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This report is dedicated to Jack Francis. 

Jack ably managed the Petroglyph National Monument Rock Art Recording Project. Jack and I were Santa Fe National Forest site stewards. We spent a lot of time together as we visited our sites. During this period, I became responsible for the Galisteo Dike rock art recording project. Jack provided me with lots of counsel and suggestions on how he managed the Petroglyph National Monument project. His insights and suggestions have helped me in all recording projects on which I have worked. I miss Jack and think of him often.

gary hein

IntroductionThe was originally recorded as part

The site came to the attention of the Rock Art Recording Project - Santa Fe (RARP-SF) in a casual conversation with the landowner. Since we were doing recording in the Galisteo Basin, and since this site was not recorded using the Archaeological Society of New Mexico’s rock art recording standards, the owner was asked if the site could be recorded again. The owner granted the RARP-SF permission to rerecord the site ( see Appendix 1).

Site DescriptionThis site is on private property.

This site was originally described as a walled hunting blind with approximately thirty petroglyphs. The west side of the area is defined by a shear wall about 4 meters high. The rock art is on this shear east facing wall, on boulders at the base of the shear wall, . Appendix 2 places the rock art in context with the area and the distribution of the rock art panels. There are several Pueblo III/IV residential communities in the vicinity. Field MethodsOur efforts were devoted to recording the rock art using the methods developed by ASNM and used in several large projects such as Petroglyph National Monument and Crestone. The nomenclature for these methods is contained in Appendix 3. Our time was limited to one visit so as to not inconvenience the person living in the house below the site.

Each panel was sketched and photographed (see Appendix 4). The individual design elements were categorized using the Design Element Key (see Appendix 5) and inventoried (see Appendix 6), and data were recorded to document how each design element was were made. The GPS position was measured to document the spatial arrangement of the panels. The GPS position is included in the Photo Log (see Appendix 7). For the purposes of this recording, a panel is an area that the recorder and photographer agree to include in the photo and sketch. On occasion there were a series of “panels” on a large surface. This approach allows more detailed photos and sketches.

Data OverviewThe design elements generally appear to be prehistoric and part of the design elements associated with the Pueblo III and IV time periods. This site is protected by its isolation and infrequent visitation. Those who have visited have been respectful of the site.

There are a few places where the patination is very light (see Appendix 4, Photos 11, 15, 17, 18, 19, and 21) implying they are more recent than the more heavily patinated design elements. These light design elements, however, also appear to date to the Pueblo III and IV time periods.

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The dominate design elements are1. Disks with 18 (19%) occurrences2. Faces with 10 (10%) occurrences3. Unidentified animals with 7 (7%) occurrences4. Wavy lines with 6 (6%) occurrences

The most outstanding design element is the lion (see cover and Appendix 4, photo 1). Lions are not frequently depicted. There are thirty three in the overall inventory across multiple rock art recording projects (see Appendix 8). There is also an outstanding lion depicted at the Well Petroglyph Preserve.

Another interesting design element is what we interpreted as a bison (see Appendix 4, photo 24). Of the twenty four bison in the overall inventory, the majority are found at Petroglyph National Monument. Just slightly less, eight, were recorded on the Galisteo Dike.

Appendix 8 contains a table of the Design Element inventories for a number of rock art recording projects recorded using the methodology developed by ASNM. Comparison of the inventories across different sites is viewed a method to understand the connections between the sites. As a minimum this approach allows researchers to quickly locate similar design elements.

A set of digital formatted data described in Appendix 9 are included with this report to aid future researchers. Most importantly full size unedited photos are included. These allow for future image enhancement techniques to be applied to the photos.

Artifacts and FeaturesTwo rock walls (see Appendix 4, Photo 4, and 5) were recorded. These are consistent with the use of this area as a hunting blind. I would add that this site is an excellent isolated place to observe what is on the plains far below (see photos in Appendix 2).

