Evidence for cave marking by Palaeolithic children.

Evidence for cave marking by Palaeolithic children. Introduction A wall in Gargas Cave, France, shows a baby's hand held bythat of an adult while colour is blown over them. Footprints ofyoungsters have been immortalised into the floors of Pech Merle Pech Merle, a hillside opening in the Lot d��partement of Midi-Pyr��n��es region in France, about 35 minutes drive east of Cahors, is the site of one of the prehistoric cave painting remaining in France, which is open to the general public. ,Chauvet, Tuc d'Audoubert and Niaux caves. All these sites alsocontain prehistoric art The perspective and/or examples in this article do not represent a world-wide view. Please [ edit] this page to improve its geographical balance. . Children were present in the caves, but didthey actually produce art or at least deliberately create any of themarkings? Whatever the minor impressions of Palaeolithic children incaves, this image is often forgotten in favour of the popular image fromthe Charles R. Knight Charles Robert Knight (born October 21, 1874 in Brooklyn; died April 15, 1953 in Manhattan) was an American artist best known for his influential paintings of dinosaurs and other prehistoric animals. type of picture that shows the proverbial cave-manpainting beautiful images of animals--with women and children onlylooking on. Some specialists of prehistoric parietal parietal/pa��ri��e��tal/ (pah-ri��e-t'l)1. of or pertaining to the walls of a cavity.2. pertaining to or located near the parietal bone.pa��ri��e��taladj.1. 'art' believethat children did participate in its creation. Bednarik argues thatjuveniles were responsible for some of the finger flutings (the linesthat human fingers leave when drawn over a soft surface) made in cavesin southern Australia at least 30 000 years ago (Bednarik 1986a; 1986b;1987-88; 1990). Such Palaeolithic flutings occur in caves throughoutsouthern Australia, New Guinea New Guinea(gĭn`ē), island, c.342,000 sq mi (885,780 sq km), SW Pacific, N of Australia; the world's second largest island after Greenland. , and south-western Europe. As will bepointed out below, however, the case Bednarik makes is more suggestivethan definitive, relying on a methodology that requires furtherrefinement with forensics. This report introduces a reliable methodology with which toascertain children's authorship of flutings. UnlikeBednarik's, and Sharpe and Van Gelder's (2004), earlierpublications on the subject, definitive evidence is presented thatchildren did indeed create prehistoric 'art'. In particular wedemonstrate that young children were responsible for flutings inRouffignac Cave in the Dordogne, France. This conclusion leads tofurther questions and insight into the activities carried out in thefluted chamber. Chamber A1 of Rouffignac Cave Despite previous controversy as to the authenticity of the art inRouffignac Cave, it is now generally accepted as Palaeolithic and thedate usually given for it, based on stylistic comparisons of the animaldrawings in the cave, is 13-14000 years BP, in the Middle Magdalenian.Some scholars, however, suggest a much older date of around 27 000 yearsBP and others a much younger date; but the stylistic means of dating isnow questionable given the [sup.14]C dates from Chauvet Cave The Chauvet Cave or Chauvet-Pont-d'Arc Cave is located at N 44�� 21' and E 4�� 29' 24", near Vallon-Pont-d'Arc, in the Ard��che d��partement, in southern France. It became famous in 1994 when a trio of speleologists found that it contained the fossilized remains of many animals, (Bahn 1994;Plassard 1999). The flutings that form the basis of this study are those near theterminus of Chamber A1, about 300m from the cave entrance (see Figure1). The fluted sub-chamber here can be divided into natural alcoves orside chambers, numbered consecutively Alcoves I-IV from the top to lowerleft (facing the cave entrance), then V-VII from the lower to top right.The flutings were made into a thin red clay coating the white limestone,cutting through the red to expose the white underneath. They cover muchof the 150[m.sup.2] of the ceiling of this sub-chamber (Plassard 1999)(see Figure 2). The floor of the sub-chamber comprises red clay (smoothand compacted where frequented), which goes up the walls to varyingheights. No long open wall-spaces exist in the sub-chamber, few flintnodules appear on the floor, and large ceiling spaces generally have fewflints protruding. The ceiling averages 1.6m above the floor (Plassard1999). [FIGURE 1-2 OMITTED] The flutings in Chamber A1 Five researchers have previously examined the flutings in ChamberA1 and published their conclusions. Nougier & Robert (1958)introduced the world to the prehistoric artefacts of Rouffignac Cave,including these particular flutings. They title flutings in