Gauchos cross with their cattle herd the Río Aluminé - Province of Neuquén - Argentina

Rodeo Salinas - California - USA

Canada - Alberta - Longview - In the morning mist

Canada - Alberta – Calgary Stampede – Steer Wrestling

Canada – BC – Quichena Ranch – Gathering a herd of cows

Algeria - Tassili n'Ajjer - Site Jabbaren - Pastoral scene painted in red ocher

Algeria - Séfar (Tassili-n’Ajjer) – Typical pastoral scene, 2.80 m above ground level.

Algeria - Terrarart (Tassili-n’Ajjer) – Engraving of four cattle, very deeply worked, partly polished. In the center "The Weeping Cow".

Rock-art site of Tanakom - At the edge of the Aïr mountains, the petroglyphs converge at the mouth of the wadis (valleys), where the savannah life prevailed the longest after the onset of desertification. They testify to the fact that giraffes and lions cavorted here with the animals of Neolithic cattle herders. - Niger / Between Aïr and Ténéré / 1992

The Palitué Ranch - With his horse and his rebenque (a broad leather whip), the Argentine gaucho is similar to the North American cowboy. At the end of spring, he separates the calves from their mothers in order to brand, dehorn and castrate them. (Neuquén Province, Patagonia) - 1976

Rock engravings at Tanakom: Giraffes and cattle at a time when the Sahara was still green.

Cows from the Palitué estancia (province of Neuquén), which have just given birth to their young, are gathered in the corral. The gauchos will soon make their appearance in order to carry out work of the utmost importance. It is a matter of separating the heifers from their mothers, which is not without its difficulties. Then the cows are taken back by the gauchos to their respective pastures where they will eventually gain the necessary weight. To achieve this, they need to be perfectly quiet, hence the cruel necessity to take their offspring away from them. The pastures are chosen for the quality of their grass. Finally, the cows are sent by truck to the slaughterhouses and the meat is kept in the capital's refrigerators. These measures are justified by the fact that Argentines have a predominantly meat diet. But it should also be pointed out that the production and sale of meat abroad is one of the main economic activities of the Argentine nation. - 1973

The gaucho's task is both arduous and dangerous. It is the result of a long tradition which dates back to the beginning of the colonisation of the pampas. It requires skill, patience, endurance and a great deal of security of movement. These essential qualities are put to good use especially when sorting the animals inside the corral. The constant coming and going of the animals is not made to facilitate the movement of the gaucho. In addition, the dust that rises from the corral floor forms clouds in which people and animals seem to get lost. But the gaucho and his horse are one and the same, because they have been used to this kind of exercise for a long time. This agreement also exists between the different gauchos who work in an estancia. The daily task involves a lot of discipline on the part of the men. These conditions must be observed every time the animals are grouped together, taken to the pasture or sorted out. - 1973

The great rivers that run through Patagonia have their source in the Andes. The gradient is gentle, and the watercourses take their time before pouring into the Atlantic Ocean. But in the rainy season, when the storms rage in the peaks of the Cordillera, the rivers swell. Then floods threaten people, animals and crops. The inhabitants of both banks use the many fords as river crossings. The photograph shows a scene that used to be characteristic of life in the pampas, but is becoming increasingly rare today as a result of Argentina's economic development: A herd of four hundred Hereford cattle is being driven through the Río Alumine (Neuquén province) and taken to the next estancia. These transports are increasingly carried out with the help of trucks, at least where bridges allow the rapid crossing of Patagonia's rivers and streams. - 1973

The remate is in full swing in the Villa Maria estancia (Buenos Aires province). The event takes place inside a circular enclosure around which all the participants have gathered. The participants did not hesitate to travel several hundred kilometres to get to the remate. Most of them took a small plane to facilitate their travel. The large estates of Patagonia and the pampas are equipped with an airfield. Private planes allow fast connections between the estancias. They also make direct connections possible between the most remote estancias and the nation's capital. During the remate, the horned beasts are sold at public auction. The owners take their animals around the enclosure several times under the critical eye of the participants. The auctioneer leads the sale. He too is a great cattle connoisseur. Bulls are sold by piece or in pairs. In other cases, the owner gets rid of a whole lot of animals. Each remate is a feast, which is accompanied by a meal offered to the guests. - 1973