ConclusionsThis site contributes to the cultural history of the greater Galisteo Basin. Of the sites I know in the area associated with the Galisteo Basin Archaeological Sites Protection Act (GBASPA), it is unique . The lion as seen on the cover is exquisitely executed and rare in the area defined by GBASPA with six occurrences in approximately 24,000 design elements. (see Appendix 8).

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Site ConditionThis site was in good condition.

RecommendationsThere are a few other rock art sites south of the that should be recorded. This will fill in a small gap in the recording of this section of the rock art in the Galisteo Basin.

This site does contribute to the cultural history of the sites included in the GBASPA. As such it should be considered for incorporation into the GBASPA.

AcknowledgementsThe following people participated in recording this site:

Paul Anderson, Carol Chamberland, Kathy Fiero, and Gary Hein.

I would also like to thank John Gulth and Anna Naruta-Moya who worked to develop the “Standard for Archive-Ready Rock Art Reports”. This report on a small site was used to proof test this approach to rock art reports.

Lastly, thanks to Friends of Archaeology and the Office of Archaeological Studies for their support and advice.

References

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Appendices

Appendix 1, Owner Authorization to Record Site

Appendix 2, Site Location, Panel Locations, and Site Context Photos

Appendix 3, Nomenclature

Appendix 4, Photos and Photo Data Sheets

Appendix 5, Design Element Inventory – Illustrated

Appendix 6, Design Element Inventory

Appendix 7, Photo Log

Appendix 8, Design Element Inventory Comparison of Rock Art Projects Located in the Area Defined by the Galisteo Basin Archaeological Sites Protection Act and two Other Areas

Appendix 9, Description of Digital Data Sets provided on USB Flash Drive

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Owner Authorization to Record SiteAppendix 1

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Site Location, Panel Locations, and Site Context Photos

Appendix 2

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Site Location, Panel Locations, and Site Context PhotosAppendix 2

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Location

Site Location, Panel Locations, and Site Context PhotosAppendix 2

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View of the

View of the Area

NomenclatureAppendix 3

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D ate The date the work was done. This is also the date on the Mug Board.

LA N o. The LA Number is the site number assigned by Archaeological Records Management System (ARMS).

NMCR IS The New Mexico Cultural Resources Inventory System (NMCRIS) number assigned by ARMS

Prov. N o. Provenience Number shown on the Mug Board.

Recor der The name of the recorder.

Photo The name of the photographer.

M ap/GPS The name of the mapper

Sheet The current sheet number. The sheets are numbered sequentially for each provenience. When finished the final sheet number will be added to all the sheets, that is, 1 of 24 ... 24 of 24.

Photo N o. The number assigned to this photo. This is the same number that is on the Mug Board. All photos are assigned numbers starting with 1 and continuing in sequence until the provenience is completed.

Locus A sequential identifier assigned to the panel or boulder being recorded. The locus identifiers are assigned letters starting with A.

In the event that more than one area is photographed and recorded on the same panel or boulder each is assigned number sub identifiers, C1, C2, C3 for the three different areas for Locus C.

If the end of the alphabet is reached the start the next series as AA, AB, … AZ, the next as BA, BB, BC, … BZ, and so on as needed.

Faci ng The general direction that the panel faces. It is easier and more accurate to face the panel squarely and read the back sight at the bottom of the compass. N, NE, E, SE, S, SW, W, NW, and UP are the expected values. UP is used only when the panel is more flat than vertical.

Easti ng The easting UTM coordinates from the GPS reading.

Northi ng The northing UTM coordinates from the GPS reading

NomenclatureAppendix 3

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H Height of the panel in meters. Measured to match the sketch and photo.

W Width of the panel in meters. Measured to match the sketch and photo.

AGL “Above Ground Level” measurement. Measured in meters from the Photographer’s and Recorder’s feet to the bottom of the panel.

Positi on Position in the provenience relative to geologic feature being worked. This helps to relocate the panel.