photographsof the ceiling of Chamber A1 (what they call the 'SerpentsDome') with such words as 'serpent' and'anthropomorph' (Nougier & Robert 1958: Figures 16-18).Barriere (1982: 205; KS transl.) writes similarly of the ceiling,'unique in all of prehistoric art, offering ... interlacedmacaroni macaroni:see pasta. , serpentines, and easily distinguishable individualsnakes'. Plassard (1999: 78; KS transl.) writes of the'multitude of single, double, or triple lines that zigzag andbecome entangled in a swirling mass'. Marshack (1977:311) singlesout Rouffignac as having 'the most numerous and complex [collectionof flutings] in any cave in Europe'. Chamber A1, in particular,'has thousands of [them] criss-crossing, ... a random melange m����langealso me��lange ?n.A mixture: "[a]building crowned with a m��lange of antennae and satellite dishes"Howard Kaplan. ofinterlacing lines running in every direction. There is neitherstructure, pattern, image, nor composition in the accumulation'.The collection contains both long and short units (a 'unit' isthe set of flutings drawn with a sweep of a hand or finger), someappearing geometric while others not, and some overlying overlyingsuffocation of piglets by the sow. The piglets may be weak from illness or malnutrition, the sow may be clumsy or ill, the pen may be inadequate in size or poorly designed so that piglets cannot escape. others. Manycover or are under the beginnings or endings of others. Sharpe and Van Gelder (in the press) classify these flutings as ofthe 'Mirian' form, a type of fluting fluting(floo´ting),n the elongated developmental depressions along the root branches of tooth root surfaces of certain teeth. characterized bylower-body movement and multi-fingered units. These differ from otherforms found in the cave (with only upper-body movement or singlefingeredunits), some of which comprise flutings that appear more sequential thanthose in Chamber A1. Though some of the Chamber A1 flutings are 60cm orless in length, many show a lack of constraint (not in the composition,which may employ a restricted range of shapes, but in the use of thespace fluted). This involves some upper-body movement, but also twistingat the hips, locomotion locomotionAny of various animal movements that result in progression from one place to another. Locomotion is classified as either appendicular (accomplished by special appendages) or axial (achieved by changing the body shape). (some lines are over 2m long, extending wellbeyond the arm range of a stationary fluter), or shifting weight.Circles and some of the zigzags on the ceiling, for example, requiredthe twisting of the body rather than only of the wrist and arm. The above assumes that these lines are indeed flutings, made byhumans with their fingers. Plassard (1999: 77) suggests that the linesmay have been made 'with a bundle of sticks reminiscent offingers'. This is refuted by the different starting points of thelines of many of the units; the differing line widths between some ofthe units; the lines of some units separating to avoid small obstacles;the finger-like cross-sectional shape of the lines; no more than fivelines existing per unit; the fourth or fifth line of a unit, when itshows, looking like the line made by a little finger or a thumb; and theoften uneven spacing between the lines Between the lines can refer to: The subtext of a letter, fictional work, conversation or other piece of communication Between The Lines (TV series), an early 1990s BBC television programme. in the units. The genuinefinger-fluting origin of the lines therefore appears a reasonableassumption. Though they have not been dated directly, the flutings in ChamberA1 are considered Palaeolithic, for several reasons: art in the cave isconsidered to be so; there are line flutings, including zigzags, nextto, inside, underneath, and on top of drawn mammoths in other passagesof the cave; mammoths are drawn in Chamber A near to A1; and flutingsare elsewhere dated to the Palaeolithic. Attributing flutings to children Without proof, several observers have casually noted theyoung-person-like impression of the flutings in Chamber A1. Did youngpeople--or even children--in fact make them? Were young people theauthors of at least some Palaeolithic flutings (and therefore somePalaeolithic 'art') in Rouffignac or elsewhere? If it ispossible to say that young people created the Chamber A1 flutings, thesequestions are answered. If it is also possible to provide the agerange(s) for these fluters, the question is answered with moreprecision. The most likely source of leads for this research would come fromBednarik because, as noted above, he suggested that juveniles fluted incaves in southern Australia. However, his comments and data (frommeasuring the interline in��ter��line?1?tr.v. in��ter��lined, in��ter��lin��ing, in��ter��linesTo