Tired of the long hike, you can relax comfortably, even if you are an obstacle on the road to Jujuy. - 1973

Night slowly descends on the estancia “La Mimosa” (Entre Ríos province). The moment has come to round up the cows that were separated from their calves a few months earlier. This segregation was done by the cattle farmers to ensure a quiet life for the cows on preferential pastures. The task is difficult, and many gauchos are involved. The same scenes take place on every estancia in the pampas. They show stages in a cycle of important work on which a large part of the national economy depends. - 1973

Hundreds of cattle have been brought by the gauchos from their pastures to the estancia. They are then loaded onto trucks bound for Liniers in Buenos Aires. Cows from almost all Argentine provinces can be seen at this assembly point. The herds pass in front of the experts in dense rows. You can recognise representatives of the Hereford, Shorthorn, Aberdeen Angus, Holando and Cruza breeds. An estimated 15 000 to 18 000 head of cattle are sold every day. - 1973

Alberto Biocca, president of the Grupo tradicionalista of Ayacucho in the province of Buenos Aires, is a master of the lasso. - 1976

Aberdeen-Angus cattle, Estancia El Cardal, Ayacucho, Buenos Aires Province, Argentina. - 1975

Separating the calves from their mothers. Tomorrow the «yerra» begins. Estancia de Palitué, Neuquén Province, Argentina. - 1975

The "volteadores" throw the calves to the ground and hold them under the bite of the glowing metal. - Estancia La Mimosa, Ayacucho, Province Buenos Aires - 1975

The "volteadores" throw the calves to the ground and hold them under the bite of the glowing metal. - Estancia Palitué, Province Neuquén. - 1975

The «volteadores» throw the calf to the ground and hold it while the emerging horns are removed and the young animal is marked.- Estancia La Amalia, Province Entre Ríos - 1973

The "descornador" spends a day on his knees in the dust to remove the emerging horns of the calves with a chisel and hammer. The kid leather leggings are not asking too much ... the branding is done at the same time. While the irons are red-hot in a makeshift brazier, the "volteadores" throw the calves to the ground and hold them under the bite of the red-hot metal. Young bulls that are not intended for breeding are castrated in the same operation. - Estancia Palitué, Province Neuquén - 1975

Instead of branding, the veterinarian applies an ear tag. - Estancia La Amalia, Province Entre Ríos - 1973

The "descornador" spends a day on his knees in the dust, using a chisel and hammer to remove the calves' emerging horns. Young bulls that are not intended for breeding are castrated in the same operation. - Estancia Palitué, Province Neuquén. - 1975

It took hours of patience and tireless attention to drive the young cattle into the corral of the Estancia of Palitué. - Province Neuquén. - 1975

It took hours of patience and tireless attention to drive the young cattle into the corral of the Estancia of Palitué. - Province Neuquén. - 1973

It took hours of patience and tireless attention to drive the young cattle into the corral of the Estancia of Palitué. - 1973

It took hours of patience and tireless attention to drive the young cattle into the corral of the Estancia of Palitué. - Provinzce Neuquén - 1973

It took hours of patience and tireless attention to drive the young cattle into the corral of the Estancia of Palitué. - Province Neuquén. - 1973

It takes a lot of patience and tireless attention to drive the young cattle out of the pampas into the corral of the Estancia of Palitué. - Province Neuquén - 1975

It takes a lot of patience and tireless attention to drive the young cattle out of the pampas into the corral of the Estanzia of Palitué. - Province Neuquén. - 1975

The troperos, who spent weeks driving the herds to the slaughterhouses on the coast, had to give way to more intensive cattle breeding, but every gaucho still knows how to master the lasso, even if today's methods no longer require it. - Estancia Do Tigre, Rio Grande do Sul, Brazil - 1976

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Palitué, Province Neuquén - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia El Cardal, Ayacucho, Buenos Aires Province. - 1976

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Palitué, Neuquén. - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Palitué, Province Neuquén. - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Palitué, Province Neuquén - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Palitué, Province Neuquén. - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia Campo Alegre, Province Salta - 1975

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia El Dorado, Province Corrientes - 1976

Every gaucho knows how to master the lasso, even if today's methods no longer require it. Incidentally, these traditional skills also determine the somewhat self-evident hierarchy on the estancias. - Estancia El Dorado, Ayacucho, Province Buenos Aires - 1976

