© Peter Watson 2017 Installations at Çatalhöyük feature bucrania in walls, horns, tusks, teeth, claws and beaks, placed so as to form protuberances on the walls. The Göbekli data resonate with that from Çatalhöyük in showing not only the salience of wild animals but the hard, dangerous, pointed parts of wild animals. Where animals bones are wild, the great majority are male; where they are domesticated, the reverse is true. At feasts the bones are male. But females predominate at later (higher) levels. The hard bits of males were kept a long time. At Göbekli birds in art focus on flesh-eating species. The difference between soft flesh and the hard parts of animals (including humans) was important. At Göbekli and at Çatalhöyük, the focus on sharp, pointed parts of animals may relate to the piercing of flesh. Equids don’t appear because they have no piercing parts. Meat-bearing parts of wild animals are rarely found on site. But hard, dangerous parts were incorporated into buildings, and repeatedly plastered over. Antlers recur in many buildings: they regenerate but are somewhat different in form each time. But again they are hard and piercing. Hard and piercing seems to represent male prowess, the ‘condensation of animal power.’ In a relatively egalitarian society at Çatalhöyük, some houses became preferred locations for burial beneath the floors, and these houses were rebuilt over more generations than other houses. These houses also amassed the hard, piercing parts of wild animals. At Çatalhöyük, six out of 350 skeletons had their heads removed. The heads were probably cut off some time after burial. In the case of one skull, it had been plastered several times, the ‘flesh’ reworked and even painted red. ‘These particular treatments and actions of head removal and plastering appear to be directed at certain individuals – possibly revered ancestors.’ About a dozen clay figurines at Çatalhöyük have a dowel hole, suggesting the removal (and replacement) of heads could be played out in miniature. Is plastering the same as refleshing? This echoes the concern for soft and hard tissue or body parts. At Çatalhöyük, the sharp body parts are kept and hidden in plaster on house walls. The wild animals depicted in art are often males with erect penises. Clay figurines from Çatalhöyük