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Stepping-Stones
 Stepping-Stones
A Journey Through the Ice Age Caves of the Dordogne

Christine Desdemaines-Hugon

Foreword by Ian Tattersall

Yale

UNIVERSITY

PRESS

NEW HAVEN AND LONDON

 Published with assistance from the foundation established in

memory of Amasa Stone Mather of the Class of 1907, Yale College.

Copyright © 2010 by

Christine Desdemaines-Hugon.

All rights reserved.

This book may not be reproduced, in whole or in part, including

illustrations, in any form (beyond that copying permitted by

Sections 107 and 108 of the U.S. Copyright Law and except by

reviewers for the public press), without written permission from the

publishers.

Designed by Mary Valencia.

Set in Minion type by Tseng Information

Systems, Inc.

Printed in the United States of America.

Library of Congress Cataloging-in-Publication Data

Desdemaines-Hugon, Christine, 1946-

Stepping-stones : a journey through the Ice Age caves of the

Dordogne / Christine Desdemaines-Hugon; foreword by Ian

Tattersall.

p. cm.

Includes bibliographical references and index.

ISBN 978-0-300-15266-1 (cloth : alk. paper) 1. Art, Prehistoric

— France — Dordogne. 2. Cave paintings — France — Dordogne. I.

Title. II. Title. A journey through the Ice Age caves of the Dordogne.

N5310.5.F7D47 2010

709.01’12094472 — dc22
 2009039258

A catalogue record for this book is available from the British

Library.

This paper meets the requirements of ANSI/NISO Z39.48–1992

(Permanence of Paper).

10 9 8 7 6 5 4 3 2 1
 For my husband, Franck,
our three daughters, Kareen, Maya, and Laura,
and our seven grandchildren,
Léo, Chloée, Jean, Jules, Samuel, Félix, and Jim Roméo
 Contents

List of Illustrations

Foreword by Ian Tattersall

Preface

Acknowledgments

1. Freshly Plowed Fields in the Vézère Valley

2. Font de Gaume

3. Millions of Years Ago

4. Neanderthals and Homo sapiens

5. Combarelles

6. Venus Figures, Blades, Beads, and Bone

7. Rouffignac

8. Laurel Leaves and Needles

9. Cap Blanc

10. Art at Its Peak

 11. Bernifal

Afterword

Appendix: Sites to Visit

Recommended Reading

Index
 Illustrations

Map of the Upper Paleolithic sites discussed in the text

Map of the Vézère Valley and nearby sites discussed in the text

Approximate chronology of the Upper Paleolithic

Font de Gaume, cave entrance

Combarelles, cave entrance

Rouffignac, cave entrance

Abri du Cap Blanc, view of the site during the 1910

excavations

Bernifal, cave entrance

Color Plates

1. Font de Gaume. Two bison head to head, with

superimposed mammoth(s)

2. Font de Gaume. Superimposed bison, mammoths, reindeer,

and horses

3. Font de Gaume. The “licking reindeer”

4. Font de Gaume. The “black frieze”

5. Font de Gaume. One of the finest polychromatic bison, in

the last gallery

6. Font de Gaume. The “small bison chamber”

7. Rouffignac. Detail of the “ten mammoths” frieze

8. Cap Blanc. The left-hand section of the 12-meter-long

sculpted frieze, including the magnificent life-size central horse

Figures

1. The Mousterian Levallois point found in my fields, around

70,000 years old

 2. The Mousterian biface that I found in my fields, around

70,000 years old

3. Lascaux. The famous red sandstone lamp

4. Combarelles. A group of three schematic female figures,

one behind the other, and increasingly stylized from right to left

5. Combarelles. Detail of the famous mountain lion

6. Combarelles. The “drinking reindeer”

7. Abri du Facteur. Profile view of the “Vénus de Tursac”

statuette

8. Goulet de Cazelle. Profile view of the “Vénus de Sireuil”

statuette

9. Brassempouy. “La Dame de Brassempouy”

10. Laussel. On a limestone block, the “Vénus à la Corne”

11. Rouffignac. The left-hand rhinoceros of the “three-

rhinoceroses” frieze

12. Rouffignac. Part of the Great Ceiling: a female and a young

ibex

13. Rouffignac. Detail of the Great Ceiling: the “baby”

mammoth

14. Fourneau-du-Diable. On a huge limestone block, carved

aurochs in perspective

15. Abri Morin. Two reindeer, one behind the other

16. Laugerie-Basse. Les Marseilles, reindeer’s head

17. La Madeleine. The famous “bison licking its flank” on a

probable spear thrower

18. Le Mas d’Azil. The “neighing stallion”

19. Roche de Lalinde. On a 63-by-50-by-13-centimeter

limestone block (detail), female figures in profile view

 20. Drawings of portable art, showing deliberate abstraction

21. Drawings of portable art. Spears, chisels, and

semicylindrical rods from La Madeleine

22. Drawings of portable art. Chisels with striae on their

bevels from Rochereil

23. Drawings of portable art. Chisels without striae on their

bevels from Rochereil

24. Drawings of portable art. Chisels with and without striae

on their bevels from Le Morin.

