Jump to ContentJump to Main Navigation
Palaeolithic Cave Art at Creswell Crags in European Context$
Users without a subscription are not able to see the full content.

Paul Pettitt, Paul Bahn, Sergio Ripoll, and Francisco Javier Muñoz Ibáñez

Print publication date: 2007

Print ISBN-13: 9780199299171

Published to Oxford Scholarship Online: November 2020

DOI: 10.1093/oso/9780199299171.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 15 June 2021

The Horse in the Palaeolithic Parietal Art of the Quercy: Outline of a Stylistic Study

The Horse in the Palaeolithic Parietal Art of the Quercy: Outline of a Stylistic Study

Chapter:
11 The Horse in the Palaeolithic Parietal Art of the Quercy: Outline of a Stylistic Study
Source:
Palaeolithic Cave Art at Creswell Crags in European Context
Author(s):

Michel Lorblanchet

Publisher:
Oxford University Press
DOI:10.1093/oso/9780199299171.003.0016

The discovery of the engravings at Church Hole brings numerous and precious newelements that renew our knowledge of Palaeolithic parietal art. In particular, it poses the problem of styles in the closing phase of the Palaeolithic. As a comparison, I will present here an outline of the evolution of styles in the Palaeolithic parietal art of the Quercy between about 27,000–28,000 and 12,000–13,000 years ago. In order to clearly highlight the value of such an evolution, I shall begin by comparing various horse figures, since these are the dominant subjects in all phases of this long period. I shall start by comparing the equids of the cave of Roucadour with those (likewise unpublished) of the cave of Combe Nègre 1 (Lot), and then those of the caves of Sainte-Eulalie and Pergouset (Lot), and I shall end by recalling the characteristics of the horses of Pestillac and Lagrave which illustrate the end of the parietal Magdalenian in our region. I will make one last comparison with the portable art of the abri Murat (Lot) which yielded horse depictions in an azilian level. The cave of Roucadour, vast and of easy access, is in the northern part of the Causse de Gramat (Lot). Its total length is about 300 m, and it constituted a very attractive site for man during a large part of prehistory. During the neolithic and protohistory, a habitation (excavated by A. Niederlender and then by J. Gasco) was installed in front of the cave entrance. The deep galleries were also used in the same period, since quantities of pottery, burials, and bronze objects were discovered there. In 1962, two speleologists, Pierre Taurisson and Jean Paul Coussy, discovered parietal paintings and engravings in a lateral gallery. The cave was classed as a historical monument in 1964. The study and recording of the engravings were entrusted to the abbé André Glory, assisted by his collaborator, the abbé Jean-Louis Villeveygoux; the discoverers themselves also seem to have lent their help at the start. André Glory, who was then an engineer in the CNRS, had just finished tracing the decoration of Lascaux. He carried out four campaigns of recording at Roucadour from 1964 to 1965 (Glory 1964, 1966). A tragic road accident in 1966 cost him and his assistant their lives.

Keywords:   Azilian, Pergouset, France, Sainte-Eulalie, France, Teyjat, France

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .