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Issue No 10: Autumn 2013

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R R R oooccck k k   A A Arrrtttiiicccllleeesss Issue No.10: Autumn 2013

Dear All,

Welcome to Rock Articles No. 10! Thanks to everyone who has contributed text, images, information, and proof-reading over the last

few years, and helped to share discoveries, techniques, opportunities, and ideas.

Hopefully RA has led to some productive connections along the way, and inspired a few more people to participate. By way of celebration, the 10th issue is a little larger than usual, with contributions from rock art researchers around Britain, Ireland, and

beyond.

Kate 

 Autumn 2013kesharpe@outlook.com

Contents:

•  New British Discoveries: More than just cups and rings ............................................................................ 2

•  British Rock Art News: BRAC is back! ..................................................................................................... 3

•  World Rock Art on the Web: international news and links ......................................................................... 4•  The Wicklow Rock Art Project. Clíodhna Ní Lionáin ............................................................................... 5 

•  CSI: Rombalds Moor. Processing the Evidence. Kate Sharpe, Richard Stroud & Tertia Barnett ........... 7 

•  Heritage & Science: the CARE Rock Art Project. Peter Lewis................................................................ 9 

•  Digital Documentation of Rock Carvings. Mette Rabitz....................................................................... 10 

•  Mobile Rock Art in English Museums. Consuelo Sauls ......................................................................... 12 

•  Rock Art in Context at Ravensheugh Crags. Phil and Anne Bowyer .................................................... 13 

•  BRAG in Belfast. Rebecca Enlander........................................................................................................ 15

•  Inspired by Rock Art: creative responses to cup and ring marks .............................................................. 16

•  Recording techniques on the web: see PTM in progress and some impressive RTI results ...................... 16

•  Rock Art Reads: new and forthcoming publications .................................................................................. 18

Dave Almond - Tertia Barnett - Arthur Batty - Colin Beecham -

Elizabeth Bemand - Keith Boughey - Ken Bowker - Phil Bowyer -

Anne Bowyer - Joe Brown - Nick Card - Graeme Chappell - George

Currie - Andy Curtis - Rose-Mary Cussen - Sarah Duffy - Martin Ellis

- Rebecca Enlander - Chris Evans - Paul Frodsham - Rachel Gibson -

Robin Gray - Duncan Hale - Charlie Johns - Andy Jones - Brian Kerr

- Peter Lewis - Rob Loveday - Aron Mazel - George Nash - ClíodhnaNí Lionáin - Old Rock Arty - Mette Rabitz - Martin Reid - Mark

Sapwell - Consuelo Sauls - Douglas Scott – Mike Short - Adam

Stanford - Richard Stroud - Peter Style - Antonia Thomas - Dave

Tuck - Clive Waddington - Aaron Watson - Rob White - Barry

Wilkinson - Amanda Wintcher - John Wombell - Will Wordspeck 

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NEW BRITISH DISCOVERIES: More than just cups and rings! 

 An early backgammon board? The Rhu Stone, Moidart. 

This fascinating stone was found by Judy Budge who was taking part in a

survey of the Rhu Arisaig peninsula, along with Ken and Jean Bowker from the

Moidart History Group. The stone, which measures 40 cm across, is currently

part of a ruined building. It is about 40cm wide, and criss-crossed by an incised

geometric pattern. (An interpretation is shown below). The Rhu Peninsula isdeserted today apart from two households. One cup-marked stone is recorded

(http://canmore.rcahms.gov.uk/en/site/22528/details/torr+mor+ghaodeil+arisaig/ ). 

The incised lines are reminiscent of those on Neolithic slate and chalk plaques,

as well as incised motifs found at various sites around Orkney (see below). If 

any readers have come across anything similar please get in touch!The Rhu Stone. Image credit: Ken Bowker

Interpretation of the incised lines.(Based on photograph only). 

From Clarke 1976 Fig 9, reproduced in Ashmore, P. 1986, Proc Soc Antiq Scot 116, 57-62.Carving built into a wall at Skara Brae, Orkney.

Rock art style motifs on 6000 year old wooden post in Wales

 An oak timber recently discovered during the construction of a wind farm near Maerdy, in the Rhondda Valley, is thought to be

among the oldest decorative wood carvings known from Europe. The 1.7m long timber had been preserved in a waterlogged peat

deposit, together with 11 other unmarked pieces of wood. The timber has been radiocarbon dated to c.4270-4000 BC – about 100

years older than the deposit in which it was found. It is carved with a concentric oval pattern and zig-zag lines, reminiscent of the

style of carvings on the megalithic tomb at Barclodiad y Gawres, Anglesey, believed to date from between 2500-3000 BC.Read more in Current Archaeology: http://www.archaeology.co.uk/articles/news/maerdys-mesolithic-masterpiece.htm 

The wooden post with detail of carved motifs. (Image credit: Richard Scott Jones) The lower right image shows detail fromthe Barclodiad y Gawres chambered tomb. (Image credit: Adam Stanford)

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Mysterious labyrinth stone found in OxfordshireThis carved stone was reported to Anni Byard, the Finds Liaison Officer for Oxfordshire & West Berkshire. It was found byRobert Hoare in Eynsham, whilst he was clearing a stream bordering his property. The drawing is based on the photograph. Itis similar in style to the Tintagel labyrinths on outcrop at Rocky Valley in Cornwall (undated), and also to motifs found at ValCamonica in the Italian Alps, and at Pontevedra in Galicia, Spain. For a detailed account of labyrinths throughout history andaround the world see the Labyrinthos website. Detail of the Cornish labyrinths is at http://www.labyrinthos.net/rockyvalley.html and formore prehistoric and early labyrinths see http://www.labyrinthos.net/photo_library16.html. 

Oxfordshire labyrinth (Photo: Robert Hoare)Rock Valley labyrinth

(Image: Simon Garbutt) 

BRITISH ROCK ART NEWS

BRAC is back!

It is with great pleasure that we can announce here that the wonderful collection of images of British rock art known as the BritishRock Art Collection has been reinstated! In Issue 5 (Spring 2011) we were devastated to report the news that this fantastic site,created by Gus Van Veen and the late Jan Brouwer, had been lost to cyberspace. Since then, Graeme Chappell and a small team of friends, including George Currie, Suzanne Forster, Ian Hobson, Brian Kerr, Gavin Parry, and Richard Stroud, have worked hard torescue and reinstate all the images from the old site, and to present them in a new ‘wrapper’ created with Jalbum gallery software.

Graeme explained “The main goal was to get the BRAC back online so that Jan’s interest and passionfor UK rock art is not forgotten.” 

