Photo Gallery

(5) - Fadnoun (Tassili-n'Ajjer) – A very naturalistic elephant walking. It gives the certainty of a direct observation by the artist. Length of the tail to the tip of the trunk: 0 - .34 m.

1 - Séfar (Tassili-n'Ajjer) – Period of the "round heads". "The great god" is part of a fresco that quickly became famous. Figures and animals appear to move within a magical scene. This is confirmed by the location where they are found. From elbow to elbow: 0.90 m.

2 - Oued Djérat (Tassili-n'Ajjer) – Spirals with the same direction of winding. This type of engraving is common and generally seen as a symbol of fertility. Radius of the large spiral: 0.36 m. Radius of the small sphere: 0.085 m.

2 - Oued Djérat (Tassili-n'Ajjer) – (original photo) Spirals with the same direction of winding. This type of engraving is common and generally seen as a symbol of fertility. Radius of the large spiral: 0.36 m. Radius of the small sphere: 0.085 m.

3 - Tin-Tazarift (Tassili-n'Ajjer) – Slender archer from the bovine period. As is often the case, the arrows are carried in a "bundle," and one arrow has just been released by the archer.

3 - Tin-Tazarift (Tassili-n'Ajjer) – (original photo) Slender archer from the bovine period. As is often the case, the arrows are carried in a "bundle," and one arrow has just been released by the archer.

4 - Tan-Zoumaïtak (Tassili-n'Ajjer) – Period of the "round heads". The magnificent ram with cuffs and the two elegant, richly adorned women stand out against the background of mysterious animals painted in white. In the middle, to the left, an animal is being ridden by a figure. The monstrous beast at the bottom left measures 0.52 m.

6 - Jabbaren (Tassili-n'Ajjer) – Life-size hands in negative, obtained by projecting white pigment onto hands pressed against the rock. This symbol is universal and remains emotionally powerful.

7 - Oued Djérat (Tassili-n'Ajjer) – Triple spiral. In contrast to the spiral in photo 2, the elegance of this engraving stands out. The two figures at the bottom result from two lines that start at their center and move in opposite directions. The work was done on a horizontal slab.

Maximilien Bruggmann filming and photographing the spirals during his one-year stay with the Tuareg in the Tassili Mountains - 1962

79 - Djado Region, near the Sara Pass. - Remarkable fresco, reflecting the varied colors of the rocks. We are here in the great pastoral or bovine era, which often blends animals and humans. The panel shown here measures 0.85 m.

80 - Drigana. Djado Region. - Rhinoceros overlapping an elephant. Old engraving. From the tail tip to the horn tip: 1.56 m.

Chapter 6: TASSILI N'AJJER - Algeria

The Tassili n'Ajjer mountain range is known for its prehistoric rock paintings and rock engravings and other archaeological sites from the Neolithic period. A large part of the mountain range was protected by a national park in 1972, which has been recognised as a World Heritage Site and World Natural Heritage Site since 1982. It was also designated a biosphere reserve in 1986.

325 - Aouanrhet (Tassili-n'Ajjer). - Archer running. He is wearing a colored loincloth. His appearance is Negroid. The head resembles that of a praying mantis. The right hand lifts a bow and an arrow above the head. The hand of the extended arm forward is empty. The loincloth is white with a tinge of purple, and the rest of the body is painted with red ochre. From the rear foot to the top of the head: 0.17 m.

326 - Aouanrhet (Tassili-n'Ajjer). - Very slender figures. Very schematic white paintings. The figure in front holds two sticks on one shoulder and a hook (a hoe?) in the other hand. Behind him, an archer seems to be chasing him, but perhaps they are both heading in the same direction in pursuit of game. The left figure measures 0.19 m in height.

326 - Aouanrhet (Tassili-n'Ajjer). - (original photo) Very slender figures. Very schematic white paintings. The figure in front holds two sticks on one shoulder and a hook (a hoe?) in the other hand. Behind him, an archer seems to be chasing him, but perhaps they are both heading in the same direction in pursuit of game. The left figure measures 0.19 m in height.

327 - Aouanrhet (Tassili-n'Ajjer). - Small gazelle in brown ochre. On the right, a man painted in white. From the bottom of the legs to the tips of the horns: 0.21 m.

328 - Aouanrhet (Tassili-n'Ajjer). - Mysterious fresco organized around two black circles, from which four rays extend to the left, ending in circles covered with a lattice pattern. These circles are all open outward. Between two open circles, at the bottom right, an independent round structure contains two seated people and a child. On the left, but in the open air, a man stands. On the opposite side, at the opposite edge, there is also a black circle from which two rays extend, also ending in round, lattice-like, and open structures. A third ray seems to lead nowhere. Finally, outside of what might be a hut, there is a seated figure. On the left figure, there is also a circle containing another with small rays. The entire painting is done in red ochre, and the represented panel measures 1.36 m.

329 - Aouanrhet (Tassili-n'Ajjer). - Detail of the previous structure. Diameter of the "hut": 0.20 m.

330 - Aouanrhet (Tassili-n'Ajjer). - On the left, two standing figures. On the right, a coitus scene and figures that are hard to identify. The coitus scene measures 0.16 m in width.

331 - Aouanrhet (Tassili-n'Ajjer). - Fresco of figures dominated by one wearing an improbable hairstyle resembling the coif of the Sisters of Saint-Vincent-de-Paul; none of them appear to be dressed. Width of the panel shown: 0.70 m.

332 - Aouanrhet (Tassili-n'Ajjer). - Large masked figure with arm and leg ornaments. On the left, a scene called the "lying swimmer" (?) and other depictions that are difficult to interpret. In the center, note the presence of a woman with tattooed breasts. Width of the panel shown: 2.25 m.

333 - Aouanrhet (Tassili-n'Ajjer). - Detail of the previous panel: the woman with tattooed breasts, painted in red ochre. Negroid type.

334 - Aouanrhet (Tassili-n'Ajjer). - The "White Lady" and the "Masked Sorcerer". The "White Lady" has nothing to do with her namesake from South Africa, who charmed Abbé Breuil, nor with a local depiction of another highly adorned woman. Here, it is a massive figure with a "round head" crowned with a feather (?). Facing her, on the left, the face of a man wearing a white loincloth, with his body depicted in a pattern of small diamonds. Everything is typically African.

335 - Aouanrhet (Tassili-n'Ajjer). - The true "White Lady" of Tassili. Notice the "horned mask." The attire is typically African. A mystical feeling emanates from this painting. From one horn to the other: about 0.50 m.

337 - Oued Djérat (Tassili-n'Ajjer). - A typical landscape of this conservatory of ancient images of vanished peoples. On the horizontal slab, large oxen are engraved with deep strokes.

338 - Oued Djérat (Afar-Mellah, Tassili-n'Ajjer). - A large bubale (Peloroois antiquus Duv.) engraved, with a kneeling (?) figure behind it, holding its right hand toward its tail. On the head, one can distinguish either bristling hair or feathers. A belt with three stripes is clearly visible.

339 - Oued Djérat (Tassili-n'Ajjer). - A large engraved ox, whose brow has been redone twice. A newer spiral surmounts it as if to summon the arrival of water.

340 - Oued Djérat (rock shelter between Aha and Anafeg, Tassili-n'Ajjer). - A painted chariot, drawn by two horses, galloping in a "flying gallop." This may be a battle scene, with men lying in front of the chariot. The ochre painting shows the driver in a good posture, but how could he balance on the platform?

341 - Oued Djérat (Tassili-n'Ajjer). - Another chariot in the "flying gallop," painted in ochre. The perspective is better observed here, as the reins go directly from the driver's hands to the necks of the two horses. The axle ends in two wheels with four spokes. Three spears inclined forward seem to be fixed on the platform. Two dogs run alongside the chariot. Below, three men in short tunics carry shields. Three others precede the horses: they are armed with spears and shields. One of them has a head resembling that of a dog.

342 - Oued Djérat (Tassili-n'Ajjer, between Aha and Anafeg). - Ochre painting of a chariot with three horses. The perspective is incorrect: the chariot appears to be flying above the horses. This chariot period marks the peak of the Horse Period. Large figure on the left. On the right, a small figure that is difficult to observe.

343 - Oued Djérat (Tassili-n'Ajjer, between Aha and Anafeg). - Large bovine painted in red ochre. It partly obscures a chariot, and the number of horses is hard to determine. Above the bovine's back, there is a small quadruped painted in white and red. It is followed by men, who are preceded by a little devil. A white square is found at the center of the ox. Its explanation has yet to be found.

344 - Oued Djérat (Tassili-n'Ajjer). - Chariot engraved in "flying gallop." The driver seems to be thrown backward. The wheels on the right side have four spokes, while those on the left have six. From whip (?) to horse's nose, the distance is 0.72 m.

344 - Oued Djérat (Tassili-n'Ajjer). - (original photo) Chariot engraved in "flying gallop." The driver seems to be thrown backward. The wheels on the right side have four spokes, while those on the left have six. From whip (?) to horse's nose, the distance is 0.72 m.

345 - Oued Djérat (Tassili-n'Ajjer, guelta de Tin-Smad). - Engraved chariot drawn by two horses, shown in a "flat" view and positioned oppositely relative to the yoke. Width of the panel shown: 0.65 m.

346 - Oued Djérat (Tassili-n'Ajjer, Tin-Smad). - Engraved chariot of good quality, showing the difficulty of standing on a small platform while galloping, whether flying or not. Two spears are fixed to the floor of the chariot. From the driver’s head to the front hooves: 0.72 m.

347 - Oued Djérat (Tassili-n'Ajjer, shelter between Aha and Anafeg). - Painted chariot with three horses. The platform seems independent of the driver. The reins are anachronistically depicted. Dark brown figures are in front of the chariot, two of which carry sticks.

348 - Oued Djérat (Tassili-n'Ajjer, same shelter). - Bovid, two-toned in red and white, moving from left to right. A deer (?) is visible at the top left. Below, there is a procession of figures in short tunics.

349 - Oued Djérat (Tassili-n'Ajjer, same shelter). - Bovid, antelopes, and various animals painted in ochre and white. On the right, warriors with spears are visible. Very fine painting with ochre, ranging from dark brown to a wine-red tone. A man armed with a spear also holds a strange object ending in a hook, which is common in this area.

