Sites with Paintings in Morocco and the Atlantic Sahara

arts Article Sites with Paintings in Morocco and the Article SitesAtlantic with Sahara Paintings in Morocco and the AtlanticSusan Searight Sahara 42 Rue Franceville, Casablanca 20410, Morocco; [email protected] Susan Searight Academic Editor: Robert Bednarik 42Received: Rue Franceville, 15 July 2016; Casablanca Accepted: 20410, 12 October Morocco; 2016; [email protected] Published: date

Academic Editor: Robert Bednarik Abstract: This article lists the rock art sites in Morocco with painted images so far published. It Received: 15 July 2016; Accepted: 12 October 2016; Published: 4 July 2017 updates and includes the inventory of such sites published over 15 years ago. Short descriptions of Abstract:the situationThis and article contents lists of the both rock new art and sites old in sites Morocco are given. with painted images so far published. It updates and includes the inventory of such sites published over 15 years ago. Short descriptions of theKeywords: situation rock and art contents; painted of images both new; Morocco and old sites are given.

Keywords: rock art; painted images; Morocco

1. Introduction Morocco (Figure 1) is well endowed with rock art sites: some 250 were recorded in the 1977 1. Introduction national inventory [1]. Other sites found subsequently bring the total up to around 300. The vast majorityMorocco are sites (Figure with1 )petroglyphs; is well endowed sites with rockpaintings art sites: are rare. some This 250 is were understandable, recorded in thesince 1977 for nationalpaintings inventory to survive [—1].and Other to be sites discovered found subsequently today—they have bring to the be totalin protected up to around places, 300.such Theas caves vast majorityor rock-shelters. are sites Paintings with petroglyphs; in the open sites air withmay paintingswell have are existed rare. but This have is understandable, long since disappeared. since for paintingsResearch tohas survive—and also underlined to be the discovered fact that today—they the caves which have tohouse be in them protected are places,often used such today as caves as orshelters rock-shelters. for men and Paintings animals, in with the open the inevi air maytable well deterioration have existed of the but paintings. have long since disappeared. ResearchThe sites has also are underlinedlisted from thenorth fact to that south the and caves from which east house to west. them are often used today as shelters for men and animals, with the inevitable deterioration of the paintings. The sites are listed from north to south and from east to west.

Figure 1. Map of Morocco. Arts 2016, 5, 9; doi: 10.3390/arts6030009 www.mdpi.com/journal/arts

Arts 2017, 6, 9; doi:10.3390/arts6030009 www.mdpi.com/journal/arts Arts 2016, 5, 9 2 of 11 Arts 2016, 5, 9 2 of 11

Arts 2017, 6, 9 Figure 1. Map of Morocco. 2 of 11 Figure 1. Map of Morocco. 2. Magara Sanar 2. Magara Sanar This is the most northerly site with painted images in Morocco. The numerous paintings in red This is the most northerly site with painted images in Morocco. The numerous paintings in red ochre onThis the is roof the of most this northerly small cave site in with the paintedJbel Tasbet, images some in 50 Morocco. km east The of the numerous Atlantic paintings town of in ochre on the roof of this small cave in the Jbel Tasbet, some 50 km east of the Atlantic town of Larache,red ochre were on discovered the roof of in this 1941 small by a caveSpanish in the army Jbel officer Tasbet, [2, some3]. The 50 paintings km east ofare the mainly Atlantic made town up of Larache, were discovered in 1941 by a Spanish army officer [2,3]. The paintings are mainly made up of Larache,dots, arranged were discoveredin parallel inlines, 1941 rectangles, by a Spanish circles army and officer meanders. [2,3]. TheAlso paintings depicted areare mainlyschematic made of dots, arranged in parallel lines, rectangles, circles and meanders. Also depicted are schematic animals,up of dots,including arranged horses. in parallelA few human lines, rectangles, figures and circles animals and meanders.can also be Also distinguis depictedhed, are with schematic one animals, including horses. A few human figures and animals can also be distinguished, with one mananimals, including horses. A few human figures and animals can also be distinguished, with one man man on onhorseback. horseback. on horseback. 3. Kef El Baroud 3. Kef El Baroud 3. Kef El Baroud Well to the south of Magara Sanar, this cave 10 km east of Ben Slimane and 30 km from the Atlantic Well to the south of Magara Sanar, this cave 10 km east of Ben Slimane and 30 km from the coastWell and to Rabat, the south was excavatedof Magara from Sanar, 1973 this and. cave produced 10 km east a wealthof Ben ofSlimane Neolithic and and30 km Chalcolithic from the Atlantic coast and Rabat, was excavated from 1973 and. produced a wealth of Neolithic and materialAtlantic [coast4]. During and Rabat, excavation, was excavated it was also from seen to1973 contain and. nineproduced pale reda wealth non-figurative of Neolithic paintings and Chalcolithic material [4]. During excavation, it was also seen to contain nine pale red non-figurative onChalcolithic the walls material of both sides [4]. During of the caveexcavation (Figure, 2it). was The also most seen frequent to contain motif nine was pale a pair red of non small-figurative spirals paintings on the walls of both sides of the cave (Figure 2). The most frequent motif was a pair of joinedpaintings to shorton the vertical walls lineof both to form sides an of image the cave looking (Figure somewhat 2). The likemost the frequent horns of motif a ram was seen a facepair onof small spirals joined to short vertical line to form an image looking somewhat like the horns of a ram (Figuresmall spirals3). There joined is no to wayshort of vertical knowing line whether to form theyan image are of looking the same somewhat as the archaeological like the horns material. of a ram seen face on (Figure 3). There is no way of knowing whether they are of the same as the Unfortunately,seen face on (Figure for some 3). years There now, is the no paintings way of haveknowing been invisible,whether coveredthey are by of a thickthe blacksame layeras the of archaeological material. Unfortunately, for some years now, the paintings have been invisible, smokearchaeological from fires material. lit by sheltering Unfortunately, hunters for and some shepherds. years now, the paintings have been invisible, covered by a thick black layer of smoke from fires lit by sheltering hunters and shepherds. covered by a thick black layer of smoke from fires lit by sheltering hunters and shepherds.

