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Table sur 3 piliers de 5 m. de long ; 2,80 m. de large ; environ 20 tonnes. Une autre dalle de 6 m. de long et 25 tonnes.
Chambre légèrement allongée de forme trapézoïdale longue de 5,50 m. et d’une largeur interne de 2,60 m. Fouillé en 2003 et restauré en 2006. Chaque pierre nouvelle dans la construction de la chambre est marquée par une pastille en laiton scellée dans la masse et estampillée de la date 2006.
Table sur 3 piliers de 5 m. de long ; 2,80 m. de large ; environ 20 tonnes. Une autre dalle de 6 m. de long et 25 tonnes. Chambre légèrement allongée de forme trapézoïdale longue de 5,50 m. et d’une largeur interne de 2,60 m. Fouillé en 2003 et restauré en 2006. Chaque pierre nouvelle dans la construction de la chambre est marquée par une pastille en laiton scellée dans la masse et estampillée de la date 2006.
Charles Croix écrivait en 1930 :
“C’est un bloc de forme quadrangulaire de 4 mètres de long sur 3 mètres de large. Il gît à quelque distance du village de Villers-le-Sec, à 20 mètres du chemin vicinal qui mène de Delle à Bure (territoire de Belfort). Ce bloc porte cinq empreintes et un trou irrégulier deux d’entre elles ressemblent assez exactement à la trace d’un pied chaussé d’une sandale; elles sont attribuées à saint Dizier (qui a donné son nom à un village voisin) les autres empreintes, qui affectent à peu près la forme d’un sabot de bœuf, traversant la pierre de part en part et sont imputées au diable.
Statue-menhir du Colombier, Euzet-les-Bains
Gard. From the Muséum d'histoire naturelle de Nîmes
Chalcolithic, so from around 5,200 ybp. 41 x 38 x 16 cm.
Made by peoples recognized under the term Fontbouisse, so villages like Cambous and the region of the Gard and Herault in the scrib lands behind the the area where the Mediterranean turns towards the east.
A paper describing the find:
With a cluster of dolmens on the plateau above this cliff ledge, and similarities with other rock art sites dated to the Neolithic, for example the Dolmen de la Creu de la Llosa some 200km south; and with cup and canal profiles of the type associated with the impact of stone tools, this site is dated to within the neolithic range. The engravings are as deep as a site such as the 'Inscultures de les Creus de Planelles' which probably indicated that it held its meaning over many generations.
On this inland cliff, strata of limestone mix with strata of sandstone 'grès'. The limestone is the weaker and ledges are produced. Here the ledge offers a broad westerly panorama over a full range of a landscape, and all directions have rock surfaces with rock art. The station is limited to around 7 or 8 metres. In effect there are some more cups and canals to the left and even a few on a last surface to the right. One or two cups in the near ground seem to have been squared up in recent centuries, probably by a 'shepherds' whiling his time over pre existing marks.
The average size of the cups works out at around 7.6cm and 3.1cm deep.
The station is difficult to find. The light was poor, so I bracketed for an HDR - never a great idea with a 50 year old fisheye and the aberrations are not great, but never mind.
AJ
The site is mentioned in this paper:
Less than one straight kilometre from the Cascade Pétrifiante of Saint-Pierre-Livron can be seen the La Grotte du Four:
www.persee.fr/doc/bspf_0249-7638_1974_hos_71_1_8274
As far as I understand it has strata from 4000- 3700ybp, so from the ages of megaliths. It is relatively typical to find caves and abris in use during late ages of prehistory in the Pyrenees (rain and snow pushing lifestyles into the constant temperature and large apertures) - less so further to the north where huts and 'tents' took over, even if a cave in Le Croz, around 8km north has strata from late ages (maybe Mesolithic and Neolithic).
In history, the same cave space was used to house a 'four a pain' or bread oven, which is itself quite unusual. With these communal ovens providing a focal point for society aside two springs of fresh water and before a spectacular series of waterfalls, it is of no surprise that pilgrimage was attracted and pathways with crosses or adorned stones radiate. Another shallow cave with a view down on the cirque and this bread oven was home to François Palau, 19th century Spanish 'hermit' and founder of a congregation of the Ordre du Carmel. Today much of the start of this shortest of rivers before the waterfalls is dedicated to related spiritual activities of church and 'retraite' with much input from the Spain of Palau.