350 - Oued Djérat (Tassili-n'Ajjer, same shelter). - White and ochre paintings depicting horned bovids with lyre-shaped horns. The central figure appears to wear, like in Ouan Amil, a cape or stole falling from the shoulder. On the left, a cow with clearly depicted udders. Note the extensive representation of figures with long or short tunics, but tightly cinched at the waist.

351 - Oued Djérat (Tassili-n'Ajjer, near Aha-Anafeg). - The famous engraved archer has a stylized figure. He wears a headgear and holds a bow as if he has just shot an arrow. He might have a lightly fringed cape on his back. The belt, formed by a double line, extends with a floating tail. It appears that he carries a phallic sheath inserted into the belt, leaving the testicles exposed, as some regional ethnographies still show. Note the double spiral in the left corner and modern graffiti.

352 - Oued Djérat (Tassili-n'Ajjer). - Engraved warrior inspired by the previous engraving. However, the head this time is that of a cynocephalus (dog-headed figure). The legs are well-rendered. The belt consists of six lines. The bow is held by its wood in the left hand. Curiously, only the toes of the left foot are engraved. The man is followed by a dog.

353 - Oued Djérat (Tassili-n'Ajjer). - At the junction of the Oued Touloult lies this depiction, which is linked to a very ancient fertility cult, now only visited by lonely nomads. Such representations are often degraded. For further explanation, see the chapter titled: "History of a False Idea. Sex and the Desert." (See: SAR-007B)

354 - Oued Djérat (Tassili-n'Ajjer). - Engraved subjects of different ages; the ungulate on the right is thus "accidentally" facing a figure engraved with a lighter stroke, probably wearing a loincloth.

355 - Oued Djérat (Tassili-n'Ajjer). - Finely engraved calf with polished head, belly, and legs. The hooves are well observed. Around the neck, a necklace with a pendant. The head of a sheep hidden by the calf appears at the chest level.

356 - Oued Djérat (Tassili-n'Ajjer, between Tin-Smad and the confluence of the Oued Touloult). - Ox - fat, with short legs and a massive body. The head, however, is quite normal, and at the neck, a collar ends with a long pendant. On the right, the rear of another "fat" ox is visible, and beneath it, an elegant giraffe deeply engraved.

357 - Oued Djérat (Tassili-n'Ajjer). - The engraving of the bovine head above is of superior craftsmanship. It is topped by another, more awkward and later head. This one is dotted.

358 - Oued Djérat (Tassili-n'Ajjer). - Bovine engraved with lines. One ear passes under the right horn.

359 - Oued Djérat (Tassili-n'Ajjer). - Engraved ox whose coat is depicted by alternating polished and dotted areas.

360 - Oued Djérat (Tassili-n'Ajjer). - Head of a bovine engraved by pitting and finished with lines through friction. One would expect to hear it moo.

361 - Oued Djérat (Tassili-n'Ajjer). - Engraved ox with a very long ear and horns bent forward. Sketch made by pitting, finished with lines. Traces of internal polishing.

362 - Oued Djérat (Tassili-n'Ajjer). - Engraved hyena. The line is awkward, and it is likely a later work. But the animal is easily recognizable by its snout and mane.

363 - Oued Djérat (Tassili-n'Ajjer). - Sheep, easily identifiable. The hind legs are perfectly drawn. The depiction of the head approximates the natural curve of the muzzle.

364 - Oued Djérat (Tassili-n'Ajjer). - Engraved scene of ritual intercourse. The male character, whose head is located at the top left, is a therianthrope, with only its left leg having something human about it. The head of the woman he is mating with is neither animal nor human. See the chapter "The History of a False Idea: Sex and the Desert". (See: SAR-007B)

365 - Oued Djérat (Tassili-n'Ajjer). - Drawing from a photo of an engraved rhinoceros. The head has always posed a problem for both engravers and painters.

365 - Oued Djérat (Tassili-n'Ajjer). - (original photo) Drawing from a photo of an engraved rhinoceros. The head has always posed a problem for both engravers and painters.

366 - Oued Djérat (Tassili-n'Ajjer, confluence of the Wadi Touloult) – When one realizes that the spirals, like the rhinoceros, were engraved using only stone flakes, one can only admire the two triple spirals and the rhinoceros at the bottom, on the left thigh of which a clumsy artist tried to replicate the same masterpiece. There are also more spirals at the top.

The T4 mission team in front of the engravings of the spirals in the Oued Djérat (Tassili-n'Ajjer). From the left: a Touareg, Edouard Bois de Chesne, commissioned by television to make a five-part film series about the Sahara, Mrs Eva Bruggmann, Pascal Pol, Sylvio Acatos, journalist, and Maximilien Bruggmann, head of Mission T4.

367 - Oued Djérat (Tassili-n'Ajjer) – Two rhinoceroses: one large and one small, engraved with fine lines. The larger one has exaggerated horns and its sex is emphasized. The main engravings of the so-called "Ethiopian" large fauna bring us back to the Neolithic. Essential parts of it will disappear with it.

368 - Oued Djérat (Tassili-n'Ajjer) – Engraved rhinoceros with highly exaggerated horns. It seems that these horns were retouched at a later time, restoring the engraver’s full artistry and giving the rhinoceros its precise form. From tail to horn, it measures 1.75 meters in length.

369 - Oued Djérat (Tassili-n'Ajjer) – Schematic rhinoceros engraved with a deep line.

370 - Oued Djérat (Tassili-n'Ajjer) – Late period. Engraved rhinoceros with a head larger than the body.

371 - Oued Djérat (Tassili-n'Ajjer) – Rhinoceros walking in a possible charging position. Note how the front horn is connected to the snout.

372 - Oued Djérat (Tassili-n'Ajjer) – Drawing of a naturalistic rhinoceros by Maximilien Bruggmann.

372 - Oued Djérat (Tassili-n'Ajjer) – (original photo) Drawing of a naturalistic rhinoceros by Maximilien Bruggmann.

373 - Oued Djérat (Tassili-n'Ajjer) – Engraving of a rhinoceros defecating. The position of the ears, like the front horn, gives this animal an unexpected appearance.

374 - Oued Djérat (Tassili-n'Ajjer) – Magnificent engraved giraffe head. The outline, initially dotted, was finished with a smoothing stone. The interior was decorated with dotted lines.

375 - Oued Djérat (Tassili-n'Ajjer, Tin-Smad). - Full body of the Tin-Smad giraffe, whose head is the subject of the previous photo (374). In fact, the body is less well rendered by the engraver than the head.

376 - Oued Djérat (Tassili-n'Ajjer, Tin-Smad region). - Other giraffes engraved with different coats. At the top right, a dressed and bent figure.

377 - Oued Djérat (Tassili-n'Ajjer). - Antelope engraved on a very weathered rock. The head is difficult to describe.

378 - Oued Djérat (Tassili-n'Ajjer). - Deeply engraved dog (?). The depiction of the animal with its head turned is quite rare and gives grace to the engraving.

379 - Oued Djérat (Tassili-n'Ajjer). - Antelope or goat. The deeply engraved animal is highly stylized. The coat is represented by a series of engraved lines. Note the spirals, one with two turns and the other, more irregular, with only one.

380 - Oued Djérat (Tassili-n'Ajjer). - Engraved Addax (?). The lines are regular and shallow. The design was pre-punched.

381 - Oued Djérat (Tassili-n'Ajjer). - Antelope (?). The coat is rendered by vertical lines.

382 - Oued Djérat (Tassili-n'Ajjer). - Engraved elephant with "butterfly ears." It is located at the beginning of the Oued Abezza.

383 - Oued Djérat (Tassili-n'Ajjer, Oued Abezza). - Another engraved elephant. The trunk is ridged. The forehead is too sloping. The tusks are tiny.

384 - Oued Djérat (Tassili-n'Ajjer). - Engraved elephant. The trunk is drawn towards the lower jaw. The eye is depicted "Indian style." The elephant's legs are surmounted by an engraved ostrich.

385 - Oued Djérat (Tassili-n'Ajjer). - Elephant with dotted outline. Note the presence of the sex.

386 - Oued Djérat (Tassili-n'Ajjer, Oued Abezza). - Drawing by Maximilien Bruggmann, based on an engraving of an elephant.

386 - Oued Djérat (Tassili-n'Ajjer, Oued Abezza). - (original photo) Drawing by Maximilien Bruggmann, based on an engraving of an elephant.

387 - Oued Djérat (Tassili-n'Ajjer). - Beautiful engraving of a large elephant. The ears are squared with lines, but the eyes are shown flat on the same plane!

388 - Oued Djérat (Tassili-n'Ajjer). - Herd of ostriches, deeply engraved. The animals are roughly depicted. These birds might explain the feathers often found in the headgear of men.

389 - Oued Djérat (Tassili-n'Ajjer). - Superficially dotted ostrich. There is evidence that the ostrich survived long beyond the fertile period.

390 - Oued Djérat (Tassili-n'Ajjer). - Engraved birds. Their beaks do not allow identification as ostriches.

391 - Oued Djérat (Tassili-n'Ajjer). - On an isolated rock, this extraordinary frieze of birds is discovered. Likely pelicans. There are about a dozen birds, but only the head has been depicted.

392 - Oued Djérat (Tassili-n'Ajjer). - Finally came the camel! In the final phase of the Sahara's fertility. The horse itself disappeared. In the Sahara, the dromedary (wrongly called "camel"), the donkey, and the goat remain. The current harshness of the climate and the difficulty of survival fully explain the extreme poverty of camel art.

393 - Oued Djérat (Tassili-n'Ajjer). - Tuareg warrior. Modern ethnography accounts for the entire equipment of both man and beast.

394 - Oued Djérat (Tassili-n'Ajjer). - Modern "camel" (Camelus dromedarius) as seen by the inhabitants of the Sahara.

394 - Oued Djérat (Tassili-n'Ajjer). - (original photo) Modern "camel" (Camelus dromedarius) as seen by the inhabitants of the Sahara.

395 - Oued Djérat (Tassili-n'Ajjer). - Tuareg warriors. The armament of the descendants of Berber immigrants was formidable: spear, javelin, sword known as "takouba", arm dagger, antelope skin shield.