The site is a rich resource of old and new images of rock art, all contributed by enthusiasts whoshared that passion, and is a fitting legacy for Jan, who was a much loved figure within the Britishrock art community. Check out the new look BRAC at http://ukra.jalbum.net/brac/ 

CSI agents close the case

The Carved Stones Investigation: Rombalds Moor Project ended this month with 499 carved stones (including 42 new discoveries)recorded by a dedicated and determined group of trained volunteers. After three years of searching for panels amongst the heatherand bracken in all weathers photographing, drawing, mapping, describing, and evaluating their condition, and several months of 

data inputting, they are no doubt relieved to be able to put up their feet and relax as the winter draws on! The data and imagescollected have now been passed to the Archaeological Data Service, to be uploaded to the England’s Rock Art (ERA) database andwebsite. This will bring the number of records on ERA to 2079 - around two thirds of the total number currently known in England.The data from the condition and risk assessment is discussed later in this issue (see page 7).

There was an additional celebration for all involved when the umbrella initiative, the Watershed Landscape Project, which wasmanaged by Pennine Prospects and funded by HLF and Leader, was awarded a Laureate in the European Union Nostra Awards forits work in the area of ‘Education, Training, and Awareness-raising’.

Europa Nostra Award Celebrations in Ilkley, July 2013. Image credit: Colin Beecham.

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WORLD ROCK ART on the WEBNews from North America and Northern Australia.

More ‘oldest’ petroglyphs: this time in North America

 Ancient rock etchings, including abstract, geometric designs, arebelieved to be the oldest ever found in North America. In a

study to be published in the December 2013 issue of the Journalof Archaeological Science , geochemist Larry Benson and histeam concluded that the petroglyphs, located about 35 milesnortheast of Reno at Winnemucca Lake, are at least 10,500years old, and perhaps as much as 14,800 years old.The motifs,carved in soft limestone, range from simple lines, pits, andswirls to more complex and ambiguous shapes that resemblediamonds, trees, flowers, and leaf veins.

Read more athttp://news.nationalgeographic.co.uk/news/2013/08/130815-lake-winnemucca-petroglyphs-ancient-rock-art-nevada/ 

Image credit; Larry Benson, Colorado University

Quinkan rock art threatened by mineral prospectors

The area around the tiny, remote Queensland town of Laura has been named byUNESCO as one of the world’s great rock art precincts. Home to the etherealQuinkan figures, and ancient images of animals and birds and of newcomers fromcolonial times (including a horse), this remote part of Australia attracts touristsfrom all over the globe.

In June, however, mining company Jacaranda Minerals was given permission bythe Queensland Government to explore for minerals in an area of 384 squarekilometres, equivalent to the size of the Isle of Wight.

The Banjo clan is the custodian of the area. Clan members had no idea that theQueensland Department of Natural Resources and Mines had granted Rinehart’scompany two mineral exploration permits, until The Global Mail contacted the localcustodians of the land for a response.

Read the full story in the Global Mail at:http://www.theglobalmail.org/feature/raiders-of-the-rock-art/698/

 Volunteers find new rock art in North Queensland survey

Rock art believed to be at least 150 years old has been discovered in a survey of rugged terrain tothe west of Townsville. An environmental survey of the White Mountains National Park last week,north of Pentland, located a sandstone cave full of artwork, including well-preserved stencils of spray-painted hands, feet and other objects. The survey, funded by Guildford Coal, involvedteams of volunteers walking a 20sq km area of rugged terrain over six days, recording new rock art sites.

Townsville archaeologist Liz Hatte, who co-ordinated the project with traditional owners the Yirendali people, said the significant discovery had been made in an area known to contain some

excellent Aboriginal art and heritage sites. She said the previously undocumented artwork waspotentially thousands of years old, and at the very least pre-dated European settlement of NorthQueensland, 150 years ago.

Read more at: http://www.townsvillebulletin.com.au/article/2013/10/01/390049_news.html  

Dating the origins and development of painted caves by U-Series disequilibrium

 A team based at the universities of Southampton, Durham, Santander, Barcelona, Madrid and the Basque Country have beenawarded a NERC grant for a new project which will run for 3 years from Jan 1st 2014. It will aim to develop a robustchronology for French, Spanish and Italian Upper Palaeolithic cave art by using Uranium-series dating to age stalactites

growing above and underneath paintings and engravings. Preliminary results by the team have provided Europe's oldest caveart yet and were published last year in 'Science' . This grant will extend the project significantly, and should establish if Neanderthals produced any of the earliest examples. The dating will be done at Southampton University and in Spain;Durham's role is to select thematic and stylistic aspects of the art for dating. 

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THE WICKLOW ROCK ART PROJECT  – Bringing Rock Art into ViewClíodhna Ní Lionáin, PhD Candidate, School of Archaeology, University College Dublin.

Situated south of Dublin on the east coast of Ireland, County Wicklow, also known as the Garden of Ireland, is home to a

significant number of rock art panels, and in the mid-20th century it was identified by academics such as Eoin MacWhite (1946)

as one of the main foci of open-air rock art in Ireland. Since then, however, the rock art of Wicklow has slipped out of view,

both in terms of the academic attention it receives, as well as the general public’s awareness of its existence. Consequently

many of the sites are overgrown, with rock surfaces deteriorating due to lichen and moss growth (Figure 1), while some panels

have also been damaged due to agricultural and quarrying activity, and others have been moved from their original location(Figure 2). It seems that the greatest threat that the rock art of Wicklow faces today is for it to remain hidden and unknown. To

attempt to address these issues the Wicklow Rock Art Project was established by the School of Archaeology, University College

Dublin, in May 2012 as a pilot scheme to explore the potential of photogrammetry in rock art recording, and also to examine

ways to protect and promote prehistoric open-air rock art in a sustainable manner. The outreach aspect of this project is

particularly important, especially in its engagement with the general public and with those who live alongside this art, for open-

air rock art belongs not only to the past, but also to the present.

Figure 1. A moss-covered stone decorated with rows of cupmarks in Ticlash (WI030-040).

Figure 2. A boulder decorated with cup-and-ring motifs located atthe entrance to a housing estate in Carnew (WI047-018).

Inspired by the Northumberland and Durham Rock Art Project,

it was decided to use photogrammetry to create 3D models of 

the rock art panels, and by so doing address the three main

objectives of the project – (1) the recording of the sites using

traditional and photogrammetric methods, (2) the

communication of the project’s progress and results in order

to increase public awareness, (3) the identification of new

sites and the cultivation of a sense of identification with these

sites to ensure their survival.

The rock art of Wicklow is found predominantly on granite,

and is characterised by the use of cupmarks (Figure 3),

although some panels with cup-and-ring motifs are also

known (Figure 4). While these panels are found in various

parts of Wicklow there appears to be specific concentrations,particularly around the Roundwood area, and a preference for

closed valleys. An unusual aspect of the rock art of Wicklow is

the reuse of some of these panels (Figure 5) in both Early

Medieval and more recent graveyards, a phenomenon first

noted by Chris Corlett

(http://www.christiaancorlett.com/#/blog/4564514201/Another-cup-

marked-stone-at-Ballintemple-Co.-Wicklow/5700644). 

