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Palaeolithic stone plaquettes are a type of mobiliary art featuring engravings and recovered primarily from Magdalenian sites, where they can number from single finds to several thousand examples. Where context is available, they demonstrate complex traces of use, including surface refreshing, heating, and fragmentation. However, for plaquettes with limited or no archaeological context, research tends to gravitate toward their engraved surfaces. This paper focuses on 50 limestone plaquettes excavated by Peccadeau de l’Isle from Montastruc, a Magdalenian rockshelter site in southern France with limited archaeological context; a feature common to many art bearing sites excavated across the 19th and early 20th Centuries. Plaquette use at Montastruc was explored via a programme of microscopy, 3D modelling, colour enhancement using DStretch©, virtual reality (VR) modelling, and experimental archaeology, the latter focusing on limestone heating related to different functional and non-functional uses. While the limited archaeological context available ensures the results remain only indicative, the data generated suggests plaquettes from Montastruc were likely positioned in proximity to hearths during low ambient light conditions. The interaction of engraved stone and roving fire light made engraved forms appear dynamic and alive, suggesting this may have been important in their use. Human neurology is particularly attuned to interpreting shifting light and shadow as movement and identifying visually familiar forms in such varying light conditions through mechanisms such as pareidolic experience. This interpretation encourages a consideration of the possible conceptual connections between art made and experienced in similar circumstances, such as parietal art in dark cave environments. The toolset used to investigate the Montastruc assemblage may have application to other collections of plaquettes, particularly those with limited associated context.

Evidence for the production, use, and control of fire by Neanderthals in Europe ranges from the scale of ecosystems to microscopic alterations of artefacts. While there is a consensus that Neanderthals were skilled in the use of fire, there remains a dispute over whether they had mastered the ability to produce fire on demand. The unique discovery that Neanderthals may have been utilising manganese dioxide as an additional component to their fire starting toolkits has opened the possibility that they had a novel level of understanding of inorganic materials. This paper aims to experimentally test the proposal that manganese dioxide is effective at improving the fire lighting capacity of different tinder using an actual methodology. The results suggest that it may be of use in a certain concentration, but that manganese dioxide may also possess interesting visual properties when added to flammable materials.

Rondelles are thin, circular disc cut-outs typically made from the blade of the scapula of medium sized ungulates, such as horse or cervid. These are primarily associated with the Late Upper Palaeolithic Magdalenian and focused around northwest Europe. Rondelles are frequently perforated, with 2 mm - 3 mm diameter holes being common. There are many questions as to the production and use of rondelles. In this article, we discuss experiments on the making of both bone and slate rondelles and their usage.

In 2015 an engraved shale pendant was found during excavations at the Early Mesolithic site of Star Carr, UK. Engraved motifs on Mesolithic pendants are extremely rare, with the exception of amber pendants from southern Scandinavia. The artwork on the pendant is the earliest known Mesolithic art in Britain; the 'barbed line' motif is comparable to styles on the Continent, particularly in Denmark. When it was first uncovered the lines were barely visible but using a range of digital imaging techniques it has been possible to examine them in detail and determine the style of engraving as well as the order in which the lines might have been made. In addition, microwear and residue analyses were applied to examine whether the pendant showed signs that it had been strung or worn, and whether the lines had been made more visible through the application of pigments, as has been suggested for some Danish amber pendants. This approach of using multiple scientific and analytical techniques has not been used previously and provides a methodology for the examination of similar artefacts in the future.