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The shelters of stone - Jean M. Auel [2]

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partly because by then I had learned much more about the painted caves than I knew the first time. Though these places are not yet included in the story, the many discussions with him about concepts and ideas, especially regarding the reasons that the Cro Magnons may have had for decorating their caves and living sites, have been enlightening.

I made my first visit to the cave of Niaux in the foothills of the Pyrenees in 1982, for which I must thank Dr. Jean-Michel Belamy. I was indelibly impressed with Niaux, the animals painted on the walls of the Black Salon, the children’s footprints, the beautifully painted horses deep inside the extensive cavern beyond the small lake, and much more. I was moved beyond words, for Dr. Belamy’s more recent gift of the exceptional first edition of the first book about the cave of Niaux.

I feel gratitude beyond measure to Count Robert Begouen, who has protected and preserved the remarkable caves on his land, LEnlene, Tue d’Audoubert, and Trois Frères, and established a unique museum for the artifacts that have been so carefully excavated from them. I was overwhelmed with the two caves I saw, and am deeply grateful to him, and Dr. Clottes, for guiding my visits.

I also want to thank Dr. David Lewis-Williams, a gentle man with strong œnvictions, whose work with the Bushmen in Africa and the remarkable rock paintings of their ancestors has engendered profound and fascinating ideas and several books, one co-written with Dr. Clottes, The Shamans of Prehistory, which suggests that the ancient French cave painters may have had similar reasons for decorating the rock walls of their caves.

Thanks are also owed to Dr. Roy Larick for his helpfulness and especially for unlocking the protective metal door and showing me the beautiful horse head carved in deep relief on the wall in the lower cave at Commarque.

I am also grateful to Dr. Paul Bahn for helping me to understand some of the conference presentations at the Lascaux anniversary meeting by translating them for me. Through his efforts, I had the honor of meeting three of the men who as boys discovered the beautiful cave of Lascaux in the 1940‧s. The site brought me to tears when I saw its white walls filled with such remarkable polychrome paintings, I can only imagine the impression it must have made on the four boys who followed a dog into a hole and saw the cave for the first time since its entrance collapsed 15,000 years ago. Dr. Bahn has been of great assistance to me, both through discussions and his books about the intriguing prehistoric era that are the subject of this series of novels.

I feel great warmth and gratitude to Dr. Jan Jelinek for continued discussions about the Upper Paleolithic Era. His insights about the people who lived during the time when anatomically modern humans arrived and settled in Europe and met the Neanderthals who were living there are always valuable. I also want to thank him for his assistance to the Czech publishers in their translations of the previous books in this series.

I read the books of Dr. Alexander Marshack, who pioneered the technique of examining carved artifacts under a microscope, long before I met him and I appreciate the efforts he has made into the understanding of Cro Magnons and Neanderthals, and the papers he sends me. I have been impressed with his cogent and thoughtful theories based on his careful studies, and continue to read his work for his penetrating and intelligent perceptions about the people who lived during the last Ice Age.

During the three months I lived near Les Eyzies de Tayac in southwest France doing research for this book, I visited Font-de-Guame Cave many times. I owe special thanks to Paulette Daubisse, who was the director and in charge of the people who guided the visitors to that beautifully painted ancient cave, for her kindness, and particularly for giving me a special private tour. She lived with that very singular site for many years, and knew it as though it were her own home. She showed me many formations and paintings that are not usually presented

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