Figure 2. Kef El Baroud cave (photo Searight). Figure 2. Kef El Baroud cave (photo Searight).Searight).

Figure 3. Kef El Baroud images (from de Wailly, 1973/75). Figure 3. Kef El Baroud images (from de Wailly, 1973/75). Figure 3. Kef El Baroud images (from de Wailly, 1973/75). 4. Tidrit 4. Tidrit 4. Tidrit Further east, a number of red-coloured paintings were discovered in 1952 in a shelter in a rocky Further east, a number of red-coloured paintings were discovered in 1952 in a shelter in a rocky outcropFurther at a localityeast, a number called Tidrit,of red- somecoloured 5 km paintings from Ifrane were (Meknes) discovered [5] in (Figure 1952 4in). a The shelter paintings in a rocky are outcrop at a locality called Tidrit, some 5 km from Ifrane (Meknes) [5] (Figure 4). The paintings are mainlyoutcrop on at thea locality roof but called some Tidrit, are also some on 5 the km walls. from TheyIfrane consist (Meknes) of curvilinear [5] (Figure designs 4). The closepaintings together are

(concentric arcs and whorls) and short straight lines (Figure5). Arts 2016, 5, 9 3 of 11

Artsmainly2017 ,on6, 9the roof but some are also on the walls. They consist of curvilinear designs close together3 of 11 Arts 2016, 5, 9 3 of 11 (concentric arcs and whorls) and short straight lines (Figure 5). mainly on the roof but some are also on the walls. They consist of curvilinear designs close together (concentric arcs and whorls) and short straight lines (Figure 5).

Figure 4. Tidrit rock rock-shelter-shelter (photo Searight).Searight). Figure 4. Tidrit rock-shelter (photo Searight).

Figure 5. Images from Tidrit (drawing Searight).