insert between printed or written lines.in spacing of flutings; see for example Bednarik1987-88) fail to prove the young age of the fluters, because: * he does not publish how many fingers he measured in each flutedunit; * he does not appear to have made allowance for the facts that ** fingers held apart can produce wider inter-digit spacing, ** fingers lightly stroked across a surface may produce narrowerflutings than those fluted with more pressure, and ** different fingers of one hand can be of different widths; * it is not clear what ages he means by the term'juveniles' (e.g. babies, toddlers, prepubescents,adolescents?); and * he does not appear to have compared his results with measurementsof flutings made by living people of different ages to gain a definitiveassociation of widths with ages. His comments ought therefore only to be taken as a starting point Noun 1. starting point - earliest limiting pointterminus a quocommencement, get-go, offset, outset, showtime, starting time, beginning, start, kickoff, first - the time at which something is supposed to begin; "they got an early start"; "she knew from the for further research about the correlation between fluting width andfluter age. General methodology This investigation is part of a research programme that bases itsmethodology on the flutings themselves (Sharpe 2004; Sharpe &Lacombe 1999; Sharpe et al. 1998; 2002; Sharpe & Van Gelder 2004; inthe press). In comparison with the methods of several previousresearchers (for instance, Nougier, Robert, and Barriere), it does notfirst introduce ideas as to the meaning of the flutings (e.g. asdepicting animals, humans, or symbols) and their significance, and thenlook at the lines through those ideas. Our programme seeks to establishan objective and experimental approach to the lines by seeing what datacan be gleaned about the marks themselves as they were made and,thereby, what the marks might reveal about their makers. It alsoinvolves experimentation to ascertain how the markings may have beenmade and limitations on them given their means of manufacture. Marshack(1977), though he defers to his predecessors, pioneers strategies forthis type of research. Bednarik (1986a), d'Errico (1992), andLorblanchet (1992) are some of the researchers who Follow Marshack andon whose work the current methodology continues to build. Method This study assumes that the people who made the flutings wereanatomically a similar size to modern people, which we feel isjustifiable, given the anatomical studies of Cro Magnon (Delporte 2004;Stringer 1992: 248-51). Common sense suggests that a fluting'swidth may relate to the age of the fluter; narrow flutings perhapssuggest that young people created them. The study tested this hypothesisby measuring the finger widths of modern people of various ages, andthose of the flutings in Chamber A1 of Rouffignac Cave, and thencomparing the two sets of data. The following procedures were followed. 1. The flutings made by fingers F2-F4 (the 3 central digits) werestudied. This is because if only one- or two-fingered flutings werestudied, it cannot be told with certainty what finger or pair of fingerswere used to create the flutings. The marks made by F1 (thumb) and F5(little finger) can usually be singled out because they arecharacteristic: F1 tends to make a scratch mark--if any mark, and itseldom shows--because it is held at an angle to the plane of the otherfingers, and F5 tends to trail the others forming a less significantmark. Further, F2-F4 were studied because the measured widths ofdifferent single-finger flutings are too similar given the smallness ofthe measurement and the potential measuring errors encountered. 2. Units of fluted fingers held apart may be wider than units ofthe same fingers held together. Therefore, measurements (rounded to thenearest mm) were made across the width of F2-F4 held close together, andbeyond their beginning where they are narrower with the rounding of thefinger tops. Many impressions of F2-F4 held close together are found inChamber A1. 3. Measurements were restricted to the units of F2-F4 in Alcoves Iand VII of Chamber A1. 