Figure 3. Cupmarks, cupmarks, everywhere. A small schistslab decorated with cupmarks, found in Camaderry (WI023-

009004), and currently located in the Glendalough VisitorCentre. Beneath it is a large boulder from Drummin, with

cupmarks on its upper surface. (Displayed in Meshlab)

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Figure 4. Cup-and-ring decorated boulder from Carnew(WIo47-018). Displayed using Meshlab, with the upper

image using the dimple shader of this opensourcesoftware, and the lower image shown in

lambertian radiance scaling.

The project aims to initially record18 known rock art sites.

While a greater number of sites exist, this smaller subset was

chosen in order to work out an efficient methodology and

workflow before extending its application. As with all pilot

projects there have been some bumps along the road. Getting

to grips with a new technology has its challenges, from

figuring out the ideal weather conditions (preferably dry, as

wet stones result in noisy models), working out the bestcamera settings, and grappling with the computer as it builds

the models (sometimes at a tortuously slow pace!). However,

the initial results are promising, and we are really getting an

insight into the potential of photogrammetry both as a

research tool and as a way of engaging with a wider audience.

Figure 5. Rock art in graveyards. Images from theovergrown and abandoned Ballintemple graveyard, and

the two rock art panels found inside its confines.

From the outset communication was seen as an essential part

of this project, in particular to encourage public engagementand involvement. Social media is being used to communicate

results and raise general awareness, with a blog

(www.ahiddenview.com) set up to chart the progress of the

project, and a website to be constructed on completion of 

recording. A Facebook page has also been set up

(https://www.facebook.com/WicklowRockArtProject), providing a

different, more interactive way for the public to engage with

the project. While the blog has been very useful, it really

represents a one-way conversation. The Facebook page

enables dialogue and a wider ownership of the project, with

anyone able to contribute, post photos, ask questions, and

begin discussions. It is hoped that by raising general

awareness of open-air rock art the project will also lead to

increased identification of new rock art sites by the general

public, but also, and perhaps more importantly, it will

encourage people to identify with the rock art in their area,

and foster a sense of guardianship and protection of this

fragile resource. The project is ongoing and will hopefully be

completed in Spring 2014. Keep an eye on our progress by

checking our Facebook page and blog, and feel free to ask 

questions, leave comments, and start conversations on this

topic. After all, this is a learning process for all involved!

The Wicklow Rock Art Project is funded by UCD Seed Funding.MacWhite, E. 1946. A new view on Irish Bronze Age rock-scribings. Journal of the Royal Society of Antiquaries of Ireland 76, 59–80. 

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CSI: ROMBALDS MOOR. Processing the EvidenceKate Sharpe, Richard Stroud & Tertia Barnett

The field agents of the Carved Stone Investigations: Rombalds Moor Project have spent many months collecting and processingevidence from the carved stones of West Yorkshire. The work, which was part of the Watershed Landscape Project, managed byPennine Prospects and funded by HLF and Leader, has now ended and the results will soon be made available.

Using a standardised rock art recording methodology, first developed by the Northumberland and Durham Pilot Project, thevolunteers recorded the content, context and condition of 499 carved panels. The data will shortly be added to the England’s Rock  Art database (http://archaeologydataservice.ac.uk/era/) which will then cover over 2000 panels, providing comparable informationfor around two-thirds of all those currently known in England. This rich resource is freely available to heritage professionals,researchers, and anyone with an interest in prehistoric rock art.

The forensic examination of each panel included scrutinising condition, and assessing potential risks. The volunteers were trained torecognise a wide range of factors which are known to affect the rock art, including physical and chemical erosion, biological growth,and human and animal activities. They evaluated 18 aspects of condition, for both the carved area and the entire exposed surface.They also assessed 15 potential risk factors, rating them from 0 (no threat) to 3 (severe threat). Additional data was collectedrelating to current land use and the proximity of route-ways. Qualitative information was also included in the form of written notes.It is hoped that the resulting detailed picture of the current state of the rock art on Rombalds Moor will assist Heritage Managers,and inform future management decisions. The following summary highlights some of the immediate and longer term threats to thisvaluable set of carved panels.

Current situation of panelsThe majority (80%) of the rock art in the survey area was judged to be at its original location in the landscape. Fifteen panels hadbeen relocated, with 29 re-used in other structures (e.g. walls);14 were in museums. Seventeen panels had been previouslydocumented as ‘lost’, and one is known to have been destroyed. The volunteers were unable to locate a further 25 in the field, usingprevious records as a guide. 

For the many panels in situ in the landscape, the ways in which that land is used and managed is critical to the survival of the carvedstones. Interventions to improve, exploit, enjoy, or even to preserve the natural environment can have adverse effects on the boththe rocks themselves, and on the rock surface.

•  The majority of panels surveyed (66%) were found on heathland or moorland. These may be subject to landmanagement practices such as heather burning, and are often used as grouse feeding stations. The Open Access status of the moor with many footpaths means that they are also unusually accessible to the public.

•  Smaller numbers of panels were also located on unmanaged grassland and improved pasture, where the presence of 

stock animals can be an issue due to droppings, trampling, rubbing, and scratching.•   A significant number are also located in woodland or forests. This creates a number of conditions in the local

environment that are a problem for rock art. The tree canopy creates a damp, humid environment in which algae andmosses thrive; constantly dripping water from above can cause erosion; detritus can accumulate; and roots can bedamaging, even breaking panels into pieces. There is also a threat from human activity during tree felling.

•  Ten panels were located in urban situations. These may be especially vulnerable to building activity, and to vandalism.

ConditionThe appearance of the rock art panels is important both interms of prioritising conservation and identification of suitablepanels for presentation and education. Understanding theextent to which carvings become hidden (and effectively lost)through natural processes is also important to ourunderstanding how the current record may relate to theprehistoric distribution of rock art.

The most significant impact on panel condition was found to bealgae – an unexpected result given the exposed nature of themajority of the panels. Around 90% panels were affected tosome extent, with 52 having algae covering more than 2/3 of the carved area. One explanation may be the unusually wetweather during the period of the survey: in 2012 rainfall wasgreater than the average for 1981-2010, for eight months of theyear, reaching 239% in June. Crustose lichen has alsocompromised the appearance of many panels with 36 beingsignificantly affected. Grass and turf had a much smallerimpact, with few panels severely impacted.

