but smaller lion-headed human figurine was found in Hohle Fels. Archaeologist Nicholas Conard suggested that "the occupants of Hohle Fels in the Ach Valley and Hohlenstein-Stadel in the Lone Valley must have been members of the same cultural group and shared beliefs and practices connected with therianthropic images of felids and humans" and that "the discovery of a second Löwenmensch lends support to the hypothesis that Aurignacian people practised a form of shamanism." The figurine shares certain similarities with later French cave paintings, which also show hybrid creatures with human-like lower bodies and animal heads, such as the "Sorcerer" from the Trois Frères in the Pyrenees or the "Bison-man" from the Grotte de Gabillou in the Dordogne. Debate exists as to whether the figurine depicts a lion or human-lion hybrid figure at all; with similarities to a standing bear, and the unreliable nature of the reconstructions cited. Manufacture The carving of the figurine from hard mammoth tusk would have been a complex and time-consuming task. A similarly sized tusk found in the same cave has marks that "indicate that the skin and thin bone around the tooth cavity of the upper jaw were cut through to the surface of the tooth, which was then exposed for detachment with a hammer. The tip was harder and had to be removed by wedging and splitting." Wulf Hein and Kurt Wehrberger conducted an experimental replication with the kinds of stone tool available at the time. Removing the base of the tusk took ten hours. The body was carved with a steep-fronted scraper; the burins requiring regular resharpening. Several different tools were needed to separate the torso from the insides of the arms while shaping the head and shoulders, which involved difficult cutting across the grain of the ivory, often required two hands on the tool. The basic shaping took around 200 hours, and in total the recreation took more than 370 hours. Jill Cook, Curator of Palaeolithic collections at the British Museum, suggests that "unless the sculpture was created slowly at odd moments over several months, someone as skilled as an artist may have been excused from other subsistence tasks to work specially on this piece." In his October 2017 BBC Radio 4 series Living with the Gods, Neil MacGregor asked Cook ... so why would a community living on the edge of subsistence, whose primary concerns were finding food, keeping that fire