Journal of Archaeological Science: Reports 31 (2020) 102270

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Journal of Archaeological Science: Reports

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Modelled clay animals in Aitzbitarte IV : A unique Palaeolithic rock art site in the Cantabrian Region T ⁎ Diego Garatea, , Olivia Riverob, Joseba Rios-Garaizarc, Iñaki Intxaurbed, Sergio Salazarb a Instituto Internacional de Investigaciones Prehistóricas de Cantabria (IIIPC), Universidad de Cantabria, 39005 Santander, b Dpto. Prehistoria, Historia Antigua y Arqueología, Universidad de Salamanca, 37008 Salamanca, Spain c Program, Centro Nacional de Investigación sobre la Evolución Humana (CENIEH), Paseo Sierra de Atapuerca 3, 09002 Burgos, Spain d Dpto. Mineralogía y Petrología, Euskal Herriko Unibertsitatea/Universidad del País Vasco, 48940 Leioa, Spain

ARTICLE INFO ABSTRACT

Keywords: Aitzbitarte hill is a classic archaeological site for the Upper Palaeolithic in the Cantabrian Region. Excavations in Rock-art III and IV were started at the end of the 19th century and continued during the next, revealing broad Engraving sequences of human occupations. The first very modest evidence of parietal art was located in 2012 in Aitzbitarte Magdalenian IV, and shortly after in 2015, more clear evidence of Gravettian and Magdalenian rock-art manifestations were Accessibility reported for caves III, V and IX. In 2017, Felix Ugarte Elkartea speleologists located a new decorated gallery in a Symbolic network chimney inside the main gallery of Aitzbitarte IV. The preliminary study, presented in this paper, reveals a unique rock art composition where the natural clay from the walls was engraved and modelled in some cases to create low-relief bison, horses, reindeer and vulvas. This uncommon technique, totally unknown in the ar- chaeological record of the Iberian Peninsula, the formal conventions (horns and legs in perspective, closed eyes in bison, scapular quarterings in the horses, etc.) and the presence of vulvas engraved in clay (as in Bédeilhac, Montespan or Oxocelhaya), relate this cave to Middle Magdalenian rock-art sites in the French Pyrenees region. The new data from Aitzbitarte IV, together with data recently obtained from the surrounding caves, provide insights into symbolic networks at the end of the Upper Palaeolithic in Western Europe.

1. Introduction Gravettian and Aitzbitarte V to the Magdalenian) (Garate et al., 2016). In 2017, J. Busselo and S. Laburu of the Felix Ugarte Elkartea spe- The caves of Aitzbitarte constitute a landmark in the study of pre- leological group visited the cave of Aitzbitarte IV to explore a series of history in the Cantabrian region (Northern Spain). They were initially vertical chimneys in the middle section of the cave. After climbing a explored at the end of the 19th century, and two of them were later vertical section about 10 m high and crawling through two 8 m-long excavated in the mid- and late 20th century by J. M. Barandiarán semi-vertical tubes, they reached a narrow space where they observed (Barandiarán et al., 1965) -Aitzbitarte IV- and by J. Altuna (Altuna et al. several Palaeolithic engravings. 2011, 2017) -Aitzbitarte III-. This find must be understood within a general framework developed Despite the rich archaeological sequences in Aitzbitarte III and IV, in recent years regarding the reactivation of research on cave art in the which cover the whole Upper Palaeolithic record (from the Aurignacian north of Spain, especially in the eastern part of the region. In this area to the Magdalenian), including also a few portable art objects the density of decorated caves has long been thought to be significantly (Barandiarán Maestu, 1972; Garate and Rios-Garaizar, 2011), it was not lower than in the bordering regions (Cantabrian Spain, Pyrenees and until recently that rock art was discovered in the Aitzbitarte caves. In Périgord), despite its geostrategic position in the central point of con- 2012, a series of poorly preserved red stains, probably pertaining to an nection between them. animal figure, were discovered deep inside the cave of Aitzbitarte IV The number of survey projects has increased thanks to the in- (Garate et al., 2013). More recently, in 2015, several engraved figures corporation of local speleological groups to the explorations. As a result were found in several other caves in Aitzbitarte hill. Those figures have of this collaboration, the number of known parietal assemblages has been attributed to different Upper Palaeolithic cultural traditions ac- tripled (Fig. 1), from ten to more than thirty, including such important cording to their stylistic features (Aitzbitarte III, V and IX to the Magdalenian sanctuaries as Aitzbitarte IV, Armintxe and Atxurra