The bread oven was usually an asset for a group of houses. Wood was placed inside and burnt, heating the brick or stone. A single opening operates as air intake and smoke outlet with the two fluid drafts stacking as currents. Cinders are removed and heat equilibrated with a wet rag. Larger ovens can be seen to have edges with glowing cinders, some are cleaned out completely prior to adding the dough. Once inside the door is shut and the bread left to cook in the residual heat.
AJ
Four hill top settlements from on and around the Causse Méjan. The stoney armature is evident in three of the examples.
Top left: Oppidum de Blacarede
Top right: Hures
Lower left: Mont Buisson
Lower right: Le Tourel
NO MORE MY SPACE
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In the exhibition NO MORE MY SPACE, a selection of 50 pictures shows people frozen in time, carefully framed into slivers of stories that diverge in cities all over the world at different times. All caught by the eye of the street observers.
This initiative highlights 50 different pictures that were submitted to one of the BSPF contests from previous years.
Curator Diana Di Nitto
The exhibition NO MORE MY SPACE is part of the Brussels Street Photography Festival (BSPF), and a Cakri project in collaboration with the Brussels Newsroom and the House of Cultures of Molenbeek.
For more information about the BSPF program www.bspfestival.org/en/program/
- Facebook event -
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ARTISTS
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Alex Liverani
Angkul Sungthong
Barry Talis
Bruno Cunha
Chris Suspect
Damian Milczarek
Daniele Esposito
Davide Albani
Denis Karasev
Dmitry Stepanenko
KinWing Edas Wong
Faruque Islam
Forrest Walker
Giacomo Vesprini
Giovanni Stimolo
Guille Ibanez
Hakan Simsek
Ivan Margot
Jacek Szust
Jeffrey De Keyser
Jerome Lorieau
Julie Hrudová
Poupay Jutharat
Kanrapee Chokpaiboon
Kevin Scarlett
Kristin Van den Eede
Lorenzo Lessi
Maciej Holy
Martien van Beeck
Merlin Meuris
Michal May Monty Maybe
Mykhailo Kulyk
Paweł Piotrowski
Poike Stomps
Reuven Halevi
Sakulchai Sikitikul
Sam Ferris
Sigrid Debusschere
Sirawit Kuwawattananont
Soumyendra Saha
Stefano Mirabella
Svilen Nachev
Sylvain Biard
TC Lin
Tibor Radvanyi
Ximena Echague
Yota Yoshida
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Left: "Dame de Saint Sernin" - a female statue menhir with, between her breasts, a "pendoloque en Y". From between 5500 and 4000 ybp.
Centre: The same statue holding an areal view of the landscape at the centre of the Cham des Bondons (1100 m). The 'cham' ('fields' as in 'camps' and 'champs' with some people opening the deffinition to the more general 'plateau') is a prolongation of the Causse de Sauveterre. Notice how the two hills and Y-shaped ravine correspond.
Right: The same statue menhir holding an areal view of a central position in the Causse de Blandas - another loci rich in megaliths. Here the statue menhir is set back as I have yet to fully test the visibility of this OYO landscape from ground level. If it cannot be abstracted from ground level then it is of no potential interest.
Notice circles separated by 'Y' shapes in the upper chest areas of all three images. Notice distances and proportions. Notice how that without the reference from the geographies, the depictions of breasts seem odd, perplexing and even naive. As a ritual landscape, the statue menhir is not wearing two hills and a ravine, but is wearing what the landscape features stood for, so from a palate of ideas that includes fertility, season, 'rain' and perhaps an idea of' joining' symbolised by a clear starting 'Y' of flow.
It might be expected that there is enough landscape available to the modern eye to easily find examples of circles and Y's - and this may well be true, but the montage remains relevant when one understands that the central view at the 'Cham des Bondons' is today surrounded by 154 menhirs, and constitutes the largest French megalithic group outside of Carnac in Brittany. Also, the dates for the Bondons zone overlap with the 120 Statue Menhirs of the Rouergat group, and that the Blandas megalithic cluster boasts several exceptionally large cromlechs and a wide array of other megalithic interventions. All three sites are within a three to four day walking circumference, and all peoples spent many hours thinking about and acting on the erection of monolithic stones.
