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Not since the dead sea Scrolls has anything found in a cave caused so much excitement. The paintings and engravings, more than 300 of them, amount to a sort of Ice Age Noah's ark-images of bison, mammoths and woolly rhinoceroses, of a panther, an owl, even a hyena. Done on the rock walls with plain earth pigments-red, black, ocher-they are of singular vitality and power, and despite their inscrutability to modern eyes, they will greatly enrich our picture of Cro-Magnon life and culture.

When the French government last month announced that a local official, Jean-Marie Chauvet, had discovered the stunning Paleolithic cave near Avignon, experts swiftly hailed the 20,000-year-old paintings as a trove rivaling-and perhaps surpassing-those of Lascaux and Altamira. "This is a virgin site-it's completely intact. It's great art," exulted Jean Clottes, an adviser to the French Culture Ministry and a leading authority on prehistoric art. It has also reopened some of the oldest and least settled of questions: When, how and above all why did Homo sapiens start making art?

In the span of human prehistory, the Cro-Magnon people who drew the profusion of animals on the bulging limestone walls of the Chauvet cave were fairly late arrivals. Human technology-the making of tools from stone-had already been in existence for nearly 2 million years. There are traces of symbolism and ritual in burial sites of Neanderthals, an earlier species, dating back to 100,000 B.P. (before the present). Not only did the placement of the bodies seem meaningful, but so did the surrounding pebbles and bones with fragmentary patterns scratched on them. These, says Clottes, "do indicate that the Neanderthals had some creative capacity."

Though the dates are vastly generalized, most prehistorians seem to agree that art-communication by visual images-came into existence somewhere around 40,000 B.P. That was about the time when Cro-Magnons, Homo sapiens, reached Ice Age Europe, having migrated from the Middle East. Some experts think the Cro-Magnons brought a weapon that made Neanderthals an evolutionary has-been: a more advanced brain, equipped with a large frontal lobe "wired" for associative thinking. For art, at its root, is association-the power to make one thing stand for and symbolize another, to create the agreements by which some marks on a surface denote, say, an animal, not just to the markmaker but to others.

Among the oldest types of art is personal decoration-ornaments such as beads, bracelets, pendants and necklaces. The body was certainly one of the first surfaces for symbolic expression. What did such symbols communicate? Presumably the wearer's difference from others, as a member of a distinct group, tribe or totemic family: that he was a bison-man, say, and not a reindeer-man.

The Cro-Magnons were not the inarticulate Alley Oops of popular myth. They were nomadic hunter-gatherers with a fairly developed technology. They wore animal-skin clothing and moccasins tailored with bone needles, and made beautiful (and highly efficient) laurel-leaf-shaped flint blades. Living in small groups, they constructed tents from skins, and huts from branches and (in what is now Eastern Europe) mammoth bones.

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