The 20th century gaucho has settled down and usually returns to the estancia in the evening, even if his daily work still involves adventure and danger. - Estancia Palitué, Province Neuquén. - 1973

Mastering his horse in any situation brings the gaucho "glory and honour", and so he puts his skill to the test again and again in the most diverse games and competitions. The rules of these competitions vary depending on the region, and for the huasos, as the gauchos are called in Chile, style counts as much as the result. Although the competition arena is reminiscent of the Spanish bullfighting arena, the aim here is only to manoeuvre the bovine against the board wall with the horse alone and "pin it down". The individual parts of the cow's body are divided into point values, with blocking the hindquarters earning the most. - 1975

Mastering his horse in any situation brings the gaucho "glory and honour", and so he puts his skill to the test again and again in the most diverse games and competitions. The rules of these competitions vary depending on the region, and for the huasos, as the gauchos are called in Chile, style counts as much as the result. Although the competition arena is reminiscent of the Spanish bullfighting arena, the aim here is only to manoeuvre the bovine against the board wall with the horse alone and "pin it down". The individual parts of the cow's body are divided into point values, with blocking the hindquarters earning the most.- Rodeo in Osorno, Chile - 1975

The cattle are the wealth of the pampas. There are buyers who travel by plane from one remate (auction) to another. The cows are traded as lots, bulls as heads. - Remate in Temuco, Chile - 1975

The cattle are the wealth of the pampas. There are buyers who travel by plane from one remate (auction) to another. The cows are traded as lots, bulls as heads. - Villa María, Province Córdoba - 1973

The cattle are the wealth of the pampas. There are buyers who travel by plane from one remate (auction) to another. The cows are traded as lots, bulls as heads. - Remate in Villa María, Province Córdoba. - 1973

Troperos bring a herd intended for sale across the Alumine River in the Andean foothills. - Province Neuquén. - 1973

Troperos bring a herd intended for sale across the Alumine River in the Andean foothills. - Province Neuquén - 1973

Arturo Fernandez, with mighty guardamontes on either side, has a finca near Salta where he tries to keep the traditional things alive. - Estancia Campo Alegre, Province Salta - 1973

Chacho Royo is one of the best gauchos in the Salta area and could demonstrate a lot of the younger ones in the campo. - Estancia Campo Alegre, Province Salta - 1975

Arturo Fernandez, with mighty guardamontes on either side, has a finca near Salta where he tries to keep the traditional things alive. - Estancia Campo Alegre, Province Salta - 1975

Arturo Fernandez has a finca near Salta where he tries to keep the traditional things alive. - Estancia Campo Alegre, Province Salta - 1975

In the province of Buenos Aires, the Troperos drive cows and calves to the Estancia La Mimosa. - 1975

In the province of Buenos Aires, the Troperos drive cows and calves to the Estancia La Mimosa. - 1973

Aberdeen Angus cattle on Estancia El Ombú, Ayacucho, Buenos Aires Province - 1975

At Don Emilio Solanet's Estancia «El Cardal», Ayacucho, Province of Buenos Aires - 1975

Fiesta Gaucha in Bagé, Rio Grande do Sul, Brazil. - 1976

Fiesta Gaucha in Bagé, Rio Grande do Sul, Brazil - 1976

The cattle are the wealth of the pampas. Remate (auction) in Villa María, Córdoba. The cows are traded as lots, bulls as heads. - 1973

Breeding of cows imported from Brazil (Brahman hybriden) in the hacienda La Pacífica, Guanacaste province, Costa Rica. Large domesticated animals first appeared in Central America at the time of the conquest, in the 16th century. Generally speaking, it can be said that these animals acclimatised well to geographical and climatic conditions that were very different from those they had experienced in Europe. It is true that on the high plateaus of the mountainous region livestock farming is fraught with difficulties, already because of the altitude of the terrain and the poor quality of the pastures. The cows, which are expensive, are usually owned by half-breeds or whites. The Indians' cows were thin and stunted, and the little milk they produced was very poor. Considered a luxury food, it is sold. The crossbreeding of cows and zebus, experimented with in recent times, has given excellent results, especially for animals raised in the lower areas of the continent. - 1977

Near León in western Nicaragua, Brahman cows are taken to the watering place. - 1977

