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Along with an earlier peer-reviewed paper on the implications of the simplest paleolithic feminine figurines2, both of these articles built a case for a new interpretation of a large part of the Paleolithic feminine canon. Frequently, one of these roles is to increase the chance of a huntera€™s success by supernaturally providing him with animal qualities. There is evidence that horses and large a€?armor-headeda€? herbivores - mammoths in the north and usually bison in the south - filled these roles during the Eurasian Upper Paleolithic and were associated with extremely gravid a€?womena€? who have zoomorphic traits and connections a€“ through umbilical lines from their vulvas or identical markings - to animals, which may be variously interpreted as animal-doubles, animal-husbands or animal-progeny. Some Paleolithic feminine images, like the pregnant figure with a herbivorea€™s head and womana€™s pregnant body from A‰tiolles (Fig. The first clue is a change of angle in her shins from one side ofA the fragmentary herbivorea€™s fetlocks to the other, leading us to find faint incisions across the fetlocks thatA confirm the impression that the pregnant figure has hocks (Fig.
The fur on her pregnant belly and legs, which is incised in the same way as the fur on the animala€™s leg, is shown without enhancement in figure 1 - but is highlighted here in purple.
Two larger-than-life dimensions, echoing the deeply engraved contour of the a€?womana€™sa€? realistically swollen belly, are shown here in orange. Next, the engraving contains two features that were probably only intended to be seen even later that the 2 arches - for example, after a further degree of initiation.
The last feature that Ia€™ve been able to interpret is a a€?streama€? of 4 largely parallel lines (Fig.
Together, the complex imagery of this engraving suggests equally layered beliefs concerning the relationship between womena€™s pregnancies and the animal world. Beliefs and rituals that associate women in their maternal capacity with symbolically and socially important prey are found south of the circumpolar regions too.
Herea€™s another example, which comes from below the equator: After boys of the dugong clan in the Torres Strait have speared their clana€™s totem animal as part of their initiation into manhood, the clana€™s women symbolically suckle the slain dugong while moaning their grief during the Zug Ngurrpai ceremony.
Herea€™s another example - this time from Australia: a€?Initiates in the rainbow serpent totem produce the sacred opals that symbolize his joining of the water and sky, and in their dances shake birda€™s down into the air to imitate rain-bearing cloudsa€? (Severin, Timothy.
Together, the complex imagery of this engraving suggests equally layered beliefs concerning the relationship between womena€™s pregnancies and the animal world.A  The pregnancy here has supernatural dimensions that encompass the phantasmal, lightly incised, dotted a€?babya€? while pulsing towards the herbivore overhead.
Please click on the following thumbnail photos, which Ia€™ve used as icons, to see the web pages or PDFs described in the captions. PDF: An historic sign, possible Mesolithic menhir, DStretch, and problems in dating rock art to the Sauveterrian in the Massif de Fontainebleau. PDF: This article, which revealed the existence of a huge, plumed, Neolithic face on a stele at Le Closeau, Nanteau-sur-Essonne, France,A  appeared in Art Rupestre in July 2013. Madame Louis, nee Marie-Emmanuelle Bayon, was a French composer, pianist, and salonniere of considerable activity and influence. According to her husband’s biographer, Victor Marionneau, Marie-Emmanuelle Bayon was born in Marcei, department of Orne (west of Paris), in 1746. Diderot compared her work to that of Domenico Alberti, Johann Christian Bach, Johann Gottfried Eckard (Eckhardt), Johann Schobert, and other foreign composers whose music was currently admired in Paris. In 1770, on 20 June, Mlle Bayon married Victor Louis (1731–1800), an architect with important social and political connections similar to her own. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre. With the completion of the magnificent Grand-Theatre in 1780 the Louis family returned to Paris, where their residence on the rue de la Place-Vendome became a gathering place for distinguished literary and artistic figures. With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings.
