![]() With recent developments in archaeometric techniques, however, interest in paint technology, namely paint preparation and application procedures, has increased considerably (see e.g. ![]() Traditionally, rock art studies have focused on chronology, theme and style. Palaeolithic rock art is a key feature of human evolution, providing information on humans’ language, abstract thoughts, symbolic behaviour, ontological world and social organisation. The work of Francesco d’Errico is also supported by the Programme Talents and the Grand Programme de Recherche Human Past of the University of Bordeaux Initiative of Excellence, and the Research Council of Norway through its Centres of Excellence funding scheme, SFF Centre for Early Sapiens Behaviour (SapienCE), project number 262618.Ĭompeting interests: The authors have declared that no competing interests exist. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.ĭata Availability: All relevant data are within the paper and its Supporting Information files.įunding: The work of Laure Dayet was supported by a grant from the European Research Council (FP7/2007/2013, TRACSYMBOLS 249587). Received: JAccepted: DecemPublished: January 24, 2022Ĭopyright: © 2022 Dayet et al. PLoS ONE 17(1):Įditor: Andrea Zerboni, Universita degli Studi di Milano, ITALY We also propose to include more systematic characterisation of rock wall heterogeneity and the use of microscopic analyses in non-destructive approaches.Ĭitation: Dayet L, d’Errico F, García Diez M, Zilhão J (2022) Critical evaluation of in situ analyses for the characterisation of red pigments in rock paintings: A case study from El Castillo, Spain. Our research protocol, based on the comparison of rock paintings, their substrate, experimental paintings and Fe-normalisation of the signals can improve the reliability of pXRF results. Following previous works and our own results, we advocate a combination of both in situ and laboratory invasive analyses for the study of paint composition and paint technology. ![]() We concluded that the El Castillo cave environment is not suitable for non-destructive technological studies, but that more favourable contexts might exist. We found that the compositional heterogeneity of the paintings’ environment, especially variations in secondary deposits, was responsible for most of the differences observed between the pXRF signals recorded on the paintings. We have set experiments and used statistical methods to identify differences between paint components and determine factors impacting pXRF measurements. Here, we evaluated digital microscopic and pXRF in situ analyses for the characterisation of a large set of red and yellow paintings from the El Castillo cave, Cantabria, Spain. It is not yet clear whether they provide accurate information on paint technology, except under certain conditions. In situ analyses have several limitations that are widely discussed in the literature, however. With the expansion of archaeometric studies and in situ non-destructive analytical methods, a renewal of technological studies is being observed in rock art. Paint technology, namely paint preparation and application procedures, is an important aspect of painting traditions.
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