La Serena region is a large plateau with open landscapes bounded in the south by a mountain chain formed by the Benquerencia, Tiros and La Rinconada Sierras. There are more than 300 painted and engraved sites in the region. Cueva Grande, Cueva de En medio and Cueva Pequeña are three Schematic rock art shelters located in the municipality of Benquerencia de la Serena, Badajoz, Spain. Over their panels have been documented more than a hundred of painted schematic figures (anthropomorphic figures, eye-shape figures and symbols) (Neolithic - Copper Age). Paintings are monochromatic with red or black coloration. A total of 13 samples (10 red and 3 black samples) from different panels were collected and analyzed using micro-Raman spectroscopy and ATR-FTIR. Micro-Raman spectroscopy was able to characterize the main mineral component, respectively hematite for the red figures and charcoal for the black paintings. ATR-FTIR was useful to possible ochre and possible organic identification. These latest results are particularly important for understanding manufacturing processes and addressing conservation problems.

Microscopic observation correlated with chemical–mineralogical characterization was performed on pigment samples from “Abrigo del Lince” rock art site (V-IV millennium BC), in order to provide contributions to the study of prehistoric schematic art on granite in the province of Badajoz (Spain). The research objectives include the understanding of technological and cultural aspects, as well as of conservation and deterioration issues related to the pictographs. The multi-analytical approach encompasses the integration of microscopic observation, SEM–EDS analysis, micro-Raman spectroscopy, and ATR-FTIR and allowed to achieve a multispectral overview of the samples and to describe their varied composition and the alteration pattern which connects them. The main phases overlying the granitic bedrock and involved in this sequence are as follows: hematite, whewellite, and gypsum. While hematite could be stratigraphically considered the most ancient layer and assigned to the use of red ochre as a pigment, whewellite and gypsum are the main constituent of the alteration layer which forms a patina over the pictographs, due to weathering processes. Finally, the role of biofilms in rock art conservation is discussed, suggesting that, especially for what concern thin and homogenous layers of oxalates, their presence should not be necessarily considered an issue.

Paleo-oncology studies neoplastic diseases in fossilised animals, including human remains. Recent advancements have enabled more accurate diagnoses of ancient pathologies despite the inherent challenges in identifying tumours in fossils—such as the rarity of well-preserved specimens, the predominance of bone remains, and the difficulty in distinguishing neoplastic from non-neoplastic lesions. This study compiles reports of tumours in fossilised animals, highlighting that neoplasms are present in a wide range of vertebrates and drawing comparisons to modern instances of similar diseases. The findings underscore the multifactorial aetiology of tumours, which involves genetic, environmental, and lifestyle factors, and suggest that tumours have been around for at least 350 million years.

It is becoming increasing clear that the visual archaeological record, as witnessed through those elements of the site that remain visible (in the case of Neolithic chambered monuments, the surviving stone architecture) is just one sensory element. For this short paper, and pertinent to this journal issue, we will focus our attentions on what Scandinavian archaeologist Joakim Goldhaln refers to as non-visual experiences and perceptions, in particular, audibility. This concept includes the various soundscapes and their significance within both the tangible and intangible archaeological record. Particular attention will be paid to the association between monuments and their watery environment.

The study seeks to unravel the intricate operational sequence involved in preparing prehistoric pigments for rock art within the Puerto Roque rock art shelter. Sixteen pigment samples were meticulously collected from specific figurative representations. Additionally, three ochre samples were sourced from the shelter’s soil. Employing a comprehensive multi-analytical approach, including Raman microspectroscopy, X-ray microfluorescence (EDxrf), Fourier-transform infrared spectroscopy (ATR-FTIR), and scanning electron microscopy (SEM-EDS), all nineteen samples underwent thorough analysis. Notably, darker pigments revealed a composition of hematite with the added presence of carbon. Meanwhile, one sample exhibited an orange hue primarily composed of goethite and bright red pigments predominantly characterised by hematite, as confirmed by Raman analysis. EDxrf analysis demonstrated an elemental composition akin to the three ochre pieces examined. Furthermore, ATR-FTIR spectroscopy suggested the potential influence of a heating process in enhancing red coloration, corroborated by spectral results from specific samples. This finding aligns with prior research, underscoring the technological sophistication embedded in early artistic endeavours.

El objetivo de esta investigación ha sido caracterizar la naturaleza química y mineralógica del pigmento empleado en los motivos esquemáticos prehistóricos de la cueva de Los Buitres 1 (Capilla, Badajoz), y tratar de identificar la presencia de materia orgánica en su composición. Para ello se han realizado análisis de espectroscopia Micro-Raman y ATR-FTIR sobre cuatro muestras de pigmento, tres de pigmento rojo y una más también roja, aunque de tonalidad más oscura. Se aplicó la espectroscopia Micro-Raman para determinar la composición mineralógica de las muestras seleccionadas, mientras que el ATR-FTIR se aplicó para determinar la presencia de materia orgánica presente en cada una de ellas. Destacar que las muestras 1 y 2 son casi idénticas y registraron la presencia de montmorillonite. Por su parte, los análisis por ATR-FTIR señalaron la presencia de componentes orgánicos en la muestra 3, mientras que la muestra 4 se caracterizó como ocre oscuro quemado. La comparación con los pigmentos empleados en el arte rupestre esquemático de un abrigo cercano, en donde han sido identificados los mismos componentes orgánicos en similares tipologías figurativas, invita a considerar la posibilidad de que nos encontremos con una suerte de “receta” para preparar el pigmento que debió estar en uso en este territorio durante un periodo cronológico concreto.