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Topic: Emile Cartailhac

	Émile Cartailhac
		Cartailhac montra, de la même façon, que les découvertes d'Altamira allaient contre tout ce qui était établi à l'époque, et ce n'était pas déraisonnable.
		Cartailhac adoptait le point de vue moderne en disant : « notre science, comme les autres, écrit une histoire qui ne sera jamais terminée, mais dont l'intérêt augmente sans cesse.
		Une fois publié son Mea Culpa, Cartailhac tint à étudier lui-même la grotte et réussit par des amis à intéresser le Prince de Monaco pour qu'il finançât les impressions nécessaires.
	www.all2know.com /fr/wikipedia/a/a_/a_mile_cartailhac.html (639 words)

	Monumentos prehistóricos de Mallorca y Menorca - Biblioteca Virtual Miguel de Cervantes
		Cartailhac, emprendió desde Tolosa de Francia, su patria, de la cual era segundo alcalde, una excursión por las islas Baleares, con el objeto de llevar á cabo gratuitamente, ó á su costa, una misión científica, cuyo desempeño le confió el Ministerio de Instrucción pública de la República francesa.
		Cartailhac esplendor y amenidad, que hacen atractiva la lectura y ponen al alcance de todos las disquisiciones técnicas de suyo áridas aunque muy provechosas.
		Cartailhac, demasiado receloso por cierto; y es el de considerar estos monumentos como sepulturas de próceres ú hombres notables, conforme se verifica en la isla de Cerdeña; pues consta que los Nuragas se destinaron por los indígenas de aquella isla á sepulcros de hombres quizá parientes cercanos de los enterrados en Mallorca.
	www.cervantesvirtual.com /servlet/SirveObras/hist/01361620844571306080802/p0000001.htm (1232 words)

	Altamira (cave) - New World Encyclopedia
		However, French specialists, led by Gabriel de Mortillet and Emile Cartailhac, were particularly adamant in rejecting the hypothesis of Sautuola and Piera, and the findings were loudly ridiculed at the 1880 Prehistorical Congress in Lisbon.
		It was not until 1902, when several other findings of prehistoric paintings had served to render the hypothesis of the extreme antiquity of the Altamira paintings less offensive, that the scientific society retracted their opposition to the Spaniards.
		That year, Emile Cartailhac emphatically admitted his mistake in the famous article, "Mea culpa d'une sceptique," published in the journal L'Anthropologie.
	www.newworldencyclopedia.org /entry/Altamira_(cave) (1424 words)

	CONK! Encyclopedia: Cave_art (Site not responding. Last check: 2007-09-19)
		The new Darwinian thinking on evolution was interpreted as meaning that early humans could not have been sufficiently advanced to create art.
		Emile Cartailhac, one of the most respected prehistorians of the late nineteenth century believed they had been thought up by Creationists to support their ideas and ridicule Darwin's.
		Recent reappraisals and increasing numbers of discoveries have illustrated their authenticity and indicated the high levels of artistry of Upper Palaeolithic humans who used only basic tools.
	www.conk.com /search/encyclopedia.cgi?q=Cave_art (614 words)

	Petroglyphs Pictographs Cave Paintings Geoglyphs - Crystalinks
		The new Darwinian thinking on evolution was interpreted as meaning that early humans could not have been sufficiently advanced to create art.
		Emile Cartailhac, one of the most respected prehistorians of the late nineteenth century believed they had been thought up by Creationists to support their ideas and ridicule Darwin's.
		Recent reappraisals and increasing numbers of discoveries have illustrated their authenticity and indicated the high levels of artistry of Upper Palaeolithic humans who used only basic tools.
	www.crystalinks.com /petroglyphs.html (2405 words)

	The History of Archaelogy (Site not responding. Last check: 2007-09-19)
		Piette in 1887 claimed that the Altamira paintings were Magdalenian in date, and their authenticity was accepted in his Equides de la Periode quatemaire d'apres Its Gravures de ce Temps, and Chauvet's Les Delmts de la Gravure et de la Sculpture, both published in that year.
		Piette continued his championship of Palaeolithic art, but Cartailhac in his La France Prthistorique, and Salomon Reinach in his Alluvions et Cavernes, both published in 1889, are full of doubts, and reservations about it.
		Gradually the authenticity of Palaeolithic Cave Art was accepted, especially after the spectacular discovery in 1901 by Breuil, Capitan and Peyrony of paintings and engravings at Combarelles and Font-de-Gaume, both in the Dordogne.
	www.archaeologyinfo.net /2_cave_art_discovery.html (645 words)

	ribeiro
		De Mortillet, along with his friend and colleague Emile Cartailhac, enthusiastically brought other archeologists to see Ribeiro's specimens, and they were all of the same opinion—a good many of the flints were definitely made by humans.
		Cartailhac believed that the coloration of many of the surface finds indicated they were eroded from Miocene beds, and he pointed out that some specimens had remnants of Miocene sediments adhering to them.
		Cartailhac admitted that natural action might in rare occasions produce a bulb of percussion, but to have two on the same piece would be an absolute miracle.
	www.mcremo.com /ribeiro.html (9972 words)