TD = Top of dike/cliff MD = Middle of dike/cliff BD = Bottom of dike/cliff TS = Top of slope MS = Middle of slope, an area between TS and BS BS = Bottom of slope FT = Flat at the bottom of slope or the top of the

slope.

Distance fromLast Locus The distance in meters and direction (N, NE, E, SE, S, SW, W, NW)

from the last locus.

Design Element Inventor y On the lines below the “Distance from the Last Locus” each

individual design element in the sketch are listed using the terms in the Design Element Inventory sheets.

D E Design element number is a sequential number assigned by the recorder to each unique design element on the drawing.

Descripti on Description of the design element.

Repatinati on This is a subjective description of the amount of patination. It may indicate the relative age of the design element.

O = None, looks like a fresh break in the rock L = Light M = Medium H = Heavy T = Total, looks dark like the natural rock surface

NomenclatureAppendix 3

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Pecki ng A design element created by pecking is further categorized by the relative effort made to produce the design element.

S = Sparse, pecks are widely separated M = Medium, pecking is between SPARCE and

DENSE D = Dense, pecks have no space between them R = Relief, pecks are deep such that a piece of

paper folds when pushed into the pecked area

Abr aded Checked (A, ✓, or X), if the design element was created by rubbing to form a smooth surface.

Scr atched Checked (S, ✓, or X), if the design element was created using a sharp object to scratch through the surface patination and form a thin line.

Inci sed Checked (I, ✓, or X), if design element was created by scratching a wider and deeper line.

Categor y The category code from the Design Element Sheet.

Multipl e The total number of design elements of one type on the panel.

Additi onal These are items from Categories D, N, and S, Defacement of rock art elements, Natural Deterioration affecting rock art panel, or Special Features such as rock incorporation, superimposition, etc.

Sketch This area of the form is for a sketch of the panel from the same angle as the photo. The sketch shows all the design elements, notes spalls or other deterioration, and superimposition.

NomenclatureAppendix 3

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Photos and Photo Data SheetsAppendix 4

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LA104820_113736_P001_001_cuo_a.tif

LA104820_113736_P001_001_cuo_b.tif

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Photos and Photo Data Sheets – Appendix 4

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Design Element Inventory – IllustratedAppendix 5

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DE Illustrated: Page 1 of 5 RARPCoun_DEI_062008

Design Element Inventory – Illustrated Page 1 1. Linear 2. Dot Patterns 3. Geometric Forms

1. LINEAR DESIGNS

a) single straight

line k) single zigzag

u) rake with

wavy lines

b) parallel straight

lines l) parallel zigzag

group v) ice tongs

c) cross or X

m) rectilinear

meander w) unident open

linear

d) one-pole ladder

n) rectilinear scroll

x) T shape

e) rake

o) curved line /

arc y) U shape

f) two-pole ladder

p) parallel curved

line / arcs z) hooked line

g) forked line

q) wavy line

z) asterisk Form

h) branched line

r) grouped wavy

lines z) trident

i) angled line /

chevron s) curvilinear

meander z) lines from a

point

j) parallel angled

lines t) spiral or coil 1z __________

2. DOT PATTERNS

a) single or forked

line c) clustered dots

e) life form in

dots

b) grouped

parallel lines d) geometric form 2z __________

3. GEOMETRIC FORMS

a) CIRCLE / oval

k) grouped /

joined circle u) stepped

triangle

b) disk

l) RECTANGLE /

square v) terraced

pyramid

c) nucleated circle

m) concentric

rectangles x) elaborated

circle

d) bisected circle

n) gridded rectangle

y) elaborated rectangle

e) tailed circle

o) grouped / joined rectangles

aa) outlined cross

f) spoked circle

p) DIAMOND

bb) dumbbell

g) rayed circle /

sunburst

q) grouped / joined diamonds

cc) vulva form

h) concentric

circles r) simple

TRIANGLE

i) barred circle /

oval s) hourglass

z) Crosshatched

lines

j) gridded

circle/oval t) joined triangles

/ saw-tooth 3z __________

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Design Element Inventory – Illustrated Page 2 4. Human Figures 5. Animal Figures 6. Prints and Tracks

