Cave paintings at Font-de-Gaume, Dordogne© Centre des monuments nationaux/Centre de recherche et de restauration des musées de France
Photo: Anne Maigret
VIS light photography of the selected panel at the “Carrefour” of the panels no. 13 and 14 composed of a reindeer and a horse as well as bison and possibly a deer, respectively, and the schematic Bison 15.
© Anne Maigret, C2RMF
From: Reiche, I., Coquinot, Y., Trosseau, A. et al. (2023)
From: Reiche, I., Coquinot, Y., Trosseau, A. et al. (2023)
For the first time, scientists have obtained direct radiocarbon dates for Palaeolithic paintings in the Grotte de Font-de-Gaume in what is now southwestern France. A black-line drawing of a bison was created between 13,461 and 13,162 calibrated years before present (cal BP), while two parts of a mask-like figure produced dates ranging from about 16,000 to 14,200 cal BP. In other words, people were producing accomplished works of art in France more than 3,000 years before even the upper limit of 10,000 years that young-Earth creationists commonly allow for the entire age of Earth.
Not that this evidence is likely to persuade many creationists to reconsider their beliefs, of course. Once a preferred conclusion has been declared infallible, any evidence that contradicts it can simply be dismissed as fraudulent, mistaken or somehow “wrong”. One stock evasion is the evidence-free suggestion that radioactive decay rates must once have been different. In the case of radiocarbon dating, even known variations in atmospheric carbon-14 are measured and incorporated into the calibration curves. But no amount of calibration can correct a chronology that is wrong by design.
For anyone more interested in discovering the truth than in finding excuses to protect a preordained conclusion, however, these paintings are fascinating glimpses into how members of our species perceived the world around them, with its bison, horses, cave lions, mammoths and other Ice Age animals. Having visited the Grotte du Pech Merle in the Lot and the Lascaux II faithful reproduction of the famous Lascaux cave in the Dordogne, I can testify to the breathtaking magnificence of these monumental works.
Their purpose can only be surmised. They may have formed part of rituals intended to influence or appropriate the power of the animals; they may have recorded stories, conveyed knowledge or helped to instruct younger members of the group. None of these interpretations can yet be demonstrated conclusively. A controversial paper published in 1998 compared certain features of Upper Palaeolithic cave art with drawings made by a young autistic child with exceptional artistic ability. It did not, however, establish that any particular Palaeolithic artist was autistic.
During my visit to Pech Merle, our guide suggested that one of the great animal friezes might have been drawn in a matter of hours by a single artist, using bold, confident lines in black pigment. That interpretation may remain speculative, but the powers of observation, memory and control evident in those sweeping lines are unmistakable.
The new dating study was carried out on paintings in the Grotte de Font-de-Gaume, near Les Eyzies in the Dordogne, by an interdisciplinary research team led by CNRS researcher Ina Reiche. Direct radiocarbon dating had previously been considered impossible because the black pigments used at Font-de-Gaume, Lascaux and other decorated caves in the region were assumed to consist solely of iron and manganese oxides, which contain no carbon. However, the absence of carbon had never actually been demonstrated.
Using non-invasive Raman microspectrometry and hyperspectral imaging, the researchers examined black-line drawings of a bison and a figure interpreted as a human or animal face, or “mask”. These techniques revealed that charcoal was distributed uniformly throughout the black lines, rather than occurring only in isolated patches, helping to rule out contamination from graffiti or tourist activity.





































