RADIOCARBON DATES FOR BEESWAX FIGURES IN THE PREHISTORIC ROCK ART OF NORTHERN AUSTRALIA

Accelerator mass spectrometry radiocarbon ages have been taken for a test suite of small samples of material removed from some of the ‘beeswax’art figures found in rock shelters in northern Australia. The results indicate that we can reliably date this unique form of rock art with no noticeable damage. We had not expected to find figures of any great antiquity, and so we were surprised to find that the ages obtained spanned the time period from the recent past to about 4000 BP.     

OPTICAL DATING OF SINGLE AND MULTIPLE GRAINS OF QUARTZ FROM JINMIUM ROCK SHELTER,NORTHERN AUSTRALIA: PART I,EXPERIMENTAL DESIGN AND STATISTICAL MODELS*

Jinmium rock shelter is famous for the claims made by Fullagar et al. (1996) for the early human colonization and ancient rock art of northern Australia. These claims were based on thermo-luminescence ages obtained for the artefact-bearing quartz sediments that form the floor deposit at the site. In this paper, we outline the background to the optical dating programme at Jinmium, and describe the experimental design and statistical methods used to obtain optical ages from single grains of quartz sand. The results, interpretations, and implications of this dating programme are reported in a companion paper (Roberts et al. 7999, this volume).     

A HYBRID APPROACH TO CREATE AN ARCHAEOLOGICAL VISUALIZATION SYSTEM FOR A PALAEOLITHIC CAVE

This paper presents a visualization system based on metric data to manage and disseminate archaeological information on the Internet. We describe the integration of two different types of sensors: laser scanning and close‐range photogrammetry. How we created an automatic and hierarchical approach based on processing and matching the images coming from a digital camera and a terrestrial laser scanner is also shown. This development has created a visualization system combining spherical photographs and georeferences for graphical and numerical data acquired by the sensors. The case study where we have applied this method is the Palaeolithic rock art of the Llonín Cave (Asturias, Spain), which has been declared a World Heritage Site by UNESCO and has restricted public access. Our results demonstrate that this tool integrates data, metadata, services and information, which simplifies the location, identification, selection and management of archaeological information.     

THE HISTORY OF THE BROOKHAVEN NATIONAL LABORATORY PROJECT IN ARCHAEOLOGICAL CHEMISTRY,AND APPLYING NUCLEAR METHODS TO THE FINE ARTS

This paper traces the events leading up to the formation of a project in 1954, in the Chemistry Department at Brookhaven National Laboratory, dedicated to the application of those new developments that were rapidly transforming postwar nuclear science to the parallel humanistic disciplines of archaeology and the fine arts. The further evolution of this effort involved the enlightened support of the Department of Energy (then AEC and ERDA) coupled with the lively interests of the archaeological, fine‐arts and art‐historical communities, their professional academics and the many graduate and undergraduate students who participated in the Brookhaven project. But more than new scientific methodologies, concepts and instrumentation were deployed. What developed was a large‐scale, truly interdisciplinary effort, where scholars of the humanities and sciences worked side by side in a remarkable way, each led by the other, to the mutual benefit and increase of their knowledge and understanding. A paradigm of co‐operation between arts and sciences was initiated: this paper presents a record of the process and its outcome, a novel blending of science and humanism that is very much taken for granted by research workers today.     

The Identity of the Nabataean 'Painted House' Complex at Baidha,North-West Petra

Abstract

An attempt is made to shed light on the identity of the Nabataean 'Painted House' from an understanding of its plan, the content of the painting and the function of the associated features, mainly the water installations. This study reveals new mythological figures unnoticed by previous scholars. These include additional cupids and, most importantly, Isis. The water installations of the monument, its functions and meaning, the content of the painting combined with comparative studies of Mediterranean and Near Eastern evidence all suggest that this monument was an Isiac (Isis) sanctuary devoted to her as a goddess of improved quality of life, good crops, good herds, and love.     

Plants in Late Medieval festivals and customs in written and pictorial sources from southern central Europe

Abstract

This paper derives from research carried out on plant representations in Late Medieval religious art in southern central Europe. The uses of plants in most important Late Medieval religious festivals and customs in southern central Europe are described. Plants with festive connotations are identified and shown in their cultural contexts. The main goal of this research was to show how visual evidence, interpreted with the help of historical sources, could contribute to archaeobotanical research on Late Medieval plants and their use in festive occasions in the region in the later Middle Ages.     

South African War (1899–1902) Memorials in Britain: A Case Study of Memorialization in London and Kent

Abstract

Mass public commemoration of war dead is often held to be a twentieth-century phenomenon, with its genesis in the Great War. This article argues for a pre-history occasioned by commemoration of the South African War (1899–1902) that built on shifts in the form and function of war memorials that had begun in the middle of the nineteenth century.     

An Independent Confirmation of the 4 ka Antiquity of a Beeswax Figure in Western Arnhem Land,Northern Australia

Critical to any chronology is reliability in the determination of age for a distinctive artefact that is related to other components in a series. Therefore, the independent testing and verification of the antiquity of an apparent anomalous measurement for an old beeswax figure in northern Australia is of fundamental interest in rock art studies. Replication of the radiocarbon dating process has confirmed that one exceptional figure in early X‐ray style at the Gunbilngmurrung site in western Arnhem Land is indeed c. 4–4.5 ka. The result also confirms the great antiquity of paintings over which the beeswax was applied.     

ONLY TIME WILL TELL: A REVIEW OF THE METHODOLOGY OF DIRECT ROCK ART DATING

Epistemology has not kept pace with the progress experienced in the direct dating of rock art. This paper reviews the experimental methods that have been developed in recent years. While many do provide important information about the possible age of rock art, it is of concern that the precipitate archaeological interpretations these data are used for are often not warranted. Some are attributable to not understanding the severe qualifications that apply to most dating results, others perhaps to over-enthusiasm on the part of some researchers. The introduction of archaeological dynamics into direct dating of rock art threatens the reliability of this young methodology. Some of the pitfalls are considered in this paper, and a general rationale for the direct dating of rock art is developed.     

IDENTIFYING THE PLANT ORIGIN OF ARTISTS' YELLOW LAKE PIGMENTS BY ELECTROSPRAY MASS SPECTROMETRY

Dyes containing flavonoids are found in yellow lake pigments used as artists' materials. Pre‐treating a sample of a flavonoid‐based lake pigment with an acidic ion exchange resin followed by reversed‐phase HPLC electrospray mass spectrometry enables the identification of key diagnostic yellow compounds, even when the pigment is bound in paint media. Reference raw plant materials of weld and buckthorn berries were also treated similarly for comparison with the lake pigments derived from these plants. This method is suitable for microsamples and thus suitable for analysis of samples that can be ethically removed from works of art in the course of their conservation. The flavonoid content is analysed and plant origins are suggested for yellow lake samples taken from Reclining Tiger by Jean‐Baptiste Oudry and the 1893 version of The Scream by Edvard Munch.