	Probing Prehistoric Cultures
		In addition, at the time when the cave was discovered in 1870 (Garrigou and de Chasteignier 1870, Cartailhac 1878, 1906) more hands were visible, notably at the low cave entrance, than nowadays.
		Cartailhac, Emile (1878) "Observations sur la grotte de Gargas (Hautes Pyrénées)".
		Cartailhac, Emile (1906) "Les mains rouges et noires et les dessins paléolithiques de la grotte de Gargas, commune d’Aventignan".
	www.semioticon.com /frontline/probing_prehistoric_cultures.htm (5348 words)

	British Archaeology magazine, October 2001 (Site not responding. Last check: 2007-09-19)
		Sollas's fieldwork at Paviland in 1912 had been prompted by a visit to Oxford of the French scholar Emile Cartailhac, then preparing his magnum opus on the caves of Grimaldi in Liguria.
		Cartailhac dated these burials as Upper Palaeolithic and suggested that the mode of burial at Paviland was comparable.
		It was not until the 1960s, however, that an attempt was made to date the burial scientifically, when Kenneth Oakley published a radiocarbon determination made on the actual bones of the 'Red Lady'.
	www.britarch.ac.uk /ba/ba61/feat3.shtml (2469 words)

	Underground Art - washingtonpost.com
		Indeed, one of his fiercest critics, Émile Cartailhac, France's leading prehistorian, eventually came around after more and more cave art was discovered in the 1890s.
		The ethnographic approach of Breuil and Cartailhac was off the mark, Raphael charged; we must take an art historical approach and look at the cave paintings in terms of pictorial space.
		In Altamira, for example, what seemed a bunch of random figures was actually a single composition precisely grouped around a central axis.
	www.washingtonpost.com /wp-dyn/content/article/2006/12/14/AR2006121401459.html (872 words)

	NEXUS: The Excavations of Carlos Ribeiro
		De Mortillet visited Ribeiro's exhibit and, in the course of examining the specimens carefully, decided that they had indubitable signs of human work.
		De Mortillet, along with his friend and colleague Emile Cartailhac, enthusiastically brought other archaeologists to see Ribeiro's specimens, and they were all of the same opinion: the flints were definitely made by humans.
		Cartailhac then photographed the specimens, and de Mortillet later presented pictures in his Musée Préhistorique (G. and A. de Mortillet, 1881).
	www.nexusmagazine.com /articles/ribeiro.html (5546 words)

	Marcelino Sanz de Sautuola - Definition, explanation (Site not responding. Last check: 2007-09-19)
		It was not until 1902, when several other findings of prehistoric paintings had served to render the hypothesis of the extreme antiquity of the Altamira-paintings less offensive, that the scientific society retracted their opposition to the Spaniards.
		That year the towering French archaeologist Emile Cartailhac, who had been one of the leading critics, emphatically admitted his mistake in the famous article, "Mea culpa d'une sceptique", published in the journal L'Anthroplogie.
		Sautuola, having died 14 years earlier, did not live to enjoy the restitution of his honour, nor the later scientific confirmation of his premonitions.
	www.calsky.com /lexikon/en/txt/m/ma/marcelino_sanz_de_sautuola.php (473 words)

	Museum of Altamira \| Museum \| The Cave of Altamira \| Discovery
		Now, no one could dispute the true age of the paintings.
		Emile Cartailhac wrote in his "Mea culpa of a sceptic": "Some twenty years ago I was guilty of an error, and of an injustice that must be acknowledged and repaired publicly.
		It is necessary to admit the facts, and it is my duty to do justice to Marcelino de Sautuola."
	museodealtamira.mcu.es /ingles/descubrimiento.html (398 words)

	Cave Paintings and Sculptures
		They thought it could not be more than 20 years old.
		It was not until 1902, long after the Don's death in 1888, that the article 'Mea Culpa d'un Sceptique' was published by Emile Cartailhac, formerly one of Altamira's greatest critics.
		In 1903 he invited a young French priest, Henri Breuil, to go with him to Altamira.
	donsmaps.com /cavepaintings.html (1055 words)

	Foreword (Site not responding. Last check: 2007-09-19)
		In almost all of these cases, one historian, or one so-called "art expert," had made the initial mistake; others had blindly followed, and a controversy took shape, often with inflated dimensions.
		Only a few of these "experts" ever acknowledged their errors; (e.g., Cartailhac in "Mea Culpa d'un Scéptique").
		Many will refuse to admit their errors even when faced with persuasive evidence.
	www.mansooramarnacollection.com /scandal/frwrd.htm (1740 words)

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