4. For the experimental flutings, subjects (of various racial anddemographic backgrounds) drew their fingers (held close together) oversmoothed clay and the widths of the narrowest point of F2-F4 weremeasured. The subject's gender and age were also recorded. Thisphase of the experimental research followed a preliminary one,indicative but not as reliable as the current one, where the subjectsdrew around their hands placed flat on paper, fingers close together(Sharpe & Van Gelder 2004).) Errors Errors can occur in the measuring and recording processes for anumber of reasons. The width of the flutings may depend on the firmnessof the medium and the pressure applied; a fluting in a soft medium maybe wider the more pressure applied. Rounding to the nearest mm may betoo gross for accuracy. Shrinkage (or expansion) of the medium over timemay alter the fluting's width. The fingers may not be right againsteach other or may overlap each other. The width of a unit may vary overits length. Measuring accurately without touching the fluted medium isdifficult and it frequently involves adopting contorted positions. A series of measures were taken, and observations noted, to helpunderstand and minimise the extent of these sources of error. A studywas made of 10 units of clay flutings from the hands of two individuals(one male, one female) who applied different pressures (the resultsappear below). The results were looked at for consistency in the widthof fingers: ideally, a small number of fluters should lead to distinctnarrow clusters of fluting widths. That the medium in Chamber A1 is nowfirm yet easily marked suggests its current state of hydration hydration/hy��dra��tion/ (hi-dra��shun) the absorption of or combination with water. hy��dra��tionn.1. The addition of water to a chemical molecule without hydrolysis.2. probablydiffers little from when it was fluted. Measurements of fluting widthwere taken at the narrowest part of the unit away from the beginning ofthe unit, and where overlap was not obvious (overlap reduces the widthof the overlapped finger relative to that of the overlapping finger).Lastly, the same person (LVG LVG LeavingLVG London Vampyre Group (UK)LVG Lastvogn (Danish: truck)) made all the field measurements. Results The following tables record the results of the clay flutingmeasurements of modern subjects, of the flutings on the ceiling ofChamber A1, of a comparison between the first two tables, and of theattempt to quantify the extent of the errors from different pressures.The study assumed that the impressions left by an individual'sfingers from the left and right hands are symmetrically much the samesize. Discussion It was very hard and frequently impossible to have many childrenyounger than 2-3 years old make fluted lines. They seemed to lack theability to understand the command and to hold and control their hands inan appropriate manner. The best they could usually do was to smack theclay with the fingers of their open hand, even when assisted by anadult. Given that some children of this age could sometimes flute in thedesired way, however, it is necessary to include this age bracket in theconsiderations. Previous studies (Sharpe & Van Gelder 2004), as well as Table 1above, suggest that by the time people have reached their teenage years,or even earlier, the finger widths have become adult-sized. In addition,for this study, the fluting width measurements for females and males canbe combined (there being no significant difference between them). The study relating to relating torelate prep → concernantrelating torelate prep → bez��glich +gen, mit Bezug auf +accpossible errors from different pressures (seeTable 4) shows the mean widths of the flutings of Fluter 1 and Fluter 2are 40.5 [+ or -] 0.5mm and 36.5 [+ or -] 0.5mm respectively(disregarding the results marked *). This means that the error arisingunder different pressures and slight differences in finger closeness(subjectively unnoticed) may amount to about [+ or -] 0.5mm. Further,the consistency of the Rouffignac results (significantly clusteredaround 23 and 26.5mm; see Table 2) suggests the methodology may overcomemany of the potential errors. The age range for the fluters of Chamber A1 suggested by Table 3(working from Tables 1 and 2) is 2-5-years old, though one fluting mayhave been made by a person between that age range and 14-years old, andanother between it and 16 years. With the error margin from Table 4taken into account, these results remain the same. What do the flutings mean? This is the question of prime importanceto most casual viewers and dedicated researchers. The flutings inChamber A1 have sometimes been seen as anthropomorphs (Nougier 1958),macaroni (Barriere 1982), meanders (Marshack 1977), serpentines(Barriere 1982), snakes (Nougier 1958), or related to water (Marshack1977). More generally, flutings are also considered male symbols(Leroi-Gourhan 1958), related to initiation ceremonies (Bednarik1987-88; Flood 1996), or to shamanistic ritual (Lewis-Williams 2002).Mulvaney and Kamminga (1999: 365), commenting from Bednarik's work,consider that 'it is most likely to be play, children's"finger painting," ... [or] done for decoration oridentification, perhaps associated with rituals'. Flood (1996: 21)comments that they 'may simply mean that juveniles were moreadventurous in exploring remote, hazardous places'. Other wordsthat could be used are notation and symboling (following fromd'Errico and Marshack), and iconography (an extension of Munn1973). All