During the Revolution of 1789–92 and the even more turbulent times that followed, when the French passion for theatre, including music theatre, continued to find new means of expression, “citizen Louis” still worked in Paris. After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment. Diderot’s first enthusiastic accounts appear in letters to his principal correspondent Mlle Volland. Late the year before, in 1769, Diderot had engaged a new teacher for his daughter Angelique, the theorist and pedagogue Anton Bemetzrieder (1739–ca. The next year, in 1771, Diderot published his famous account of his daughter's lessons, the Lecons de clavecin et principes d'harmonie, par M. Some idea of Madame Louis's character, her own music, and the repertoire she has taught Angelique can be derived from the dialogues.
Diderot's musical references to the current repertoire of the music lesson corroborate Madame de Genlis's naming of performers and instruments at her l767 salon. A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger. The style of the sontatas, as can be guessed from the preceding account of contemporary keyboard repertoire, combines traditional French keyboard writing and German and Italian influences.
The first movement of Sonata II is the only first movement not marked Allegro; marked Andante affectuoso, it is an expressive melody over Alberti bass and other accompaniment patterns.
The three sonatas with violin accompaniment are generally of a more lyrical character than the solo sonatas, in keeping with the violin’s ability to sustain tone.
In several passages the violin melody is set over only a figured bass, not an unusual scoring even at this late date.
As it was unusual for an amateur musician, let alone a woman, to have an opera-comique performed by the Comedie Italienne, it is evident that for the production of Fleur depine Madame Louis had the help of influential people. Voisenon’s friend and secretary, Mme la Comtesse de Turpin, in her edition of the Fleur d’epine libretto published in 1781, notes that it had been set once before, by the abbe Charles Gauzargues (ca. Information about the circumstances leading to performance appeared around the time of the premiere in the Memoires secrets, a collection of political, literary, and theatre news gathered by members of a salon in which Voisenon had been a colorful and noteworthy participant.
The libretto was based on L’Histoire de Fleur d’epine, or The Story of May-Flower, a rather long, wonderfully rambling fairy tale by the Irish-born French writer Antoine Hamilton (1646–1720).
Voisenon used Hamilton’s main characters and ideas in his Fleur d’epine, which is described (on the title page) as a comedie melee d’ariettes—a comedy [spoken dialogue] mixed with arias [and other musical numbers]. In Hamilton’s story, Tarare rescues Fleur d’epine and carries her back to the caliph’s court on the galloping Sonnante with the luminous cap lighting the way.
The published score contains an overture and twenty musical numbers—eleven ariettes, or arias, sung by four of the five characters (Dentillon has no aria), plus two duets, two trios, ensemble finales for each act, two small chorus numbers, and a brief instrumental fanfare for Seraine’s final entrance as dea ex machina. The Comedie Italienne was a cooperative, profit-sharing troupe; members chose the works to be performed (as noted earlier) and hired the orchestra and chorus. The first performance at the Comedie Italienne, on Thursday, 22 August 1776, was followed by performances on the next three Saturdays, Mondays, and Thursdays for a total of ten performances in August and September, and two more on 12 and 14 April 1777, a Saturday and Monday. The first few evenings of Fleur d’epine’s run, it was preceded by a comedy of Italian origin, such as a harlequin play. The production of Fleur d’epine attracted the attention of several Paris writers and critics.
The review in the Correspondance secrete dated 31 August pronounced the premiere performance “monstrous,” especially the sight of a man playing a woman (Dentue). Diderot attended a performance, as might be expected, and pronounced the production cahin-caha, “so-so.” A substantial review appeared in the Correspondance litteraire, another chronicle of Paris literary culture, this one from Diderot’s circle. Another prominent critic, Jean-Francois de La Harpe, declared that the libretto “falls far short of” Hamilton’s delightful story, and that “the late abbe” had been overrated.
In general, the composer’s contemporaries found the music and production to be stronger than the libretto.