Arts 2017, 6, 9 4 of 11

Arts 2016, 5, 9 4 of 11 Arts 2016, 5, 9 4 of 11 5. Amzri, Toulkine Figure 5. Images from Tidrit (drawing Searight) The Amzri rock shelter atFigure Toulkine 5. Images is the from rock Tidrit art (drawing site nearest Searight) to the petroglyph sites of the High 5. Amzri, Toulkine Atlas.5. ItAmzri, lies much Toulkine lower down, at 1800 m in the northern foothills of the High Atlas Mountains in the regionThe of Amzri Amizmiz rock southshelter ofat Marrakech.Toulkine is the Numerous rock art site red-ochre nearest to the paintings petroglyph occur sites in of seven the High shallow The Amzri rock shelter at Toulkine is the rock art site nearest to the petroglyph sites of the High cavitiesAtlas. on It a lies ledge much ca. lower 12 m down, above at the 1800 Amzri m in rock-shelterthe northern foothills (Figure 6of). the They High were Atlas discovered Mountains during in the the regionAtlas. It of lies Amizmiz much lower south down, of Marrakech. at 1800 m in Numerous the northern red foothills-ochre paintingsof the High occur Atlas in Mountains seven shallow in the excavation of the shelter which produced an abundant Neolithic lithic industry and animal bones [6,7]. cavitiesregion ofon Amizmiz a ledge c asouth. 12 m of above Marrakech. the Amzri Numerous rock-shelter red -(Figureochre paintings 6). They wereoccur discoveredin seven shallow during The paintingstcavitieshe excavation on consist a ledge of ofthe ca lines. shelter12 m of above dots,which the parallel produced Amzri lines, rock an- shelter curves,abundant (Figure zigzags, Neolithic 6). combs,They lithic were handindustry discovered and and ﬁnger animalduring tracings (Figurebonesthe7 )excavation and [6,7 two]. The positiveof paintings the shelter hands. consist which Several of linesproduced black of dots, paintedan parallelabundant lines lines, makeNeolithic curves, up geometrical lithiczigzags, industry combs, shapes. and hand animal A and palette containingfingerbones tracings[ red6,7]. ochre, The (Figure paintings found 7) inand consist an two archaeological ofpositive lines ofhands. dots, level, Severalparallel was bl datedlines,ack painted curves, by TL lines tozigzags, 2120-2420 make combs, up BCE.geometrical hand As and yet, it is the onlyshapes.finger date tracings A available palette (Figure containing for 7) rock and art twored manifestations positiveochre, found hands. in Several Morocco.an archaeological black painted level, lines wasmake dated up geometrical by TL to 2120shapes.-2420 A BCE.palette As yet,containing it is the redonly ochre, date available found in for an rock archaeological art manifestations level, inwas Morocco. dated by TL to 2120-2420 BCE. As yet, it is the only date available for rock art manifestations in Morocco.

FigureFigure 6. 6. Amzri.Amzri. The The ledge ledge bea bearingring the paintings the paintings shown shown by the bysmall the human small figure human in the ﬁgure middle, in the above middle, the Figure 6. Amzri. The ledge bearing the paintings shown by the small human figure in the middle, above the above the excavated area (photo Searight).excavated area (photo Searight) excavated area (photo Searight)

Figure 7. Paintings from Amzri (photo Searight). Arts 2017, 6, 9 5 of 11

6. ImiArts Ouzerwane 2016, 5, 9 5 of 11 Opposite the Amzri shelter, at Imi Ouzerwane, a series of shelters were noted to contain a few Figure 7. Paintings from Amzri (photo Searight) traces of red paint, doubtless the remains of complete paintings [8]. The shelters are in such a bad state, however,6. Imi that Ouzerwane little can be said of these painted fragments.

7. Figuig-IchtOpposite the Amzri shelter, at Imi Ouzerwane, a series of shelters were noted to contain a few traces of red paint, doubtless the remains of complete paintings [8]. The shelters are in such a bad Instate, Eastern however, Morocco, that little close can be to said the of Algerian these painted frontier, fragments. at about 50 km north of Figuig, a large rockshelter, beside the road from Figuig to Iche, has several red-ochre paintings made up of abstract images7. Figuig and dots.-Icht The shelter has been much damaged [9]. In Eastern Morocco, close to the Algerian frontier, at about 50 km north of Figuig, a large 8. Ouedrockshelter, Er Rkiza beside the road from Figuig to Iche, has several red-ochre paintings made up of abstract Alsoimages in and the dots. region The of shelter Figuig-Iche, has been a concentrationmuch damaged of [9 paintings]. lies in one of the numerous cavities in the roof of a shelter on Oued Er Rkiza. It comprises abstract design—lines of dots, rectangles 8. Oued Er Rkiza semi-circles—an anthropomorph and Libyco-Berber inscriptions. The colours are bright red and pale red [9]. Also in the region of Figuig-Iche, a concentration of paintings lies in one of the numerous cavities in the roof of a shelter on Oued Er Rkiza. It comprises abstract design—lines of dots, 9. Imirectangles n’Taroucht semi-circles—an anthropomorph and Libyco-Berber inscriptions. The colours are bright red and pale red [9]. In Southeastern Morocco, on the road from Tazzarine to Alnif—a region well-known for its numerous9. Imi n’Taroucht petroglyph sites—a single red-ochre bovid is painted on the wall of the Imi n’Taroucht: rock-shelterIn S besideoutheast theern road Morocco [10]., on the road from Tazzarine to Alnif—a region well-known for its numerous petroglyph sites—a single red-ochre bovid is painted on the wall of the Imi n’Taroucht: 10. Oued Rheris rock-shelter beside the road [10]. In the vicinity of Erfoud, a rock-shelter in the middle valley of Oued Rheris contains 18 painted panels;10. mostlyOued Rheris of Libyco-Berber inscriptions. There are also some 20 isolated possible alphabetical signs, 13 signsIn the (mainlyvicinity of circles Erfoud, and a rock squares)-shelter and in the 27 verymiddle schematic valley of anthropomorphs,Oued Rheris contains “often 18 painted difﬁcult to distinguishpanels; frommostly crosses of Libyco or- trees”Berber [11inscriptions.]. There are also some 20 isolated possible alphabetical signs, 13 signs (mainly circles and squares) and 27 very schematic anthropomorphs, “often difficult 11. Ifrane’n’Taskato distinguish from crosses or trees” [11].

