Palaeolithic Cave Art at Creswell Crags in European Context

By Paul Pettitt; Paul Bahn et al. | Go to book overview

11
The Horse in the Palaeolithic Parietal Art of
the Quercy: Outline of a Stylistic Study

Michel Lorblanchet


INTRODUCTION

The discovery of the engravings at Church Hole brings numerous and precious new elements 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 I shall start by comparing the equids of the cave of Roucadour with those (likewise unpublished) of the cave of Combe Nègre 1 (Lot), and then those of the caves of Sainte-Eulalie and Pergouset (Lot), and I shall end by recalling the characteristics of the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.


HORSES IN THE CAVE OF ROUCADOUR (THÉMINES, LOT)

Location of the Cave, and History of Research

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

I would like to thank Paul Bahn for translating this text.

-207-

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