 Around 50% of panels showed some degree of planar erosion,

with 30% of carved areas affected. Although fewer panels in total exhibited differential erosion, 16 had extensive damage to thecarved area. Many of the panels lie in areas subject to regular heather burning, and twelve appear to have suffered visible damageas a result, with ten showing burnt areas across 1/2-2/3 of the carved area.

0

100

200

300

400

500

600

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   D   i    f    f   e   r   e   n   t   i   a    l

   C   r   a   t   e   r   i   n   g

   P    l   a   n   a   r

   B   u   r   n   t   a   r   e   a

   L   i   c    h   e   n    (   c   r    )

   L   i   c    h   e   n    (    f   o    )

   M   o   s   s

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   D   e   t   r   i   t   u   s

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   D   r   o   p   p   i   n   g   s

   Q   u   a   r   r   y   i   n   g

   C    h   i   p   s   o   r   s   c   r   a   t   c    h   e   s

   G   r   a    f    f   i   t   i    (   p   a    )

   G   r   a    f    f   i   t   i    (   c   a    )

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   O   t    h   e   r

   T

   o   t   a    l   s   c   o   r   e 

Element assessed

Figure 1: Impact of elements assessed on panel condition.(High score = poor condition).

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Despite the heavy use of the moor by a variety of people, the data collected by the CSIRM volunteers indicate that the rock artpanels have remained remarkably undamaged with very few panels scoring a ‘3’ for the carved area for any of the conditionsassessed. Further, despite concerns about graffiti following a number of recent episodes of both carving and painting, only tenpanels were observed to be damaged by paint, with just four affected in the carved area. A significantly larger number – 37 –showed evidence of carved graffiti, with 8 instances within the carved area. Since the survey ended there has been a further attack,on Green Gates 01, a Scheduled Monument.

Risk 

The results of the assessment suggest that the most prevalent risks to thepanels are moss, algae, crustose lichen, and people, which each threaten atleast 60% of the panels to some degree. However, if only moderate tosevere risks are considered, the greatest threat is algae, which was ‘moderate’ or ‘severe’ for 138 panels.

 Accessibility is a key factor in assessing potential risk from human activities. Volunteers recorded the distance from each panel to the nearest footpath,bridleway, road, habitation, and parking. This information may be of relevance for management plans which may, for example, direct visitors toaccessible, resilient panels whilst re-routing footpaths away from morevulnerable examples.

 Analysis of the data reveals just how close footpaths go to the rock artpanels. Over 63% of the panels measured lie within 50 m of a footpath. If this figure is broken down further, it can be seen that most of these (116)are in fact within 5 m. More alarming, perhaps, is that 49 panels arerecorded as being within 1 m of a footpath and 12 are actually on the path.Two such paths have already been successfully re-directed by BradfordMetropolitan District Council: one in the Glovershaw area, and a secondaround panel Backstone Beck 04.

Ilkley Moor has a long tradition of grouse shooting. Currently, BradfordMetropolitan District Council leases the moor to Bingley Moor Partnershipallowing the Partnership the shooting rights. Part of the agreement allowsfor management of the land by the partnership, including heathermanagement, bracken control, and pest control. This increases speciesdiversity, produces a wider variety of bird habitats, and provides youngshoots which feeds red grouse; the burnt areas can also act as fire breaks.

The threat to rock art panels from heather burning may be reduced by

Natural England issued guidance to the Bingley Partnership in 2012indicating that some areas should only be burnt on either 10 or 25 yearcycles. This may limit damage from fire however the resulting heathergrowth may lead to some rock art panels becoming overgrown andeffectively lost, particularly in the Burley Moor area.

 A number of rock art panels were found to be in use as grit stations forgrouse feeding. This is likely to have a detrimental effect on the stonesurface, both directly and indirectly due to birds pecking and scratching.Boxes had been used to contain grit in some cases, but examples werefound where these had been upturned.

LP23 

BBH04 

WW05 Figure 2: Rock art panels close to route ways.

Images from CSIRM  A smaller area of the moor is managed for forestry. Rivock Edge Wood is a 200 hectare commercial spruce plantation on the westernside of the project area. At least eight previously recorded panels have already been ‘lost’ under planting ridges and furrows or thick detritus cover. Compartments within the plantation that contained around 40 examples of rock art were due for tree-felling in April2012, enabling the CSIRM Team to assess the condition of panels both before and after the trees were removed. The assessmentscarried out before and after the felling revealed how the condition of the stones had changed in just a year. In April 2012, almost allthe panels under the canopy were covered in green algae, moss, and detritus. A year later, without the tree canopy, the stonesappeared clean and completely free of biological growth.

Figure 3: Rivock 21 shown in April 2012, covered in algae before the surrounding trees were removed,and in June 2013 after the felling. Images from CSIRM.

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The Forestry Manager kindly allowed access for vehicles into the forest, provided maps, and supplied stakes so that panels could bemarked out to protect them from damage from future forestry activity. In the areas felled and replanted small glades around thepanels have been created with the nearest trees being deciduous rather than spruce. Other panels in compartments not earmarkedfor harvesting were also identified by wooden stakes, to protect them should future felling take place.

Throughout the project the CSIRM participants worked closely with land owners and agents, to obtain permissions, seek advice, andensure they did not interfere with management or conservation activities. It is hoped that the relationships developed and the good

will fostered can be continued into the future, and that the momentum generated by the project can be exploited in a positive way.The maintenance of close links between authorities, land managers, landowners, and CSIRM volunteers is vital to ensure continuedawareness and best practice. A future programme of monitoring is planned to identify and quantify changes and potentialdeterioration.

The CSIRM volunteers are keen to put their new skills and experience to use recording and monitoringadditional areas of rock art in West Yorkshire. If you would like to join them please contact Rock Articles forfurther information.

HERITAGE & SCIENCE: Working Together in the CARE of Rock Art Project An update from Peter Lewis, Newcastle University

 Ancient rock art is under threat and a project has been launched to develop methods that will enable everyone to contribute toits protection. The CARE project is a collaboration between heritage and science research interests at Newcastle University andQueen's University Belfast. Its primary objective is to co-produce a user-friendly, non-intrusive Condition Assessment Risk Evaluation (CARE) toolkit for gathering and organising information essential for the long-term safeguarding of ancient rock artthat exists out in the open as well as a management guide that will offer advice and guidance to assist its protection.

Heritage and science working together ensures that heritagemanagement resources and techniques are underpinned bysolid scientific research so that conservation and managementapproaches are more effective. In the case of open-air rock art,or possibly any open-air stone structure, this means that therock can be analysed in order to discern those environmentalfactors that are the cause of decay, as well as the influence of factors such as climate change. Scientific research has beencarried out in Northumberland, Dumfries and Galloway andDonegal to determine the major risk factors for open air rock artand to test the effectiveness of the toolkit in recording thesepanels. This was partly through scientific analysis of soil androck composition but also by looking at such factors as landmanagement as this can be a significant influence on thecondition of open-air rock art, for example the project teamhave witnessed incidences of where cattle have causedsignificant damage by walking over rock art panels. This willinform the recommendations in the management guide.