A11. considerableIfrane’n’Taska number of paintings lie in ﬁve adjacent rock-shelters, at a locality called Ifrane’n’Taska, west of Zagora. All these shelters also contain stone structures showing their current A considerable number of paintings lie in five adjacent rock-shelters, at a locality called use asIfrane’n animal’Taska, pens. west The of colour Zagora. of All the these paintings shelters is also variable: contain red, stone black, structures white showing and yellow. their current The images includeuse ﬁngerprints,as animal pens. lines, The anthropomorphs,colour of the paintings Libyco-Berber is variable: red, letters black, (Figure white8 ),and domestic yellow. The cattle images and wild animals.include One finge shelterrprints, contains lines, armedanthropomorphs, horsemen, Libyco various-Berber wild letters and domestic (Figure 8), animals, domestic hunting cattle and or battle sceneswild with animals. anthropomorphs One shelter contains armed armed with spears horsemen, and various shields wild [12– 14and]. domestic animals, hunting or battle scenes with anthropomorphs armed with spears and shields [12–14].

Figure 8. Ifrane-n-Taska: Libyco-Berber letters (from Skounti & Nami, 2000). Arts 2017, 6, 9 6 of 11

Arts 2016, 5, 9 6 of 11

12. Ain n’Thati Figure 8. Ifrane-n-Taska: Libyco-Berber letters (from Skounti & Nami, 2000). Near Ifrane n’Taska, at Ain n’Thati, four sections of this confused mass of boulders contain 12. Ain n’Thati paintings. The ﬁrst, a “corridor” formed by two large rocks touching each other, holds paintings of lines of dotsNear on the Ifrane roof n’Taska, near the at entrance: Ain n’Thati, further four on,sections a red of bovid this confused is still visible mass of with boulders some tracescontain of vague redpaintings. ochre imagesThe first, under a “corridor black” sootformed on by the two ceiling; large rocks further touching on still, each two other, shelters holds holdpaintings lines of of just-visiblelines dots of dots [15]. on the roof near the entrance: further on, a red bovid is still visible with some traces of vague red ochre images under black soot on the ceiling; further on still, two shelters hold lines of 13. Zaouiatjust- Sidivisible Abdenbi dots [15].

Going13. furtherZaouiat west,Sidi Abdenbi as far as Foum Zguid, two of the several rock-shelters at this site (also known as Zir Zabair),Going contain further much west, damaged as far as traces Foum of Zguid, paintings. two Redof the ochre several has rock been-shelters used to at produce this site a (also series of dots, curvilinearknown as Zir and Zabair), unidentiﬁable contain much designs damaged (Figure traces9). Blackof paintings. colouring Red matter ochre washas been employed used to to paint threeproduce very schematica series of dots, anthropomorphs curvilinear and [8 ,unidentifiable16]. designs (Figure 9). Black colouring matter was employed to paint three very schematic anthropomorphs [8,16].

Figure 9.FigureZaouiat 9 . Zaouiat Sidi Abdenbi. Sidi Abdenbi. Dots Dots and and curvilinear curvilinear designs designs (from (from Nami Nami et et al,al, 2007).2007).