[Leaving the Blandas group aside for the moment]: linking the Rouergat statue menhirs with the Bondons menhir cluster seems to have some obstacles - none of the menhirs from the Cham de Blondons have been carved into the category of Statue menhir. Whilst the statue menhirs of the main Rouergat are sculpted from grès (sandstone), which is far softer than granite, those from the Monts de Lacaune subgroup are carved from a granite-like rock: they often have simpler motifs, but still illustrate that the Bondons standing stones were shaped and smoothed but not directed as obvious and permanent human figures. Some in the Bondons groups seem simply to be giant versions of neolithic polished tools. Putting aside the subset of hyperbolic tools, the question needs to be asked - might the Bondons menhirs have used pigment for temporary lines that were in keeping with the schematic lines we see on the Rouergat statue menhirs? Painted schematic marks are suspected for 'frame' spaces left within certain statue menhirs in the position of the head, for example the Statue-menhir de la Verrière and red pigment was found on the neolithic stèles gravées de Beyssan from the Vaucluse region.
www.persee.fr/doc/bspf_0249-7638_2015_num_112_4_14599. Just such painting over even a subset of the 150 standing stone examples, would create a dramatic vista of ancestor 'giants' for visitors to solstice and other meetings. A seriously dramatic vista. The problem is that painting figurative lines on large stones on just such a scale would have a potential for mixed messages after rain storms (the weather of the Bondons is not that of Provence and the Vaucluse). The pigment might run changing bold ancestors into eerie phantoms, which leads to the question, could the Bondons standing stones have been decorated with braids attached by clay-ball, counter-weights and knots? Braids, weaves, offcuts and vast decorative ropes that turned the stones into graphic giants when seen from near or afar? Decorated stones that remain manageable even after the rain storms that can be attracted by Mont Lozere? Here, pigment may still have played a role in directing the visual meaning of standing stones - but within smaller and more manageable 'frames' or added to the stone itself, but in ways that did not risk a confusing blur of detail. Now look again at the statue menhirs... can you see direct representations of ropes, weave and braids? In 1983, the prehistorian Gabriel Champs mused that "the disposition of the legs, which start immediately under the belt suggests that the figure is seated". Look at the side stoop to the Dame de Saint Sernin shows to me that the figure was standing... but the dangling legs often seem to 'blow in the wind' rather than hold a figure upright to the surface of the earth, and they may simply have been representing the lower part of a weave and rope structure held in place by counter weights behind and at shoulder level.
The material of line (weave, rope...) provides a constraint to figurative line - the way rope and cloth hangs and weighs with gravity friction and the wind - and a limit to ways to create bold figures. Drawings of the vivid and powerful decorated standing stones (let's say painted onto a rolled leather pelt) would adhere to the schematic rules of rope and weave, creating the unusual 'schematic' line 'language' we see today. Some statue menhirs may closely reproduce memories of weave adorned menhirs from Bondons, others may slide towards representations of real people, but with the same line conventions of simplification.
Some people have names from a past trade: 'Mr and Mrs Carpenter', ...'Fowler', ...'Farmer'... and when a decision is made to erect a standing stone to honour ancestral memory, it is perhaps understandable that some persons or communities that had dedicated their lives to the production of polished stones would want their tools to represent them and not their bodies - so the subset of hyperbolic stone tools should perhaps simply be expected and accommodated.
Bringing the granite of Mont Lozere to the white marlstone of Bondons, and then mixing the red pigments that give the name to the Rouergat would provide bold whites, pinks and reds to asigne 'life' to figures that look down on a common land. Without the red, the white looks dead, without the white the stone is mineral; without the granite there is no permanent stucture...
Bringing people together for celebrations (solstice and other) also redistributes skills and resources. Problems and issues of bandits, rustlers and tricksters can be talked through and dealt with as common goals for a shared landscape. Perhaps the first signs of a warrior class found gestation and meaning: roles closer to today's word 'police', with assemblies into 'military' coagulating under pressures of iron and certain manifestations of the word civilization. Warriors involving locals may involve violent events, but again not 'military' of scale, organisation of objective.