⁎ Corresponding author. E-mail address: [email protected] (D. Garate). https://doi.org/10.1016/j.jasrep.2020.102270 Received 5 July 2019; Received in revised form 27 December 2019; Accepted 7 February 2020 2352-409X/ © 2020 Elsevier Ltd. All rights reserved. D. Garate, et al. Journal of Archaeological Science: Reports 31 (2020) 102270

Fig. 1. Decorated caves around Aitzbitarte hill (base: https://maps-for-free.com): in black those located during the 20th century in red the ones found in the 21st century. Map: Iñaki Intxaurbe.

(Garate, 2018). 17,950 ± 100 uncal BP (22030–21435 cal BP) (GrN- 5993) (Altuna, The discovery of engraved animals, some of them also modelled in 1972). This level is especially interesting because it is one of main re- clay (forming low reliefs) in a place with very difficult access in ference for the characterisation of the upper Solutrean in the Basque Aitzbitarte IV Cave is unique in Cantabrian Spain. It is therefore able to Country (Straus, 1974). contribute insights into symbolic networks at the end of the Upper The first evidence of Palaeolithic parietal art in Aitzbitarte Hill was Palaeolithic in Western Europe. found in Cave IV in 2012 (Garate et al., 2013). It consisted of a series of shapeless stains of red pigment, possibly remains of some figurative 2. Materials representations, now lost. In 2017, speleologists from the Felix Ugarte Elkartea group discovered a series of animal figures engraved and Aitzbitarte Hill has undergone significant karst processes, resulting modelled in clay on the walls and ceilings (Garate et al., 2018). These in the formation of about thirty caves and sink-holes (Manteca et al., form the subject of the present paper. 1997). The caves with archaeological deposits are all located on the The new decorated sector is in a high-level series of narrow passages western side of the hill, at about 40 m above the watercourse that flows at the top of an aven or chimney part way along the passage in at its foot, a tributary of the River Urumea that at present reaches the Aitzbitarte IV cave, 90 m from the entrance. A window in the left-hand ffi sea about six kilometres away, in the city of San Sebastián. This river wall, 6 m above the main passage, can be reached after a very di cult fl basin is at the eastern limit of the northern coast of the Iberian Pe- climb, although the oor level has been lowered about 1.5 m in recent fi ninsula near the foothills of the Pyrenees and a short distance from the times (Garate et al., 2013). From the base of the window a rst low border between Spain and , i.e. on a narrow passage between the passage 3 m long ascends to a small chamber with a second window. Iberian Peninsula and the rest of Europe. This leads to a vertical tube 8 m high which reaches a small ledge only The archaeological exploration of Aitzbitarte Hill was initiated in large enough for a single person. A 1.5 m step across the tube reaches 1892 by the local erudite Count of Lerchundi in Cave IV, which was also two sub-vertical branches on the left and right, the locations of the visited by important prehistorians at that time, like H. Breuil, É. Harlé, Palaeolithic parietal representations (Fig. 2). The original limestone H. Obermaier and J. Bouyssonie. The first scientific excavations were surface is covered here by a soft clay (also walls and ceilings), with a carried out from 1960 to 1964 (Barandiarán et al., 1965) and in the thickness about 0.1 m in some parts. These natural alcoves are ex- same period some archaeological evidence was found in Cave V. tremely vulnerable spaces because of their small size and soft clay fi Sometime later, from 1985 to 2002, J. Altuna undertook the excavation surfaces; therefore, a speci c methodology was carried out during the fi of the deposit in Cave III (Altuna et al., 2011, 2017). eldwork. The archaeological sequence revealed in Aitzbitarte IV provided post-Palaeolithic evidence in the superficial layers, an Azilian level (Ia), and levels attributed to the Azilian-late upper Magdalenian (Ib), late 3. Methods upper Magdalenian (II), middle-upper Magdalenian (III), Upper fi Solutrean (IV) and an indeterminate Upper Palaeolithic level, possibly The objectives set in the eldwork in Aitzbitarte IV concentrated on fi Aurignacian (V) (Barandiarán Maestu, 1988). However, the inter- the precise identi cation of any sign of Palaeolithic graphic activity and pretation of the sequence is complex and is affected by problems de- its exhaustive documentation with 3D digital recording methods. All rived from the excavation process and the admixture of archaeological the surfaces in the new sector were examined in case they contained remains (Utrilla, 1986). Level IV is the only one with a conventional other archaeological remains connected with the production of the art radiocarbon date for a sample from its base, with a result of or the frequentation of the inner part of the cave.