these suggestions as to the meaning of the flutings arespeculative. They may and perhaps ought to lead to empirical research Noun 1. empirical research - an empirical search for knowledgeinquiry, research, enquiry - a search for knowledge; "their pottery deserves more research than it has received" onthe flutings, but to date none has been informed by such in-depthstudies. The above results about young children and flutings in ChamberA1, however, help in answering the question of meaning. The age of thefluters rules out, for instance, initiation ceremonies at puberty.Similarly with the shamanistic interpretation: it may be unreasonable toconsider 2-5-year olds shamans (though they still may have been actingwithin a ritual or otherwise shamanistic context). Besides being able torule out some of the previously suggested connotations, what the flutersmeant by their activities remains unknown; it will probably never beknown and should probably not be expected to be known. Conclusions Young children aged 2-5 made many of the flutings in the flutedsub-chamber of Chamber A1 in Rouffignac Cave. This is the firstdemonstrated case of young children creating Palaeolithic parietal'art'. Given that this can be ascertained with a high degreeof probability based on the physical evidence of the flutings, furthermatters present themselves for research and other information may belearned about the fluters. For instance, an aspect of Chamber A1 tonotice is the height of the ceiling above the floor. The ceilingflutings are now in places just reachable by a man of 1.8m stretchingup. It is unreasonable to think that young children marked unaided atsuch heights, yet the fluting size in some such places is small. Was theheight of the ceiling above the floor at the time of fluting much thesame as now? If so, or if the height were greater than now, the childrenwould have had to have been held up to flute. In what direction did thechildren face when held aloft? Were the children acting as'paintbrushes' for those holding them up? Were the peopleholding up the children moving in some prescribed manner, such as in adance? If so, could their feet and body movements be reconstructed fromthe flutings? Why did those holding up the children to flute do this? Theyoungsters could have fluted where they could reach and the holders (ifolder people) could have marked, not only these sections, but alsosections where the youngsters could not reach. Here, however, theyraised the children up to flute (and in some alcoves added their ownflutings). Further, the low sections of the ceilings that young childrencould comfortably flute by themselves usually show few or no flutings. While the archaeologist ought not to approach flutings withdogmatic ideas as to what they mean, the flutings' illusive il��lu��sive?adj.Illusory.il��lusive��ly adv.il��lu meaningshould not deter us studying them. They can offer a rich source ofinformation about the behaviours of the fluters--flutings tell us aboutthe fingers and hands that made them and these tell about people.Similar methodologies are now being applied to other flutings inRouffignac and elsewhere, relating information not only about the agesof the fluters, but also about data such as the fluters' gendersand the number of individuals involved. At least three other forms offlutings besides the Mirian Form exist in Rouffignac (Sharpe & VanGelder, in the press) and work continues on them in Rouffignac andGargas caves, to see if it is possible to elucidate further thebehaviours and individuals behind their manufacture. Acknowledgements Thanks are due to the many people who have helped support thisresearch: Pat Brownley, Mary Lacombe, Sharleen Maddox, Ted Opderbeck,Nix Rowe and Miriam Sharpe; Jean and Marie-Odile Plassard, fordiscussions, their support and permission to work in Rouffignac Cave;Severine Desbordes, Frederic Goursolle and Frederic Plassard, fordiscussions and guiding and assistance in the cave; Union Institute& University, for financial support through its faculty researchgrants; the pupils of Clearview Christian Girls School, Pukalani, Maul,Hawaii, Franklin Sherman Elementary, McLean, Virginia McLean is an unincorporated community located in Fairfax County in Northern Virginia. A small geographic area along Chain Bridge Road in Arlington County has a 22101 zip code and is also part of McLean. , Preston Park Preston Park is the name of a number of places: Preston Park, Stockton-on-Tees, a park in Eaglescliffe, Stockton-on-Tees, England Preston Park, Brighton, a park in Brighton, England Primary School, Wembley, Middlesex, and Waldwick High School Waldwick High School is a four year comprehensive public high school that serves students in ninth through twelfth grade from Waldwick, in Bergen County, New Jersey, United States, as part of the Waldwick Public