The CARE toolkit and management guide must be userfriendly and practical in order that they can be used andadopted by experts and non-experts alike. To this end theyhave been created as a co-production with rock art

enthusiasts, landowners and users, non-experts andheritage professionals. Feedback has been collected througha mixture of focus groups, one to one consultations and anonline discussion forum. This work will continue for the nextcouple of months to ensure the resources are refined.

The project concludes in January 2014. The final resourceswill be disseminated throughout the UK and Ireland,primarily targeted at those who are responsible formanaging the rock art panels.

 You can keep up to date with project progress via ourwebsite at http://research.ncl.ac.uk/heritagescience.  We alsohave a Facebook page celebrating the rock art of the UK and Ireland at www.facebook.com/rockartoftheUKandireland. 

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DIGITAL DOCUMENTATION OF ROCK CARVINGS: adding depth to Scandinavian petroglyphs

Mette Rabitz (MA Prehistoric Archaeology) contact@metterabitz.dk  

In Issue 9, we featured a link to some 3D animations of Swedish rock art created by Mette. In this article, she

describes some of the techniques she has used in her work.

Due to problems with the preservation of most rock carvings, it is

important nowadays to document as much information as possible,because they may fade away in the future. It is also important that the

documentations are as realistic as possible. A problem with the methods

used in some parts of the world, such as tracing and rubbing (Figure 1) is

that the carvings are presented in a flat view, in two dimensions (2D),

length and width. The methods omit information such as depth of 

carvings, pecking marks and processes of carving. But such details are

very valuable, and should be registered, documented and presented!

These details generate a more realistic view of the carvings and, by their

documentation, the science of rock art can be developed even more, and

new questions generated for future research. Furthermore, future

scientists can rely on records which give them a better understanding and

experience of carvings which may have eroded away.

Figure 1: Rubbing of ship from Brastad 5,Bohuslän (image: Mette Rabitz).

Figure 2: 3D-model of ship from Brastad 5.

(image: Mette Rabitz) 

The use of 3D-methods makes it possible to also

record in a third dimension, depth. In the last decade,

some digital methods have been applied to the

documentation of rock carvings; laser scanning and

white-light scanning. These methods result in very

exact digital copies of a scanned surface, which makes

it possible to create 3D-models, and measure down to

millimetres at the computer. The limitation of the

method is that the documentation-process is very

time-consuming both concerning data collection, but

also the after treatment of data demands enormous

servers, and cannot be done on standard computers.

The equipment for collecting data is also very

expensive, and needs controlling by technical experts. Another problem is that the equipment is far from

portable, and needs huge amounts of power. Many

rock carving sites often lie far away from

transportation possibilities, and some sites are difficult to reach, without hiking or climbing. Therefore one has to consider other

methods which fulfil the needs for documentation of rock carvings. One method, which have been known for many years as

stereo-photogrammetry, also called photogrammetry (Figure 2), has been used in the car-industry and building-industry, in

order to create exact digital copies of objects, and also in order to be able to measure down to millimetres, and study details

close-up. All one needs for data collection is a camera, possibly a tripod, and if needed photo-equipment such as a flash.

Photogrammetry solves the portability, power, and processing problems experienced with laser- and white-light scanning.

 Another important fact is that photogrammetry much cheaper, and easier to work with compared with the other 3D-methods.

In my Masters thesis in Prehistoric Archaeology, I did a critical analysis and discussion of the available documentation methods,

which have been used to document rock carvings from Southern Scandinavia. The thesis is available (in Danish!) at:

http://www.metterabitz.dk/localities/ma-thesis/ In the work, I experimented with photogrammetry as a documentation method, and

tested the method upon carvings from Bohuslän in Sweden, and Østfold in Norway. Photogrammetry is 3D-documentation

based upon pictures, so in the data collection photo-equipment is needed, and software is needed for processing the data. I

used Canadian software from EOS, called PhotoModeler Scanner. The software analyses all the pictures, and creates a fine-

meshed point cloud, in which one is able to study the carvings close-up. In this sense it is possible to study pecking marks, but

this depends on the condition of the carving. If the whole rock is photographed, it is possible to do a 3D-model of the whole

rock itself, and thereby present the slope and the topography of the rock. Because the data is based upon photos, one is also

able to present the 3D-model in realistic colours, which present the rock as it looks with areas attacked by algae and lichen,

and geological features. In this way, other scientists as geologists and biologists can also use the models in their studies.

In some cases I found new carvings, or details which could help in the discussion of unclear images. It was also possible to do

a virtual cut-through of carvings, and study the depth of the carvings. In the software which I used, it was possible to visualize

differences in level, in colours (Figure 3).

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Figure 3: Screenshot of work process inPhotoModeler Scannerof a ship motif fromBrastad 5, Bohuslän.The two photos in themargin to the left arethe only data needed tocreate a 3D-model. Thecolour shows thedifference in surfacelevel. Pink is highestlevel, blue is lowest.Thereby it can bepresented that somepart of the ship andcrew lines are deepercarved than others.(Photo: Mette Rabitz).

 Another example is a little horse carving from the

Brastad 1 (Figure 4, right). It appears evenly

carved, but by examining a cut-through, it can be

seen that two legs are more deeply carved than

the others (Figure 5, below). Were some legs not

finished, or was it made this way on purpose in

order to symbolize something? By focusing on

depth and carving process it is possible to study

new areas in rock carvings, and possibly develop

our knowledge about the use of the carvings and

the practice of making them.

When using the traditional 2D-methods, the results

will lack the topography of the rock itself - the

canvas on which the carvings were placed. These

details are also important, for example, where ship

motifs are placed in or above formations looking

like channels, where water flows, so the ships look 

like that they are sailing. The ships can also be

carved, where the rock slopes down, so water

overruns the carvings.

I think documenting with 3D methods gives a good

opportunity to present the carvings to the audience

as realistically as possible. The digital record also

allows sharing of the information with a remote

audience, allowing the carvings to be experienced

virtually, which gives scientists much more

information and detail, compared to flat pictures.

See one of my animated 3D models at:

http://www.metterabitz.dk/wp-

content/uploads/2013/05/Masleberg.mp4

Figure 4: Fine meshed point-cloud of small horse from Brastad 1 (image:Mette Rabitz). 

Figure 5: Virtual cut-through of legs of the horse from Brastad 1 (image:Mette Rabitz). 

 Another advantage with documenting with photogrammetry is that, as long as one has useful data, one can always decide laterwhat to do with them in the software. One can study pecking marks in the point cloud, or twist and turn the 3D model in order to

investigate details, but one could also animate the 3D models, as I did. 