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Fig. 2. Location of the parietal motifs in Aitzbitarte IV on a plan and elevation of the cave (Gim-Geomatics).

3.1. Preparation of the working area coordinated approach to guarantee the protection of the Palaeolithic evidence and the safety of the research team. Therefore, close colla- The surveying and documentation of the archaeological evidence boration with the speleologists was essential, as they took charge of the was conditioned by the morphology of the cave itself, which sometimes necessary installations and equipment to reach the parietal depictions, hampered the fieldwork considerably. The practically vertical and very under the supervision of the archaeologists. narrow characteristics of the ‘aven’ with the representations, 23 m The climb to the window in the main gallery that leads to the "aven" above the floor of the main passage (Fig. 3B), have required a perfectly was achieved with a 4 m rigid ladder placed against the wall and a

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Fig. 3. Working conditions in the decorated aven. A- Intermediate vertical access towards the decorated area. B- Vertical tube to access Space D. C- Process of laser scanning in Space C. D- Process of laser scanning with a tripod in Space A. Diego Garate and Olivia Rivero. traverse line to the gate that protects the decorated sector. From here, same time, the survey of the preserved palaeo-floors included a detailed the next vertical section is reached with certain difficulty but without superficial examination (working with portable Dino-lite® 10x-460x any danger of falling. A speleological ladder was used to climb this microscopes). Unfortunately, no archaeological remains related to ar- section more easily (Fig. 3A). When the fieldwork was completed, both tistic production or the frequentation of the chimney were found. ladders were removed to preserve the original conditions in the sector. Full speleological equipment of harnesses, ropes and helmets, etc. was 3.3. Digital recording methods: Laser scanning, photogrammetry and 3D used to ensure the team’s safety. Once the area with art was reached, digital reconstruction this equipment was left in the passage so as not to harm the con- servation of the walls and floors by rubbing against them unin- The digital recording methods for the 3D reconstruction of the tentionally. parietal motifs and the surrounding space consisted of a combination of The risks to the conservation of the parietal motifs due to the vul- two different systems of remote sensing techniques: laser scanning and nerability of the soft clay surfaces, the existence of untouched floors photogrammetry. A three-dimensional model of the cave has been and intact walls and the small working areas meant that the number of created with a terrestrial 3D Faro® Photon 120 laser scanner (Fig. 3C visits had to be limited and waymarkers were placed to indicate the and D). Approximately 7,332 million points were obtained per scan, in optimal route that would preserve the integrity of the Palaeolithic 260 scan stations for the whole cave and 789 million points and 28 heritage at all times. scans for the chimney. The estimated error is 1 mm per 25 m, with 90% reflectance. 3.2. Parietal surveying and inner archaeological context Close-range photogrammetry was selected due to its flexibility in reconstructing 3D panels at different scales, the high accuracy of the Parietal surveying consisted of a detailed inspection of all potential results and the production of fast deliverables as a low-cost solution. In surfaces for art or other archaeological evidence, including all the addition, the spatial limitations offered by the workspace required the floors, walls and ceilings in the upper gallery of Aitzbitarte IV. Different use of this photographic capture system to obtain complete images of LED illumination systems were employed to identify paintings and the decorated panels (Rivero et al., 2019). Agisoft PhotoScan Pro 1.4.5 engravings and the gallery was divided into topographical spaces for was the software selected to process the images (Fig. 4). The photo- better organization of the survey. The rock art recording procedure graphic equipment consisted of a Nikon© D-7100 camera with four involved different stages. Firstly, panel sketches were drawn to obtain a Nikon© SB-900 flashes for the illumination of the panel. The complex first reading of parietal motifs. Secondly, individual technical data- working conditions, lack of space and the intact condition of the de- sheets were used to note down all the graphic motif information and the corated area required a specific methodology to preserve the integrity parietal surface characteristics. Finally, 2D and 3D digital methods of the ensemble. First, all the flashes were set up on small tripods and were used to record the rock art panels and the graphic units. At the poles and then were tested to verify that the lighting was regular and

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Fig. 4. Example of obtaining photogrammetric models of engraved depictions in small spaces (Olivia Rivero). A- Longitudinal view of the passage. B- Lateral view of the passage. C- Texturized model of the motifs in clay.