Besides the full score, music from Fleur d’epine was published in many different arrangements for smaller, chamber forces. Correspondance secrete, politique et litteraire, ou Memoire pour servir a l’histoire des Cours, des Societes et de la litterature en France, depuis la mort de Louis XV, edited by Francois Metra. Memoires secrets, pour servir a l’histoire de la Republique des Lettres en France depuis 1762 jusqu’a nos jours. A few months before the Paris premiere of Fleur d’epine, Bordeaux was the site of a great ceremony when Louis-Philippe-Joseph d’Orleans, duc de Chartres, at the invitation of Victor Louis, came to lay the first stone for the new theatre.  In the princely retinue was Madame Louis’s friend, Madame de Genlis, who was a lady-in-waiting to the duchesse de Chartres.
With the notable exception of Fleur d’epine, Madame Louis evidently wrote and performed music principally for private gatherings.  Her social position, both before and after her marriage, prevented her from holding a paid, professional appointment, yet it gave her considerable influence in matters of taste and style. After Victor Louis died in 1800, Mme Louis remained in Paris and lived for a time in the Vandeul apartment.  Almost nothing else is known of her life. After less than a year of lessons, Diderot no longer had much use for Bemetzrieder.  One reason, to be inferred from the Lecons, may have been Bemetzrieder's musical taste and his interest in becoming something of a public figure. A set of sonatas was the usual debut publication of a performer and composer already known in private circles, and typically when the composer was around 21, sometimes younger.  (In l769 when her op. 1 - An untouched photograph of a pregnant therianthropomorph, known as the a€?Femme au Rennea€?. This re-interpretation, which could be dubbed the a€?Prey-Mothera€? hypothesis, is based on new readings of such iconic works of Paleolithic art as the a€?Femme au Rennea€? from Laugerie-Basse (Figs. Several polar cultures believe wives do this while sewing their husbandsa€™ weatherproof clothing and camouflage by synthesizing the powers of the species whose hides compose the garments, thereby imbuing their husbands with animal qualities needed for success. Surprisingly, all three roles are consistent with such ethnographically observed customs as the a€?whale-wife-mothersa€?. 3, yellow)A from the tip of the overhead herbivorea€™s penal sheath down to the point on the upper arch that corresponds to the back of the snakea€™s head. 4 - A pregnant therianthropomorph with a herbivorea€™s head and high rear leg, but a womana€™s breast and pregnant belly, linked a€?umbilicallya€? to a horse, which is performing the same action, with lines issuing from both figuresa€™ mouths. During the Ainu Bear Festival, for example, a€?a bear cub, after being captured, is put in a cage and fed, while the people parade around it invoking the gods. But the pregnancya€™s larger-than-life dimensions also contain the possible umbilical serpent, which may be associated, like umbilical cords, with humanitya€™s original connections and ineluctable separations. This article is the second of two papers about engravings at a megalithic complex around le menhir du Paly. After comparing the iconography of statue-menhirs from Guernsey to Switzerland, it concludes that the Closeau stele may be one of the oldest ones in France. Her principal published works are, as Mademoiselle Bayon, a collection of six keyboard sonatas, three of them with violin accompaniment, opus 1 (1769), and, as Madame Louis, the full score of her two-act opera-comique, Fleur d’epine, or “May-Flower” (the heroine’s name), scored for solo voices, chorus, and orchestra. Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him.
In August 1768, he implies that Bayon had some concern with her musical reputation outside France. The first four sonatas—the three for solo keyboard and the first of the sonatas with violin accompaniment—are, like Alberti's sonatas, in two movements, both in the same key but with contrasting tempos and characters. Her husband specialized in the design and construction of theatres; by the time of his marriage in 1770 he had worked with some of the leading writers, composers, and directors.
Hamilton’s story, which was familiar to many in the audiences at the Comedie Italienne in 1776, begins in the court of the idyllic caliphate of Kashmir and recounts the adventures of the courageous Tarare (literally, Nonsense) on his quest for the magical maiden Fleur d’epine (May-Flower) who could save the caliph’s daughter. Voisenon reduces Hamilton’s story to the plight of the two young lovers, Fleur d’epine and Tarare, a beautiful princess and her brave prince.
