The secret entrance of the “Galerie Breuil” in the Mas d’Azil cave (Ariège, France)

Abstract

The Mas d'Azil cave is a major site for the study of European prehistory, and the evolution of the discipline itself, especially regarding our understanding of the late Upper Paleolithic. In particular, its mobiliary art is one of the richest and the most beautiful known in a Magdalenian context. Lesser known however, is its rock art. Few publications are devoted to these works of prehistoric art, and despite several field work campaigns we still lack a general synthesized study of them at the scale of the entire cave system.A survey of the Mas d'Azil cave system is currently underway, and the aim of this project is to map the archaeological and geoarchaeological organization of the site. Obtaining a reliable topography of the cave, an endeavor begun in the 1980s but never finished, is essential to resituating the archaeological deposits relative to the various natural processes and formations having affected and conditioned their deposition and conservation, as well as the different historical phases of exploitation of the cave.Using this survey approach, we already have a clearer picture of the repartition of Magdalenian areas and circulation spaces of the right bank. Thus, if the residential areas are located on the upper parts of the cave (La Rotonde, Galerie Des Silex), that benefit from more stable and mild temperatures, the lower parts (Salle Piette, Galerie Rouzaud) do not appear to have been residential areas. Our approach also shows that the current entrance of the "Galerie Breuil", which is located at the end of one of the lower rooms and is the main decorated part of the cave, was likely unknown to the Magdalenians. They could only have entered the Galerie Breuil via a smaller hidden corridor that was blocked after the Magdalenian occupation, as the growth of the speleothem obstructing this passage dates to 13 000 y BP. The clear difficulty encountered by Magdalenian occupants as they attempted to access this gallery may have contributed to a symbolic separation between residential and symbolic, and therefore decorated, spaces, where access to the latter may have been actively limited and/or controlled.