Table 1 and distance between the photographs, using the correct number of Graphic units recorded in Aitzbitarte IV. flashes in their optimal positions.

Space Wall Panel Motif Theme Finally, for 2D and 3D motif reconstruction, the ortho-images and the texturized photogrammetric models were treated digitally. The A Right I 1 Bison tracing reconstructions were made from the digital images, the sketches A Right I 2 Deer and the field notes, which were treated with Adobe Photoshop® CS6 B Left I 1 Bison professional graphic design software. The textures with the tracing B Left I 2 Lines B Left I 3 Vulva were then reinserted in the 3D models. B Left I 4 Vulva B Right II 1 Finger prints B Right II 2 Finger lines 4. Results B Right II 3 Curved line C Left I 1 Finger prints At least 14 animal representations (bison, horses, a probable deer C Left I 2 Lines and a reindeer), two vulvas and four fingerprints were identified during C Left I 3 Reindeer C Left I 4 Line the survey in the new decorated sector in Aitzbitarte IV cave (Table 1). C Left I 5 Line They are all exceptionally well preserved. No other kinds of archae- C Left I 6 Bison ological remains or evidence of structures for climbing up to the sector C Left I 7 Lines have been found. We have only detected two small bones (too small for C Left I 8 Line fi C Right II 1 Animal head taxonomic identi cation) inserted in the left wall of the main gallery, C Right II 2 Horse where the chimney starts. C Right II 3 Lines In this alcove at the top of Aitzbitarte IV Cave, four different de- C Right II 4 Lines corated spaces can be differentiated; one in the right-hand branch and C Right II 5 Finger prints the other three on the left, one after the other: D Left I 1 Bison D Left I 2 Bison D Left I 3 Horse 4.1. Space A D Right II 1 Bison D Right II 2 Bison D Right II 3 Horse The passage on the right is almost vertical with a steep ramp that D Right II 4 Bison ends in a crawl which gradually decreases in size until it becomes im- penetrable. The total length is no more than 4 m. The whole space is intact as neither the discoverers nor later researchers have entered the covered the whole area to be photographed. It was sometimes necessary passage in order to preserve it in its original state. This has reduced the to move some of the flashes in coordination with the camera to achieve possibility of its study greatly. homogeneous lighting. In the case of decorated Space A on the right of The left hand wall of the crawl, covered with a very plastic clay the aven, as the floor was intact, it was necessary to use a 3 m pole to layer about 0.10 m deep, displays a bison (named as A.I.1) 0.80 m long fl reach the parietal evidence without altering the oor. In this area, the with flexed legs and lowered head, in the posture of rest. It includes working conditions limited the possibilities of documentation, mainly anatomical details, like an eye, the hump, a long tail and the hooves on the aim of a photogrammetric study with the appropriate orientation the fore and hind legs. The figure is engraved probably with fingers or

