Quaternary Geochronology 36 (2016) 104e119
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Quaternary Geochronology
journal homepage: www.elsevier.com/locate/quageo
Research paper
Methods for U-series dating of CaCO3 crusts associated with Palaeolithic cave art and application to Iberian sites
* Dirk L. Hoffmann a, b, c, , Alistair W.G. Pike d, Marcos García-Diez e, Paul B. Pettitt f, Joao~ Zilhao~ g, h a Max Planck Institute for Evolutionary Anthropology, Department of Human Evolution, Deutscher Platz 6, 04103, Leipzig, Germany b Bristol Isotope Group, School of Geographical Sciences, University of Bristol, University Road, Bristol, BS8 1SS, UK c Centro Nacional de Investigacion sobre la Evolucion Humana (CENIEH), Paseo Sierra de Atapuerca 3, 09002, Burgos, Spain d Department of Archaeology, University of Southampton, Avenue Campus, Highfield Road, Southampton, SO17 1BF, UK e Department of Geography, Prehistory and Archaeology, University of the Basque Country (UPV/EHU), c/ Tomas y Valiente s/n, 01006, Vitoria, Spain f Department of Archaeology, Durham University, South Road, Durham, DH1 3LE, UK g University of Barcelona, Departament de Prehistoria, Historia Antiga i Arqueologia (SERP), c/ Montalegre 6, 08001, Barcelona, Spain h Institucio Catalana de Recerca i Estudis Avançats (ICREA), Passeig Lluís Companys 23, 08010, Barcelona, Spain article info abstract
Article history: U-series dating is a precise and accurate geochronological tool which is widely applied to date secondary Received 18 February 2016 CaCO3 formation, for example in speleothem based palaeoclimate research. It can also be employed to Received in revised form provide chronological constraints for archaeological sites which have a stratigraphic relationship with 1 July 2016 speleothem formations. We present in detail our methods to conduct precise and accurate U-Th dating of Accepted 27 July 2016 calcite crusts that formed on top of cave paintings. Our protocols allow the application of U-series Available online 29 July 2016 measurements on small, thin calcite crusts covering cave art, which can be found in many sites, while taking care not to harm the art underneath. The method provides minimum ages for the covered art and, Keywords: fl Cave art where possible, also maximum ages by dating the owstone layer the art is painted on. We present U-Th dating dating results for crusts from two locality types in Spain, a typical cave environment (La Pasiega) and a
CaCO3 crust more open, rock shelter type cave (Fuente del Trucho). Minimum age © 2016 Published by Elsevier B.V. La Pasiega Fuente del Trucho
1. Introduction (often referred to as ‘cycles’), and the relationship of these to archaeologically recovered evidence of human occupation. But Cave art is found on almost every continent and, in addition to despite more than a century of study, cave art has proven to be one its bearing on the origins of art itself, it constitutes one of the few of the most difficult archaeological phenomena to date. sources of archaeological information about symbolic behaviour The chronology of cave art is often derived from contextual and and social interaction among early humans. It has been critical to stylistic evidence, usually assigned to a specific archaeological the definition of chrono-cultural groupings and successions that period on the basis of stylistic comparisons with portable art ob- form the methodological basis of archaeology, and continues to jects that have been recovered from dated archaeological deposits, play a major role in our interpretations of the world views and and through the construction of a relative stratigraphy of motifs behaviours of past cultures. Accurate chronological control of the that are demonstrably superimposed on cave walls (Breuil, 1952; emergence and/or execution of cave art is essential for under- García-Diez and Ochoa, 2013; Leroi-Gourhan, 1965). While stylis- standing the development and phasing of specific artistic periods tic grouping may be useful to identify connections between human groups in different geographical regions, a 'chronology' based on this method is potentially undermined by the possibility that spe- fi * Corresponding author. Max Planck Institute for Evolutionary Anthropology, ci c themes or styles could have been produced in different areas at Department of Human Evolution, Deutscher Platz 6, 04103, Leipzig, Germany. different times, and also that different styles could have co-existed E-mail addresses: [email protected] (D.L. Hoffmann), A.W.Pike@soton. at the same time. In short, one simply cannot assume a straight- ac.uk (A.W.G. Pike), [email protected] (M. García-Diez), paul.pettitt@durham. forward development that allows one to isolate well-defined and ac.uk (P.B. Pettitt), [email protected] (J. Zilhao).