Direct or indirect evidence of ropemaking are scarce in European prehistory. Only a few references to Middle or Upper Palaeolithic remains are known to us, with more examples towards the Holocene. The archaeological contexts of ropes offer little information about possible uses, as the activities they are used for are often archaeologically invisible. However, some rock-art traditions shed some light on potential uses, worth exploring. In Spain, Levantine rock art offers the best graphic examples across Europe showing various uses of ropes, including climbing. Starting from the recently discovered climbing scene of Barranco Gómez site (Teruel, Spain), including the best preserved and more complex use of ropes seen so far in Levantine art, this paper analyses representations of ropes in this art, as well as their varieties and diverse uses. Our study suggests that different rope-making techniques were used by Levantine societies, which we believe are indicative of a complex rope-making technology, requiring a considerable investment of time and efforts. It also shows a certain variety of rope climbing techniques and rope climbing gear, illustrating that both were mastered by Levantine societies. Moreover, a preferential use of ropes in honey-hunting scenes is observed.

Este artículo presenta un nuevo hallazgo de arte levantino en el curso medio del río Guadalope, el abrigo de Barranco Gómez, y revisa una temática particular en esta tradición artística: la recolección de la miel. Entre las novedades destaca la escena de recolección de miel mejor conservada y más compleja de este arte, con un desarrollo en dos planos diferenciados (pared y techo). En ella, un trepador, con rasgos faciales, asciende por una escala conformada por bucles de cuerda. La imagen evidencia un uso avanzado de las técnicas de fabricación y un buen conocimiento de los procedimientos de escalada. De la escena se deduce una instalación previa de la escala en lo alto de los riscos para permitir después ascender desde la base. Esta novedosa escala en estribo, va asociada a un palo que sirve de anclaje intermedio para fijarla firmemente a la roca. El conjunto incluye además arqueros en marcha, una caza de cérvidos y una cierva retrospiciente con una singular representación del hocico. El análisis estilístico y temático de las figuras humanas permite reconocer tres fases de ejecución y establecer vínculos territoriales con otros núcleos del área septentrional del arte levantino.

The Cave of Altamira (Spain), a UNESCO World Heritage site, contains one of the most fragile and inaccessible Paleolithic rock-art environments in Europe, where geomatics documentation is constrained not only by severe spatial, lighting and safety limitations but also by conservation-driven restrictions on time, access and operational procedures. This study applies a confined-space UAV equipped with LiDAR-based SLAM navigation to document and assess the stability of the vertical rock wall leading to “La Hoya” Hall, a structurally sensitive sector of the cave. Twelve autonomous and assisted flights were conducted, generating dense LiDAR point clouds and video sequences processed through videogrammetry to produce high-resolution 3D meshes. A Mask R-CNN deep learning model was trained on manually segmented images to explore automated crack detection under variable illumination and viewing conditions. The results reveal active fractures, overhanging blocks and sediment accumulations located on inaccessible ledges, demonstrating the capacity of UAV-SLAM workflows to overcome the limitations of traditional surveys in confined subterranean environments. All datasets were integrated into the DiGHER digital twin platform, enabling traceable storage, multitemporal comparison, and collaborative annotation. Overall, the study demonstrates the feasibility of combining UAV-based SLAM mapping, videogrammetry and deep learning segmentation as a reproducible baseline workflow to inform preventive conservation and future multitemporal monitoring in Paleolithic caves and similarly constrained cultural heritage contexts.

The River Vero canyon (Huesca, Spain) contains an exceptional archaeological legacy with more than sixty rock shelters with cave paintings and forms part of the World Heritage ‘Rock Art of the Mediterranean Basin on the Iberian Peninsula’. This study presents the results of the in situ and non-destructive multi-elemental composition analysis of the pigments used in eight of the main shelters through portable X-ray fluorescence spectroscopy (pXRF). Specifically, the cave paintings of the rock shelters of Chimiachas, Muriecho, and Arpán (Levantine Art); and Mallata, Barfaluy, Quizans, Lecina Superior, and Forau del Cocho (Schematic Art) were investigated. The red pigments, based on iron minerals, were the most abundant in all the River Vero rock shelters, with Fe contents in the 0.51–3.06% range. The iron contents of the paintings of Mallata B1 and I, Muriecho, and Forau del Cocho were higher than those of Arpán, Barfaluy, Lecina, and Chimiachas rock-shelters; and, in turn, these were higher than those of Quizans, pointing to noticeable differences in the degree of conservation. Black pigments, in the absence of manganese, were associated with bone char or carbon black. Through the phosphorus content, evidence is provided of the use of bone phosphates as a component of the paints, either as a filler or as a binder. Geological studies indicate that the detected gypsum is of external origin, probably associated with gypsum-rich atmospheric dust. The reported pXRF analysis of this large set of paintings may serve as a basis for future characterization studies involving other portable chemical analysis techniques.

Rock art in the Albarracín Cultural Park represents one of Spain’s most significant concentrations of post-Paleolithic paintings, yet comprehensive chemical characterization across multiple shelters remained lacking. This study analyzes 102 pigment samples (54 white, 31 black, 17 red) from 12 shelters using portable X-ray fluorescence spectroscopy. Centered log-ratio transformation addressed compositional data constraints, enabling multivariate analyses (PCA, LDA, MANOVA) that properly account for the constant-sum constraint inherent in geochemical data. Linear discriminant analysis achieved 92.6%–100% classification accuracy for site attribution, with barium emerging as the universal discriminating element across all pigment types (Cohen’s d = 4.91–9.19). Iron concentrations confirmed hematite/goethite use in red pigments, with inter-shelter variations suggesting different ochre sources. Black pigments revealed dual technologies: manganese oxides (pyrolusite) and carbon-based materials, with phosphorus enrichment in some samples consistent with possible bone-derived materials, though alternative phosphorus sources cannot be definitively excluded. This technological duality occurred within individual shelters, documenting greater complexity than previously recognized. White pigments combined substrate-derived materials with gypsum and aluminosilicate clay minerals (likely of the kaolinite group), occasionally incorporating phosphate-rich phases. The documented coexistence of compositionally distinct pigments within single shelters (whether from different raw material sources or varied preparation techniques) confirms the technical heterogeneity of Albarracín rock art and challenges assumptions about technological homogeneity in Levantine art production. This interplay between natural geological constraints and cultural technological choices underscores the need for complementary surface-sensitive techniques to fully resolve the technological repertoire of Levantine artists.