 again. This paper is a presentation of our work in progress on a rock panel recently found at the cave of La Zahida in Uzeth, Spain. This is, therefore, a preliminary approach to the study of these unpublished carvings and its archaeological and historical context, but also to its possible ritual meaning. The existence of archaeological remains inside the cave of La Zahida is known from the 80s of the last century when bronze and iron age pottery fragments were found. But the carvings had been not noticed until one year ago when they were accidentally discovered by local people who identified them as a sort of prehistoric rock art and got in contact with Professor Pilarutria, a well-known specialist on the subject. After a direct evaluation where alphabetical motifs were identified, she created an interdisciplinary team to study the engravings, which is composed by prehistoryians, apalaeo-hispanical philologists, ancient historians and epigraphists, and a specialist on heritage documentation from 3D scanner patrimonial industry, a spin-off of the University of Zaragoza. The cave is located close to the end of the rake-sweetwater lagoon of La Zahida that has been transformed by its agricultural exploitation, but it is still a main stop for migratory cranes as it happens in the nervy lagoon of Gallocanta. The proximity of the cave to the lagoon is magnificent visual control and its prominent location in this watery landscape must have been related to the symbolic uses of the cave in the past. For getting into the study of the carvings, I would like to explain briefly the process of documentation we have followed. According to a standardized protocol, we have used different techniques to document as accurately as possible the engravings and the cave itself. For example, please don't ask me about the technical aspects of this presentation because I'm afraid I'm not able to give a coherent answer. We took high-definition photographs of the rock motifs but also panoramic photos of the indoors and outdoors of the cave. Photogrammetry, 3D laser scanner and a total station were also used to record coordinates and create 3D geometrical documentation such as planometry and orthoretic five images. After putting all data together, a general and immersive view of La Zahida and its rock art was produced. And information was load to a web platform to allow everyone to work with an extremely accurate digital documentation of the cave and its rock art and epigraphy. So for instance, we can apply different filters to 3D models and orthometric high-definition images of the rock panel to study and highlight its details using a 3D PDF tool. As you can see, the cave system of La Zahida is not very large and its archaeological exploration is now in progress. Facing north and enjoying a great view of the lagoon, the mouth of the cave has three high and narrow entrances that converts into a small hall from which we can access two galleries. Parts of the roof have collapsed and the ground is now filled with gravel, sand, ravies, fallen stones, and bronze and iron age pottery fragments. As the cave is unfit for daily human dwelling, the pottery cannot be related to past quotidian occupations, but the place could have been used as a temporary shelter. The epigraphic panel is located at the narrowest part of the main entrance, less than in a part, less than 60 centimeters width. Carved on the right wall of the corridor, at a height of one meter from the current ground, the panel is perfectly accessible and is illuminated by daylight. Its liminal location seems an intentional one, as I will explain later on. The size of the panel is quite small, as shown on the screen, and it looks as still is. We identify a rectangular frame separated into six registers by horizontal lines. The first two fields show crisscrossed lands and rhomboid motifs. The third field houses the inscription and the fourth is more complex. On the left, we identify some traces of another inscription, but its right side is a conundrum of entangled lines. The lower part of the rectangular frame, fields number five and six, shows a sort of geometrical motifs, but not so well made as the upper ones. We wonder if there are animal figures in these lower fields. Regarding the process of the panel making off, initially, we thought that the lines of the rectangular frame were made first, and the geometrical figures and the inscription were carved later, following the ordinative. However, a closer study of the panel points out some interesting and intriguing questions. All the horizontal lines that conform the fields are cut by the vertical lines of the main rectangular frame, except the upper one, which cuts the two vertical lines, but also some diagonal lines from the geometrical motifs of the field number one. Some letters of descriptions on the right side, no, sorry, on the left side, no, on the right side here, sorry, are cut by the horizontal line below, so the ordinatio was not used as a guide to write the text, but to frame it instead. On this basis, we propose a hypothetical making sequence. Firstly, the descriptions were carved. Later on, it was framed by horizontal lines, which were cut by two main vertical lines. Geometrical decoration was added, and the upper horizontal line was carved at last. The initial text was thus integrated in a stelle's composition being monumentalized, monumentalized, a problematic turn, according to the small size of the whole car, being monumentalized through rock art. In fact, we think that this panel could be a small-scale rock representation of the proto-history and Roman stelle attested in the Iberian Peninsula, which are dated from the 1st century to the 2nd