396 - Oued Djérat (Tassili-n'Ajjer). - Since the men in tight tunics, the Sahara has been a vast battlefield. The "lancer" depicted here must be quite ancient. Moreover, the Tuaregs had long imposed taxes on those who wished to pass through their territory peacefully.

397 - Oued Djérat (Tassili-n'Ajjer). - Nevertheless, the legends grafted onto ancient myths have never ceased to be in circulation. More than a theriocephalus, the figure shown here evokes a devil and refers to a hundred legends about the "djinn."

398 - Jabbaren (Tassili-n'Ajjer). - Painting from the period known as the "round heads". A composition reminiscent of modern "Martians". All in shades from yellow to brown. Sometimes the heads are completely spherical. Here, one feels powerless to interpret what the eye observes, as it neither corresponds to what we know nor to what we believe. No regular lines, no familiar objects. How one would like to understand what the artists were trying to tell us! At the center of the panel, a procession of figures rendered in dark brown. On their heads, there are horns (?) or baskets with handles. The costumes are as difficult to describe as the heads. Height of the figure: 0.78 m.

399 - Jabbaren (Tassili-n'Ajjer). - Mural of the same type as the previous one, treated in dark brown. Height of the central figure: 0.32 m.

400 - Jabbaren (Tassili-n'Ajjer). - White painting of two figures with "round heads". In reality, their heads are red. On the right, note the "transparent skirt". Width of the depicted panel: 0.78 m.

401 - Jabbaren (Tassili-n'Ajjer). - The "Abyssinian". This magnificent painting presents an individual with fine features, abundant hair, and a beard. There are not only White and Black people. A whole ethnic group consists of "Whites with dark skin". They are numerous in East Africa and once frequented the Sahara.

402 - Jabbaren (Tassili-n'Ajjer). - This is a true "Neolithic city", in other words, a "place of life". It is in this shelter that the famous "Abyssinian" was created, which can be seen in the upper right quarter of the photo. The feet are nearly invisible.

403 - Jabbaren (Tassili-n'Ajjer). - General view of another shelter, whose walls are covered in polychrome paintings ranging from white to dark brown. It should be noted that these are men with a distinctly Negroid morphology. Almost all of them are depicted in an aggressive posture, running, often with a bow in hand. Also noteworthy are the curved, narrower structures in front and thicker at the back. The depiction of bovids remains very naturalistic. We are still in the "bovid era". Width of the depicted panel: 2.60 m.

404 - Jabbaren (Tassili-n'Ajjer). - Detail from photo 403. At the top left and bottom right, bovids are shown ridden by three figures. At the top, in front of the cow, a runner precedes them at high speed. Above the yellow ox, which he overtakes on the right, an archer appears to be drawing his bow, while behind him, a man holds a bundle of arrows (?) and walks in front of another who carries a staff resting on his hips. This is still a familiar attitude among shepherds today.

405 - Jabbaren (Tassili-n'Ajjer). - In the center of this other detail from photo 403, an archer holds a bow in front of him, with his arms outstretched, painted in a curious white color. He is distinctly dolichocephalic, his body is slender and very long-limbed. The male sex is clearly marked. Above him, slightly to the left, is a magnificent bovine painted with fine lines but without any coloration of the fur.

406 - Jabbaren (Tassili-n'Ajjer). - Detail from photo 403. Archers with well-stocked quivers appear to be attacking an enemy. Upon viewing these scenes, it is clear that this black ethnicity is engaged in warfare, not hunting.

407 - Jabbaren (Tassili-n'Ajjer). - Final detail of panel 403. The galloping archer is clearly visible in his pastoral bovine setting.

408 - Jabbaren (Tassili-n'Ajjer). - Hunting scene (?). The archers seem to be facing animals. Note that the quiver is worn on the left side. It is also possible that the quiver is a "ring" hanging from the belt, as the arrows are distinctly visible in front and behind the body at waist level. The figures measure between 0.13 m and 0.18 m in height.

409 - Jabbaren (Tassili-n'Ajjer). - Two running archers. Between 0.13 m and 0.18 m in height.

410 - Jabbaren (Tassili-n'Ajjer). - Two more archers. The first, on the left, has six arrows in his "quiver" and holds his bow in the air. The bow is always simple and shows no variations. However, there are hundreds of different arrowhead forms. Width of the represented panel: 0.43 m.

411 - Jabbaren (Tassili-n'Ajjer). - Archer, like his companions, painted in red ochre. A remnant of white paint indicates the existence of a loincloth that has since disappeared. On the archer at the bottom left, the white loincloth is more visible. Height of the figure in the center: 0.16 m.

412 - Jabbaren (Tassili-n'Ajjer). - Still archers, who seem to have held an important place in the artists' minds. An antelope is visible in the center. Height of the archer: 0.16 m.

413 - Jabbaren (Tassili-n'Ajjer). - Pastoral scene, painted in red ochre. Below, schematically, a hunting scene is depicted. The figures at the top are dressed in "tunics." Width of the scene depicted: 1.10 m.

414 - Jabbaren (Tassili-n'Ajjer). - Curious ochre painting with beings having very "puffed-up" hair, as is occasionally encountered. Some of them seem to be touching it. Some of the figures are seated. Width of the rock: 0.74 m.

415 - Jabbaren (Tassili-n'Ajjer). - Stylized birds. Based on their thighs, they are probably ostriches. The legs are painted with red ochre. The contours of the body are indicated by a thick white line.

416 - Jabbaren (Tassili-n'Ajjer). - Body of an ostrich painted in white, preceded by a young ostrich. Width of the panel: 2.55 m.

417 - Jabbaren (Tassili-n'Ajjer). - Hunting scene rendered in red ochre. A gazelle and an antelope are being pursued by hunters.

418 - Jabbaren (Tassili-n'Ajjer). - Hunting scene in red ochre, featuring three hunters on the left, two of whom raise their bow in the left hand, while another has placed his bow in front of him. They are waiting, while on the right, a large antelope flees from them. From the snout to the rear arm of the last figure: 0.80 m.

419 - Jabbaren (Tassili-n'Ajjer) - The "Black Archer." Painting in ochre that leaves no doubt about the hunter's ethnic background. He wears a curious hairstyle and probably a loincloth, while drawing his bow forward. From the left end of the bow to the end of the left hand: 0.20 m.

420 - Jabbaren (Tassili-n'Ajjer). - Pastoral scene painted in red and white ochre. The figures in the center have a very tall hairstyle. They may be women. The gestures are elegant and well-observed. The person in the center is 0.21 m in height.

421 - Jabbaren (Tassili-n'Ajjer). - Another bucolic scene. Some heads resemble those of "praying mantises." Painting in red and white ochre. Width of the depicted panel: 0.77 m.

422 - Jabbaren (Tassili-n'Ajjer). - A figure painted in white with a dark loincloth. It is accompanied by a small ungulate. In its hands, it holds what may be a “sickle” made of flint shards inserted into a mammal rib. It wears (?) some sort of headdress, and in front of it is an antelope. From the tail of the small antelope to the man's forehead: 0.27 m.

423 - Jabbaren (Tassili-n'Ajjer). - The right part of the fresco, damaged by erosion, is unreadable. However, on the left, beneath the black figures we just saw, there is a procession of other people whose visible breasts allow us to affirm that six of them are women, and there are no taboos in this regard. Height of the depicted panel: 0.63 m.

424 - Jabbaren (Tassili-n'Ajjer). - A large animal painted in dark red ochre. The lack of frontal horns suggests it might be an anteater (?). The thickness of the legs is striking. From the base of the tail to the snout: 0.67 m.

425 - Jabbaren (Tassili-n'Ajjer). - "Hell." It is strange to encounter horned little devils who are, according to their creators, neither men nor beasts. Their origin is the same fantasy that populated the hells of the Middle East and other places with demonic beings. In any case, this testimony serves as a marker for the evocation of evil. Height of the little devil on the center-left: 0.17 m.

426 - Jabbaren (Tassili-n'Ajjer). - Figures with "round" heads, like those from Tan-Zoumaïtak. They are painted white and hold a bow in the right hand, a stick (?) in the left hand. The central figure wears a belt with an appendage.

427 - Jabbaren (Tassili-n'Ajjer). - Drawing based on a photo by Maximilien Bruggmann of two very beautiful oxen with precise anatomy. The horns are typical and emphasize their racial characteristics. The perspective is well studied. From the right snout to the left tail: 0.57 m in length.

427 - Jabbaren (Tassili-n'Ajjer). - (original photo) Drawing based on a photo by Maximilien Bruggmann of two very beautiful oxen with precise anatomy. The horns are typical and emphasize their racial characteristics. The perspective is well studied. From the right snout to the left tail: 0.57 m in length.

428 - Jabbaren (Tassili-n'Ajjer). - A walking goat. The exact contour is painted in dark red ochre, and the udder is clearly indicated. At the bottom right, there is a small, undifferentiated figure. Height of the goat: 0.30 m.

429 - Jabbaren (Tassili-n'Ajjer). – The "Jabbaren cow," easily identifiable by its udder and morphology. The poor perspective shows a single horn projected too far forward. It is also possible the artist intended to depict an animal with just one horn. The line across the belly is not from the time of the painting. Perhaps the necklace also doesn’t belong to the same era. The body of the animal, outlined with a fine red ochre line, is particularly beautiful. From the front horn to the end of the tail: 0.32 m.

430 - Jabbaren (Tassili-n'Ajjer). - This hunter (or "archer") wears a loincloth that retains the skin of the animal's legs and tail from which it originates. The man holds a bow in his left hand. Painted in red ochre. Height of the figure: 0.21 m.

431 - Jabbaren (Tassili-n'Ajjer). – In the large shelter of Jabbaren, one can admire this reproduction, whose grace, long neck, and the delicacy of the large legs surely belong to an antelope. The head and neck are very well observed (detail of the next photo).

432 - Jabbaren (Tassili-n'Ajjer). – A painted fresco showing, in red ochre, a group of bovines, antelopes, and figures. It is possible that the artist wanted to represent not large antelopes, but horses.

433 - Jabbaren (Tassili-n'Ajjer). – We are back in Tadrart Acacous, where we saw the first figures wearing a kind of cape on their backs. This red and white painting from Jabbaren clearly shows the garment, which seems to be held by a belt over the white tunic. The heads of the two men appear adorned with feathers. Height 0,15 m

434 - Jabbaren (the large shelter, Tassili-n'Ajjer). – Four costumed figures clearly show the territorial expansion of the ethnic group already encountered in Acacous. In their right hands, they hold indefinable objects. White paint dominates, and red ochre highlights precise details. At the bottom left, a well-rendered bovine is painted.