The monsters are turned back into men, and Fleur-d’epine and Tarare can be married and live happily ever after. The Overture is in two sections, Allegro and Andante, each in Classic key-area form (sonata form). Antoine D’Origny in the Annales du Theatre Italien for August 1776 (published in 1788) reported that, while the words were sometimes funny, sometimes bizarre or in bad taste, the music had “moments of real beauty,” the most striking being a trio in dialogue, Fleur d’epine’s virtuosic aria, and her sleep aria. Victor Louis, Architecte du Theatre de Bordeaux: Sa vie, ses travaux et sa correspondance 1731–1800.
The full score of Fleur d’epine, probably published around the time of the premiere, includes a dedicatory preface to the duchesse de Chartres in which the composer employs the conventionally flattering, obsequious phrases of a courtier addressing her patron.
Louis sought membership in the Academie Royale d’Architecture but, owing to internal politics, was rejected, a major disappointment to him.  He began working with the duc de Chartres on plans for extensive development at the Palais Royal, including a newly designed theatre (l’Opera du Palais-Royal). She died at the family’s country residence at Aubevoye, a rich abbey her husband had owned in the vicinity of Rouen, canton of Gaillon, department of Eure, on 19 March 1825. We performed not only some proverbs but an opera-comique for which my friend Mlle Baillon [sic] (later Mme Louis, wife of the famous architect) composed the music.  M.
The woman gives Tarare a small packet of bird-salt for ruining Dentue’s brew, and he in turn presents her with a diamond, demonstrating his generosity. Dentue has entrusted Dentillon with the all-important key, which he has attached to his boutonniere. 1-3) and the engraving of a pregnant therianthropomorph following a horse from A‰tiolles (Fig. Another common role is for wives to enter trances in which they a€?becomea€? their husbandsa€™ prey and lull it into coming within range. 2, orange) arch over theA therianthropomorph'sA belly, faithfully echoing the more heavily incised curve of the realistically portrayed pregnancy with outer dimensions that seem to be ballooning pulsations or supernaturally large a€?pregnanciesa€? towards the reindeer or bison.
The pregnant therianthropomorph from Laugerie-Basse, with newly observed features in color (Caldwell). The graphic unit obviously represents one or more of the literal projections from such a sheath; in other words, urination, insemination or an erect phallus. Then they secure and strangle the bear with poles and cut off its head with a sword, while the woman who had been wet nurse to the cub criesa€? (my italics) (Severin, Timothy. At the heart of this polysemic image involving literal births, supernatural transformations, and cycles of life and death probably lies a belief that women had the capacity to generate and intercede among humans and their prey - making them the sex that spiritually controlled the food supply.
After announcing the discovery of fingers, which confirm that a cruciformA  motif on the menhir is really an anthropomorph, and not a Christian cross, it goes on to reveal other discoveries and interpret the a€?idola€? in relation to the sitea€™s possible structure and uses.A  The paper speculates that the circle composed of nine white dots, which seem to form the anthropomorpha€™s belly, could represent the nine lunar months which occur between a womana€™s last period and a full-term birth. Composed to a libretto by Claude-Henri Fusee, abbe de Voisenon (1704–1775), a leading writer and librettist, Fleur d’epine had twelve performances in Paris during the 1776–77 season by the Comedie Italienne, one of the official, privileged French theatrical companies of the ancien regime; the final performance was attended by the queen, Marie-Antoinette, and members of the royal family.
1 sonatas she refers to “the many kindnesses bestowed upon me since my tenderest infancy” by the family of Madame la Marquise de Langeron to whom the volume is dedicated. She names the actors—three men and three women, including herself and Mlle Bayon—and refers to fifteen spectators, of whom she names eleven.
In London, Johann Christian Bach (1735–1782), the composer, keyboardist, and royal chapelmaster, had suggested to two English friends that they look up his friend Diderot in Paris.
The absence of a publication date is typical of eighteenth-century music, and was perhaps intended to allow music sellers to proclaim an edition to be the latest thing in subsequent years. The other two accompanied sonatas, like many sonatas of Eckard and Schobert, have three movements in the pattern fast-slow-fast; middle movements are in the dominant key.
He was the protege of the duc de Richelieu who was one of the king’s Premiers Gentilshommes de la Chambre who supervised the Comedie Italienne (which performed Fleur d’epine) and the Comedie Francaise.