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MOBILE ROCK ART IN ENGLISH MUSEUMS: How to best manage, preserve and present it inEngland’s Museums.Consuelo Sauls (MA Student)

My research on rock art focused on mobile rock art in the museums in England. Originating from a need to create a master

database of rock art in England’s museums, this project grew to be a comprehensive look at the management, preservation and

presentation of rock art in museums. Previous research regarding rock art in museums has been sporadic at best. At the most,

rock art in English Museums has only been briefly mentioned as small foot notes in texts which focus on in situ rock art. Overall

this type of rock art is a relatively unexamined niche.

I interviewed many museum curators, conservators, and collection managers to better understand both the rock art collections

and the museums that house them. I conducted this research over several months, travelling to many museums in England,

including the Old Fulling Mill Museum in Durham, Yorkshire Museum, Bowes Museum, The Great North Museum, Tullie House

Museum and The British Museum to examine both their displayed rock art and stored collections. Additionally I drew from

contemporary international case studies on the care of rock art in order to identify additional ways to better care for England’s

rock art. One example of rock art care is preventing lichen from spreading on rock surfaces with motifs painted or engraved on

them. Lichen is troublesome and difficult to remove from rocks because it can cause major damage to the rock surfaces. Lichen

can pose a threat to both in situ rock art and mobile rock art panels on museum grounds. Review of international rock art

conservation literature determined the ideal lichen removal method is with a diffused ethanol solution.

 Additionally, good documenting is important to proper management and conservation. Interviews with museum staff and site

visits revealed the state of museum rock art documentation is fragmentary at best. Currently the most complete database of museum rock art in England is the England’s Rock Art database. However this resource currently only has records of museum

rock art in Northumberland, Durham, and Tyne and Wear counties. Even this database was missing multiple museum rock art

pieces in museums it had already covered. My research contains documentation of numerous pieces of rock art in multiple

museums in England, all of which is designed to be added to the England’s Rock Art database. I also reviewed the

documentation methods of the museums and determined museums needed a better way of documenting rock art. In order to

assist in solving this problem, I examined all recording methods and proposed the best way to document museum rock art is

through combining written records with visual recordings. At the minimum, rock art documenting is best served by at least

using both photographs and sketches of the motifs. Photogrammetry also offers a promising future of 3D visual recording of 

rock art.

Presentation of rock art in museums also plays an important role because in situ rock art

is not always accessible to visitors, and when done properly can excite interest in the

public. My research on rock art museum displays revealed that the way in whichmuseums display rock art can vary widely. Some museums, such as the Yorkshire

Museum (Figure 1), simply have their rock art sitting on the museum grounds with no

signs. Others, such as The Great North Museum, fully incorporate their displayed rock 

art into their exhibitions and provide much needed context. The public is largely

unaware of these prehistoric artefacts, and museums serve an important role in

educating the public on this matter. A review of displays and educational outreach found

the best displays and programs were ones which provided the prehistoric context of 

these artefacts, and engaged the public through displays alongside other artwork.

Both prehistoric rock art and prehistory as a whole in England are often overlooked in

favour of Roman and Medieval history. Perhaps future research into museum rock art

will help bring it more into the public eye.

Figure 1: Rock art at Yorkshire Museum (photo: Consuelo Sauls) 

Figure 2: Effective lighting in museums. Left: Fulforth Farm Stone at the Old Fulling Mill Museum, Durham(photo Consuelo Sauls); Right: the Eden Hall Stone at Tullie House Museum, Carlisle (photo: Kate Sharpe).

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ROCK ART IN CONTEXT: Ravensheugh Crags 

Phil and Anne Bowyer

 About 2 miles west of Simonburn in the hills of North Tyne Valley at Ravensheugh Crags lie two scheduled ancient monuments:

Goatstones Four-Poster Stone Circle with its extensively cup-marked NE stone and a Hut Circle site, both designated as of 

probable Bronze Age date. When Stan Beckensall and Aron Mazel revisited the area in 2004 as part of the Beckensall On-line

 Archive project they discovered a greater number of additional cup-marked stones than they had at any other Northumberland

rock art site, bringing the total to 16 in addition to the Four-Poster’s marked stones.

In June 2013, building on our own Level 1 landscape

survey of the previous year, Northumberland National

Park and the Altogether Archaeology project

organised a 9 day detailed volunteer survey, led by

Peter Schofield of Oxford Archaeology North. The full

survey report has yet to be published and what

follows, although taking account of initial comments

of the professional archaeologists during the survey,

represents our personal view of this rich and

fascinating site.

Following the survey the count of possible cup-

marked stones stands at 31 and in excess of 40 small

mounds have been recorded, grouped broadly intoeastern and western cairnfields with a couple of 

north/south linear features possibly indicating the

remains of a boundary between the two cairnfields.

Some of the mounds in the eastern cairnfield are

suggestive of burial monuments. A probable kerbed

cairn in the middle of the eastern cairnfield has a

small cup-marked portable ( J ) inside its perimeter.

Figure 1: Portable stone J inside probable kerbed cairn

Figure 2: Newly discovered stone in probablecairn perimeter.

During the survey volunteers discovered three cup-marked stones

located in the apparent perimeter of a cairn, raising interesting

comparisons with excavated Bronze Age burial cairns with decorated

perimeter stones (Blaise Vyner’s Type 3) in North Yorkshire.

The locations of the little cairns and the cup-marked, mainly earthfast,stones suggest other possible spatial relationships. The eastern

cairnfield, with its better candidates for burial cairns, is overlooked

from the west by a natural rise, running north/south, along which

there is a concentration of earthfast cup-marked stones. On this

higher ground, on an east/west bank, lies the newly discovered cairn

with possible decorated perimeter stones. Near the eastern extreme of 

the eastern cairnfield is found the most highly decorated of the

earthfast stones (Beckensall and Mazel’s stone K). Decorated stones K,

L and M (Beckensall/Mazel), plus a couple of newly discovered marked

stones, could be interpreted as delineating the eastern edge of the

cairnfield territory.

There is a further grouping of earthfast decorated stones (Beckensall and Mazel’s F, G, H and another new stone, U) on the

ridge running east from the crags, possibly delineating the northern edge of the eastern cairnfield. Whilst this interpretation ismerely a hypothesis it is clear that the conjunction of so many decorated stones and a cairnfield with strong indications of at

least some burial activity offers considerable potential for further examination of the context of the rock art.

Other features identified add to the possible

importance of the site. Within a few metres of stone K,

near the eastern cairnfield edge, lies a probable burnt

mound. A second probable burnt mound lies by a

stream south of the cairnfield. Towards the western

end of the eastern cairnfield we discovered, in dense

reeds, the remains of an apparently circular structure

with a semi-circle of walling standing to a height of up

to 18 inches. To the east of the eastern cairnfield a

possible house platform was identified. A number of 

possible stock enclosures near the ridge along the

north of the site were also identified.