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Fig. 5. A. Ortho-image mosaic of the reindeer C.I.3, engraved and modelled in clay in Space C (obtained with 57 images and processed at average resolution). 1- Detailed macro-photograph of the ear and part of the antler. 2- Detailed macro-photograph of fine engravings that make up the head. 3- Detailed macro-photograph of the fingerprints that engrave the maxillar. 4- Detailed macro-photograph of incisions made with a wider tool than a finger. 5- Detailed macro-photograph of the back leg. We can observe the exceptional conservation of the imprints. 6- Detailed macro-photograph of superposition of bison C.I.6 over the reindeer. Photographs: Olivia Rivero and Diego Garate. Model: Sergio Salazar. another kind of tool, with lines wide and deep. removed, probably with the hands, to generate a triangular form 1 m Higher up, 2.70 m above the floor leading to the left and right high. passages, another large figure (A.I.2) about a metre long is more diffi- Clay was removed in the shape of an inverted ‘U’ on the right hand cult to identify as the clay in its anterior part has been eroded by water, wall, three fingerprints are impressed deeply into the clay while an- uncovering the limestone surface. The back, belly, rump, hind legs and other four fingers were dragged across the surface of the clay. short tail, identical to that of the reindeer C.I.3 in Space C, are visible. The figure probably represents a cervid whose fore-quarters has dis- 4.3. Space C appeared because the clay has been washed away. After three metres, the left branch becomes lower so that it is ne- 4.2. Space B cessary to crawl upwards to small chamber 1.5 × 1.5 m in size. Here, more figures were engraved and modelled partially in the clay on both Right at the start of the passage on the left, next to the wall in the left and right walls. same direction and practically at the ascending floor level, are re- We understand as modelage the use of the plastic clay to create a low presented a bison and two vulvas (B.I.3 and B.I.4). The lower part of a relief, modelling the shape of the figures (bas relief en semi méplat), as bison (B.I.1) can be seen above the access to the two passages. has been understood previously by Barrière et al., 1986 and Barrière, Consisting of a hind leg, the belly, a fore leg and start of the chest, 1993. In this case, the figures have been engraved firstly (with lithics, drawn with a finger, it is 0.55 m long. fingers or another kind of a wider tool), and after modelled using fin- Concerning the vulvas, one (B.I.3) was engraved with fine incision gers in order to complete the internal volumes. in the clay that covers de limestone wall. It is triangular, 0.20 × 0.23 m On the left hand wall, a reindeer (C.I.3) and a bison (C.I.6) are in in size, open at the lower angle where a short vertical line was drawn line, facing left, associated with lines and removals of clay. (Fig. 9). The other one (B.I.4) is bigger, it was engraved using a pendant The reindeer C.I.3 is complete although the clay layer covering the form (also covered with this plastic clay), and the mud above it was limestone wall has not been preserved in part of its head. It is 0.76 m

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Fig. 6. A. Ortho-image mosaic of the bison C.I.6, engraved and modelled in clay in Space C (obtained with 49 images and processed at average resolution). 1- Detailed macro-photograph of horn and eye. 2- Detailed macro-photograph of beard where the parallel incisions, made with a lithic tool, can be appreciated. 3- Detailed macro-photograph of hump where the striations left by the implement are visible. 4- Detailed macro-photograph of the tail. 5- Detailed macro-photograph of the finger prints inside the figure 6- Detailed macro-photograph of the front hooves. Photographs: Olivia Rivero and Diego Garate. Model: Sergio Salazar. long and 1.10 m above the floor (Fig. 5A). Several techniques were the figure can be consulted in supplementary materials S1). employed in this figure. First, the rectangular head was drawn with fine On the right, a partial representation of a horse (C.II.2) faces to- incisions using a lithic implement, creating a multiple outline in the wards the exit of the passage, like the other figures. It is 1.29 × 0.91 m front (Fig. 5.2). The front tines in its antlers are represented by clay in size, 0.80 m above the floor (Fig. 7A). The head was outlined with moved with the finger, like for the ear (Fig. 5.1). The maxilar is done very deep lines using a finger (in addition with another tool) to make with fingers, removing a very thin lay of clay (Fig. 5.3). The antlers in incisions and empty the outline, including details of the muzzle and jaw the conserved clay surface are represented with wide deep lines, (Fig. 7.5 and 6), whereas the ears were shown by moving the clay with probably drawn with fingers but we cannot exclude the use of another fingers, without cutting into the clay (Fig. 7.3). The back was also kind of tool, because in some places the groove width exceeds that of a drawn with deep lines (Fig. 7.3) and the croup was indicated by very finger, as we can see in another parts of the figure (Fig. 5.4). Clay was wide superficial scraping (Fig. 7.1) in the same way as the hind legs removed from inside the body, leaving two parallel vertical lines, and (Fig. 7.2). Finally, the rump was represented by two shallow parallel fingerprints can be seen in the moulding of the clay. lines. As in the case of the reindeer C.I.3, two parallel vertical extrac- The bison C.I.6 is superimposed over the tail of the reindeer tions of clay and impressed fingerprints are visible inside the animal’s (Fig. 5.6). It measures 0.85 × 0.52 m and is 1.05 m above the floor body, conserved with a dark patina (Fig. 7.4), as well as fingerprints (Fig. 6A). In this case the figure was drawn firstly with fingers or an- modelling the internal volumes of the figure (the three-dimensional other wider tool, and after with a lithic implement, and such anatomical model of the figure can be consulted in supplementary material S2). details as an eye (Fig. 6.1), the tail (Fig. 6.4), the hooves, sex and beard (Fig. 6.6) are depicted with fine incised lines and others that are much 4.4. Space D wider and shallow (Fig. 6.3). The interior was completely modelled with finger impressions and by rubbing the tail and the fore and hind The branch on the left of the aven leads to a narrow vertical passage limbs, creating low reliefs (Fig. 6.5) (the three-dimensional model of barely 0.6 × 0.5 m in size that rises 4 m to a small end chamber with an