435 - Jabbaren (Tassili-n'Ajjer). – Bovines moving to the right. A beautiful polychrome painting emphasizing anatomical precision, which gives the viewer the feeling of actually witnessing a pastoral scene. At the top left, a "crescent-shaped structure" is seen, already noted elsewhere: refer to photo 403 from the Jabbaren site.

436 - Jabbaren (Tassili-n'Ajjer). – On the edge of a reg, a shelter whose background is formed by the edge of a soft rock attacked by water and wind erosion. It is the rock portions that form a ceiling at head height that have preserved the most rock paintings.

437 - Jabbaren (Tassili-n'Ajjer). – A very fine document showing well the use of the walls of a rock shelter. Its floor continues from that of the neighboring shelter. The large herd of bovines is characteristic of the beautiful polychrome paintings of the pastoral period and shows the homogeneity of a bovine species with multiple coat colors. Width of the depicted slab: 1.20 m.

438 - Jabbaren (Tassili-n'Ajjer). - Mural of bovines from the pastoral period, painted with red ochre and white paint. There is a predominance of males. It can be assumed that castration was already known at this time, but it is unclear what economic practices governed the management of these large herds. The panel depicted is 1.85 meters wide.

439 - Jabbaren (Tassili-n'Ajjer). - Detail of the previous panel. The combination of red ochre with various metal oxides allowed the creation of black-brown, green, blue, and yellow hues.

440 - Jabbaren (Tassili-n'Ajjer). - Negative handprints. We have already seen similar messages at the introduction. They are moving because they represent the mark of a human who left them on the rock while making a wish. Was it fulfilled?

441 - Jabbaren (Tassili-n'Ajjer). - This excellent photo, taken by the competent and sharp eye of Maximilien Bruggmann, shows us where the people whose masterpieces we are detailing lived. Of course, one must also add the life provided by water: humans, as well as animals and plants. This is how Jabbaren was at the time.

442 - Ouan Bender (Tassili-n'Ajjer). - We return here to the realm of the "round heads" and a strong preference for the color white. The position is typical but not that of a worshiper. The posterior appendage might refer to a loincloth, though not specified. The fingers of the hands and the feet are well depicted. Height: 0.82 m. Note that working in Ouan Bender, strictly prohibited for tourists, requires special authorization from the director of the "Tassili National Park", authorization which Maximilien Bruggmann had.

443 - Ouan Bender (Tassili-n'Ajjer). - A figure with a "round head," drawn in black paint, partially erased. The figure holds a stick in its right hand. The left arm is firmly extended to the right. The feet are no longer visible. Height of the figure: 0.70 m.

444 - Ouan Bender (Tassili-n'Ajjer). - Group of figures painted in white and outlined in black. Their activities are no longer identifiable. Central figure: 0.70 m in height.

445 - Ouan Bender (Tassili-n'Ajjer). - Very beautiful ox with widely spread horns, painted in a burgundy color. It measures 0.35 meters in length, from the front ear to the base of the tail.

446 - Ouan Bender (Tassili-n'Ajjer). - This photo and the following ones, up to 451, belong to the same shelter. Here we see a large mural that continues on the opposite page (photo 448). Several figures are depicted amidst scattered cattle. The small bovine located at the top, slightly to the right of the center, is the same one shown in the photo above (445). The panel is 2.85 m wide.

447 - Ouan Bender (Tassili-n'Ajjer). - Very interesting domestic scene, possibly involving barter. As far as can be judged, the features of the two individuals appear Europoid. Height of the depicted panel: 0.34 m.

448 - Ouan Bender (Tassili-n'Ajjer). - Continuation of photo 446, which connects on its left side. At the top of this document, slightly left behind the bovine, there is a curious zoomorphic figure that, according to Y. Tschudi, represents two gazelles. Giraffes, goats, cattle, and human figures are visible. Width of the depicted panel: 3.36 m.

449 - Ouan Bender (Tassili-n'Ajjer). - A symbolic figure painted with bold strokes. Perhaps an elephant whose legs are overloading a fore bovid. In this curious figure, two back ends of undetermined animals are also visible, touching at the median section of the belly. Height of the figure: 0.48 m.

450 - Ouan Bender (Tassili-n'Ajjer). - The animal (?) from the previous photo, as seen by Y. Tschudi. (Tschudi Y. - North African Rock Paintings. Sansoni Ed., Florence, 1955).

451 - Ouan Bender (Tassili-n'Ajjer). - A complex scene. It is not possible to "classify" the depictions. A figure with a "round head" forms the main part of the painting. It is overlain on the left by a gazelle and on the right by a figure presumably following this gazelle. The figure measures 0.34 m from feet to head.

452 - Ouan Bender (Tassili-n'Ajjer). - In the center, two large antelopes painted in ochre are visible.

453 - Ouan Bender (Tassili-n'Ajjer). - A large white-painted mouflon, resembling the same animals associated with "round heads." A beautiful polychrome ensemble of bovines, antelopes, goats, and humans... From one mouflon horn to the other: 0.53 m.

454 - Ouan Bender (Tassili-n'Ajjer). - A very beautiful depiction of cows painted in dark ochre brown. Panel height: 0.87 m.

455 - Ouan Bender (Tassili-n'Ajjer). – A splendid painted document that gives the exact vision of the shepherds responsible for the herds. The horns are exactly those still seen today in some regions of East Africa. Such a work deserves to be listed in the world heritage inventory. One must be grateful to the Algerian authorities for having restricted access to it. The polychrome tones enhance the high quality of the drawing. Panel represented: 0.82 m in width.

456 - Ouan Bendr (Tassili-n'Ajjer). – A decadent work depicting hoofed animals that are difficult to identify. Although painted, this fresco lacks the accuracy and freshness of the previous ones. Width of the panel represented: 0.87 m.

457 - Ouan Bender (Tassili-n'Ajjer). – Negroid figures painted in red ochre, in the same style as the animals in photo 456.

458 - Ouan Bender (Tassili-n'Ajjer). – Certainly, this "dromedary" is amusing, but it is only a dromedary due to the comic nature of its appearance: the art reflects the decadence of the climate. From the front foot to the muzzle: 0.17 m.

459 - Ouan Bender (Tassili-n'Ajjer). – This dromedary with a fishbone-shaped tail is harnessed logically, unlike the "frame," in which a figure without legs is seated, but has a leather cushion in front of it. The "frame" measures 0.16 m in height and 0.23 m in width.

460 - Ozeneare (Tassili-n'Ajjer). – Rhinoceros treated with dark ochre. The animal is shown at a gallop. The horns are painted white. The small tail is typical of the animal. From the tip of the horn to the rear foot: 0.49 m.

461 - Ozeneare (Tassili-n'Ajjer). – Warrior or hunter galloping to the left. The hairstyle is painted white. Arrows can be seen, and he holds a bow in his hand. Width of the panel: 0.21 m.

462 - Ozeneare (Tassili-n'Ajjer). – Character with a Negroid morphology, the speed pulling the loincloth backward. The head is white. Width of the depicted panel: 0.41 m.

463 - Ozeneare (Tassili-n'Ajjer). – This beautiful pastoral scene is painted in ochre and with multiple colors, giving it an astonishing impression of life. The individuals are Negroid. The bovines are in a static position, but the characters are captured in their daily activities. At the top, two people are lying down. Another person is seated, one arm back, hand on the ground. There is a child (?) at the height of a woman's (?) legs who is lying down. Further to the right, someone is lying down. The character at the bottom center is 0.27 m high.

464 - Ozeneare (Tassili-n'Ajjer). – Two shepherds, including a Negroid woman on the right. She has a white hairstyle and a white loincloth. Her breasts are visible. She holds a basket in her right hand and an indeterminate object in her left. The character on the left is less defined. Between the two, there is an indeterminate circular structure. The woman is 0.16 m tall. Red ochre and white painting.

465 - Ozeneare (Tassili-n'Ajjer). – Drawing of an ox made from a photo by Maximilien Bruggmann.

466 - Ozeneare (Tassili-n'Ajjer). – Large, two-colored cow with white horns. It is depicted on a shelter wall. From the rear hoof to the front horn alignment: 0.21 m.

467 - Ozeneare (Tassili-n'Ajjer). – Negroid character with white hairstyle, holding an indeterminate object in the left hand. Three curved lines extend from the lower abdomen with no plausible explanation. The figure is 0.14 m tall.

468 - Ozeneare (Tassili-n'Ajjer). - Large painted cow. Behind it, a character appearing obese. In fact, obesity, like pregnant women, is almost never depicted. Panel depicted: 0.57 m in width.

469 - Ozeneare (Tassili-n'Ajjer). - The multiplicity of frescoes of bovines, in which males seem to dominate, raises many questions. The first concerns the significance of the vegetation cover, which itself suggests a humid episode capable of sustaining sufficient pasture. Then, one wonders how this herd contributed to the local economy. The Maasai or Fulani today do not act like Norman farmers. Finally, such a herd requires veterinary knowledge, if only to castrate the bulls.

470 - Ozeneare (Tassili-n'Ajjer). - Three cows with polychrome coats. One has a green and white coat. The green is probably obtained by mixing yellow ochre and manganese blue. Width of the depicted panel: 0.57 m.

471 - Ozeneare (Tassili-n'Ajjer). - A figure with a "round head," which, as a reminder, refers to Tin-Tazarift. Painted here in dark ochre, it wears a short tunic. Above, a finely painted ox in red ochre.

472 - Ozeneare (Tassili-n'Ajjer). - Enlargement of the ox shown in photo 471. It measures 0.28 m from muzzle to tail. One can admire the fineness and accuracy of the painted line.

473 - Ozeneare (Tassili-n'Ajjer). - In a "rock medallion," a figure with a striped head holds a staff with an outstretched arm. Width of the depicted panel: 0.30 m.

474 - Ozeneare (Tassili-n'Ajjer). - In the center of the ceiling of a shelter, a circle painted in red ochre. The diameter is 0.08 m. From this circle, which contains a smaller one, small appendages with double lines extend. They are small in size, except for one that is extended and fades into the wall. There is no explanation for this.

