barbed harpoons): the drawing is instinctive; the animal is fixed in a few lines which record the unreserved gesture of the hand whose momentum died away—a very different technique from the painstaking, attentive, constantly interrupted lines of Sainte-Eulalie. The end of the animal art is near.
It was in layer IV, dated by radiocarbon to 12,620 + 130 bp (Gif A 92345), that in association with an early Azilian industry we found some 'big-headed horses'; towards the top of the layer these drawings became decreasingly figurative and increasingly geometric. They are then associated with purely geometric motifs which become exclusive in the layers of the typical Azilian (Lorblanchet 1996).
It should be noted that in a region close to the Quercy, the miniaturization of the head of horses (and bovines) reappears in a regional facies of early Azilian art: in the Laborian and Protolaborian of Pont d'Ambon (Dordogne) and La Borie del Rey (Lot-et-Garonne) (Celerie 1980; Le Tensorer 1979).
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