14. Tamezrar14. Tamezrar Further south, west of Tata, this site is a small shelter, on the edge of Oued Tamezrar, near Further south, west of Tata, this site is a small shelter, on the edge of Oued Tamezrar, near Ait Ait Ouabelli. It holds a few lines of painted red ochre dots [15]. Ouabelli. It holds a few lines of painted red ochre dots [15]. 15. Touf Agdif 15. Touf Agdif Also not far from Ait Ouabelli (Tata), situated about 15 km from the village of Tadakoust and Also30 not km farnorthwest from Ait of Ait Ouabelli Ouabelli (Tata),, on the situated bank of the about Assif 15 Aza km Ifr, from this thelarge village cave (c ofa. 100 Tadakoust m long and and 30 km northwest7 m wide) ofcontains Ait Ouabelli, about 60 onpaintings. the bank The of colours the Assif used Aza are Ifr,red thisochre, large a bright cave red (ca. colouring 100 m long matter, and 7 m wide)black, contains white aboutand green. 60 paintings. The use of Thethe DStretch colours enhancement used are red technique ochre, a brightenabled red many colouring vague images matter, black, whiteto be andidentified. green. They The include use of thearmed DStretch horsemen enhancement (one with headdress, technique circular enabled shield many and vague two spears), images to be identified.horses, felines, They includeunidentifiable armed quadrupeds, horsemen birds (one and with geometrical headdress, forms. circular Two shield styles andwere two identified, spears), horses, felines,one elaborate unidentifiable and well executed, quadrupeds, the othe birdsr schematic and geometrical [17]. forms. Two styles were identified, one elaborate and well executed, the other schematic [17]. 16. Assif Youmkat 16. Assif YoumkatThis site, in the region of Fam El Hasn, lies about 2 km downstream on a tributary of the Assif Youmkat. It has some rocks with petroglyphs as well as a shelter with paintings. A mounted bovid Thisand site, an inarmed the region human ofare Fam visible El. Hasn, It was liescatalogued about 2by km Simoneau downstream [1] as 150.160, on a tributary but all the of relevant the Assif Youmkat.documentation It has some rockswas said with to have petroglyphs been lost as[8]. well as a shelter with paintings. A mounted bovid and an armed human are visible. It was catalogued by Simoneau [1] as 150.160, but all the relevant documentation was said to have been lost [8]. Arts 2017, 6, 9 7 of 11

17. AounateArts 2016,Azguer 5, 9 7 of 11 Arts 2016, 5, 9 7 of 11 The17. Aounate ﬁrst of thisAzguer series of 21 rock-shelters about 130 km southeast of Tan-Tan, not far from the mouth17. of Aounate the Oued Azguer Draa, was published in 2001/2002 under the name of Laounate [18] (Figure 10). The first of this series of 21 rock-shelters about 130 km southeast of Tan-Tan, not far from the The shelter contains about 100 red ochre motifs painted on the walls and ceilings, depicting sexed mouthThe of first the Ouedof this Draa, series was of 21 published rock-shelters in 2001/2002 about 130 under km southeastthe name of LaounateTan-Tan, not[18 ]far (Figure from 10).the archersmouthThe accompanied shelter of the contains Oued by Draa, about ostriches, was 100 published red lines ochre of veryinmotifs 2001/2002 small painted anthropomorphs,under on thethe wallsname andof Laounate giraffes, ceilings, various[depicting18] (Figure quadrupeds sexed 10). and twoThearchers chariots shelter accompanied contains (Figure about 11by). ostriches, At 100 the red time lines ochre ofof theirmotifsvery small discovery, painted anthropomorphs, on the the stylewalls and and giraffes, themesceilings, various ofdepicting the quadrupeds paintings sexed were totallyarchersand unknown two accompanied chariots in Morocco. (Figure by ostriches, 11). The At area the lines istime underof veryof their studysmall discovery, anthropomorphs, and new the shelters style giraffes,and constantly themes various of discovered.the quadrupeds paintings andwere two totally chariots unknown (Figure in Morocco.11). At the The time area of is their under discovery, study and the new style shelters and themes constantly of the discovered. paintings were totally unknown in Morocco. The area is under study and new shelters constantly discovered.

FigureFigure 10. 10.Aounate Aounate Azguer Azguer rock-shelterrock-shelter (photo (photo Searight) Searight).. Figure 10. Aounate Azguer rock-shelter (photo Searight).