School District. , Waldwick,New Jersey Waldwick is a borough in Bergen County, New Jersey, United States. As of the United States 2000 Census, the borough population was 9,622. GeographyWaldwick is located at (41.013109, -74.122311)GR1. for hand width data; and Robert Bednarik, Jean Clottes,Francesco d'Errico, Sandor Gallus Gallus(Caius Vibius Trebonianus Gallus) (găl`əs), d. 253 or 254, Roman emperor after 251. He fought in the eastern campaign that proved fatal to Decius. (now deceased), MichelLorblanchet, Alex Marshack (now deceased) and Hallam Movius Jr. (nowdeceased), for discussions and support over many years. Received: 14 June 2005; Accepted: 14 October 2005; Revised: 7December 2005 References BAHN, P.G. 1994. Some New Developments in Ice Age Art. Complutum 5:197-202. BARRIERE, C. 1982. L'Art Parietal de Rouffignac: La Grotte auxCent Mammouths. Paris: Picard. BEDNARIK, R.G. 1986a. Parietal Finger Markings in Europe andAustralia. Rock Art Research 3 (1): 30-61. --1986b. Cave Use by Australian Pleistocene Man. Proceedings of theUniversity of Bristol Speleological Society 17 (3): 227-45. --1987-88. 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Cambridge: Cambridge University Press Cambridge University Press (known colloquially as CUP) is a publisher given a Royal Charter by Henry VIII in 1534, and one of the two privileged presses (the other being Oxford University Press). . Kevin Sharpe (1) & Leslie Van Gelder (2) (1) Graduate College, Union Institute & University, Cincinnati,Ohio “Cincinnati” redirects here. For other uses, see Cincinnati (disambiguation).Cincinnati is a city in the U.S. state of Ohio and the county seat of Hamilton County. , USA; Harris Manchester College In the context of the original Manchester in the UK Manchester College might refer to: Manchester College[1]., since 1996 [2] Harris Manchester College, Oxford, originally Manchester Academy in Manchester, UK founded in 1786. , University of Oxford, UK; 10Shirelake Close, Oxford OX1 1SN, UK (Email: ksharpe@khsarpe.com) (2) Walden University Walden University is a private, for-profit, specialized distance learning institution of higher learning. Headquartered in the Mills District in Minneapolis, Minnesota, Walden University embraces a post-baccalaureate educational system. Minneapolis, Minnesota “Minneapolis” redirects here. For other uses, see Minneapolis (disambiguation).Minneapolis (pronounced IPA: /ˌmɪniˈ?pəlɪs/) is the largest city in the U.S. , USATable 1. For modern subjects, the narrowest widths (in mm) ofF2-F4 close together, with the age (in years), number and genderof the subjectsWidth Age Individuals & Gender22 2 1F23 5 4F26 2 1M27 5 2F, 2M28 5 2M29 5 1F30 5 2F, 2M31 5 3M31 13 1F31 14 1F32 5 2M32 7 1M33 5 1F, 2M33 6 1F34 5 1F, 4M34 6 2F, 2M34 14 1F34 15 1F34 16 1M35 5 1M35 6 2F, 2M35 9 1F35 10 1F35 11 1F35 12 1F35 14 1F, 1M35 15 1F36 5 1F, 2M36 12 1F36 14 1F36 15 1F, 1M37 6 1F, 2M37 9 1F, 1M37 10 1F, 1M37 11 1F37 12 3F37 15 1M38 6 1F, 1M38 9 3F38 14 4F38 15 2F39 5 1M39 9 1F39 14 1M39 15 1F39 48 1M40 5 1M40 9 1F, 2M40 10 1F, 1M40 12 1F40 14 2F40 15 1F40 44 1F41 14 2M41 26 1F41 33 1M42 9 2M42 10 1F42 12 1F42 14 1F42 15 1F42 27 1M42 48 1F42 52 1M44 10 2M44 14 1F, 1M44 15 2M45 9 2M45 13 1F45 14 1M45 46 1M45 55 1F46 14 1M46 17 1M46 35 1M47 14 1M48 14 1M48 15 1M49 13 1F49 18 1M49 36 1M51 12 1F51 14 1MTable 2. For the narrowest point of flutings in Chamber A1 (Alcoves Iand VII), the widths (in mm) of F2-F4 close together, with the numberof flutings of such widths (widths not listed had no flutings)Width Number Width Number23 19 28 224 1 31 125 1 33 126 15 34 127 8 36 1Table 3. For flutings in Chamber A1 (Alcoves I and VII), the widths(in mm) of F2-F4 close together, with the number of flutings of suchwidths, and the probable age range of the floret as indicated in Table1 (from the youngest age at that or a larger width to the oldest ageat that or a smaller width)Width No. Ages Width No. Ages23 19 2-5 28 2 524 1 2-5 31 1 525 1 2-5 33 1 5-1426 15 2-5 34 1 5-1627 8 5 36 1 5-16Table 4. For the clay fluting study relating to possible errorsfrom different pressures, for two subjects (male and female),the widths (in mm) of F2-F4 close together, listed by the flutingmade (10 for each subject), against the narrowest (N't) part ofthe fluting (not the very top) and at 5cm intervals. * Indicatesflutings where the fluter noted either a separation or overlapin the fingers. Fluter 1 (Male)Fl. # N't 5cm 10cm 15cm 20cm1 41 42 41 42 422 40 42 41 40 413 * 46 47 46 45 464 41 43 43 43 415 40 40 41 41 406 * 43 44 44 44 437 41 45 43 41 428 40 45 42 40 409 * 38 40 40 40 3910 40 41 41 39 39 Fluter 2 (Female)Fl. # N't 5cm 10cm 15cm 20cm1 36 37 36 36 362 * 38 41 39 39 403 * 39 39 40 40 394 37 37 37 37 385 37 37 37 38 386 36 36 37 37 377 36 36 37 37 378 36 36 36 36 379 37 37 37 37 3710 37 37 37 38 37