century AD. For example, the Roman funerary descriptions from the Cumentus Cluniensis, so ordinatio lines, and frames of geometrical patterns, such as this one from Cerrada Pequeña in Luzaga, a Roman site 70 kilometers from La Zeida Cave. Ornamental frames of crisscross and dwarf teeth decorate as well the Iberian stelle from Bajuaragón, some of them with descriptions on Iberian language. Similar geometrical patterns were also used as frames on Celtivarian metallic plates and pottery. According to these parallels, our panel could be the rock counterpart of a Celtivarian or Roman stelle. If so, could the test give us any key about the ritual meaning of the carvings and the kind of activities carried out at the cave? I'm afraid that we are not yet able to offer a translation of this Latin inscription. In our effort to decode these letters on the wall, we can just propose preliminary and disappointing lectures, as you can see on the screen. We just can't recognize an arepo here that maybe could be related to a magical square, but it's too hypothetical, so within that are could be as well related to a Celtivarian person and lame, so there are different possibilities. In fact, I must confess that we thought initially that some letters could even belong to the Celtivarian writing system. Nevertheless, the text of La Zeida shows palaeographical similarities with other descriptions, writing in Latin alphabet, a sacred rock scapes of the Iberian Peninsula. For instance, the religious graffiti from the cliff sanctuary of Peñalba in Villastar, Teruel, the Latin descriptions from the cave sanctuary of La Griega, Pedraza, on the radio zone, secundio, bottom, fecate carved on the rock shelter of Cogul. All these rock descriptions belong to the same temporal frame, from 1st century BC to 2nd century AD, as the Iberian Stella mentioned before. Could this chronology be extended to the panel of La Zeida, according to its iconographical and palaeographical similarities? We think so. On the other hand, although in this paper we focus on the writing panel, there are other carvings attested in different parts of the cave, which are under style. Actually, close to the description, there are five pointed stars and ladder-like figures, which date is controversial due to the wide chronology of these iconographies. As my time is running out, I move on to the preliminary conclusions. As I have told from the beginning, this is a presentation of our work in progress, so it's just an approach to the complexity of the rock art, epigraphy, archeological context, and historical meaning of La Zeida Cave. However, we want to highlight several remarks before opening the floor for discussion. First, the complex sequence of the panel making up. The description, we think, that the description seems to have been carved firstly and the ordinary lines were added later, when the panel was also framed by lines and geometrical motifs. Creating a still is. Second, although we cannot read the description yet, it seems to be a Latin text, but the letters show different sizes and ducts, so we wonder if it could have been written by two different hands at different moments. The location of the panel at the entrance seems intentional and symbolically significant. It is placed at a transitional spot in between outdoor and indoor, between the light and the darkness, between the ordinary landscape and the extraordinary underground escape. Actually, its liminal topography is served by older polyspanic and Latin rock descriptions carved as well near the entrances of Iberian caves. For instance, at four meters from the entrance of the cave of San Garcia, Santo Domingo de Silos, a first century BC Celtivarian text was carved in a wall where already assisted bronze age motifs. Another test of controversial lector, this one, was written at one meter from the mouth of the cave del robusto in Aguilar de Anguita. And close to the entrance of the cave of La Mora in Armonia, Zagobia, was written as well another polyspanic text. In the entrance of the cave of Montfraue in Cáceres far away from La Zaeda, a four century BC Iberian inscription was painted near prehistory figures and paintings. Moreover, Latin inscriptions are located on transitional spots inside the cave sanctuary of La Griega. Mer, sorry, marking places in between through epigraphy. For instance, the first century AD text to the god Nemedus Augustus Ayuncus is written, is placed in the narrowest part of a corridor between sector five and six. Other second century AD examples from the La Griega cave located at liminal spots are the text number 19, placed between sector three and four, and the text number 25 to 27 between sector four and five. According to that, we consider that the liminal location of the panel of La Zaeda is not casual but intentional and could be related to a ritual use of the cave since all its parallels are documented at Keltiverian and Roman sanctuary caves where the making of text was part of the ritual practices carried out there. Sorry. However, as we cannot offer a proper translation of description at the moment, its precise symbolic meaning is unknown. Is this a votive test produced during a pilgrimage into the cave or is this a funerary marker among other possibilities? And could the pottery fragments found inside be related as well to those ritual activities? A lot of work on this cave must be done in order to bring light to the understanding of its rock art, epigraphy, and symbolic and ritual use over time. Anyway, I want to ask to conclude the question that opens the title of our paper. Is this ritual? Within so, but we are more than delighted to open the floor for discussion. Thanks a lot for your attention.