'Extreme sleepover #17' – going underground in search of zombies

lw355 — Fri, 04 Mar 2016 08:37:51 +0000

Isla de Mona has been many things: a source of melons and cotton hammocks for conquistadors in the 16th century; a pirate haunt in the 17th and 18th centuries; an industrial island fertilising the fields of the Western world with the fossilised guano of giant fish-eating bats in the 19th; a US air base in the 20th; and now, both a nature reserve and a destination for migrants seeking a better life in the USA.

This tiny island, just seven miles by four, with no permanent settlement, lies in the dangerous Mona Passage between Puerto Rico and the Dominican Republic, and it is the prehistory that brings us here.

̽��ֱ��plateau of limestone and dolomite is riddled with caves filled with signs of human activity. Much of this is pre-Columbian (i.e. before the Spanish arrived in the late 15th century) and consists of painted images, finger-drawn designs and extensive extractive finger scratches, which are sometimes deep within the ‘dark zones’, where no natural light falls.

I am with archaeologists Dr Alice Samson from Cambridge’s McDonald Institute for Archaeological Research and Dr Jago Cooper from the British Museum for their summer fieldwork. As a conservator with specialism in the materials and techniques of painting, I am here to analyse the pigments used to make pre-Columbian markings and with the team look at the layer structures of engravings and painted images.

I’m using an X-ray fluorescence spectrometer to examine the elemental composition of the pictographs, and will later take tiny samples away for further analysis. I want to find out whether the people who made these images used materials that were at hand in the caves, or transported them in from elsewhere.

Mona’s prehistoric peoples appear to have lived on the island from at least 2800 BCE, surviving a century after the arrival of the Spanish at the end of the 15th century. ̽��ֱ��inhabitants at the time of the conquest, commonly referred to as Taínos, brought us the words hurricane, barbeque, hammock, canoe, potato and cannibal.

Caves feature prominently in Taíno mythology and it is likely that many of the anthropogenic images in the caves are zemís (considered by some the origin of the word ‘zombie’). Zemí refers to any object, animal, vegetable or mineral, which was animate and could be called upon to intervene in human affairs. Zemís were found, constructed or painted in 3D and 2D form. Although the presence of human-like figurative designs is common in Caribbean rock-art, Alice and Jago’s work is bringing to light a staggering amount of physical modification to the caves from the pre-Columbian era, particularly the extraction of soft white lime from the walls and ceilings. ̽��ֱ��purpose of this extraction and what the material was used for are not yet known.

Each morning I wake at 5.30am to the sounds of subtropical birds. It’s the only time of day cool enough to go for a run. ̽��ֱ��coastguards and rangers all eat early; for them, life on Mona is a cycle of week-on-week-off at work, with a small aircraft bringing them to and from the Puerto Rican mainland to Mona via a bumpy grass airstrip.

At the camp, there’s a small study centre (happily, with solar-powered Wi-Fi) as well as basic accommodation where the workers live, and where migrants can rest before they are moved from the island. Mona throws together strange combinations of people: border police, rangers, military personnel, scientists, cavers, immigrants and boy scouts.

We set off early in the morning. Some of the caves are nearby, but others involve more effort to carry our equipment, as they are some distance from our camp. Mona’s environment can be inhospitable and it has a fearsome reputation. There is little natural water, except sometimes deep in the caves. It is dry, hot and thorny, and the rocks are sharp. As we walk to the caves, we often disturb one of Mona’s endemic and therefore incredibly rare iguanas. They typically scuttle away from us into a hidden cave mouth.

Our team also includes Masters’ students from the Centro de Estudios Avanzados in Puerto Rico, and we work together analysing, documenting and photographing the evidence in the caves. Colonists, buccaneers, guano-miners and boy scouts have all left their mark, often with dated graffiti. On several days, we join a team of cavers who year on year visit this most cavernous location on earth to map the island’s 200-plus caves. It’s a great opportunity to learn about cave mapping and geology from experts.

