Academic literature on the topic 'La Séquence de Sainte Eulalie'

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 I shall start by comparing the equids of the cave of Roucadour with those (likewise unpublished) of the cave of Combe Nègre 1 (Lot), and then those of the caves of Sainte-Eulalie and Pergouset (Lot), and I shall end by recalling the characteristics of the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.