Figure 3: New Stone U (left) and Stone K (right) 

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 All the decorated stones found thus far seem to have only simple cups plus a few grooves. The most highly decorated of the

newly discovered stones has raised some debate concerning whether it contains the only ring found at Ravensheugh Crags.

During the survey Stan Beckensall undertook a rubbing of this stone, identifying some 34 cups. Around a cup near the northern

edge of the stone his rubbing showed indications of a ring that no one had previously noticed and that was not really visible to

the naked eye. However 4 days after the stone had been wetted for photography we noticed that some darker damper patches

were visible at lower points of the surface. Some of these darker spots appear to show peck marks in some of the cups. The

photos also show a darker arc and a series of possible peck marks coinciding with the ring on Stan’s rubbing.

 A B

C D

Figure 4: The newly discovered panel. A) The full extent of the stone with 34 cups and a possible ring; B) Stan Beckensall’s

rubbing; C) cups with possible pick marks ; and D) possible indications of a ring.

Whether or not the photos resolve the question is not for us to decide, but it will no doubt be interesting to eventually compare

the rubbing and photos with any detailed photogrammetry. It does occur to us that the opportunity to study a decorated stoneafter partial drying out has not frequently occurred and we wonder whether this accidental finding may be put to deliberate use

at other locations. Within two kilometres of Ravensheugh Crags there are the remains of a stone row alignment that might be Neolithic; several

unenclosed and enclosed settlement sites; and various possible walls and boundary alignments that offer the potential of 

revealing a better and more integrated picture of human activity within a few square kilometres immediately north of Hadrian’s

Wall throughout prehistory and into the Romano-British era.

Following on from the interest of volunteers, the opinions of professional archaeologists concerning the significance of the site

and nearby areas and with the active support of NNPA we have established a community archaeology group, Tynedale North of 

the Wall Archaeology Group, to engage local volunteers in an ongoing study of the area.

 Anyone interested in more detailed information, or in helping to take these lines of enquiry further, can contact

us at tynedalearchaeology@gmail.com , or visit our Facebook page tynedale.archaeology. All imgaes: Phil and Anne Bowker. 

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CONFERENCE REPORT: BRAG in Belfast (20th and 21st April 2013) Rebecca Enlander, Queen’s University, Belfast

This year’s meeting of the British Rock Art Group (BRAG) was hosted byQueen’s University, Belfast; this was the first time the event has come toIreland and, as ever, the conference was an opportunity for new andestablished researchers to present their work to a wide network.

With three thematic sessions, the conference highlighted recent research

in rock art studies at a worldwide scale. Rebecca Enlander opened thefirst session (New methodologies and landscape approaches) with herpaper which explored the role of geology in the creation of rock art. Casestudies from the north of Ireland presented the potential role that rock played in the creation and maintenance of regional rock art identitiesthrough stone and motif choice was discussed. Patricia Warke and MyraGiesen continued the morning session by presenting the outcome of recent research into the conditional assessment of open-air rock art sitesin Northumberland. During this collaborative project, physical, biologicaland chemical conditions in and around a number of rock art panels havebeen assessed with the intention of forecasting possible changes(deterioration) to panels in the future, and providing a toolkit forcontinuing management.

From Britain, the morning talks moved to the Western Sahara whereMaria Guagnin has explored the relationship between animals depicted inrock art and the local faunal record, pointing out that figurativerepresentations can act as a valuable source of palaeoenvironmentalinformation. In addition to depictions of large grazing/ herd animals whichare widely visible in the local landscape, certain animals (includingantelopes) may have been depicted because of their spiritual andeconomic importance, rather than their abundance. The emphasis onlandscape approaches was carried on by George Nash, who closed thefirst session with his paper on the Neolithic rock-cut tombs of northernSardinia known as domus de janas, or ‘houses of the fairies’. Georgeconvincingly suggested a strong link between the art and iconographyfound within the tombs, the architecture and the surrounding volcaniclandscape.

The second thematic session centred on research in Atlantic Europe and began with Leslie Van Gelder’s discussion of someearly results from a regional study of Palaeolithic finger fluting in the Cantabrian region of Northern Spain. The on-going projectcatalogued fluting in several caves, identifying individuals wherever possible, and initial results suggest that children wherepresent in 2 caves, and that their flutes were often intertwined with imagery created by adults. Interestingly, several panels hadevidence for multiple-authorship, suggesting that fluting was a social activity. Moving to Ireland Clíodhna Ní Lionáin discussedsome of the objectives and results of the Wicklow Rock Art Project, a pilot scheme established by UCD in 2012. The primaryaims of the project have been to explore the potential of photogrammetry in rock art recording, and ways of increasingawareness of local rock art, which is in many ways are a hidden resource in much of Ireland. Samantha Williamson presentedthe findings of her analysis of the reuse of cup-and-ring marked stones in Iron Age souterrain settlements in Angus, south eastScotland. Drawing on the potentially ritual inclusion of rock art in earlier burial contexts including Nether Largie in Kilmartin,Samantha offered compelling evidence for the meaningful incorporation of rock art in these Iron Age contexts.

The final session of the day (World rock art) began with Tina Walking’s talk on the rock art motifs at Ughtasar in Armenia. Anumber of potential parallels with themes in Atlantic European rock art were explored, including the use of the micro-topography of the rock surface, where motifs seem to respond to changes in the rock texture and breaks in the surface. The

broad presence of spirals was also explored, which at Ughtasar, are often associated with goats and sometimes form theirhighly exaggerated horns. Unfortunately Daniel Arsenault was unable to attend, but his talk was presented on his behalf by Aron Mazel; Daniel explored the potential of using the chaîne opératoire technique in order to more fully appreciate the lifespanof a rock art site. With stages from initial conceptualisation to final abandonment, Daniel’s paper acted as a reminder that rock art sites were the result of a series of humanly conceived processes. Aron Mazel closed the final session by presenting his ownfindings at Didima Gorge, South Africa, where landscape topography and sensory experience may have influenced the characterof rock art at three locations along the gorge.

The conference ended with the keynote speaker, Professor Muiris O'Sullivan of UCD, who offered a thought-provoking talk onsome key themes within prehistoric rock art studies in Ireland, not least the late Blaze O’Connor’s contribution to the field.Drawing on the rock art and passage grave art traditions in Ireland, Muiris presented strong evidence for an overlap betweenthe traditions, echoing Eoin MacWhite’s suggestion in the 1940’s that a formal distinction between megalithic and Galician artwas not a simple task. Central to this theme was the idiosyncrasy of many passage grave sites, perhaps representing localexpressions of the art tradition, and the local use of stone in the construction of such monuments.