4. HIUMAN FIGURES

a) stick human

g) corner mask

m) spear bearer

b) lizard man

h) partial human

figure n) horned

human figure

c) outlined human

figure i) human limb

o) possible shalako

d) in filled human figure

j) flute player

e) ceremonial / deity figure

k) hunter

f) face or mask

l) shield bearer 4z __________

5. ANIMAL FIGURES

a) unident MAMMAL

l) crane / shore bird

w) not used

b) bighorn sheep

m) duck

x) joined birds

c) deer / elk

n) swallow

y) fish

d) mountain lion

o) unident REPTILE

aa) unident INSECT

e) canine

p) lizard

bb) dragonfly

f) pronghorn

q) snake

cc) butterfly /

moth

g) bison

r) rattlesnake

dd) caterpillar /

worm

h) unident BIRD

s) turtle / tortoise

ee) centipede

i) thunderbird

t) frog / toad

ff) scorpion

j) raptor / parrot

u) tadpole

k) turkey v) not used 5z __________

6. PRINTS AND TRACKS

a) human hand print

f) bear track

k) raccoon track

b) human foot print

g) deer / elk track

l) rabbit track

c) sandal track

h) feline track

d) bird track

i) canine track

e) unident mammal track

j) badger track

6z __________

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Design Element Inventory – Illustrated Page 3 7. Plant Forms 8. Artifact Forms 9. Celestial 10. Mythological 11. Multiple-Element 7. PLANT FORMS

a) unident plant form

c) yucca plant

e) seed pod

b) corn plant

d) flower form

f) treelike form

7z __________

8. ARTIFACT FORMS

a) arrow e) projectile point i) textile or

pottery design

b) bow f) throwing stick

j) burden basket

c) club / ax g) spear

d) shield h) atlatl 8z __________

9. CELESTIAL BODIES AND WEATHER PHENOMENA

a) star

c) sun / moon

(large disk) e) rainbow

b) crescent moon shape

d) lightning

f) cloud terrace

9z __________

10. MYTHOLOGICAL BEINGS

a) star being

d) composite human / animal figure

x) cloud terrace being

b) one-horn serpent

e) composite animal

y) composite serpent / star being

c) two-horned serpent

f) big-eyed trapezoidal anthropomorph

10z __________

11. MULTI[PLE-ELEMENT COMPOSITIONS

a) complex panel with life forms

c) complex geometric (not textile or pottery)

e) complex continuous-line with life forms

b) complex linear abstract

d) complex continuous-line geometric

f) carefully executed, complex – but unreadable design

11z __________

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Design Element Inventory – Illustrated Page 4 12. Miscellaneous 13. Historic 14. Recent 15. Archaeological

12. MISCELLANEOUS DESIGN ELEMENTS (ASSUMED PREHISTORIC)

a) unident form

f) prehistoric

modifications x) possible face /

mask

b) possible human g) misc. pecking y) possible track

c) possible bird

h) scratched /

incised lines

d) possible

mammal i) not used

e) possible reptile j) misc. scrapes / abrasions 12z __________

13. HISTORIC (ca 1550 – 1950) SYMBOLS, FIGURES, INSCRIPTIONS

a) initials / names /

dates g) equestrian figure

m) Navajo ceremonial / deity figure

b) message

h) weapon

n) Apache ceremonial / deity figure

c) unident drawing (D) i) vehicle / train o) Misc. Pecking (D)

d) cattle brand

j) Christian cross

e) horse

k) complex panel

with life forms (D)

f) human figure with

historic context

l) Pueblo ceremonial / deity figure

13z __________

14. RECENT GRAFFITI AND HUMAN DAMAGE NOT DIRECTLY IMPACTING ROCK ART

a) initials / names /

dates g) bullet scar(s)