475 - Ozeneare (Tassili-n'Ajjer). - Small frieze of more or less finished bovines. The top beast on the left measures 0.15 m from muzzle to tail.

476 - Ozeneare (Tassili-n'Ajjer). – Five figures depicted in dark ochre, their loincloths are white, and their heads are dolichocephalic. The musculature of their thighs is emphasized and suggests walkers. They are also shown in this posture. The width of the depicted scene: 0.33 m.

477 - Ozeneare (Tassili-n'Ajjer). – Isolated stone block. It appears that a set of lines and polishing cupules, intended to make polished stone objects, conceal a deeply engraved head of a bovine. The stone depicted is 1.20 m wide.

The site where the isolated stone block from Ozeneare was found.

478 - Ozeneare (Tassili-n'Ajjer). – In places where humans lived during the Neolithic period, they had to perform various grinding tasks: seeds, pigments, medicinal plants, etc. Therefore, rounded depressions are often found, replacing portable mills where the rock allows. This is the case on the floor of the habitation shown in the photo.

479 - Séfar (Tassili-n'Ajjer). – The "Martian" remains mysterious, as it evokes a ritual whose meaning eludes us. This male figure – the sex is emphasized – has a body that is too long. The hands, with five fingers, are in the so-called orant position, but the nature of the protuberances on the arms and the shape of the head remain unexplained. He wears two bracelets represented by three lines on each arm. On the left, a small figure seems to be invoking him. Perhaps it is wearing a belt? The structure with vertical lines has no known meaning. Mysterious horned animals make the scene even more difficult to interpret. The scene, painted in white with red outlines, is at least mysterious and possibly magical. The arms of the orant measure 1.55 m from hand to hand.

480 - Séfar (Tassili-n'Ajjer). – Location of the "Martian" in the fresco from Séfar. The width of the panel depicted here: 8 m.

The shelter with the ‘Martian’ from Séfar.

481 - Séfar (Tassili-n'Ajjer). – The animal, also painted in white, has been deformed to make it appear mysterious. The panel depicted is 1.55 m wide.

482 - Séfar (Tassili-n'Ajjer). - Strange figures. The person on the right has a face resembling a pachyderm, though the trunk ends in a fork. He wears a belt with a long tail and holds a basket (?). Behind him, an individual with a belt threatens him with a club held high in the right hand. The basket held by the person on the right is 0.28 m wide. The animal on the left may be a goat-like creature (?).

483 - Séfar (Tassili-n'Ajjer). - This scene shocked many people, but it must be seen in the mysterious context of the “shelter-temple” that eludes our understanding. In fact, the interpretation is very difficult and, lacking a “key,” it boils down to assumptions tainted by our rationalism. The first figure, on the right, is seen in profile. It has only one leg, a horned head, and an oversized arm (?). Should we believe the protrusion from its belly is a penis? Or is it merely the continuation of the arm of the individual following it? This entire three-figure scene is mysterious and probably mythical. Time of the “round heads,” white painting bordered with red. Width of the depicted panel: 0.40 m.

484 - Séfar (Tassili-n'Ajjer). - “Tarzan”! Here we remain in the mythical, without knowing what the creators of these white paintings intended to tell us. The large figure on the right has powerful arms. To his left, a woman identified by her breasts raises her arms in the air. The individual preceding her holds a striped structure. Other paintings are even less identifiable. Chest width of the “gorilla”: 0.29 m.

485 - Séfar (Tassili-n'Ajjer). - Red ochre painting with white outlines. Time of the “round heads.” Perhaps we are witnessing an intimate scene depicting a couple and their child. This is a valid hypothesis. The figure on the right wears striped pants. Note the lack of muscle mass in the thighs, in contrast to the black bovid archers.

486 - Séfar (Tassili-n'Ajjer). - Red ochre painting. Time of the “round heads.” The figure on the left, in red ochre, shows a marked but not ithyphallic penis in the precise sense of the word. The individuals around him seem to be dancing. They wear a belt extended by an appendage on their backs. The patterns on the chest of those on the right suggest a garment.

487 - Séfar (Tassili-n'Ajjer). - Time of the “round heads,” red painting with fine lines. The central figure seems to be standing between the legs of an animal, with the figure on the right also holding the leg of another animal. The central figure’s sex is indicated, while the figure on the left touches the animal’s right leg, at the same level as the central figure.

488 - Séfar (Tassili-n'Ajjer). - Is it a Bubale (Pelaravis antiquus Duv.), as the horns suggest? This white painting surrounded by red is typical of the animals depicted at Séfar. From muzzle to tail: 2.70 m long.

489 - Séfar (Tassili-n'Ajjer). - Elephant with brown outlines and painted in white. It is typical of the Séfar style. From the tip of the tail to the trunk: 1.05 m.

490 - Séfar (Tassili-n'Ajjer). - Headless figure with oversized limbs. From the left arm, an inexplicable striped structure extends. From elbow to elbow: 0.40 m.

491 - Séfar (Tassili-n'Ajjer). - This large panel is actually 3.50 m wide and is entirely covered with overlapping or stacked paintings. Therefore, it is difficult to interpret. The overall design seems to belong to the "round head" period. On the left side and at the top, several circular objects are visible, extended downward by straps (?). At the top, two small rectangular protrusions are present. These might be shields. A figure holds a tilted spear. To its left, curious beings have round heads adorned with small patterns unrelated to anatomy. In the middle, a procession of small animals is heading right. Numerous human figures, of different sizes and mostly painted in white, are still identifiable.

492 - Séfar (Tassili-n'Ajjer). - Enlarged detail of the previous fresco. Note, at the bottom center, the figure with the Mickey Mouse head.

493 - Séfar (Tassili-n'Ajjer). - The figure painted in white with a dark outline bears some resemblance to the "Martian" already seen at Séfar (photo 479). But here, it holds a spear (?) in its right hand and something indistinct in its left hand. A crescent is also depicted to its right. The body is very slender, and the thighs seem spread apart, but the legs do not continue. Chest width: 0.44 m.

494 - Séfar (Tassili-n'Ajjer). - On the left, a white-painted circle with a diameter of 0.32 m. Numerous animals and figures in the "round head" style. Everything is executed in white paint.

495 - Séfar (Tassili-n'Ajjer). - From the same period, an entanglement of animals, figures, and symbols.

496 - Séfar (Tassili-n'Ajjer). - Thick figure with too small arms. The body is indicated by clumsy strokes of paint. The head is no longer visible. In front of it, one can make out a figure painted in white.

497 - Séfar (Tassili-n'Ajjer). - Finely outlined figure in dark ochre. Here, the loincloth is clearly visible, with a front and a back part. The same should apply to all representations where it is incomplete. In front of the figure, an oval shape is visible, with no plausible explanation. A large number of very small figures raises the question of the relationship that might exist between large and small beings?

498 - Séfar (Tassili-n'Ajjer). - Extraordinary fresco painted over several periods. At the bottom, there is a parade of white mouflons mixed with figures painted in dark ochre. Bottom left, a familiar scene with figures painted in white. At the top, another scene, this time involving black shepherds fighting with their bows. On the left, behind a man with a clearly visible loincloth, one might infer a dead man.

499 - Séfar (Tassili-n'Ajjer). - This photograph is a very fine document and at the same time highlights the difficulty of analyzing its content. It all seems to belong to the "round head" phase, to which the left figure undoubtedly belongs. On the right, one can clearly distinguish a giraffe.

500 - Séfar (Tassili-n'Ajjer). - Masks have always been problematic because they were primarily associated with hunting. In fact, in many forms, they seem to be linked to fertility through what we refer to with the umbrella term "sexuality." But here, it is a true mask with no connection to the animal and likely related to rites still unidentified in rock art. The masks shown in photographs 500 - and 501 belong to a series of three, the last being incomplete. Each mask is 0.50 m wide.

501 - Séfar (Tassili-n'Ajjer). - This mask is of the same inspiration as the previous one. Some authors have denied that such objects can be identified with such precision, while some African specialists see in these paintings the ancestors of all the masks on the continent.

502 - Séfar (Tassili-n'Ajjer). - Extraordinary bust of a character lavishly dressed with a kind of hat with a crest and well-dressed. The features are distinctly human. There is a fresco of similar individuals in Jabbaren. The women of this group do not wear this hairstyle.

503 - Séfar (Tassili-n'Ajjer). - Large fresco painted in red ochre, dark gray, and yellow. The bovids are not depicted in the best way possible for the artists of this period. There are also people, as well as circular structures that could represent shelters (huts?). At least sixty bovids can be counted. The panel measures 2.60 meters in width.

504 - Séfar (Tassili-n'Ajjer). - Pastoral scene painted in ochre with remarkable precision. Some of the bovids are cows. One of the animals, in the center at the top, is ridden by a couple, one of whom, located at the front, is holding an unidentified object. The stick wrapped with a strap along its entire length is placed across the horns. In the top-right corner, a greyhound with a long snout, fast runner's legs, and a narrow pelvis is sniffing the ground. The archer below holds both his bow and two arrows, which is a well-observed gesture. It is also noted that he wears a loincloth.

505 - Séfar (Tassili-n'Ajjer). - The wife of Séfar, identifiable by her breasts, has a prominent belly which could indicate pregnancy: She wears a bracelet on each arm and holds with both hands an unidentified curved object. Height of the figure: 0.95 meters.

506 - Séfar (Tassili-n'Ajjer). - Typical pastoral scene, interesting because of the depictions of rectangular structures, which might be huts (?). These paintings, made 2.80 meters above the ground, belong to a long list of “reportages” that gradually give us a deeper understanding of pastoral life.

507 - Séfar (Tassili-n'Ajjer). - Oxen and cows. The two animals in the center are shown with only one horn visible. The ox on the right has a collar. Everything is painted in brown ochre. A seated man is depicted with a hairstyle. The distance from the back of the bovids on the left to the arm of the seated man on the right is 0.80 meters.

508 - Séfar (Tassili-n'Ajjer). - Painted giraffes, their coat represented by dotted spots. The large giraffe measures 0.31 meters in height.

509 - Séfar (Tassili-n'Ajjer). - Pastoral scene. Polychrome painting. Behind the last cow, in the top-left corner, an individual leans and extends a stick toward the bovine. Height of this figure: 0.11 meters.