The entry for 21 August referred to the efforts of Mme Turpin, Voisenon’s “intimate acquaintance” whom he had appointed as “his residuary legatee for his manuscripts and literary productions,” to have the play accepted for performance with music by Mme Louis, and noted that it was scheduled ahead of other plays that had been accepted earlier.


The evil fairy Dentue has kidnapped Fleur-d’epine, who is the daughter of the good fairy Seraine, and has taken her far away.
The energetic opening section in G Major modulates to D major and then explores D minor and other keys, with new melodic motives, before returning to the home key. A second report on 7 September noted that in a subsequent performance Fleur-d’Epine had undergone so many “corrections” that it was “tolerable enough” to continue playing. Bartlet of Duke University, who worked in Paris in 1996–97 and generously shared her extensive knowledge and understanding of eighteenth-century French operatic productions. Extraits de sa correspondance inedite, avec son mari, avec Jacques-Henri Meister de Zurich (1746–1826) et de divers lettres et documents inedits du fonds Diderot-Vandeul aux Archives Departementales de la Haute-Marne. One of the copies of the full score now in the Bibliotheque Nationale in Paris bears the coat of arms of the duc de Chartres, and another that of Madame de Genlis. Correspondence between Diderot and his daughter, Madame de Vendeul, indicates that Mme Louis devoted considerable energy to furthering her husband’s interests. 3, in F major but he plays only the keyboard part without its accompaniment of violin and two horns.
This movement, unlike the first movement, has occasional piano and forte markings.  Left-hand notation in alto clef occurs here and in other sonatas in this set as well.
Fleur d’epine, left alone with Dentillon, tries to lull him to sleep so that Tarare, who is hiding in the bushes, can come and steal the key. A third is to reconcile hunters with animals they have killed by a€?feedinga€? dead animals like honored guests and inviting them upon their a€?departurea€? to return where they came from as new, living creatures. 1) - has always been interpreted as showingA a pregnant woman under a large male herbivore - already a provocative image. A change in the angle of her shins from one side of the reindeera€™s of bisona€™s fetlocks to the other indicates that the a€?womana€? has herbivore-like reverse knees (hocks) in addition to forward-facing knees (stifles) higher on her legs.
Its head, which is composed of a semi-circle of fine cross-hatches, rests within the bubble formed by the extra dimensions above the a€?womana€™sa€? swollen belly. But a complementary interpretation is suggested both by the fact thatA arched snakes are equated with rainbows from Angola (among the Chokwe) to Australia andA the resemblance of the 4 slanting lines to distant rain**.
The part of the double arch over the pregnancy that can be read as a snake touching the babya€™s head is shown here in orange.
A change in the angle of her shins from one side of the reindeera€™s of bisona€™s fetlocks to the other indicates that the a€?womana€?A  has herbivore-like reverse knees (hocks) in addition to forward-facing knees (stifles) higher on her legs. If this supposition is correct, then the circleA  may be one of the oldest known pregnancy calendars.
Collections of musical numbers from the work arranged for unaccompanied voice were also published, as was an arrangement of the overture for keyboard with violin and cello accompaniment; other vocal arrangements appeared in music periodicals and collections from 1776 until around 1786.
In the early 1770s, through the patronage of the duc de Richelieu, Louis was commissioned to design and supervise construction of the Grand-Theatre in Bordeaux, the building for which he is perhaps most famous today. In 1763, Louis had been scenic designer for a production at the Comedie Italienne under the direction of Charles-Simon Favart (1710–1795), created at the request of the government in celebration of the ending of the Seven Years War; Voisenon (librettist of Fleur d’epine) wrote the words and Francois-Andre Danican-Philidor (1726–1795) the music. Upon Voisenon’s death in 1775, Mme Turpin had “some men of letters” read Fleur d’epine to members of the Comedie Italienne, in accordance with the troupe’s procedures for considering new plays.
The influential playwright, teacher, and musician Stephanie de Genlis (1746–1830) considered her a friend.