m) livestock

tramping

b) message h) spray paint n) livestock rubbing

c) drawing (D) i) paint splatters o) misc. damage (D)

d) scratched / incised

lines (D) j) construction

activities

e) misc. gouges (D) k) drill holes

f) misc. abrasions (D) l) campfire remains / soot 14z __________

15. ASSOCIATED ARCHAEOLOGICAL FEATURES

a) cupule d) bedrock mortar g) sherds (describe)

b) worked natural hole e) rock wall

c) grinding slick f) worked stone 15z __________ (D) Depreciated and should be used with care. They are based on using patination to assign a category and not subject.

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Design Element Inventory – Illustrated Page 5

ADDITIONAL D. Defacement N. Natural Deterioration S. Special Features

D. Defacement of Rock Art Design Elements or Panels

1. scratched / incised lines

6. alteration of design elements

11. chalking or painting

2. pecking / gouging 7. attempted removal 12. latex or rubbing residue

3. bullet scar(s) 8. complete removal

4. spray paint 9. abrasion / obliteration

5. brushed / spattered paint 10. campfire / soot damage Dz __________

N. Natural Deterioration Affecting Rock Art Panel 1. recent spalling 6. lichen encroachment 11. bird / insect / rat nests

2. repatinated spalling 7. plant abrasion 12. forest / brush fire

3. natural scrapes 8. water erosion 13. rock slide

4. rock crack 9. wind erosion 5. rock splitting / displacement 10. mineral deposits Nz __________

S. Special Features

1. rock incorporation

4. historic superimposition

on another element 7. outstanding panel

2. enhancement of rock edge 5. prehistoric rework 8. good photo / slide

3. prehistoric superimposition on another element 6. historic rework / addition Sz __________

Design Element InventoryAppendix 6

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LA104821SITE: 97

DESIGN ELEMENT INVENTORYAPPENDIX 6

LA104821 SITE: 97

1 16LINEAR DESIGNS:a 3single straight lineh 2branched lineI 1angled line / chevron

o 1curved line / arcq 6wavy lines 1curvilinear meandert 1spiral or scrollx 1asterisk, T-shape

2 2DOT PATTERNS:c 1clustered dotsd 1geometric form

3 31GEOMETRIC FORMS:a 1circle / ovalb 18disk

bb 1“dumbbell”d 1bisected circlee 2tailed circleg 1rayed circle / sunbursth 2concentric circlesl 1rectangle / square

u 1stepped triangley 1elaborated rectanglez 2see PDS

4 18HUMAN FIGURES:d 2in filled human figuree 2ceremonial / deity figuref 10face or mask

h 2partial human figurek 1huntern 1horned human figure

5 13ANIMAL FIGURES:a 7unident animald 1mountain lione 1canine

g 1bisonI 2thunderbird

m 1duck6 1PRINTS AND TRACKS:

h 1feline track8 4ARTIFACT FORMS:

z 4see PDS9 1CELESTIAL BODIES AND

WEATHER PHENOMENA:b 1crescent moon shape

11 3MULTIPLE ELEMENTCOMPOSITIONS:

a 2complex panel with lifeforms

z 1see PDS12 5MISCELLANEOUS

(ASSUMEDPREHISTORIC)

ELEMENTS:a 1unident formc 1possible birdg 2miscellaneous peckingh 1scratched / incised lines

13 1HISTORIC (c 1550-1950)SYMBOLS, FIGURES,AND INSCRIPTIONS:

j 1Christian cross15 2ASSOCIATED

ARCHAEOLOGICALFEATURES:

e 2rock wall

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Photo LogAppendix 7

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Design Element Inventory Comparison of Rock Art Projects Located in the Area Defined by the Galisteo Basin Archaeological Sites Protection Act

and two Other Areas

Appendix 8

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A number of rock art sites located in the area defined by Galisteo Basin Archaeological Sites Protection Act (GBASPA) have been recorded using the methods established by the Rock Art Council of the Archaeological Society of New Mexico (Brody, et al). One of the aspects of this methodology is the classification and cataloging the design elements. Table 1 is a collection of these catalogs.