510 - Séfar (Tassili-n'Ajjer). - Antelope painted in fine and precise lines with red ochre.

511 - Séfar (Tassili-n'Ajjer). - Pastoral scene. Figures engaged in their tasks amidst a herd of cows with very varied coats. Above, crouching figures and an unidentifiable structure. Below, another figure with moving arms. The animal above him measures 0.17 m in length, from the forehead to the back leg.

512 - Séfar (Tassili-n'Ajjer). - Gazelles (?). It seems that the one at the top, in the center, has a young one with her. Two-colored painting in white and dark ochre. Height of the left animal: 0.12 m.

513 - Séfar (Tassili-n'Ajjer). - A couple painted in red ochre, consisting of an archer who may be in the act of picking one of the arrows (left side), and a woman following him, with both hands stretched downward; the fingers are painted with precision. A piece of the woman’s clothing is blown by the wind to her back. Definitely a Negroid type, as revealed by several skeletons found in the region. The woman measures 0.19 m.

514 - Séfar (Tassili-n'Ajjer). - Hunting scene (?). Six Negroid archers are running to the left. A seventh is running in the opposite direction. One of them, at the top center, is armed only with an axe, while another, very faint, below him, shows that the bowstring was not attached at the ends of the bow but a little higher, to better withstand the tension. Height of the archer on the left: 0.18 m.

515 - Séfar (Tassili-n'Ajjer). - A Negroid archetype, with powerful musculature and a determined look, treated in dark red ochre. He wears a feather on his head and no visible clothing. He appears to be holding arrows in his right hand. Height of the figure: 0.21 m.

516 - Séfar (Tassili-n'Ajjer). - Pastoral scene painted in red ochre. True imagery from daily life, these small panels show a multitude of details from everyday life. Below, a figure bent over faces another kneeling. They are engaged in a mysterious activity that must have been part of their daily life. The figure on the right measures 0.18 m.

517 - Séfar (Tassili-n'Ajjer). - The man with the axe, treated in red ochre, gives us insight into one of the confirmed uses of stone axes found in the Sahara. From feet to axe: 0.18 m.

518 - Séfar (Tassili-n'Ajjer). – "The Conversation". Painting in red ochre. The woman sitting on the left, with her knees folded under her, faces a seated figure, whose right leg is stretched out, and the left is folded beneath. An extraordinary intimate character to the scene. The woman on the left is 0.14 m tall.

519 - Séfar (Tassili-n'Ajjer). – Pastoral scene painted in red ochre and white paint. Two groups of seated individuals are talking in pairs. On the right, an oval white structure may represent a dwelling. Below, a procession of cattle. The figure on the extreme left is 0.19 m tall.

520 - Séfar (Tassili-n'Ajjer). – Painting in ochre. The outer feet of the two figures on the right and left: 0.68 m wide.

521 - Séfar (Tassili-n'Ajjer). – Pastoral scene. At the bottom left, an animal that is difficult to identify. It might be a sow with a piglet. Several standing or sitting figures. A large ox on the right. The "sow" is 0.24 m long.

522 - Séfar (Tassili-n'Ajjer). – A "shepherd" extends something to a bovine facing him. This red ochre painting is less carefully executed than usual (legs of the right cow). From the horns to the hind legs: 0.22 m.

523 - Séfar (Tassili-n'Ajjer). – A Negro man, painted in red ochre, extends his right hand towards a sort of cube. Height of the man: 0.25 m.

524 - Séfar (Tassili-n'Ajjer). – Return to the time of the "round heads" with these stylized but refined paintings. A woman in the background watches the dance of two others, leaning to the right and wearing a loincloth. The one on the right wears curious white shin guards, flared at the bottom, two pieces of fabric tied to her arms, and a white headdress. She measures 0.24 m from head to foot.

525 - Séfar (Tassili-n'Ajjer). – These extraordinary fashion engravings, in reality paintings, reveal much about a civilization of which we know nothing. These women (?) are dressed in blouses, trousers, and in two cases, "leggings".

526 - Séfar (Tassili-n'Ajjer). – Scene of a ritual dance. The polychrome figures: dark brown, red, white, light yellow, are richly dressed and coiffed. They appear to be holding a stick. The tallest dancer is 0.48 m tall.

527 - Séfar (Tassili-n'Ajjer). – On the edge of the Ouad Séfar, the shelter "of the Amazons" (H. Lhote).

528 - Séfar (Tassili-n'Ajjer). – Here we see goats or sheep attached "to a rope". This gives them an astonishing sense of order. Below, there is a red structure extended downward by V-shaped lines. We also see archers sketched with painted lines, as well as figures in a red structure, bovids, and later archers treated in dark gray. Diameter of the circle: 0.25 m.

529 - Séfar (Tassili-n'Ajjer). – Two hands at the end of severed arms. The left hand is finely decorated; the other is bordered by a double line. At the bottom left: head of a mouflon. Length of the right hand and arm: 0.33 m.

530 - Séfar (Tassili-n'Ajjer). – Another "positive" hand at the end of its arm. Below, a very rare depiction of a fire. Europoid figures with headgear. The arm and hand measure 0.51 m in length.

531 - Séfar (Tassili-n'Ajjer). – In front of a stylized mouflon, an archer seems to be prostrated. At the bottom left, two elephant heads. Far right, a person in a long tunic tied at the waist. From the front paw to the back paw: 0.30 m.

532 - Séfar (Tassili-n'Ajjer). – A Europoid character irreverently called "De Gaulle". Height: 0.20 m.

533 - Séfar (Tassili-n'Ajjer). – This teratological bovine consists of two front parts welded together in the middle of the belly. It is the opposite of the "monster" from In Habeter III, where two rear ends are welded together at the same point (photo 194). Length from one snout to the other: 0.35 m.

534 - Séfar (Tassili-n'Ajjer). – Curious figures painted in ochre. In the center, a horn (possibly an elephant tusk?). The figure with an oversized neck is 0.17 m high.

535 - Séfar (Tassili-n'Ajjer). - Strange painting connecting an animal's rear end to a human torso. Width of the belly: 0.09 m.

536 - Séfar (Tassili-n'Ajjer). - Line drawing of an archer whose legs are twice the height of the torso. He still holds his bow in the left hand – like most depicted archers – and a stick in the right hand. His belt supports a cloth strip covering the groin. Notable features include: arm ring, necklace, appendages under the right arm, and hair hanging down the neck. Height of the depicted figure: 0.35 m.

537 - Tan-Zoumaïtak (Tassili n'Ajjer). - The dancers in ceremonial attire appear to wear long tunics, with the fabric band at the waist possibly forming a knot. If you look at the right hand of the left dancer, it seems to rest on the left mouflon, suggesting that the dancers and the mouflons were contemporaneous. Note the structure of the headdresses and the unique decoration of the heads. The arms bear numerous rings.

538 - Tan-Zoumaïtak (Tassili-n'Ajjer). - Magnificent mouflon with typical horns finely adorned with a fine brush. From the "round heads" period, reminiscent of Séfar. On the right, a figure resembling a Medusa. Below, small bovids, one of which has a white disk. On the left, an unidentifiable animal, in the style of Séfar, with red contour and a white body. The mouflon itself is painted in dark brown. This photo, like the previous one, shows details of the beautiful panel already seen in Photo 4 in the introduction.

539 - Tan-Zoumaïtak (Tassili-n'Ajjer). - This red ochre painting shows, on the left, a small figure with abundant hair partially inserted into a circle from which strips hang. The animal on the right might be a dark brown sheep. The circle measures 0.20 m in diameter.

540 - Tan-Zoumaïtak (Tassili-n'Ajjer). - In the style of the "round-head" dancers in olive color. The one on the left extends her arms toward a baby (?). Her feet appear to touch an antelope. On the right, a figure holds a stick; above, another, larger and older. Height of this figure: 1.10 m.

541 - Tan-Zoumaïtak (Tassili-n'Ajjer). - Always the same adorned people with "round heads." This one is painted in light brown with white dots. Curious drop-shaped ornaments hang from the arms: a large one at the wrist, two small ones attached at the top of the arm. The figure on the right is painted in light brown. Height of the adorned figure: 0.72 m.

542 - Tan-Zoumaïtak (Tassili-n'Ajjer). - The splendid shelter of Tan-Zoumaïtak, to which Henri Lhote attributes 28 m². The paintings captured in the previous photographs can be recognized here. This dome-shaped shelter was worthy of inspiring religious feelings.

543 - Tan-Zoumaïtak (Tassili-n'Ajjer). - Facing the previous shelter, on rocks, there are other testimonies from the Pastoral Period. The cow on the right is remarkable for the precision of its udder. Length of this cow: 0.30 m.

544 - Tin-Aboteka (Tassili-n'Ajjer). - This typical Tassili landscape must be restored with trees, bushes, grass, water, people, and animals. Even though the water no longer erodes the rocks, sand has replaced it.

545 - Tin-Aboteka (Tassili-n'Ajjer). - On a vertical rocky platform, a pastoral scene painted in ochre, consisting solely of Negroid figures, well attested by their morphology. Height of the panel: 1.85 m.

546 - Tin-Aboteka (Tassili-n'Ajjer). - A large three-legged ox in a scene painted with dark red ochre. In fact, it seems that for some unknown reason, the right leg remains unfinished. The horns are bent back on the head. Below, a "round-headed" figure holds a bow.

Maximilien Bruggmann photographing the preceding rock painting in Tin-Aboteka (Tassili-n'Ajjer).

547 - Tin-Aboketa (Tassili-n'Ajjer). - Two Negroid figures, the one on the left holding a bow in his left hand and a spear in the other, with the triangular shaft visible. He is 1.60 m tall.

548 - Tin-Aboteka (Tassili-n'Ajjer). - Three rectangular structures, two of which show stakes (?) at each corner and contain indeterminate objects in the shape of spools. Three in the right structure, one in the two others. In all three structures, the lines forming the rectangles are doubled on the outside. Width of the right rectangle: 0.50 m.

549 - Tin-Aboteka (Tassili-n'Ajjer). - Ochre painting showing a man activating the walk of an ox heading to the right. Above, a figure and another ox are also going in the same direction. For the ox below, from the posterior right hoof to the anterior left hoof: 0.30 m.