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Fig. 7. A. Ortho-image mosaic of a horse engraved and modelled in clay in Space C (obtained with 67 images and processed at average resolution). 1- Detailed macro- photograph of cervical line. 2- Detailed macro-photograph of back legs. 3- Detailed macro-photograph of the ears, made with finger incisions in clay. 4- Detailed macro-photograph of three fingerprints in the clay. 5- Detailed macro-photograph of fronto-nasal line. 6- Detailed macro-photograph of snout. Photographs: Olivia Rivero and Diego Garate. Model: Sergio Salazar. area of 3 m long by 0.9 m wide, and 0.9 m height. The last motifs are in 5. Discussion this space. The walls are not covered with clay as in the other spaces and therefore the figures were engraved in the limestone. At the en- The new decorated sector in Aitzbitarte IV Cave has revealed a trance to this chamber, two small partial bison (D.I.1 and D.I.2) figures unique rock art composition for the Cantabrian region (Northern Spain) are 0.28 m and 0.36 m long. They face towards the interior, and include where the natural clay from the walls was modelled to create low-relief the tail, back, hump and head. A cervical-dorsal line (D.I.3), probably of bison, reindeer and horses. This uncommon technique, the formal a horse, 46 cm long was engraved in the middle of the space, on the conventions (horns and legs with perspective, closed eyes bison, scap- same wall and with the same orientation. The middle of the opposite ular quartering in the horses, etc.) and the presence of vulvas engraved wall contains three bison (C.II.1; C.II.2 and D.II.4) and a horse (D.II.3). in clay (present also in Bédeilhac, Montespan or Oxocelhaya), links this Two of the bison face left and consist of the tail, back, hump and head. cave to the Middle Magdalenian in the French Pyrenees where most They are 0.27 m and 0.38 m in length. They are followed by a cervical- examples of this technique are concentrated (e.g. Montespan, Erberua, dorsal line of a horse 0.55 m long facing in the opposite direction, like a Bédeilhac and Tuc d’Audoubert), but also to the Périgord (La Calévie). complete bison measuring 0.49 × 0.31 m (Fig. 8A and B). This re- In addition to engravings, at least three modelled in clay, creating presentation was engraved with multiple lines that created wide low reliefs (the bison C.I.6, the reindeer C.I.3, and the horse C.II.2). grooves in which the successive incisions to form the outline can be Some of these figures (A.I.1, A.I.2, B.I.4 and C.II.1) have been directly appreciated (Fig. 8.3). The same techniques were employed to depict traced with the fingers in the clay, producing wide and deep lines with a anatomical details, such as an eye (Fig. 8.1), the snout (Fig. 8.2) and the light volume. In these figures, the clay has been modelled with fingers beard (Fig. 8.4). In this sector D, the limestone is slightly soft, and the or another wider tool, as well as engraved with a lithic tool in order to zone is very well preserved because of its location. This is why some complete the details (for example, the beard of the C.I.6 bison, or the figures (like the bison D.II.4) have preserved the technical stigma, that head of the reindeer) and to emphasize the perspective of the limbs by indicates that the incisions were made using different parts of the tool, polishing the clay (creating a differential relief, like in the bison C.I.6). as we can observe in the different width and stroke profile. Also, fingers have been used to create the internal volumes, especially

