Radiocarbon Dating: Charcoal from Passageway: 17,190 ± 140 BP (André Glory excavations). This places Lascaux at the boundary between Upper Solutrean and early Badegoulian/Magdalenian cultural phases.
This interactive reconstruction is based on micro-XANES spectroscopy, TEM analysis, and experimental archaeology (Chalmin et al. 2006, Lorblanchet 1990, Genty et al. 2011).
Scientific Methods: X-ray Absorption Near-Edge Structure (XANES), Transmission Electron Microscopy (TEM), AMS radiocarbon dating, uranium-series dating.
Micro-XANES analysis identified specific manganese oxide minerals in Lascaux paintings with NO local sources. Click regions to understand the geographic challenge.
Critical Finding: Manganese oxides detected at Lascaux (romanechite, hausmannite, todorokite, cryptomelane) have no deposits in the Dordogne region. Nearest sources: Central Pyrénées (Vieille-Aure, Labiat), ~250 kilometers away. This indicates long-distance travel or trade networks during the Solutrean-Badegoulian transition.
Source: Chalmin, E., Menu, M., & Farges, F. (2006). Stanford/ESRF micro-XANES study.
Critical Finding: Manganese oxide minerals (romanechite, hausmannite, todorokite, cryptomelane) have NO local deposits in Dordogne region.
Nearest sources: Central Pyrénées (Vieille-Aure/Labiat) — ~250 kilometers away
Implications: Long-distance travel or established trade networks during Solutrean-Badegoulian transition (17,190 ± 140 BP).
Iron oxides: Local Dordogne sources (25-40 km radius).
Analysis reveals DELIBERATE MIXTURES of specific minerals. Grind minerals using stone tools (shoulder blades as mortars). Create technique-specific preparations.
Great Bull Analysis (Chalmin et al. 2006):
Chignon (between ears): Romanechite (Ba₂Mn₅O₁₀·nH₂O) + quartz + clay + iron oxide — Applied by BRUSH
Muffle (snout): Hausmannite (Mn₃O₄) + calcite + Fe-rich clays — Applied by BLOW/SPRAY technique
Significance: Different mineral preparations matched to different application methods. Hausmannite formation requires >1000°C or specific chemical processes—never before found in prehistoric pigments.
Drag a material here, then click and hold to grind
Note: NO biotite/feldspar extenders at Lascaux (17,190 BP). Those appear later at Niaux (12,000-14,000 BP, Magdalenian period). Lascaux predates those recipes.
Select white calcite (CaCO₃) surfaces. Lascaux was completely DRY during occupation—no active stalagmite/stalactite formation.
Cave Characteristics: White limestone calcite surfaces. NO calcite formation during painting period. The calcite gours (flowstone) that later protected paintings formed 9,530-6,635 years BP (Genty et al. 2011)—thousands of years AFTER the art.
Topographic Integration: Artists deliberately selected wall contours—convexities for shoulders, concavities for bellies—creating three-dimensional effects.
Match specific mineral preparations to documented application methods. Each technique requires specific paint formulation.
Documented Techniques at Lascaux:
BRUSH APPLICATION: Romanechite-based paints. Animal hair or plant fiber brushes. Controlled strokes, crisp edges. (Example: Great Bull chignon)
BLOW/SPRAY: Hausmannite-based paints. Hollow bird bone tubes. Liquid paint + saliva, blown through tube ("spit-painting"). Sharp edge one side, diffused other. (Lorblanchet 1990 experimental replication)
Fauna: Aurochs (dominant), Horses, Red deer, Ibex. Mystery: NO reindeer depicted despite being primary food source (abundant bones).
Note: Reindeer NOT depicted (despite being primary food source)
Experience authentic viewing conditions. Art was created and viewed by animal fat lamps (~1500K color temperature).
Lighting Evidence: Red sandstone lamp dated to 17,000 BP found at Lascaux (National Prehistory Museum). Fuel: reindeer/horse/bison fat. Wick: juniper twigs.
Animation Effect: Flickering lamplight creates illusion of movement—animals appear to run, breathe, shift. This dynamic quality may have been intentional.
Scaffolding: Wall holes suggest wooden supports. Some paintings 4+ meters above floor level.
Chalmin, É., Menu, M., & Farges, F. (2006). "Analysis of rock art painting and technology of Palaeolithic painters." Stanford Synchrotron Radiation Laboratory & European Synchrotron Radiation Facility micro-XANES study. First identification of hausmannite in prehistoric pigments; documentation of deliberate romanechite/hausmannite mixtures.
Genty, D., et al. (2011). "Uranium-series dating of calcite accretions." Dated flowstone formation to 9,530-6,635 BP, proving paintings preceded protective calcite by millennia.
Lorblanchet, M. (1990). "Experimental replication of Paleolithic painting techniques." Proved hollow bone blow/spray technique feasibility using saliva-mixed pigments.
Glory, A. (excavations). Radiocarbon dating: Passageway 17,190 ± 140 BP; Shaft 16,000 ± 500 BP. Establishes Solutrean-Badegoulian/early Magdalenian cultural attribution.
Jézequel, P., et al. (2011). "Chemical characterization of painting materials." Documented hematite-clay-carbon-carbonate mixtures in red pigments from local Dordogne sources.
Breuil, H. & Blanc, A.C. (dated 1998/2002). Reindeer antler baton: 18,600-18,900 BP (alternative dating suggesting earlier Solutrean-Badegoulian boundary).
1. Material Procurement: Manganese oxides transported 250km, demonstrating extensive mobility or trade networks during Upper Paleolithic.
2. Technological Sophistication: Different mineral formulations deliberately matched to application techniques (brush vs. blow).
3. Rare Minerals: Hausmannite (Mn₃O₄) requires >1000°C formation temperatures—first prehistoric documentation.
4. Chronological Precision: Multiple radiocarbon dates consistently place Lascaux at ~17,000 BP, Solutrean–Badegoulian transition.
5. Preservation Context: Calcite formation 7,000+ years post-painting preserved art until 1940 discovery.
6. Viewing Context: Art created and experienced by flickering animal-fat lamplight in complete darkness, creating animation effects.