550 - Tin-Aboteka (Tassili-n'Ajjer). - Indeterminate animal, possibly a dog. The tail is highly imaginative. A serration of the entire contour corresponds to the animal's fur, which is probably of more recent origin and whose age should be determined by the Tifinagh characters. Painted with red ochre.

551 - Tin-Aboteka (Tassili-n'Ajjer). - Negroid archers running to the right, their head profile resembling that of a dog. The figure in the center-left has a dark red circle on their head.

552 - Tin-Aboteka (Tassili-n'Ajjer). - Beautiful painted scene, with a figure seated at the top, whose head is replaced by a dash that represents only its central part (the head was surrounded by a light yellow painted hairstyle, of which only traces remain). The tunic wraps around the figure. The left hand is at the end of an arm resting on the knee. In the right hand, an undefined object is extended toward a hemispherical shape (perhaps a bag). To the left, a large standing figure. Below, a person dressed in a strip loincloth carries a basket (?) on their arm. Lower right, another unclear scene. The large figure is 0.50 m tall.

553 - Tin-Aboteka (Tassili-n'Ajjer). - Very important painted scene, showing a "flying gallop" chariot drawn by two drivers and another person. The driver at the top center holds six reins that are not aligned with the (or the) yoke. Below, in the center, another indistinct driver holds two reins. Eight reins should correspond to four horses... but only one is visible! Other individuals are also seen, along with a dog running beside the chariot. The dog measures 0.16 m in length and fits into a panel 0.83 m wide.

554 - Tin-Aboteka (Tassili-n'Ajjer). - A tall figure wearing loose clothing and a hieratic attitude. He seems to be uncovering his head (?). He is 0.45 m tall. Next to him on the right, and therefore on his left, is another figure that is difficult to identify.

555 - Tin-Aboteka (Tassili-n'Ajjer). - Horses, riders, camels, ostriches, dogs from more recent times. Width of the horse at the top right: 0.42 m.

556 - Tin-Aboteka (Tassili-n'Ajjer). - Difficult-to-define quadruped. It might be a hoofed animal. It measures 0.28 m from the left hoof to the tip of the tail.

557 - Tin-Tazarift (Tassili-n'Ajjer). - Detail of the fresco, the subject of the next photo (558), where in the center, slightly lower, a very small gazelle can be seen, whose head overlaps the reclining figure above it.

558 - Tin-Tazarift (Tassili-n'Ajjer). - Fresco depicting figures painted in brown ochre, with round heads and two small antennas. It is unclear why two of them are shown lying down. The archer, at the bottom right, holds a double-curved bow.

559 - Tin-Tazarift (Tassili-n'Ajjer). - The same enlarged archer holds an arrow in his left hand.

560 - Tin-Tazarift (Tassili-n'Ajjer). - Enlargement of the "swimmer" from photo 558.

561 - Tin-Tazarift (Tassili-n'Ajjer). - A large figure painted in dark ochre, overlaid by a white painted mouflon, followed by another coming from the left. The importance of this wild ruminant in the "round heads" animal park is surprising.

562 - Tin-Tazarift (Tassili-n'Ajjer). - The "sprinter": an excellent study made with a finely painted line that accurately depicts the running posture. Height of the figure: 0.22 m.

Tin Tazarift is located about two hours' walk northwest of Séfar in a labyrinth of sandstone streets and towers. The main shelter houses a group of large black round-headed figures with horned heads, as well as several other figures in very good condition. Algeria - Tassili n'Ajjer - 1993

563 - Tin-Tazarift (Tassili-n'Ajjer). - A figure painted in light brown ochre, seemingly seated. It belongs to the "round heads" period, wearing a loincloth and arm rings. The ovoid structure with a dark center, towards which the subject extends one arm, has no clear explanation. Height of the figure: 0.45 m.

564 - Tin-Tazarift (Tassili-n'Ajjer). - Panel containing, among other things, the figure from photo 561. In the center, a small haloed figure. To the right, partly hidden by a bovine painted in light ochre, a large figure. The discovery of four fish complements the find of fossil fish bones on the ground. To the left, two white mouflons. All painted in light or dark brown.

565 - Tin-Tazarift (Tassili-n'Ajjer). - Amazing painting of a "round head" figure showing a protuberance on the skull. Two curved appendages extend from each arm. In the left hand, the figure holds a long object with a sharp base, terminating in a small oblong mass at the top. In the right hand, it can be inferred that he holds a puzzle. A dagger is visible at the belt; in front of this "warrior", another figure, barely discernible, possibly from a different era. Below, two small paintings of negroid figures. Everything is painted in brown ochre. The large figure measures 0.86 m in height.

566 - Tin-Tazarift (Tassili-n'Ajjer). – Three gazelles whose lightness is well rendered. Bicolor painting. From the front hoof to the rear hoof: 0.22 m in length.

567 - Tin-Tazarift (Tassili-n'Ajjer). – Painted fresco depicting a figure with its hand resting on the hindquarters of a large bovine and wearing a clearly identifiable loincloth. At the bottom right, a recognizable sheep is visible. The figure is 0.20 m tall.

568 - Tin-Tazarift (Tassili-n'Ajjer). – In a shelter on the Tin-Aboteka trail, this seated woman watches a cow with lyre-shaped horns peacefully move away. Above, very difficult to read, older paintings can be seen. From the base of the tail to the nostrils, the cow is 0.33 m long.

569 - Tin-Tazarift (Tassili-n'Ajjer). – Pastoral fresco in dark red ochre. The bovines are depicted in motion, moving away to the right. Figures armed with bows accompany them. In the background, a calf is being forcefully driven. From the nostrils of the calf to the rear leg of the man: 0.10 m in length.

570 - Tin-Tazarift (Tassili-n'Ajjer). – Ochre fresco depicting preparations for a hunt or battle. In the middle left, an archer not only wears a quiver of arrows on his belt but also holds a handful of arrows in his left hand. The sense of movement in the scene is intense. The archers in the top right measure 0.11 m in height.

571 - Tin-Tazarift (Tassili-n'Ajjer). – Pastoral scene in white and ochre, from reddish-brown to light brown. Note the cap worn by both the man and the child following him, in the top right. It closely resembles the cap still worn by children during circumcision. The man is 0.24 m tall.

572 - Tin-Tazarift (Tassili-n'Ajjer). - Seven bovids, their coats ranging from white to red.

573 - Tin-Tazarift (Tassili-n'Ajjer). - Head of a bovine viewed in perspective. 0.07 m separate the ends of the two horns. This pictorial exercise is not the easiest.

574 - Tin-Tazarift (Tassili-n'Ajjer). - Bovid outlined in ochre. It is "unicorned" and wears a collar.

575 - Tin-Tazarift (Tassili-n'Ajjer). - Bovid painted in ochre but without revealing significant talent. From nose to hind leg: 0.18 m.

576 - Tin-Tazarift (Tassili-n'Ajjer). - Two hippopotamuses painted in ochre, measuring 1.16 m from the rear end of the left one to the nostril of the right one.

577 - Tin-Tazarift (Tassili-n'Ajjer). - Strange "naviform" structure. But aside from its unproven navigational ability, the archer on the right is not related to it... Only the one in the center might be a "sailor." At each end of the "structure" is an indefinable object.

578 - Tin-Terhert (Tassili-n'Ajjer). - The Tin-Terhert site presents an extraordinary surprise for the traveler, as it is a true open-air museum. The large slabs of Maâder de Dider are covered with magnificent, deep engravings made with stone chips. The large ox measures 5.10 m in length.

579 - Tin-Terhert (Tassili-n'Ajjer). - Head of a bovid from the left document. Extraordinary work composed of engraved patterns to render the animal's coat.

580 - Tin-Terhert (Tassili-n'Ajjer, Maâder de Dider). - Details of the large bovid, allowing for a judgment of the engraver's mastery.

581 - Tin-Terhert (Tassili-n'Ajjer, Maâder de Dider). - Details of the large bovid, allowing for a judgment of the engraver's mastery.

582 - Tin-Terhert (Tassili-n'Ajjer, Maâder de Dider). - Details of the large bovid, allowing for a judgment of the engraver's mastery.

583 - Tin-Terhert (Tassili-n'Ajjer). - The depicted panel is 1 meter high and shows a group of figures with polished heads, exhibiting features that might represent clothing at various body levels. The man at the bottom right has a "tail" and three lines dividing the body. Above him is an indeterminate ungulate, which is in turn dominated by a figure with its head upside down.

584 - Tin-Terhert (Tassili-n'Ajjer). - This very beautiful engraving from the bovid era shows a reclining antelope sleeping, with its snout resting on the right front leg. When considering the tools available to the artist, one can say that, artistically, we have not invented anything new. Overall width: 0.47 m.

585 - Tin-Terhert (Tassili-n'Ajjer). - Lightly engraved spirals, arranged in three successive coils.

586 - Tin-Terhert (Tassili-n'Ajjer). - Engraved ungulate, indeterminate due to the unclear depiction of the head. From the snout to the tail tip: 0.61 m.

587 - Tin-Terhert (Tassili-n'Ajjer). - A life-sized engraved rabbit from the bublian era. From the tail to the mouth: 0.40 m.

588 - Tin-Terhert (Tassili-n'Ajjer). - Three giraffes eating foliage above them, thus with their heads raised. Height of the giraffes: 0.80 m.

589 - Tin-Terhert (Tassili-n'Ajjer). - Engraved head of a giraffe. The depicted section is 0.41 m wide.

590 - Tin-Terhert (Tassili-n'Ajjer). - These engraved ostriches stand out clearly from the usual awkwardness of artists who have attempted to reproduce them. Only the attachment of the beak to the head is not well rendered. From the right foot to the left head: 0.40 m.

591 - Tin-Teferist, near Séfar (Tassili-n'Ajjer). – The three figures painted in red ochre remind us of individuals with "dash heads", but it has already been stated that this dash is only the visible part of the head, with the rest covered by light hair, with the paint in most cases having disappeared. The "lancers" facing each other are dressed in a short tunic, tight at the waist and slightly flared at the base. The one on the left wears a sort of stole hanging from both sides of the neck. With his right hand, he holds the hand of a woman in a long tunic. The central figure is 0.55 m tall.