Perhaps the arms and legs can now be seen as representing movements of diverse local peoples from different directions with fingers and toes representing distinct local crofting areas? Perhaps the typically long noses represent menhirs? Perhaps the round eyes represent tumuli, cromlechs or rounds of people? Perhaps "le object" attached to the male statue menhirs was a powder bag of ground red pigment for bands of face paint - a bag for a religious man and not a knife holster for a farmer? Perhaps the women with 'y' pendants were the 'nuns' of the greater landscape - living representatives of the megalithic ways of mother earth clearly manifest aside the Cham de Bondons. Perhaps each 'mamelon' hill was a symbol: sun and moon, night and day with a 'Y' of water originating from both, and showing how the will of 'Gods' blend together into a single flow. Gods joining to a combined river of spiritual will, all enabled by a discrete but sensual mother earth. Before long it is possible to see that the schematic constraints of the statue menhirs may in truth be due in part to the human form being procured to encapsulate a demographic and spiritual regional comprehension, and that rather than naive schematic lines, they are symbolic conventions.
I propose a theme for experimental archaeologists: find a Bondons statue menhir in strong monolithic granite and, with due permission, and using only clay 'glue' and weights and knots, try and see what types of rope, weave and knotted braid and weight might provide thick graphic line and visual figurative impact. Remove the wooden scaffold to photograph different versions and options, from near and afar, to build up both a skill-set and studied opinions. People who are experienced and fast with natural fibres, bold pigments and braids, and those who can put up and take down a simple scaffold multiple times would make up a small team and the results would be largely anecdotal but nonetheless of real interest. Bringing a new menhir in from Mont Lozert would be an alternative to using a strong existing example. The Col de Mirat zone of the Cham des Bondons currently has just one menhir from the nine registered at the turn of the century, so perhaps this zone could also be used to show how small teams can move heavy weights.
AJM 8.2.20
Here we see the circles for breasts without the "Y" shaped tie-bra so often associated with female statue menhirs. To see breasts without the "Y" pendant may simply be because the statue is remembering an older woman who has passed her chapters of fertility.
Both men and women became statues with their modest tools on show. Were this to be an older woman it would be an example of a society keen and able to describe itself in full.
I have argued that the 'Y' is a reference to a Y shaped ravine between two breast shaped hills at a key geographical and geological loci for a wide region (see below). The ravines are steep, easily visible and have no source - they are a 'start' and they almost immediately start to mix at the junction of the 'Y'. The importance of 'mixing' in the neolithic cannot be underestimated as the culture stopped moving and applied life experiments of observation, breeding and selection on domesticated breeds.
It is often argued that female statue menhirs are smaller - I do not have the exact measure for this example but it perhaps in the region of 1.7m so perhaps an exception.
The work was apparently donated by l'abbé Frédéric Hermet at the end of the 20th century.
The belt on this example is particularly rich in detail and variety. Here is an article on statue menhir belts:
eyegobananas.com
" I guess I could be pretty pissed off about what happened to me, but it's hard to stay mad when there's so much beauty in the world. Sometimes I feel like I'm seeing it all at once and it's too much. My heart fills up like a balloon that's about to burst. And then I remember to relax and stop trying to hold on to it. And then it flows through me like rain, and I can't feel anything but gratitude for every single moment of my stupid little life. You have no idea what I'm talking about, I'm sure. But don't worry: you will someday. "
I thought I saw another boob building again, but the truth is... I actually pictured this classic song called "Balls To The Wall", released by the German Heavy Metal band Accept in 1983, the year I was born.
.
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Start your weekend with a song about slaves that break free at work, to get your
BALLS TO THE WALL, man!
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.
.
#ballstothewall #accept #startyourweekend #dirkschneider #heavymetal #germanmetal #classicalbums #alltimeclassic #anderlecht #bruzz #bspf #brusselblogt #brussels #boobbuilding #twintowers #tittytwister #thetittytwister #interestingbuildings #Belgianarchitecture #seemybrussels #visitbrussels #putaanderlecht #brusselsworld
Champtocé-sur-Loire (Maine-et-Loire)
Dolmen du Champ-du-Ruisseau appelé aussi allée couverte de Pontpiau.
Près de l'ancienne commune de Villemoisan.
Edifice néolithique construit à proximité de la rivière Auxence et quasiment orienté Est-Ouest, l'entrée étant à l'Est. Le monument caché dans un bosquet et aux 3/4 enterré n'a été redécouvert, par hasard, qu'en 1949 par le docteur J.-B. Glotin.
La plupart des dalles sont en grès gris un peu verdâtre, provenant d'un affleurement situé à 450 mètres au Sud, au sommet du coteau.