The Wadi Mathendous has carved its bed into the rugged landscape of the Messak noir, in the Fezzan in southern Libya. Following the dead course of the former river, now blocked by boulders, one reaches the famous site of the elephant of In Galjeïen: It is located on the rock that closes off the farthest part of the horizon. - Libya - 1969

The village of Noudache is located next to the site of Aoudaghost, which was uncovered by archaeological missions in the 1960s. It is a rather unusual site, as it is thought that it may have been the capital of the Ghana Empire in the 8th century, an oasis of great wealth, only a small part of which has been revealed. The village of Noudache is very new, the first settlements having been built in the 1970s by settled nomads, and lies at the foot of a rocky basin. - Mauritania - 1970

Tamchekett is a town in the Hodh El Gharbi region of south-central Mauritania. Temporary lakes form here during the rainy season. - Mauritania - 1969

The baobab is one of the best known and most characteristic trees of tropical Africa. It is characterised by a relatively short, extremely thick trunk, which can reach a diameter of more than 10 m. The tree can grow up to 800 years old. - Cattle seek the shade of the tree - Mansara - Mali - 1969

The lens has captured the biblical-like image of the bozo riding to the well of Ekisman. It has often been overlooked that cattle also served as pack animals and as such played a major role in Saharan civilisation. - Niger - 1970

At the well of Ekisman - Early practice for those who want to become real shepherds. - Niger - 1970

Girls as well as boys help to bring the cattle to the drinking trough. - Eskiman well - Niger - 1970

Joining forces makes it easier to lift the water bag - Eskiman well - Niger - 1970

Girls as well as boys help to bring the cattle to the drinking trough. - Eskiman well - Niger - 1970

Overview of the well of Ekismane. The herders distribute the water to the watering troughs. The cattle wait for their turn. - Niger - 1970

With the help of the dromedary, the water is lifted while the cattle wait patiently until they are led to the watering place. A spectacle that is repeated daily. - Well of Eskiman - Niger - 1970

After watering, the cattle are returned to the surrounding pastures. - Eskiman well - Niger - 1970

Cattle wait patiently in the midday heat until they are led to the drinking trough - Eskiman well - Niger - 1970

In Ekisman, there is again the long wait of the cattle, who have become dependent on man, who seeks the sparse water in the bowels of the earth. This waiting can be seen in the eyes of the animals, the atmosphere is oppressive, dusty, and the work of the herdsmen exhausting. Certainly, the drying up of the drinking trough is also related to the number of animals that quench their thirst at it, and there are also waterholes that dry up only during a few weeks before each rainy season, but you can count them on your fingers. - Eskiman well - Niger - 1970

It has often been overlooked that cattle also served as pack animals and as such played a major role in the civilisation of the Sahara. As a rider we find the same girl as in the previous photo. - Well of Ekisman - Niger - 1970

Cattle at the well of Ekisman at sunset - Niger - 1970

The cattle quench their thirst in the river Chari - Chad - 1967

This rock painting is in a shelter called Ahréné in Wadi Iherir. It shows a large ox painted with patterns. Note the similarity with the engraved ox of Tin-Terhert (see Saharan rock art 578, 579). Algeria - Tassili n'Ajjer - 1993

South of Djanet, on the edge of the Erg Admer, an isolated rock juts out of the Wadi Edjiriou. On it one finds four very deeply engraved oxen. The place is called Terrarart. Algeria - Tassili n'Ajjer - 1993

Terrarart - Four very deeply engraved oxen with polished parts. Executed in the style of those of In-Debiren, with maximum use of the natural rock relief. The ox in the centre left is called the "weeping cow" because a tear seems to run from its right eye. This man-sized engraving is on an isolated rock that rises out of the sand in the Wadi Edjiriou. It is said that the "weeping cow" dips its snout into the water when the wadi flows. Size of its head from forehead to nostrils: 0.60 m. Algeria - Tassili n'Ajjer - 1993

A magnificent painted document depicting the shepherds' accurate view of the flocks for which they were responsible. The horns are exactly those that can still be seen in some parts of East Africa today. Such a work would deserve to be included in the inventory of world cultural heritage. One must be grateful to the Algerian authorities for prohibiting access to it. The polychrome hues highlight the high quality of the drawing. Pictured rock painting: 0.82 m wide. Algeria - Tassili n'Ajjer - Ouan Bender - 1993