 A number of BRAG delegates attended a fieldtrip to the famed Brú na Bóinne which was led by Robert Hensey who provided abackdrop to the passage grave art at Newgrange and Knowth, and was at hand to share his thoughts and insights into the Irishmegalithic art tradition and the local history of the sites.

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INSPIRED by ROCK ARTThis beautiful composite image of rock art panels in Rivock Wood in the Rombalds Moor area was created by CSIRM volunteer,

Mike Short.

If you have created something rock art related and would like to share it with Rock Articles readers, drop me a line at

kesharpe@outlook.com.

Recording techniques on the web

Rock art recording video on YouTube 

http://www.youtube.com/watch?v=cd7b4YJLaA8 Want to see what Polynominal Texture Mapping of rock art is all about in the field? This video on YouTube shot by Mark Wharton shows experts Sarah Duffy and Richard Stroud undertakingnight-time manoeuvres on Rombalds Moor, West Yorkshire. The recording was made during theCarved Stone Investigations: Rombalds Moor Project.

Strangely decorated quern from Kellah Burn 

http://acrg.soton.ac.uk/blog/2001/  The Archaeological Computing Research Group at Southampton University have been using thetechnique of Reflectance Image Transformation to examine an unusual quern stone decoratedwith wavy lines. The value of the method in enhancing detail can be seen by clicking on the

hoto ra h in this re ort b Marta Diaz-Guardamino Uribe. 

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Rock Articles 11 (April 2014) Submission deadline: 3 March 2014

If you would like to submit an article to Rock Articles please contact me at kesharpe@outlook.com. 

Feature articles. Contributions are invited for articles on all aspects of Rock Art in Britain and Ireland, including recording techniques,interpretation, management, presentation, education, and conservation. We are keen to hear about any community projects, heritageinitiatives, new techniques, new research, and to provide a forum for anyone with an interest in rock art. Perhaps you have been to a

conference and could write a report, or have participated in a workshop or training event? Articles should be 750-1000 words, andshould include at least two images (for which you should have permission).

New Discoveries. If you have identified any new rock art and would like to feature your find in the New Discoveries section of Rock  Articles, get in touch, with a photograph of your find. Please note that grid references will not be included in Rock Articles. Finds shouldbe reported to and verified by the relevant local authority HER officer.

British Rock Art News. Do you have some news about your project, or an update on a particular panel that you can fit into less than200 words? Why not share it RA readers?

Inspired by Rock Art? Rock art often inspires creative responses. Have cup and ring marks fired your imagination? If so we’d love tosee your work!

Events and opportunities. Are you running an event that might be of interest to RA readers? Let us know about any talks,conferences, or guided walks. Maybe you are looking for participants for a community project? Advertise here and use the RA network 

to spread the word.

BRAG 2014 - First call for papers and conference information Proposals are invited for talks and posters for the British Rock Art Group conference on Saturday 3 May in the School of History,

Classics and Archaeology, Edinburgh University. Details about submitting a paper or poster can be found on the Edinburgh University website at

www.ed.ac.uk/schools-departments/history-classics-archaeology/archaeology/news-events/events/brag-2014/overview

Please note the deadline for submitting titles and abstracts is 10 December 2013.

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Issue No 10: Autumn 2013

ROCK ART READS: New and Forthcoming Publications 

Noimageavailable

Open-air Rock Art Conservation and ManagementTim Darvill & Antonio Pedro Batarda Fernandez (Eds).

Due: 1st Dec 2013

From Routledge: This richly illustrated book evaluates rock-art conservation in an holistic way,bringing together researchers from across the world to share experiences of work in progress orrecently completed. The chapters focus on a series of key themes: documentation projects andresource assessments; the identification and impact assessment of weathering/erosion processes atwork in open-air rock-art sites; the practicalities of potential or implemented conservationinterventions; experimentation and monitoring programs; and general management issuesconnected with public presentation and the demands of ongoing research investigations.Consideration is given to the conservation of open-air rock-art imagery from many periods andcultural traditions across the Old and New Worlds. This timely volume will be of interest toconservators, managers, and researchers dealing with aesthetic and ethical issues as well astechnical and practical matters regarding the conservation of open-air rock-art sites.

ISBN: 978-0-415-84377-5; 160 p (Routledge) hardback. Price GB £85.00http://www.oxbowbooks.com/oxbow/beyond-the-ice.htm

Exploring Prehistoric Identity in Europe: Our Construct or Theirs? V. Ginn, R. Enlander, & R.Crozier (Eds).

Due: 24th Jan 2014

From Oxbow: Identity is relational and a construct, and is expressed in a myriad of ways. Forexample, material culture and its pluralist meanings have been readily manipulated by humans in aprehistoric context in order to construct personal and group identities. Artefacts were often from orreminiscent of far-flung places and were used to demonstrate membership of an (imagined)regional, or European community. Earthworks frequently archive maximum visual impact throughelaborate ramparts and entrances with the minimum amount of effort, indicating that theconstruction of identities were as much in the eye of the perceiver, as of the perceived. Variations indomestic architectural style also demonstrate the malleability of identity, and the prolonged,intermittent use of particular places for specific functions indicates that the identity of place is just asimportant in our archaeological understanding as the identity of people. By using a wide range of 

case studies, both temporally and spatially, these thought processes may be explored further anddiachronic and geographic patterns in expressions of identity investigated. 

SBN: 9781842178133;176pp b/w and col. illus. Oxbow Books, Price GB £28http://www.oxbowbooks.com/oxbow/exploring-prehistoric-identity-in-north-west-europe.html

Rock Art and Sacred Landscapes Donna Gillette, William Breen Murray, Mavis Greer, & MicheleHelene Hayward (Eds).Due: 31st Oct 2013

From the back cover: Social and behavioral scientists study religion or spirituality in various waysand have defined and approached the subject from different perspectives. In cultural anthropologyand archaeology the understanding of what constitutes religion involves beliefs, oral traditions,practices and rituals, as well as the related material culture including artifacts, landscapes, structural

features and visual representations like rock art. Researchers work to understand religious thoughtsand actions that prompted their creation distinct from those created for economic, political, or socialpurposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generationto generation.Contributors to this global view detail how rock art can be employed to address issues regardingpast dynamic interplays of religions and spiritual elements. Studies from a number of differentcultural areas and time periods explore how rock art engages the emotions, materializes thoughtsand actions, and reflects religious organization as it intersects with sociopolitical cultural systems.

ISBN-10: 1461484057; ISBN-13: 978-1461484059; 230 pp, hardback. Springer; 2014 edition (31 Oct2013). Price GB £99.http://www.amazon.co.uk/Rock-Sacred-Landscapes-World-Archaeology/dp/1461484057/