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Fig. 8. A and B- Photography and digital 2D drawing of motif AITIV.D.II.IV. 1- Detailed macro-photograph of eye and horn. 2- Detailed macro-photograph of animal face. 3- Detailed macro-photograph of hump. 4- Detailed macro-photograph of beard. Photographs: Olivia Rivero and Diego Garate. Tracing: Olivia Rivero. in C.I.6 bison. This combination of techniques creates a soft low-relief (France) or small animal statuettes created by modelling the clay, as in effect. In Space D, the lack of natural clay over the limestone has limited several central European sites (for example Dolní Věstonice, Pavlov and the artist to using flint incisions to engrave the walls. Předmostí) especially in the Gravettian period (Bougard, 2010). More The use of clay for symbolic expressions in Palaeolithic art has been recently, similar pieces have been found in the Vela Spila site in known since the first stages in research in the early 20th century (Farbstein et al., 2012). (Boureux, 2014). This material has been used as media to engrave, to Clay can also be used to create low- and high-reliefs against the model, to sculpt or to make statuettes. More than one of these techni- surface of the cave (wall or floor), owing to the plasticity of this ma- ques sometimes appears in the same figure. terial. This is the category to some of the figures in Aitzbitarte IV can Although the use of clay as a surface for decoration is less common added. In any case, numerous variants are again possible when than limestone or calcite surfaces, the contexts in which it appears are moulding the clay on the wall or the floor of the cave (Table 2). very varied. Fingers and flints (or other blunt tools) were used to en- In general terms we can differentiate between representations cre- grave animals in clay with wider or thinner incisions especially in the ated directly in the natural clay of the cave and those for which the clay Cantabrian/Pyrenean region (Fig. 10). Although it is present in other has been transported from one place to another. In both cases the re- chronologies, like Gravettian for Cussac and Gargas, or Aurignacian for presentations can be on either the floor or the wall of the cave. Natural Chauvet, this is more common during the Magdalenian on cave walls floor has been modelled with fingers to create bison in Labastide, Tuc naturally covered by clay, as at Covaciella, Altamira, Castillo, Chime- d’Audoubert (in one case) and Bédeilhac. In the case of Aitzbitarte IV neas, Ekain, Oxocelhaya or Montespan, among others, or on a floor the natural clay from the wall has been modelled and engraved to re- formed by clayey sediment, like at Castillo, Etxeberri, Bédeilhac, Ker- present bison, horse, reindeer and in La Calévie (Périgord), to represent de-Massat or Niaux (it is also present in other zones like Périgord a bison. But in other cases, the clay was obtained from other areas of the -Rouffignac- or Aude -Gazel-). Fingerprint ensembles are also some- cave and transported to be moulded and adhered to the floor or wall. In times found on the floor of these caves, like in the case of Tuc d’Au- this case we can distinguish between low and high relief and ex- doubert, Montespan and Fontanet, or even on the wall like Hornos de la ceptionally also sculpture, only known for the bear in Montespan cave. Peña, Oxocelhaya, Montespan and Ker-de-Massat. The presence of clay In this cave, clay was also added to the floor to model three horses in balls and strips as found at Tuc d’Audoubert, Oxocelhaya and La- low-relief. In Tuc d’Audoubert, the two well-known bison were mod- bouiche is more unusual. The use of clay as a portable support is more elled and engraved in high-relief. Because of the well-preserved context common. It can be just a natural plaquette of compact clay engraved we can even deduct where the clay came from, a few metres away with incisions like in the Magdalenian caves in the Central Pyrenees (Bégouën et al., 2009). In Montespan and Labouiche small clay