Trois dalles, celle du fond du monument, le premier orthostate sud (orthostate = pierre verticale) et le troisième sont d'un poudingue à gros galets dont l'affleurement le plus proche est à plus de 5 km.
La dernière dalle de couverture, à l'Est, porte des traces de polissage d'outils.
La découverte de pièces gallo-romaines suppose une réutilisation de l'édifice comme fanum (temple).
Voir : Gruet M., Glotin J.-B., Siraudeau J., Siraudeau M.-C., Passini B. L'allée couverte de Pontpiau en Champtocé (Maine-etLoire). Bulletin de la Société préhistorique française. Études et travaux, tome 69, n°2, 1972. pp. 585-598.
Un dolmen est une construction mégalithique préhistorique constituée d'une ou plusieurs grosses dalles de couverture (tables) posées sur des pierres verticales qui lui servent de pieds (les orthostates). Le tout était originellement recouvert, maintenu et protégé par un amas de pierres et de terre nommé tumulus. Les dolmens sont généralement interprétés comme des tombes à chambre, des monuments funéraires ayant abrité des sépultures collectives.
Date d'environ 2000 ans avant notre ère. Il mesure environ 5 mères de long, trois dalles de grès pesant jusqu'à 10 tonnes couvrent deux chambres et sont supportées par des murs en pierres appareillées. Une sépulture gauloise adventice a été déposée par la suite à son flanc extérieur.
www.persee.fr/doc/bspf_0249-7638_1963_num_60_9_3944
rozoy.fr/publication.php?doc=giraumont
www.tourisme-valleesetplateaudardenne.com/incontournables...
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Pays : France
Région : Pays-de-la-Loire
Département : Vendée (85)
Commune : Givrand (85800)
Lieu-dit : Les aboires
Marqué : "P2 n° 2.985 Serpentine ou éclogite"
"Les aboires H.P. n° 251"
Nature : récolte de surface
Bibliographie : Inventaire JADE_2008_0642
Baudouin Marcel. Les Haches en serpentine de la Vendée. In: Bulletin de la Société préhistorique de France, tome 32, n°4,
1935. pp. 245-247.
www.persee.fr/doc/bspf_0249-7638_1935_num_32_4_6196
Description : lame de hache polie de type Bégude, section ovalaire épaisse. Poli 3, côtés et talon bouchardés, stigmates de taille. Intacte
Dimensions : Long = 173 mm, Larg = 50 mm, Ep = 36 mm
Masse : 544 g, dont densité : ?
Matière première : roche un peu laminée, gros grenats millimétriques en atoll ; éclogite rétromorphosée type Viso Porco.
Analyse spectroradiométrique : 2018_JADE_166 2018_JADE_167
Éclogite légèrement jadéitique.
Couleur : vert moyen
Datation : néolithique
Inventeur : Collection Marcel Baudouin (1860-1941) n° 2985 H.P. (pour hache polie) n° 251
Lieu de dépôt : Tours
Champtocé-sur-Loire (Maine-et-Loire)
Dolmen du Champ-du-Ruisseau appelé aussi allée couverte de Pontpiau.
Près de l'ancienne commune de Villemoisan.
Edifice néolithique construit à proximité de la rivière Auxence et quasiment orienté Est-Ouest, l'entrée étant à l'Est. Le monument caché dans un bosquet et aux 3/4 enterré n'a été redécouvert, par hasard, qu'en 1949 par le docteur J.-B. Glotin.
La plupart des dalles sont en grès gris un peu verdâtre, provenant d'un affleurement situé à 450 mètres au Sud, au sommet du coteau.
Trois dalles, celle du fond du monument, le premier orthostate sud (orthostate = pierre verticale) et le troisième sont d'un poudingue à gros galets dont l'affleurement le plus proche est à plus de 5 km.
La dernière dalle de couverture, à l'Est, porte des traces de polissage d'outils.
La découverte de pièces gallo-romaines suppose une réutilisation de l'édifice comme fanum (temple).
Voir : Gruet M., Glotin J.-B., Siraudeau J., Siraudeau M.-C., Passini B. L'allée couverte de Pontpiau en Champtocé (Maine-etLoire). Bulletin de la Société préhistorique française. Études et travaux, tome 69, n°2, 1972. pp. 585-598.