~ http://dx.doi.org/10.1016/j.quageo.2016.07.004 1871-1014/© 2016 Published by Elsevier B.V. D.L. Hoffmann et al. / Quaternary Geochronology 36 (2016) 104e119 105 chronologically distinct artistic periods. Furthermore, since very in detail and present and discuss dating results for cave art in two few direct dates have been produced for cave art, assigning a date to different locality types, a typical cave environment (La Pasiega, a stylistic group runs the risk of circularity, whereby the age relies Puente Viesgo, Spain) and a more open, rock shelter type envi- on comparison with other stylistic groups rather than on criteria ronment (Fuente del Trucho, Huesca, Spain). Our results were ob- that are independent of style (von Petzinger and Nowell, 2011). In tained in three different laboratories with identical setups. The some cases the association underpinning the 'dating' is based on results published in Pike et al. (2012) were measured in the Bristol archaeological finds lying on the surface (floor) of a cave or in strata Isotope Group laboratory (Bristol, UK); those presented here were exposed by archaeological excavation. For these at least, a degree of measured in the U-series laboratory of the CENIEH (Burgos, Spain) chronological control exists (i.e. finds can be dated, for example, by and the U-series laboratory of the MPI for Human Evolution AMS radiocarbon measurement). However, the 'dating' of cave art (Leipzig, Germany). based on the assumption that the art is coeval with dated material recovered from elsewhere in the same cave is not based on an 2. General considerations unambiguous and demonstrable stratigraphic relationship, and hence does not constitute a direct, robust chronology. The conservation and protection of the precious and unique cave Radiocarbon dating, restricted as it is to the dating of organic art obviously has highest priority and is the underlying principle of materials, can be used for the direct dating of organic binders and our work. It is essential to avoid any damage to the cave art, and to pigments. This has been applied to a variety of cave art motifs, minimise our impact on the cave environment to ensure the mainly charcoal-based paintings, the result of which dates the preservation of this global heritage for future generations. Because production of the charcoal and thereby provides a maximum age of its fragility, we cooperate closely with the authorities and re- for the painting. In order to interpret the 14C age of charcoal as the searchers responsible for the management and curation of the sites age of the art, an assumption is necessary that this occurred where we work; we seek permission based on a detailed rationale meaningfully close to the time at which the charcoal was used to that is assessed by expert panels, and one or more delegates create the art. Archaeologically, the method is destructive: it is appointed by the relevant government agencies oversees our necessary to subsample material from the art itself. However, AMS sampling process, which is recorded and subsequently outlined in 14C dating of art from some of the key European cave art sites was a publications. major step forward (e.g. Valladas et al. (2001)), but many European In many cases, it is simply impossible to remove samples, either cave art motifs are engravings or were made with inorganic red because a potential risk of damage to the art is too great or our ochre, yellow ochre and/or black manganese and thus are not rigorous sampling criteria discussed below cannot be fulfilled 14 suitable for C dating. Even where suitable materials are available satisfactorily. In our approach, only CaCO3 that can be removed for radiocarbon dating, the understandable precedence of the without any impact on the art is considered appropriate for sam- conservation of the art necessitates that miniscule quantities of pling. However, impact on the CaCO3 which formed before or after pigment are removed for dating in order to keep visible damage to the painting was done (which is core to the dating method) cannot an absolute minimum. Sample sizes are therefore rarely ideal, be avoided. The impact nevertheless entails no damage to the cave rendering the samples more prone to problems of contamination art itself, and for this reason alone the method is preferable to the than the larger samples used for more routine measurement of removal of art pigments for radiocarbon dating. In order to ensure archaeological samples. Even where a sample of sufficient size can stratigraphic integrity (i.e. that all the calcite sampled had formed be removed, it is not always clear that the date of the organic on top of the targeted artistic motif) and avoid contamination of our fraction is contemporary with the execution of the art, e.g. in the dating sample with either pigment or cave wall, we do not remove case of old wood/charcoal used to make a black pigment (Pettitt all the CaCO3 and thus do not expose the covered pigment to the and Bahn, 2003). Thus, uncertainty remains in many cases, and cave atmosphere. additional methods for dating cave art are clearly required. All these considerations constrain the analytical techniques The U-series method cannot be used to date cave art directly, employed for sample characterisation and U-series dating. For since it cannot be applied to pigments, but in certain cases it can be example, in most cases it is impossible to obtain detailed infor- used to provide age constraints for the art through the dating of mation about CaCO3 fabrics or the stratigraphy of successive associated carbonate deposits. Schwarcz and Blackwell (1992) growth layers, all of which would require removing solid CaCO3 suggested U-series dating of calcite formations covering cave art pieces for detailed microscopy. Although such sampling has been as a means of providing minimum ages for the underlying art, but described and applied elsewhere (Aubert et al., 2007, 2014), we do at the time methodological constraints e especially sample sizes not support a strategy requiring the removal of chunks of calcite needed for alpha spectrometric U-series measurements e including the pigment layers. While this may have the advantage of hampered