If possible, lunch is taken in a cliff-side cave mouth, with a view out over the sea. On occasion, two nosy Red-Footed boobies wheel round and round to get a better look at us. ̽��ֱ��caves themselves are extremely hot, humid and dirty. At the end of the day we walk into the Caribbean sea, fully dressed in our ‘cave clothes’.

Images: Finger drawings and Lucy Wrapson

Credit: Alice Samson/El Corazon del Caribe Research project

Lucy Wrapson reports on her fieldwork analysing the curious cave paintings found on Isla de Mona, in the Caribbean, and their equally enigmatic artists.

Finger-drawn designs and extensive extractive finger scratches are sometimes deep within the ‘dark zones’, where no natural light falls

Lucy Wrapson

Alice Samson/El Corazon del Caribe Research project

Cave painting, Isla de Mona

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

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Reformation ‘recycling’ may have saved rare painting from destruction

sjr81 — Fri, 27 Nov 2015 00:43:23 +0000

Now on display at the Fitzwilliam Museum, ̽��ֱ��Kiss of Judas, is one of the rarest artworks of its type. At the time of the Reformation and during the English Civil War, church paintings were destroyed in their thousands. Few survive across the UK and of those that remain, many have been defaced. It is believed that up to 97% of English religious art was destroyed during and after the Reformation.

̽��ֱ��brightly-painted wooden panel, with details picked out in silver and gold leaf, dates from c.1460, is all the more astonishing as it depicts the moment of Christ’s betrayal, by Judas Iscariot. Devout Catholic parishioners often scratched and gouged at the hated figure of Judas, so the painting would have been at risk from Catholic and Protestant congregations alike during the intervening centuries.

̽��ֱ��remarkable discovery of the painting’s double life was revealed when it was purchased by the Fitzwilliam Museum in 2012 from the Church of St Mary, Grafton Regis, Northamptonshire. ̽��ֱ��church did not have the funds to conserve the work and maintain it in appropriate environmental conditions.

When the panel arrived at the Fitzwilliam’s Hamilton Kerr Institute for conservation, it had a considerable layer of surface dirt, bat faeces and heavily discoloured varnish which made it difficult to see the image.

But, it was a discovery on the back of the boards that revealed the remarkable story of how the painting survived.

̽��ֱ��reverse was covered with a more modern backing board of plywood. When conservator Dr Lucy Wrapson removed this, she found the back of the planks making up the painting had, under close inspection, faint traces of writing. 16th century lettering was revealed using infra-red photography, proving the painting had been recycled at the time of the Reformation, the offending image turned around and the back converted into a painted board. It is thought that it may have listed the Ten Commandments, typical of a Protestant church furnishing.

Dr Wrapson said: “We cannot know for sure why the painting was re-used in this fashion, perhaps it was simple economy, reversed so it could still fit the space for which it was intended. Or perhaps it could have been deliberately saved. ̽��ֱ��painting is fascinating, and conservation and cleaning has revealed the vibrant original medieval colours.”

̽��ֱ��painting was dated by dendrochronologist Ian Tyers. ̽��ֱ��panel is made up of boards imported to England from the eastern Baltic, Ian looked at the growth rings and identified the tree was felled after 1423 and estimated a usage date of c.1437-1469. Further non-invasive X-ray analysis and assessment using infra-red and ultraviolet light identified details, pigments and possible areas of fragility. Cleaning, protection of the wood from further insect damage, and a new layer of modern varnish have preserved the object for generations to come.

̽��ֱ��painting is on display in the Rothschild Gallery of medieval works in the Fitzwilliam Museum. Funds from the sale will now help fix the roof of St Mary’s. Entry to the museum is free.

A rare medieval painting depicting Judas’ betrayal of Christ may have survived destruction at the hands of 16th century iconoclasts after being ‘recycled’ to list the Ten Commandments instead.

We cannot know for sure why the painting was re-used in this fashion.

Lucy Wrapson

Fitzwilliam Museum, Cambridge

Detail from ̽��ֱ��Kiss of Judas

̽��ֱ��text in this work is licensed under a Creative Commons Attribution 4.0 International License. For image use please see separate credits above.

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'Extreme sleepover #17' – going underground in search of zombies

Reformation ‘recycling’ may have saved rare painting from destruction