The famous "main de Morenci" is carved in stéatite and was found in one of the fissures of the Le roc de la Dentillère - perhaps indeed this one, which travels from one side of the tall rocky outcrop to the other. As far as I understand, this is the fissure that was used for Chalcolithic sepultures. It may have been slightly adapted and can be seen to have an erotic allure of feminine fertility. An drawing of the rock can be seen in this paper:
www.persee.fr/doc/bspf_0249-7638_1930_num_27_3_6827
An ancient menhir stands to the side of the roc de la Dentillère. It was converted into a cross in the 17th centuary (complete with a rustic face) and vandalised by car in 2007, with the current being a replacement facsimile. There is also a story of it being hit by hammer n the 1970s and the fate of the original stones needs further clarification. Below this standing stone and down from a ridge point of the col de Morenci (an ancient path from Belésta towards the loci of the Chateau of Montsegur and then Mont Saint Bartholemy) can be found the disc topped Rocher de Fougasse. A small tumuli was found to the south of the above outcrop. Lower down, the "Font de L'escoupie" is an index site for stratification in the Ariège for between the neolithic and chalcolithic. As many as eight groupments have been isolated. There may be further petroglyphs around the col de Morenci, but for the moment I have no hard details. An important prehistoric passage. The rock above the fissure has ancient primitive steps. Details of an associated Dolmen de Morency seem unclear to me at present. Other tumuli are said to exist on the greater ridge.
When I arrived at the col for a lunch time picnic before the exploration and photography, we saw one car and a rug with people lying down; either hikers having a mid walk siesta or picnickers who had finished a bottle of wine and were sleeping it off - my first impression, and 99% of the time it is just that. After a long hour I arrived to photograph the above cavity-sepulture only to find that the group of three were now lying on the ground in front on the very spot where my tripod needed to be. I asked them if they might move aside for a short while. It just so happened that the shot would take ages - multiple exposures for stacking and focus (I ended up enjoying a little blur in the shot). During the shoot I could overhear the three utterly normal adults. One was guiding the other two to access life forces from the stones. The couple were disconnected from nature and had aches and pains from modernity and were being guided through the mystical narrative of the landscape. I had come across individuals who were still active with folklore traditions of spirituality and landscape via translation work of rural traditions in the Occitane language, but was taken aback to share a space in just such circumstances. It was certainly interesting to witness that the landscape still had significance, and that perhaps the threads into our deepest past refuse to be cut.
AJ
Champtocé-sur-Loire (Maine-et-Loire)
Dolmen du Champ-du-Ruisseau appelé aussi allée couverte de Pontpiau.
Près de l'ancienne commune de Villemoisan.
Edifice néolithique construit à proximité de la rivière Auxence et quasiment orienté Est-Ouest, l'entrée étant à l'Est. Le monument caché dans un bosquet et aux 3/4 enterré n'a été redécouvert, par hasard, qu'en 1949 par le docteur J.-B. Glotin.
La plupart des dalles sont en grès gris un peu verdâtre, provenant d'un affleurement situé à 450 mètres au Sud, au sommet du coteau.
Trois dalles, celle du fond du monument, le premier orthostate sud (orthostate = pierre verticale) et le troisième sont d'un poudingue à gros galets dont l'affleurement le plus proche est à plus de 5 km.
La dernière dalle de couverture, à l'Est, porte des traces de polissage d'outils.
La découverte de pièces gallo-romaines suppose une réutilisation de l'édifice comme fanum (temple).
Voir : Gruet M., Glotin J.-B., Siraudeau J., Siraudeau M.-C., Passini B. L'allée couverte de Pontpiau en Champtocé (Maine-etLoire). Bulletin de la Société préhistorique française. Études et travaux, tome 69, n°2, 1972. pp. 585-598.
Pays : France
Région : Hauts-de-France
Département : Pas-de-Calais (62)
Commune : Pas-en-Artois (62760)
Nature : récolte de surface
Bibliographie : Inventaire JADE_2019_0013
Description : lame de hache polie à section ovalaire (moyenne), talon pointu, piquetage annulaire. Type Bégude. Tranchant retaillé volontairement. Traces d’oxydation dues à des chocs récents d’outils aratoires. Objet signe
A rapprocher des exemplaires du site éponyme de la Bégude-de-Mazenc (Drôme)
www.persee.fr/doc/bspf_0249-7638_1998_num_95_2_10770
www.persee.fr/doc/bspf_0249-7638_1998_num_95_2_10769
Dimensions : Long = 355 mm, Larg = 72 mm, Ep = 34,6 mm
Indice d’élancement (L/ép.) = 10,26
Masse : 1371 g, dont densité : ?