Figure 11. Aounate Azguer painted panel (photo Searight). FigureFigure 11. 11.Aounate Aounate Azguer Azguer painted panel panel (photo (photo Searight) Searight).. 18. Oued Amhite 18. Oued Amhite 18. Oued AmhiteThe small site of Oued Amhite, near the mouth of the Oued Draa, is situated upstream of Oued Amhite.The Itsmall contains site ofan Oued unusual Amhite, red-painted near the hunting mouth scenof thee, Ouedshowing Draa, two is hunterssituated and upstream an antelope of Oued on The small site of Oued Amhite, near the mouth of the Oued Draa, is situated upstream of Oued Amhite.its back. It containsalso depicts an unusualtwo possible red-painted fish and hunting an unidentifiable scene, showing image two [19 ]hunters. and an antelope on Amhite.its back. It contains It also depicts an unusual two possible red-painted fish and hunting an unidentifiable scene, showing image [19 two]. hunters and an antelope on its back.19. ItThe also Saguiet depicts el Hamra two possible and the ﬁshRio de and Oro an unidentiﬁable image [19]. 19. The Saguiet el Hamra and the Rio de Oro 19. The Saguiet el Hamra and the Rio de Oro

The rock art of the Saguiet el Hamra and the Rio de Oro has always been the subject of confusion. In the early days many Spanish researchers published reports on the area, but not all knew exactly Arts 2017, 6, 9 8 of 11 where they were. Many judged “their” site to be totally new, whereas in fact part at least had already been published. The recent division of these provinces into two parts has also produced some confusion: research teams, mainly from Spanish universities, working in the mountainous Zemmour and the desert Tiris, have renamed and relocated a number of sites, many of them listed in the Moroccan inventory of sites [1] (reference numbers, where available, are given in brackets after the site name), see particularly the numerous articles of Saez de Buruga, and Soler Subils).

20. Pozo El Farsia The Pozo El Farsia (Mahbes) site ([1], 150.239), well east of Smara, is made up of two shallow rock-shelters in a low cliff opposite the well-known well of El Farsia. It holds a number of possible Libyco-Berber (tiﬁnar) signs, some as petroglyphs, others painted (but they look more like camel markings) [20,21].

21. Uad Ymal This site is a rock-shelter southeast of Smara with a number of painted motifs, including anthropomorphs, both stylized and realistic [22].

22. Dmeri Labya Again in the Smara region, this is a small site holding a number of red-coloured paintings [19].

23. Tifariti Several rock-shelters in the direction of the locality of Mahbes, east of Smara and about 200 km southwest of Ras Lemtareg (150.241), contain red ochre paintings with many positive handprints, wild and domestic animals and anthropomorphs [23].

24. Rekeiz Lemgasem This area, in the Zemmour hills, in the north-east of the Atlantic Sahara, about 30 km from Tifariti, has been the object of research by teams from Girona University since 1995 [24]. Sites recorded were Sluguilla Lawask, Rekeiz Lemgasem, Rekeiz Ajahfun, Wadi Kenta, Wadi Ymal (see above), Asako and Bou Dheir. Most images were small (between 10 and 20 cm). 60% of them were ﬁgurative (32% humans,

28% animals),Arts 2016 24%, 5, 9 were hand-prints, 16% were non-ﬁgurative, the rest were unidentiﬁable9 of 11 (Figure 12).

Figure 12. FigureRekeiz 12. Lemgasem: Rekeiz Lemgasem Painted: Painted anthropomorphs anthropomorphs from from the the Dancers’ Dancers’ shelter shelter (from Soler (from i Subils, Soler 2007) i Subils,. 2007). 25. Bou Dher A series of rock-shelters in a sandstone cliff in the Zemmour hills include a large fresco depicting a variety of wild animals. Many human figures are also clearly visible, the shelter having suffered little damage [25].

26. Leyuad About 40 km ESE of Auserd in the Rio de Oro, close to the Mauritanian frontier, a series of rock-shelters were divided by the researchers [26] into five separate units, each holding one or more rock-shelters. Station I: the Cueva del Diabolo contains petroglyphs and some abstract red-coloured paintings, as well as recent inscriptions in Arabic. Station III: the large Cueva Pintada cave, holds red-ochre schematic paintings of wild animals, geometrical signs and, in black, a few Libyco-Berber inscriptions. Station IV; a small, unnamed, much damaged, shelter has one wild animal painting in red-ochre. Station V: 3 shelters (A, B, C) contain, respectively, red and white paintings of giraffes and gazelles on the roof; red painted anthropomorphs and zoomorphs; the rock surface of the upper shelter was in such a bad shape that nothing could be seen. Station VI: the badly preserved red paintings include anthropomorphs and Libyco-Berber letters.