While no new musical works by her are reported, Fleur d’epine was performed in Brussels, and in 1784 it was performed in Bordeaux.  A play by Victor Louis was performed in Paris the same year. The arias are generally in “ABA” form with a brief orchestral introduction.  Voisenon’s ariette texts that contrast two states of mind are given musical settings that contrast “A” and “B” sections in different tempos and keys. Although the new theory is based on internal evidence, it is also in keeping with womena€™s known roles in cold-weather a€?hunter-gatherera€? - or, as I prefer to call them, hunter-sewer economies.
Put her hocks and fur together and it's clear that the pregnant figure is really partly zoomorphic, making her what prehistorians call a therianthropomorph! Her hocks are shown here as dotted blue lines across the straddling herbivorea€™s leg, but, as one can see in figure 1, they are also present on the engraving itself as light incisions. The two lines arching over the pregnancy contain their own discrete secondary feature a€“ an eyed snake whose tail issues umbilically from the a€?womana€™sa€? vulva (Fig. If this reading is correct, then the imagery reflected beliefs, which at one of their deepest levels, encompassed the earth, sky and weather in between, making this possibly the oldest known image to include references to the heavens. The a€?streama€? of 4 parallel slanting lines from the herbivorea€™s penal sheath to the back of the snakea€™s head are highlighted in yellow. Although the new theory is based on internal evidence, it is also in keeping with womena€™s known roles in cold-weather a€?hunter-gatherera€? - or, as I prefer to call them,A  hunter-sewer economies. Her hocksA  are shown here as dotted blue lines across the straddling herbivorea€™s leg, but, as one can see in figure 1, they are also present on the engraving itself as light incisions. The article goes on to describe a number of humanly modified features on the adjacent slab, including a pair of carved and polished basins, which probably began as solution cavities. The composer’s unpublished works, discussed during her lifetime but not yet found, include further instrumental chamber music and opera-comiques, and music for La fete de Saint Pierre, a divertissement to a libretto by Antoine-Francois Quetant (1733–1823), performed at the Chateau de la Cour-Neuve in Paris on St. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet.
Louis apparently became a good friend of the prominent composer Andre Ernest Modeste Gretry (1741–1813); in late 1782 he accompanied Gretry to the composer’s native Liege, where both men were honored by the government. In the two-movement works no repeat marks are printed but they may be assumed—at double bars at the end of each reprise and at the end of the rondo's first couplet.  There are several printing errors as well—occasional wrong notes, misplaced trills, and, most often, missing sharps or natural-signs with the modulation to the dominant in the first reprise.
Fleur d’epine now sings a gentler song, her famous “sleep aria”; Dentillon falls asleep, and Tarare steals the key. Could this imagery, at one level, illustrate the oldest known a€?rainbow serpenta€? and inseminating rain? The polishing may have been done to modify the shapes of the puddles, which form in them and double as mirrors of the sky. His actual daughter, Angelique, later Madame de Vandeul (1753–1824), studied harpsichord with her from about 1765 until 1769 and remained her lifelong friend and confidante.
The puddle that forms in the larger one becomes almost perfectly circular, while the one in the smaller basin varies between an oblong and disc, depending on its depth, making it look like a changing moon.
Bach's sons Johann Christian Bach and Carl Philipp Emmanuel Bach (1714–1803), and the Mannheimer Ignaz-Franz von Beecke (1733–1803). She sings a brilliant, virtuosic aria, because Dentillon has said that music puts him to sleep—a reaction he attributes to his being a “great nobleman.” When Tarare, hidden, says something to Fleur d’epine, Dentillon half awakes and asks who was talking. The smaller of these cavities, whose water flows to the larger one, also has four natural cracks, grooves, and accentuated cracks, which correspond perfectly to the four cardinal points, forming a cross. The second and larger of the polished bowls has an incision pointing due north, two natural cracks pointing east and west, and one heavy and two light incisions pointing northwest to 300 and 330A°. The article goes on to discuss an oriented grid and other engravings at this crucial site for interpreting the Neolithic iconography of northwestern France.



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