The following table allows a comparison by design element category across six sites that are included in the Galisteo Basin Archaeological Site Protection Act (GBASPA) plus two sites that are not but where the cultural affiliations are similar.

The projects included are as follows:

1. San Pedro Creek, Hagan Basin (Fletcher and Gulth, 2011)2. Petroglyph National Monument, Albuquerque (Fletcher and Merkt, 2006)3. Crestone, GBASPA area (Fletcher and Merkt, 2006)4. Far West, GBASPA area (unpublished data)5. GBASPA area (Hein, 2013)6. La Cieneguilla - North, GBASPA (unpublished data)7. Santa Fe River Canyon, GBASPA area (unpublished data)8. Galisteo Dike, GBASPA area (unpublished data)

Petroglyph Hill (Munson, 2005) which was included in the GBASPA is not part of these comparison data. The recording methods used there were different from those used by the included projects. The recording method did not collect the position of each panel and did not classify and catalog the design elements using the Design Element Inventory key.

The data for the first three sites in Table 1 were corrected for arithmetic errors. The percentage of design elements recalculated based on the new totals. These data are somewhat inconsistent due to revisions of the Design Element Inventory Key. The newer key added new categories based upon the experience of recording the Galisteo Dike. The new design elements reflect finding a sufficient number of the new elements and adding those found in other regions of the state beyond the Rio Grande region. Nevertheless the table does provide a cursory method to compare the design element distribution across these site.

No analysis of these data are included. Such an analysis is more appropriate once all the data are available and other recorded data can also be cataloged and incorporated.

Appendix 8

Design Element Inventory Comparing Rock Art Projects Located in the Area Defined by the Galisteo Basin Archaeological Sites Protection Act and two Other Areas

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References:Munson, Marit K.2005 Petroglyph Hill Site Survey and Documentation: A Report of the 2004 Field

Season of the Galisteo Rock Art Project, NMCRIS 100535

Fletcher, Milford and Merkt, Maynard2006 "Frequency of Occurrence of Classified Petroglyphs at Two New Mexico Sites" in

American Indian Rock Art, Volume 32. Angus R. Quinlan and Anne McConnell, Editors, American Rock Art Research Association, 2006 pp. 31–44, Phoenix, Arizona

Fletcher, Milford and Gulth, John R.2011 “Petroglyphs of San Pedro Creek, Sandoval County, New Mexico”. NMCRIS

113556

Hein, G. L.2013 Galisteo Basin Rock Art Recording Project, , LA104821, NMCRIS

113736, Rock Art Recording Projects – Santa Fe

Appendix 8

Design Element Inventory Comparing Rock Art Projects Located in the Area Defined by the Galisteo Basin Archaeological Sites Protection Act and two Other Areas

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Description of Digital Data Sets provided on USB Flash Drive

Appendix 9

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The following digital data sets are submitted in support of this report

Images

Digital photos and photo data sheet scans in tif format. These files are ordered by provenience and photo number. The following naming convention is used

LA104821_113736_Pppp_nnn_xy_s.tif

Whereppp provenience numbernnn photo numberx ap = photo, bs = scan, ct = context, cu = close up, pn = panoramay o = original unedited image

s = small edited/ enhance image used in report or databases sequence number when necessary

Data Files

There are two data files in CVS format. These were generated by FileMaker Pro and represent the location and design element data taken from the Photo Data Sheets.

LA104281_113736_pds.cvs General information about the location of the panel

LA104281_113736_ele.cvs Data for each design element recorded on the panel

See Appendix 7, Nomenclature

PDFs

This report is included as a pdf, LA104821_113736.pdf.

Description of Digital Data SetsAppendix 9

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