Roc-aux-Sorciers | |
 Roc-aux-Sorciers | |
  Roc-aux-Sorciers Cave location in Nouvelle-Aquitaine, France | |
| Alternative name | Sorcerers' Rock |
|---|---|
| Location | Saint-Sebastien,Nouvelle-Aquitaine,France |
| Coordinates | 46°25′17″N1°31′27″E / 46.42139°N 1.52417°E /46.42139; 1.52417 |
| History | |
| Founded | c. 14,000 years ago |
| Abandoned | c. 10,000 years ago |
| Periods | Upper Paleolithic |
| Cultures | Magdalenian |
| Site notes | |
| Discovered | 1927 by Lucien Rousseau |
| Excavation dates | 1933 |
| Archaeologists | Henri Breuil |
Roc-aux-Sorciers is anUpper Paleolithicrock shelter site dating to the mid-Magdalenian cultural stage, around 14,000 years ago, made famous by its relief wall carvings. The site is in the French commune ofAngles-sur-l'Anglin, inVienne. The name 'Sorcerers' Rock', with its suggestions of pagan rendez-vous, was applied to the site long before the wall-carvings were discovered.[1][citation needed]
The south-facing rock-shelter at the base of the slopes of the Douce, above the right bank of the Anglin, about 1.5 km (0.93 mi) above the village, is composed of two geologically distinct sections; below is theAbri Bourdois, a classic rock-shelter site beneath a slight overhang, and above is theCave Taillebourg,[2] a deepervestibule. The two parts are separated by a zone that has not yet been excavated, kept in reserve. The site was classed aMonument Historique, 18 January 1955.
The rockshelter is open on the south side, on the right bank of the riverAnglin, at the base of the Douce cliffs. It is composed of two distinct geological parts:
These two parts are actually separated by a non-excavated area, which is being conserved as an archeological reserve. The site is classed as an Historical Monument since the 18th of January 1955. The names of the ancient owners of the parcels, Madame Bourdois and Monsieur Taillebourg, were conserved by Suzanne de Saint-Mathurin as names of the dug sectors. These names are still used.[3]
The history of discoveries at Roc-aux-Sorciers begins in 1927, when Lucien Rousseau discovered the Paleolithic habitation and identified it as mid-Magdalenian in its culture. He began excavations in the Cave Taillebourg and recovered an engraved stone in whichHenri Breuil detected the representation of amammoth.[4] Some years later, Suzanne de Saint-Mathurin became aware of Rousseau's article and decided to explore further, hoping to find some incised plaquettes like those from the cave atLussac-les-Châteaux, also in Vienne. Assisted by her friendDorothy Garrod, she carried out a decade of intensive campaigns between 1947 and 1957, and followed more sporadically until 1964. The team discovered carved blocks with sculpted and incised figures, sometimes painted, of bison, horses, wild goats, felines and the figure of a man. It soon became clear that these fragments had fallen from the roof of theCave Taillebourg. Only the carved and painted figure of a bison (illustration, right above) has remained in place.
In all it appears that there were two phases of occupation at Roc-aux-Sorciers, the first from the MiddleMagdelenian around 15,000 years ago which was sealed by the collapse of the rockshelter roof, and a second occupation from the Upper Magdelenianaround 12,000-10,000 years ago. The sculptures appear to be from the first occupation. As well as the wall art, traces of a domestic style occupation suggesting this was not a sanctuary.
The sculpted frieze was discovered in 1950. It is composed of bison, horses, wild goats, felines, and the headless and footless figures of women, of the type conventionally calledVenuses.
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The sculpted frieze is exceptional for the evidence it offers of the technical mastery of Magdalenian sculptors, for the anatomical details and the impression of power given to volumes in the play of firelight. Both animal and human figures strive for realism, a rarity inPaleolithic art that reinforces the unique value of the site.
The excavations brought to light the evidence of human occupation associated with this wall art, of a material culture represented in jewelry, lamps, and tools in flint, in bone and horn and in ivory. The frieze, some twenty metres in length, is an impressively monumental work of art. Numerous finely engraved figures show that graphic values could be expressed on an intimate scale as well.
After her death in 1991, Suzanne de Saint-Mathurin donated the site and her archives to the French state. Genevieve Pinçon continued excavations at the site as part of a multi-disciplinary team including Ludmila Iakovleva, the frieze was published in 1997.[5][citation needed]
A visitor centre has been built around the site in order to protect the friezes and present them to visitors.
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