application of this method. The adoption of thermal providing access to calcite above and below the pigment, it is ionization mass spectrometry (TIMS) (Edwards et al., 1987) signif- destructive to the art itself. icantly reduced the sample size required and allowed the first U-Th The dating of cave art is a multidisciplinary endeavour which applications to cave art (Bischoff et al., 2003; Pike et al., 2005; requires a wide range of expertise ranging from Palaeolithic Plagnes et al., 2003). A further reduction of sample sizes was archaeology to scientific dating methods. A dating team should possible following the adoption of inductively coupled mass spec- therefore include experts in Palaeolithic archaeology, cave art, trometry (ICPMS) (Shen et al., 2002) and multi collector (MC) e speleogenesis, speleothems and dating/chronology. Each cave and ICPMS (e.g. Hellstrom (2003)) for U-series analyses. Thus, today it is its art is unique, and experts associated with specific sites need to possible to employ U-Th methods to a much wider range of sites be included in the planning and sampling process. The application and motifs due to another significant reduction of the sample size of the method presented in this study is limited to motifs where required for precise U-series measurements, using tailored MC- unambiguous stratigraphy of the art and overlying CaCO3 can be ICPMS protocols (Hoffmann, 2008; Hoffmann et al., 2007). This established. Generally, cave art made with pigments is more suit- enables the dating of very small carbonate samples scraped from able than engravings, because, with the latter, it can be difficult to CaCO3 (calcite or aragonite) formations covering cave art. It has define the boundary between the engraved bedrock and the over- been successfully applied in a number of recent studies, e.g. by Pike lying calcite, especially where the bedrock was speleothem- et al. (2012) or Aubert et al. (2014). Here, we describe our methods covered prior to the execution of the engraved motif. 106 D.L. Hoffmann et al. / Quaternary Geochronology 36 (2016) 104e119
3. Sampling methods 3.2. Sampling documentation and tools
3.1. Sampling strategy The most suitable sampling material is chosen on the basis of the morphology of the CaCO3 and its stratigraphy relative to the art. The key to success of our methods lies in previous success in The CaCO3 formation needs to be inspected and documented in minimising the sample sizes needed for robust U-series isotope detail before the sampling starts: analyses (Hoffmann, 2008; Hoffmann et al., 2007, 2009). This en- ables us to deal with small CaCO3 formations and sampling re- The cave art panel/motif including its location in the cave should strictions due to preservation issues, and allows us to remove be described and documented (notes, photos, macro-photos) as multiple samples from the same calcite formation, and still achieve well as the exact position of the CaCO3 intended for sampling high quality dating results. It is possible to use CaCO3 samples as relative to the art. small as a few mg, and we typically use samples sizes in the range of The recent history of the panel needs to be investigated to find 5e10 mg. out whether it has undergone any restoration or cleaning efforts A carefully constructed sampling strategy and documentation of and e if so e whether any chemicals were applied that could all of its constituent steps are essential in order to obtain reliable have an impact on U-series dating results. results. Prior to sampling, it is essential that suitable CaCO3 for- The type of CaCO3 formation should be broadly classified (e.g. mations with an unambiguous stratigraphic relationship with the flowstone, stalactite, drapery, cauliflower/popcorn) and its art can be identified. Identifying such samples is the major morphology described (dense or porous carbonate; pristine or constraint for application of U-series dating to cave art. In many corroded) and whether any internal stratigraphy (e.g. layering cases, no such carbonates can be found. Even where suitable CaCO3 or inter-bedding) is visible. can be identified, risks of damage to the art while removing sam- The level of cleanliness of the CaCO3 needs to be described, i.e. ples (e.g. where the cave wall is fragile) may be too great and can whether the surface is visibly clean or whether there are therefore rule out sampling. Fig. 1 shows examples of CaCO3 for- obvious dirt inclusions in the CaCO3. Also, it is important to state mations on top of cave art found in La Pasiega. Suitable secondary whether the surface of the CaCO3 is dry, humid or wet. carbonates associated with its cave art are, for example, small It needs to be confirmed that there is no pigment on top of the cauliflower type deposits (Fig. 1a), thin flowstone films on cave CaCO3. walls (Fig. 1b), draperies (Fig. 1c) or stalactites (Fig. 1d).
Fig. 1. Examples for CaCO3 precipitates on top of cave art in La Pasiega. a) (PAS 30) Small ‘cauliflower’ type formations, b) (PAS 01) thin flowstone formation covering the whole painting, which therefore appears to be faded due to its covering, c) (PAS 16) cave wall drapery partly covering red pigment d) (PAS 27) combination of flowstone, cauliflower and stalactites covering the cave ceiling with underlying red pigment. (For interpretation of the references to colour in this figure legend, the reader is referred to the web version of this article.) D.L. Hoffmann et al. / Quaternary Geochronology 36 (2016) 104e119 107