Henceforth, other perspectives are emerging, and complementary research programmes can be developed, especially with regard to the following points:
• updating photographs and tracings by means of present-day technical methods;
• recognition of the different pigments used;
• detection of possible paint recipes;
• study of several superimpositions: engravings/paintings and paintings/ engravings;
• presence (or not) of elements that may offer the possibility of direct dating.
• comparative analyses of samples from mineral deposits close to the cave, in order to determine the provenance of the Gouy paints (perhaps local).
Finally, links between the decorated wall and material picked up from the cave floor may perhaps emerge from:
• a blade with traces of red ochre on its base;
• the ochred interior of a perforation in a cervid tooth (piece of jewellery).
Comparisons must also be made with the red signs in the Grotte du Renard at Orival. The study of all the parietal art in the two caves should be carried out in parallel (Martin 2001: 215, and my official application of 27 August 1998).
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