27. Eiy Mountai Ten km south of Leyuad, this site is made up of three stations. The first is a cave decorated with several red coloured designs similar to those in the Cueva Pintada (see above) plus a horseman. The second is a niche situated above the first one, its walls holding very schematic anthropomorphs and horsemen in red and yellow. The third, known as Hassi Eiy is only noted for a fragment of red paint found on a slope to the south of the well [8].

28. Daraa El Quelba At this site, lying on the southern slope of a rocky peak, 10 km west of Leyud, the red paintings are said to be invisible because of the many Arabic inscriptions overlying them [8].

Arts 2017, 6, 9 9 of 11

25. Bou Dher A series of rock-shelters in a sandstone cliff in the Zemmour hills include a large fresco depicting a variety of wild animals. Many human ﬁgures are also clearly visible, the shelter having suffered little damage [25].

26. Leyuad About 40 km ESE of Auserd in the Rio de Oro, close to the Mauritanian frontier, a series of rock-shelters were divided by the researchers [26] into ﬁve separate units, each holding one or more rock-shelters. Station I: the Cueva del Diabolo contains petroglyphs and some abstract red-coloured paintings, as well as recent inscriptions in Arabic. Station III: the large Cueva Pintada cave, holds red-ochre schematic paintings of wild animals, geometrical signs and, in black, a few Libyco-Berber inscriptions. Station IV; a small, unnamed, much damaged, shelter has one wild animal painting in red-ochre. Station V: 3 shelters (A, B, C) contain, respectively, red and white paintings of giraffes and gazelles on the roof; red painted anthropomorphs and zoomorphs; the rock surface of the upper shelter was in such a bad shape that nothing could be seen. Station VI: the badly preserved red paintings include anthropomorphs and Libyco-Berber letters.

27. Eiy Mountai Ten km south of Leyuad, this site is made up of three stations. The ﬁrst is a cave decorated with several red coloured designs similar to those in the Cueva Pintada (see above) plus a horseman. The second is a niche situated above the ﬁrst one, its walls holding very schematic anthropomorphs and horsemen in red and yellow. The third, known as Hassi Eiy is only noted for a fragment of red paint found on a slope to the south of the well [8].

29. Abrigo del Capitan Justo Very close to the Mauritanian frontier, SE of Leyuad, this rock-shelter, discovered by a Spanish army ofﬁcer, contains stylized red-ochre paintings of anthropomorphs and Libyco-Berber inscriptions. Black painted camel-markings and inscriptions in Arabic are also visible [26].

30. Legteitira This cave is said [8] to hold small red-coloured paintings of: the hind part of a bovid and an anthropomorph.

31. Comments The themes of the painted images correspond only partially to what has been recorded for petroglyph sites. Wild animals and humans are a frequent subject, but domestic cattle, so numerous on petroglyph sites, are rarer. Libyco-Berber inscriptions are also less often painted. Weapons—apart from bows and spears—are absent. On the other hand, rows of small dots occur on many painted sites, both in the north and in the south. It has been suggested ([8], Heckendorf & Salih, 1999, p. 251) that they were possibly part of a sign-communication system. As with petrohlyphs, many images are abstract designs or unidentiﬁable. Wavy and curved red painted lines are also a feature on several sites. A few rare paintings are in white or green but the most usual colouring matter is red ochre. Charcoal was also employed, often for inscriptions. Arts 2017, 6, 9 10 of 11

32. Conclusions It has been seen that sites with painted images range from north Morocco to the far south. But painted sites are unlikely ever to be as numerous as sites with petroglyphs, given the modern use of caves as living places for animals and humans. However, a big advance has been made with the increasing use of techniques such as DStretch enhancement, which adds a new dimension to the value of these images (see, for instance, Touf Agdif, N◦15 above). A new look at already known sites would be productive. The daring of painted sites by the analysis of the colouring matter used is certainly possible. But most of these sites are very individual in their contents and direct dating is unlikely to produce useful patterns applicable on a larger scale—Amzri (N◦5) is a case in point. It is to be hoped that when more of these sites are discovered, some territorial or thematic will in fact emerge.

Conﬂicts of Interest: The author declares no conﬂict of interest.

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