592 - Tiffeltest, near Séfar (Tassili-n'Ajjer). – A ruminant on the right, painted in dark ochre; at the top left, a couple in red ochre that could be a man and a woman. The most interesting feature is a quadrangular structure that could represent a dwelling. The depicted panel is 0.53 m wide. The animal on the right is 0.11 m tall.

593 - Tiffeltest, near Séfar (Tassili-n'Ajjer). – This white and ochre painting brings us back to the so-called "ship-like" structures (here executed in white, showing two figures raising their arms in a hieratic posture). The fact that they are frequent along the Nile does not in any way lead to their identification with the structure depicted here or with that in Tin-Tazarift (photo 577). The maximum distance between the two tips of the structure is 0.40 m. At the top left, a mare with a foal.

594 - Tin-Kani (Tassili-n'Ajjer). – A "positive" hand missing the thumb. Above, two archers aiming to the right. Painting in ochre.

595 - Tin-Kani (Tassili-n'Ajjer). – Here we find mysterious animals painted in the Séfar style. The rendering of the shapes does not seem accidental.

596 - Tin-Kani (Tassili-n'Ajjer). – Two oxen painted in the good tradition of the bovidian era. The one on the left measures 0.17 m from the snout to the tail.

597 - Tin-Kani (Tassili-n'Ajjer). – A hunter with a bow and arrows in front of the carcass of a slain animal (?). The height of the painting is 0.16 m.

598 - Tin-Kani (Tassili-n'Ajjer). - Large horned quadruped in Sefar style. The contour is painted with ochre. From the muzzle to the tail: 0.65 m in width.

599 - Tin-Kani (Tassili-n'Ajjer). - Left hand in negative, obtained by projecting white paint onto the hand pressed onto the rock. Below, a hoofed animal in Sefar style painted in white lines. The eyes are rendered in flat perspective. The hand on the rock is life-size.

600 - Tin-Kani (Tassili-n'Ajjer). - Two animals in Sefar style, painted in white and brown ochre. The contour of the left animal is doubled by a line formed of small arrows (>>>). Below the animal on the right, there is a small bovine. On the left, two individuals. The width of the panel depicted: 3.20 m.

601 - Tin-Kani (Tassili-n'Ajjer). - Three figures from the "round heads" period in Sefar style. The one in the middle is a woman. The work was executed in white and dark brown. The figure on the left measures 0.87 m in height. Detail of photo 600.

602 - Tin-Kani (Tassili-n'Ajjer). - Ox painted in red-brown, with the coat depicted by tightly spaced curved lines. Opposite, two deers are treated in white. To the right, a man in red-brown holds a stick in his hand. The width of the panel depicted: 0.82 m.

603 - In ltinen (Tassili-n'Ajjer). - Right hand "positive." Life-size.

604 - In ltinen (Tassili-n'Ajjer). - Three white and two black figures form, with a large cow, a beautiful pastoral scene. The central figure extends a hand towards an open crescent. Facing them, the counterpart holds an object hanging from a rope. Finally, the third figure, on the left, offers a bowl.

605 - In ltinen (Tassili-n'Ajjer). - Chariot painted in dark red ochre, two horses in "flying gallop." In fact, it is the chariot that appears to be flying above the horses due to a frequent perspective error. This brings the yoke above the animals. A second axle with its wheels is located behind the chariot.

606 - In ltinen (Tassili-n'Ajjer). - Two bovines and a calf (?) painted in dark ochre. The multiplicity of bovine depictions must reflect the actual importance of the herd during the great Pastoral Period. Nevertheless, it would probably be a mistake to imagine the region where it is found as the present-day Normandy. Evidence of this can be seen in the large herds of the Peuhls today.

607 - Ihérir (in the locality of Ahréné, Tassili-n'Ajjer). – Large ox painted with patterns intended to represent the coat. A comparison should be made with the bovine engraved at Tin-Terhert (photos 578 and 579).

608 - Fadnoun (Tassili-n'Ajjer). – This photo was taken next to the painted elephant presented in the introduction (photo 5). This fresco, painted in white and red ochre, is particularly vivid. It depicts men with canine-like heads, in dynamic poses. The overall scene, completed by animals, evokes a "reportage" style.

609 - Tadras n'Ellias (Tassili-n'Ajjer). – This fresco presents the difficulty of interpreting rock art, as each occupation of the site is marked by a new layer of paintings or engravings over the previous ones. One thinks one can make out engraved bovids, a large animal painted in white, a fragment of white painting in the Séfar style, figures in dark ochre... But assigning each subject to a specific era proves difficult.

610 - Alan-Edoument (Tassili-n'Ajjer). – A "flying gallop" chariot, clumsily crafted. It raises similar reflections to the one presented by the chariot of In Itinen (photo 605), though it has only one axle. Note the absence of a platform.

611 - Alan-Edoument (Tassili-n'Ajjer). – Engraving of a large Bubalus (Pelorovis antiquus Duv.). This species is now completely extinct.

612 - Alan-Edoument (Tassili-n'Ajjer). – Engraved hippopotamus. The horn on top of the neck is a later addition. Below, there are signs of polishing.

613 - Alan-Edoument (Tassili-n'Ajjer). – Horse painted in red ochre. The mane is indicated, and the execution is awkward. From the tail to the right front leg, the animal measures 0.25 m.

614 - Alan-Edoument (Tassili-n'Ajjer). - Beautiful bovine fresco mixing herders and cattle. The large figure in the center wears a yellow loincloth. It appears to be holding its head and extending something with the left hand. The cow on the right is black, while the other animals and herders are polychrome. The panel measures 0.70 m in width.

615 - Tin-Fina on the Oued n'Tifinar (Tassili-n'Ajjer). - Pastoral scene in red ochre. A few figures painted in black are barely visible. Some are standing, others seated. Many carry staffs. It is a scene from daily life that exudes a sense of peace. The panel measures 0.76 m in width.

616 - Tin-Fina (Tassili-n'Ajjer). - Another pastoral scene, but this time an active one. On the right, five figures in dark ochre are dressed in the classic short tunic, which seems to be typical of men. Elsewhere, there are bovids and other figures. But at the bottom, there is a “camel” ridden by a man armed with a spear, which brings us into the Berber world. It is now accepted that the “dromedary” was introduced to Africa in the last millennium B.C. Therefore, the dromedary is a later addition. Width: 1.80 m.

617 - Tin-Fina (Tassili-n'Ajjer). - Three figures in short leather tunics, similar to those shown in photo 591 taken at Tin-Teferist (Séfar). The one on the right, besides the spear (only the lower part of which remains), may be holding a bow in the left hand. A kind of halo seems to surround the head of the central figure.

618 - Oum Itouami (Tassili-n'Ajjer). - It has been said that the spiral is linked to a symbolism of water, and thus fertility. However, in this case, it seems that it was used primarily for aesthetic purposes. Width of the depiction: 0.77 m.

619 - Oum Itouami (Tassili-n'Ajjer). - It seems the artist wanted to depict a hunting scene. A mouflon (?) is being attacked by three dogs. It has two arrows or two spears stuck in its body, and a spearman, who also carries a sword at waist level, is about to throw his weapon. The spearman is 0.14 m in height. Painting in red ochre.

620 - Oum Itouami (Tassili-n'Ajjer). - On the left, a man with a “dash-shaped head” holds a long stick or spear. He wears a short tunic, tightly fitting at the waist, typical of his race. In front of him, another man with lighter skin appears to be wearing a garment made of animal skin. He is running towards three oxen, which are notably rendered in brown ochre. The left figure is 0.22 m tall.

621 - Tin-Messeous (Tassili-n'Ajjer). - Pastoral scene painted in brown ochre. Still the “dash-shaped heads”. Thanks to them, their costumes, their stances, and their armament, we could now write the story of their group, knowing that they themselves depicted themselves. This also applies to the “round heads,” which are well individualized and associated with beliefs that elude us. Thus, rock art represents an important part of prehistory and protohistory. Therefore, it is crucial to link the material remains to the engraved or painted works of art. Width of the depiction: 0.94 m.

622 - Tin-Messeous (Tassili-n'Ajjer). - A figure with a "dash head", whose tunic appears to be supported by straps, turning the garment into a skirt. Ochre-colored figurative painting: 0.28 m.

623 - Tin-Messeous (Tassili-n'Ajjer). - These decadent giraffes painted in red ochre can be dated through the Tifinagh characters. Width of the depicted panel: 2.20 m.

624 - Col du Tafilalet (Tassili-n'Ajjer). - Third Aqba (Aqba: ascent) towards Tamrit. A slender woman, painted in red ochre, with darker arms. A part of her cloth hangs between her legs. She is in the special starting position for a "sprint". Her measurements from hands to feet: 0.60 m.

625 - Tamrit (Shelter, Tassili-n'Ajjer). - Three antelopes painted in ochre and white, one of which is facing the opposite direction. Height of horns to front hooves: 0.37 m.

626 - Region of Djanet (Tassili-n'Ajjer). - A giraffe painted in brown ochre, in a very decadent style. In the process of aridification, giraffes and ostriches survive the longest.

627 - Region of Djanet (Tassili-n'Ajjer). - The "devil": An ithyphallic figure ejaculating. As explained in the chapter on sexuality, this ancient engraving should be examined within the context of a time when humans, threatened in their survival, invoked powers that united genitality and fertility. Therefore, any ambiguous interpretation should be avoided here.

628 - In-Debiren (Tassili-n'Ajjer). - The engraved oxen seen here make maximum use of pre-existing cupules for the nostrils and eyes. The one on the left appears overloaded in its greatest width.

629 - Terrarart (Tassili-n'Ajjer). - Four deeply engraved oxen with polished parts. Executed in the style of those from In-Debiren, using the natural relief of the rock to the fullest. The ox in the middle left is called "the crying cow" because it appears to have a tear running from its right eye. This engraving, at human height, is located on an isolated rock emerging from the sand in the Wadi Edjiriou. It is said that when the wadi flows, the "crying cow" dips its snout into the water. Dimension of the head, from forehead to nostrils: 0.60 m.

630 - Amguid (Tassili-n'Ajjer). - Scene of a "butchery" painted in red ochre. A beast is on its back, with a kneeling figure behind it, extending its arms forward. In front, two figures can be seen in positions that are difficult to describe. Such scenes are very rare.