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Fig. 9. Photography and digital 2D drawing of motif AITIV.B.I.3. Photographs: Olivia Rivero and Diego Garate. Tracing: Olivia Rivero. statuettes could had been placed against the wall, but they were found necessary to cross a ledge above a 40 m-deep shaft. It is possible that fallen on to the floor. In Erberua the clay was also attached to the wall this type of representation tends to be found in areas with such difficult and modelled to represent four horses and again in Montespan two access because of their fragility, since they are unlikely to be conserved horses and a possible feline are represented in high-relief. in other kind of zones, but other symbolic reasons cannot be dismissed. Unfortunately, this type of art is extremely fragile and many of the artworks have undergone severe processes of alteration, both after their 6. Conclusions discovery and in earlier times. Some of them have even disappeared (especially in Montespan), so taphonomic processes make a detailed This new discovery in Aitzbitarte IV shows that this small hill is the study very difficult. location of a major Palaeolithic rock-art concentration (four caves), In the case of Aitzbitarte IV, preservation is exceptionally good, thus unknown prior to 2012 despite over a century of archaeological re- providing a magnificent source of technical information. In fact, the use search in the area. These artistic discoveries further increase the im- of a natural clay wall to model the figures is a quite unique procedure, portance of this area in terms of our knowledge of the presence of previously unknown in the other caves. This new discovery expands humans during the Upper Palaeolithic in this key region, at the cross- even more the variety of possibilities described above. roads between the classic Périgord, Pyrenees and Cantabria regions. Some specialists have proposed the involvement of children in These are the preliminary results of our research in this exceptional making these artworks, as they may have played at moulding clay new discovery, with very fragile rock art figures in a miraculous state of figures, whether as part of formal learning of an artistic skill or simply conservation, closely related with their location in an area of the cave as an amusement (Langley, 2017). However, despite the association of that is very hard to reach. This state of conservation will allow us to human footprints made by children or people of small stature in Tuc undertake studies on the operational chain implicated in graphic ac- d’Audoubert (Bégouën et al., 2009), the Magdalenian modelled clay tivities in the recent Magdalenian, thus providing information about animal figures are always located in zones with difficult access (very activities unrelated with daily subsistence. deep into the cave in some cases), so in principle, they are not zones Finally, the discovery of clay animals in the Cantabrian Region re- suitable for children, at least if they are not accompanied by an adult (in presents a further milestone in the rock art research (Garate, 2018) that Tuc d’Audoubert there are also adult footprints). Currently, Erberua, has taken off in the past decade. It has allowed us to review earlier Montespan, Tuc d’Audoubert and Labouiche are active cave-systems, so theories and formulate new hypotheses on the Upper Palaeolithic in this to reach the modelled clay figures, it is necessary to cross rivers, even region (Garate et al., 2015), and on the existence and variation of in- diving in some cases. In Aitzbitarte IV, Erberua, Montespan, Tuc terregional links between it and other areas. d’Audoubert and Labouiche it is also necessary to climb to reach the zones with the modelled figures. In Erberua, Aitzbitarte IV, Tuc d’Au- doubert, Labouiche and Bedeilhac they are located in zones where it is Acknowledgements necessary to crawl because of the narrow passage and in Labastide, the modelled figure is located in the final chamber, where it is even We would like to thank the Diputación Foral de Gipuzkoa, Errenteria City Council, and members of the Felix Ugarte Elkartea

10 D. Garate, et al. Journal of Archaeological Science: Reports 31 (2020) 102270

Fig. 10. Distribution of caves with parietal animal representations modelled in clay (base; https://www.gmrt.org/GMRTMapTool/). Map: Iñaki Intxaurbe.

Table 2 Clay modelled animals on walls and floors in Magdalenian caves (Bougard, 2010). Primary position: when modelling the natural clay in place. Secondary position: when modelling prepared clay transported from another place. M: modelling with fingers; E: engraved with lithics.

Technique Caves Primary Position Secondary Position

Floor low-relief Wall low-relief Floor low-relief Wall low-relief Floor high-relief Wall high-relief Sculpture

Aitzbitarte IV 1 bison (M, E) 1 reindeer (M, E) 1 horse (M, E) Erberua (Larribau and Prudhomme, 1989) 4 horses (M) Labastide (Clottes, 1977) 1 bison (M) Montespan (Trombe and Dubuc, 1947) 1 horse (M, E) 2 horses (M) 1 horse (M) 2 horses (M) 1 bear (M) 1 feline (M) Tuc d’Audoubert (Bégouën, 1912) 1 bison (M) 2 bison (M, E) Labouiche (Méroc, 1959) 1 bison (M) Bédeilhac (Octobon, 1939) 4 bison (M) La Calévie (Breuil et al., 1904) 1 bison (M) group for their support and fieldwork assistance. The Appendix A. Supplementary material S1 Diputación Foral de Gipuzkoa has funded the research project in the cave. This work is part of the research project "Before art: social in- See https://bit.ly/33lgCsl. vestment in symbolic expressions during the Upper Palaeolithic (B- ” Art) VP27 funded by the University of Cantabria (Spain), IP: Diego Appendix B. Supplementary material S2 Garate and "Learning and development of artistic abilities in Anatomically Modern Humans; a multidisciplinary approach (ApArt)" See https://bit.ly/2Wf7Iei. HAR2017-87739-P funded by the Ministry of Science, Innovation and Universities (Spain), IP: Olivia Rivero. I. Intxaurbe’s PhD research is funded by a grant for the training of research personnel (PIF 2019) at Appendix C. Supplementary data the University of the Basque Country (UPV/EHU). Supplementary data to this article can be found online at https://

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