Matière première : roche à grain fin, avec petits grenats en lits. Éclogite pauvre en grenats (Viso)
Analyse spectroradiométrique : ORGNAC - oct. 2021 – 84
Manu_005a (parallèle à l'allongement) et
Manu_005b (perpendiculaire à l'allongement) cf. Endmember_251 (0710 ; oui) = Jadéitite typique ("en auge"), très faiblement rétromorphosée. Les comparaisons les plus convaincantes indiquent toutes que l’origine la plus probable est le Massif du Mont Viso et plus particulièrement Oncino (Porco, Bulè, etc.) et les alluvions qui en dérivent.
Couleur : vert clair à vert moyen lumineux
Datation : néolithique (1ère moitié du Vème millénaire 5000-4600 av.JC)
Lieu de dépôt : Tours
Pays : France
Région : Vallée de la Loire
Marqué : Loire Valley France 452
Nature : récolte de surface
Bibliographie : inédite
www.persee.fr/doc/bspf_0249-7638_1987_num_84_9_9840
www.persee.fr/doc/bspf_0249-7638_1974_hos_71_1_8272#
www.academia.edu/2922075/Pailler_Y._2012_-_La_fibrolite_u...
Description : petite lame de hache à section lenticulaire. Intacte.
Dimensions : Long = 58 mm, Larg = 36 mm, Ep = 9 mm
Masse : 33 g, dont densité : ?
Matière première : fibrolite
Couleur : beige marbré de noir et d'ocre
Datation : néolithique
Lieu de dépôt : Tours
Il s'agit d'une image issue de l'article de Carole Fritz et Gilles Tosello obtenue sur : www.persee.fr/web/revues/home/prescript/article/bspf_0249... (consulté le 28 mai 2013). C'est une sorte de tableau récapitulatif des différentes phases du travail de réalisation des dessins noir de la grotte Chauvet pour proposer différents modèles de séquences opératoires, du plus simple au plus élaboré.
Champtocé-sur-Loire (Maine-et-Loire)
Dolmen du Champ-du-Ruisseau appelé aussi allée couverte de Pontpiau.
Près de l'ancienne commune de Villemoisan.
Edifice néolithique construit à proximité de la rivière Auxence et quasiment orienté Est-Ouest, l'entrée étant à l'Est. Le monument caché dans un bosquet et aux 3/4 enterré n'a été redécouvert, par hasard, qu'en 1949 par le docteur J.-B. Glotin.
La plupart des dalles sont en grès gris un peu verdâtre, provenant d'un affleurement situé à 450 mètres au Sud, au sommet du coteau.
Trois dalles, celle du fond du monument, le premier orthostate sud (orthostate = pierre verticale) et le troisième sont d'un poudingue à gros galets dont l'affleurement le plus proche est à plus de 5 km.
La dernière dalle de couverture, à l'Est, porte des traces de polissage d'outils.
La découverte de pièces gallo-romaines suppose une réutilisation de l'édifice comme fanum (temple).
Voir : Gruet M., Glotin J.-B., Siraudeau J., Siraudeau M.-C., Passini B. L'allée couverte de Pontpiau en Champtocé (Maine-etLoire). Bulletin de la Société préhistorique française. Études et travaux, tome 69, n°2, 1972. pp. 585-598.
La table mesure 2,50 x 2,30 m. Elle porte les traces de tentatives de débitages par des carriers dans le but d’en extraire de la pierre à bâtir. Fouillé récemment, ce monument a livré des outils en silex et des fragments de céramique. Il a été restauré en 1985.
www.persee.fr/web/revues/home/prescript/article/bspf_0249...
Cette image provient d'une publication numérisée de Persée : www.persee.fr/web/revues/home/prescript/article/bspf_0249... (Consulté le 6 avril 2013) sur les dessins noirs de la grotte Chauvet. Sur ce plan les zones de la grotte où l'on trouve les principales concentrations de ces dessins sont identifiées en bleu.