25. Drawings of portable art. “Strange” figures and large-

headed animals typical of the Late Magdalenian

26. Drawings of portable art. Fish representations from La

Madeleine

27. Bernifal. The large bison head in relief, a superimposed

mammoth outlined in red at the bison’s horn level, and the “face”

28. Bernifal. The “face”

29. Bernifal. The bear in natural relief, with its nose, mouth,

and eye drawn in black

30. Bernifal. One of the finely engraved mammoths with two

superimposed tectiforms

31. The author at the entrance to Bernifal

 Foreword

There can be few experiences more overwhelming than

encountering, for the first time, the finest of the Ice Age cave

paintings of southern France and northern Spain. This art, mind-

bogglingly ancient though it is, reaches across the millennia,

reminding us that the Cro-Magnon artists who created it were us in

the most profound of senses. Never before in the long history of

human evolution had such art been created, and in its

expressiveness and power it has rarely been equaled since.

Sometimes miraculously preserved, sometimes sadly faded but

eloquent nonetheless, it speaks to something profound and essential

in the human spirit.

Of course, the societies to which the Cro-Magnon artists

belonged, and the environments in which they improbably

flourished, are long gone. Besides their art, nothing remains to tell

us about them except the detritus of their everyday existences.

Limited as they are, these archaeological traces are ample evidence

that the Cro-Magnons had complex, nuanced interior lives, and had

forged a hugely complex relationship with the world around them.

Clearly, these early Homo sapiens were symbolic, just as we are, re-

creating the world in their heads in a way no other living organism

had or has ever done.

We should not be surprised, then, that Cro-Magnon cave art was

evidently far more than mere decoration: that it went well beyond

simple aesthetics or literal representation, to embody and explain its

makers’ view of the world and their place in it. There can equally be

no doubt that the very spaces in which it was made possessed a

significance to the artists that lay well beyond the mundane. Sadly,

though, the material record is frustratingly silent on issues beyond

the technical. The Cro-Magnons bequeathed us only the most

indirect clues to the systems of belief that informed their lives and

their art; in all likelihood the details of those beliefs are lost beyond

recovery.
 Still, we are today every bit as curious as the Cro-Magnons

evidently were, 20,000 years ago; and when we leave the special

places where their art has been preserved, we cannot help but be

assailed with questions, answerable or not. Just who were those

artists? How did they live? What motivated them? What did their

art mean to them? And why did they create it in such mysterious

and sometimes spectacularly inaccessible places?

When your head is ringing with such issues, there is no better

companion than Christine Desdemaines-Hugon. An archaeologist

by training, with a specialty in the symbolisms of small-scale Cro-

Magnon “portable” art, she is also the preeminent English-language

guide to the Ice Age decorated caves of the Dordogne region. In a

quarter-century of sharing these astonishing sites with specialists

and the general public alike, she has gained an extraordinary

familiarity with them. And over years of personal study, she has

developed a subtle understanding of the harmonies and complexities

of these unique spaces.

In this book Christine takes the reader to five of the most

renowned decorated caves in the vicinity of Les Eyzies, the French

“capital of prehistory” on the Vézère River: Font de Gaume,

Combarelles, Cap Blanc, Rouffignac, and Bernifal. This judicious

choice runs the gamut: vast interiors and intimate ones; caves and

rock shelters; polychrome paintings and delicate engravings; bas-

reliefs and finger tracings; bold animals and obscure geometric

symbols. Christine’s accounts resonate with her affection for these

ancient Ice Age haunts, each so different from all the others. Her

descriptions are suffused by her intimate knowledge of the images,

and of the places they adorn. And her interpretations are informed

by her unique way of seeing with the eyes both of an archaeologist

and of an artist.

Stepping-Stones is the culmination of many years of thought and

experience, and consulting this remarkable book before visiting any

of these Ice Age sites will add immeasurably to the experience of

novices and seasoned aficionados of Paleolithic art alike. But beyond

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