future. But they may have used some kind of fence in their hunts.”
One red beast, with a black face and neck that seemed slightly too small and even delicate for its bulk, caught Lydia’s attention. Bull or cow? She could not tell. It carried light and slender horns, sinuous yet lethal as rapiers, and its expression looked for a moment mean and angry, and then just bewildered.
“This beast is extraordinary. It has character and expression-almost like a portrait,” she exclaimed.
“I am so glad you said that,” said Clothilde. “That is my theory, that these were not just generic animals, a standard bull or horse, but individual representations. I have this wild hope-that hardly anyone shares-that one day we might find a portrait of a person. There are some rough caricatures of human faces that have been found at La Marche, but I have this feeling that artists such as these not only could have produced recognizable human faces, but would almost have been impelled to do so.”
“Madame is known for the daring of her imagination,” said the director.
“I’m full of wild theories, you mean,” laughed Clothilde.
“Your President respects your intuition, and shares your hopes,” said Malrand.
“Then my President will want to find the money to finance my research project to discover new caves,” retorted Clothilde. “With echo sounders and access to satellite mapping and help from the Air Force, we could identify caves all across this region. There may be more caves like Lascaux, perhaps even finer. Perhaps we could find portraits of the first French people. The Ministry of Culture supports it, but the project always dies in the Council of Ministers. If you were to adopt it as the
“No politics, please, madame. I am taking a day off from affairs of state and budget battles,” said Malrand lightly.
“But you are the only man in power who loves this art as I do, the only man who could make the difference,” she protested.
“Madame, enough,” he snapped, in a tone so harsh and abrupt that Clothilde bowed her head and Lydia and Manners stared at the suddenly furious President. “I am not here to be badgered. You tried in the car and now you try again here. Just leave me in peace, if you please.”
“These horses,” Lydia exclaimed, by trying to smooth over the sudden row. “They look like the horses of ancient Chinese pottery, the same coloring and proportions.”
“We call them the Chinese horses,” said the director quickly, desperate to have his moment with the President unspoiled. “The parallels are striking-and horses are by far the most common animals here, four times more common than the cattle or the deer. But from the bones we found, they did not eat them. Reindeer was their main diet, and yet reindeer are very rare in the cave-there is only one, among some six hundred paintings and fifteen hundred engravings. And it is not even clear that it is meant to be a reindeer. That is why we doubt that there was a hunting ritual here, picturing the beasts they intended to hunt. Some scholars think that this painting was a work of the winter, when there was little else to do in the long nights. But they did not live in the caves, and from the tent sites we have found, there are signs that they were migrants, traveling with the reindeer herds. Allowing for the lack of domesticated animals and agriculture, they lived a little like the Evenk tribes of Siberia, a little like the Indians of North America.”
“Perhaps we should move on to the Nave,” said the director. “Back down this Axial Gallery, and through the narrow passage to your left. You now will see treasures that are unique. These parts of the cave have not been copied for the tourist exhibit. These can be seen only here, in the place where they were made. You will see on the ceiling above a mass of horses engraved into the rock. And now farther, into what we call the Nave. To your left, the famous panel of the black cow. And look beneath its rear feet, the checkerboards of black and red and yellow squares. Another mystery.”
Lydia could feel Clothilde fuming behind her, and reached back to squeeze her hand in solidarity. Dismayed that the joyful mood that gripped their small party in the Hall of the Bulls should now have become icy, she wondered why Malrand had reacted so furiously. He was probably sick and tired of people constantly asking him for favors. But there had been a distinctly personal note in his curt silencing of Clothilde, almost as if the two of them had been involved at some time in the past. Hmm, there was a thought. But surely a presidential mistress, even if the affair were long in the past, would know better than to appeal to him in public? No, Malrand said she had tried the same gambit in the car. Perhaps that was Clothilde’s point, to get some kind of public commitment.
“Behind us is my own favorite,” said Malrand, his voice normal, his mood apparently equable again. “Am I right, Monsieur le Directeur, that we now see the swimming stags?”
“Indeed so, Monsieur le President. A great work, its scale matched by its ambition.” The five stags’ heads stretched almost the full remaining length of the cavern, twelve or fifteen feet. Their antlers were far less ornate than those in the Hall of the Bulls, but somehow more real, emerging from a darker outcropping of rock that seemed to represent a river. Each stag’s head was cocked at a different angle, giving movement and continuity almost like a strip cartoon.
“How far does this cavern stretch back?” asked Manners.
“The Nave behind you goes on, ever narrower, and then dropping sharply, for some fifty meters, into a small chamber we call the Hall of the Cats, but they are very hard to see and it is not easy to reach. Down this way, we drop into what we call the pits, and then down a steep drop of stones into a kind of well, probably scooped out by swirling waters from the times when this was the course of an underground stream. It goes on another twenty meters or so, through a gap too narrow for anyone but a devoted cave explorer. But if we are careful here as we descend, we come to something quite unique.”
He played his light into a small gallery, picking out to their right the unfinished drawing of a horse; he swiveled the torch to the left, to the outline of a beast like a rhinoceros. Then he brought the light back toward them, and Manners reacted as if he had been punched.
“My God, it’s a killing!”
“More than that, a combat,” said Malrand. “Which leaves both participants dead.”
A crude drawing of a man, almost a stick figure, lay on the ground, arms outstretched. His head had either been very crudely drawn, or had been given a long, birdlike beak. His penis was erect, and in the shape of a spike. Below him lay a stick with a bird perched on one end. Towering over the fallen men was a great bison, some four feet long, its horns aiming down to gore at its victim. But a stick, perhaps a spear, was in the doomed beast’s belly, and its entrails spilled in great loops on the ground.
“There are many theories about this, but only some elements I think we can be sure of,” said the director. “That stick with the bird on top seems to me to be a decoy. A hunter could lie in wait in a pit with that stick poking above it. I have seen some local people hunt small birds this way. Possibly the fallen man is wearing a bird mask for the same reason. Some people call him the shaman, or magician, since we know that bird and animal masks are worn during rituals by the shamans of many Native American and Siberian tribes. And then there is another stick on the ground, with a diagonal line running from it. I think that is a spear thrower, a stick onto which a spear was placed, and which greatly increased the force and range of the spear’s flight. Beyond that, I cannot usefully speculate.”
“You certainly have Leroi-Gourhan’s male principle there,” said Malrand. “But then men do sometimes experience that phenomenon of erection in violent death.”
“Do you have any personal theories about this drawing?” Lydia asked. “Not a scholar’s hypothesis, but your own view.”
“I think it is more than the simple portrayal of the tragic end of a hunt, mademoiselle,” he said. “He may well be a shaman, but certainly I think there is ritual and magic involved, beyond the prosaic explanation of the bird as a hunter’s decoy. It is the only image of violence in the whole cave, and it is a double violence, depicting the death of the shaman and the death of the beast, as if one somehow caused the other. Given the love and celebration of life that we see elsewhere in the cave, to me it does not truly fit.”
“There’s the portrait of early man you wanted, Clothilde,” said Manners. “Killing and being killed. An artistic and philosophical statement on human nature.”
“But incomplete,” replied Clothilde, amiably. “There is more to humankind than that-as we see and as we know from the rest of the cave. If these artists wanted to depict our dark side, then they have overwhelmed it with images of our better nature. So if they are showing man killed and killing, I choose to believe that they have also made art which shows human beings doing better things.”
“There is room for many faiths in this cave, Clothilde,” said Malrand pensively. He had called her Clothilde at last, noted Lydia. “And yours is a noble one. I like to think that you are right.”
