with its magnificence and complexity, as emblematic of the origin and evolution of rock art in the Mediterranean Basin of the Iberian Peninsula (a UNESCO World Heritage Site). Four complementary techniques –Microphotography, Scanning Electron Microscopy-Energy Dispersive X-Ray Spectroscopy (SEM-EDX), Raman Spectroscopy and Gas Chromatography–Mass Spectroscopy (GC–MS)– were combined to identify and characterise the physicochemical properties of the paint and of the surface. We present an interpretation of the results that leads us to define complex taphonomic alterations beyond the usual distinction of layers that include the surface, pigments and patinas.     

Calcium oxalate AMS C dating and chronology of post-Palaeolithic rock paintings in the Iberian Peninsula. Two dates from Abrigo de los Oculados (Henarejos,Cuenca, Spain)

Since 2005 we have been utilizing accelerator mass spectrometry (AMS) ¹⁴C dating in research on calcium oxalate crusts associated with open air rock art of the Iberian Peninsula. In this paper we present two dates linked with three eye-idol pictographs at Abrigo de los Oculados (Henarejos, Cuenca, Spain). Radiocarbon ages for these motifs agree with the expected iconography-based archaeological chronology. Such oxalate dates could provide an independent basis for evaluating chronological theories for post-Palaeolithic sites, designated in the UNESCO World Heritage List as Rock Art of the Mediterranean Basin on the Iberian Peninsula.     

The composition of ‘naturally coloured’ late Roman vessel glass from Britain and the implications for models of glass production and supply

Naturally coloured, blue or green are the most common glass colours found in assemblages from the Roman world from the end of the 1st century BC onwards. In the 4th century two different compositions have come to dominate this group, ‘HIMT’ and ‘Levantine 1’ glasses, both of which are now thought to have been produced in the eastern Mediterranean. Using Romano-British glass assemblages from the 4th and 5th centuries, it is shown here that although the two naturally coloured glass types predominate, by far the most common composition in British assemblages is HIMT, although older, earlier blue-green compositions are still present. The earliest date HIMT could be identified in these assemblages is around AD 330, although two distinct compositions can be identified within this group which relate to changes in composition over time. A similar change over time is seen in the Levantine 1 glasses. The reasons for these patterns within the assemblages are explored within the archaeological evidence currently available for glass production and consumption in the Roman world.     

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.     

Late antique glass from Salapia: Tracking production and trading networks

The investigation of 38 late antique vessels from the archaeological excavation of Salapia has been performed using EMPA and LA-ICP-MS. The collection was made using impure sands and mineral soda. Among coloured glass, most vessels were made of ‘fresh’ glass. The use of colouring agents is rare, and most decoloured glass is obtained by Mn addition. Sb-decolouration is limited to one cup, and two colourless vessels show both manganese and antimony. As for provenance, the prevalence of Egyptian-HIMT glass over the Levantine is evident. Among Levantine glass, Jalame glass is represented, whereas Apollonia glass is absent. Among Egyptian (and deemed Egyptian) glass, the prevalence of HIMT glass over the other types has been observed. The high attestation of fresh glass, most notable in the earlier centuries, suggests the importation of glass in the form of finished objects, especially luxury vessels.