On the left, a man with a "stick head" holding a long stick or a lance. He is wearing the short tunic typical of his race, which is more or less tight at the waist. In front of him is another man with a lighter complexion who seems to be wearing a garment that could be made of an animal skin. He is walking towards three oxen, which are rendered with a remarkable stroke of brown ochre. The figure on the left is 0.22 m tall. Algeria - Tassili n'Ajjer - Oum Itouami - 1993

Exceptional fresco painted in several periods. Below, a parade of white mouflons mixed with dark ochre painted figures. Below left, a familiar scene with white painted figures. Above, another scene, this time involving black pastors fighting with their bows. On the left, behind a man with a clearly visible loincloth, one thinks one can sense a dead man. Algeria - Tassili n'Ajjer - Séfar - 1993

Two animals in the Séfar style are treated with white paint and brown ochre. The outline of the left animal is doubled by a line of small arrows (>>>). A small cow can be seen under the right animal. Two animals can be seen on the left. Width of the panel depicted: 3.20 m. Algeria - Tassili n'Ajjer - Tin-Kani - 1993

Beautiful fresco from the cattle period, mixing shepherds and cattle. The large figure in the centre wears a yellow loincloth. He seems to be holding his head and stretching something with his left hand. The cow on the right is black, the other animals and the shepherds are multi-coloured. The width of the painting is 0.70 m. Algeria - Tassili n'Ajjer - Alan-Edoument - 1993

This beautiful pastoral scene is treated with ochre and many colours that give it an amazing impression of liveliness. The individuals are negroid. The cattle are in a static pose, but the individuals are captured in their daily occupations. Two individuals are lying down in the upper section. Another is sitting with one arm back and one hand on the ground. A child (?) is at the level of the legs of a reclining woman (?). Further to the right is a person lying down. The person at the bottom in the middle is 0.27 m high. Algeria - Tassili n'Ajjer - Ozeneare - 1993

The large number of cattle frescoes, in which the male animals seem to dominate, raises a number of questions. The first is the importance of vegetation, which in turn presupposes water that could ensure sufficient grazing. The second is the question of how this herd participated in the local economy. Today's Maasai or Peuhl do not operate at all like the Norman farmers. And thirdly, such a herd requires veterinary skills, if only to castrate the bulls. Algeria - Tassili n'Ajjer - Ozeneare - 1993

Very beautiful fresco with cattle from the pastoral period, painted with red ochre and white paint. Black browns, greens, blues and yellows were achieved by combining red ochre with various metal oxides. Algeria - Tassili n'Ajjer - Jabbaren - 1993

Very nice document that shows well the use of the walls of a rock shelter. Its floor forms a continuation of the floor of the neighbouring abris. The large herd of cattle is typical of the beautiful polychrome paintings from the pastoral period and shows the homogeneity of a type of cattle with many different types of coat. Width of the depicted painting: 1.20 m. Algeria - Tassili n'Ajjer - Jabbaren - 1993

Detail from the previous photo. Engravings from the cattle age, but very difficult to read. The anatomical accuracy here is extremely remarkable. Five cattle are identified. Algeria - Tadrart - El Beridij - 1993

Ouan Zouaten (Tadrart, In-Djaren region). - Representation of engraved cattle. Algeria - Tadrart - 1993

Ouan Zouaten (Tadrart, In-Djaren region). - Depiction of engraved cattle. Width of the group depicted : 2.50 m. Algeria - Tadrart - 1993

Amazing frieze depicting high quality engraved cows in the best naturalistic style. The pinned contours form circles that reproduce the animals' fur. Between the legs of the cow in the centre is a very small figure. Algeria - Tadrart - Tan-Ekli - 1993

Beautiful fresco painted on the ceiling of a shelter in Tisseteka. Cattle with lyre-shaped or hanging horns. The fur of an animal in the centre left is rendered by stippling. A large bovine animal in the lower half is lying with one leg bent against its belly. Width of the panel depicted: 0.75 m. Algeria - Tadrart - 1993

Punched giraffe and cattle on a boulder between Arakao and the grotto at the big dune - Aïr - Niger - 2002

8 - Tassirés. Oued Tilemsane (Aïr). – Horse epoch. Animals with very schematic lines. The bovine is well rendered, however. There are likely more recent inscriptions in Tifinar. The ox is 0.90 m long.

14 - Oued Tagalalat (Aïr). – Horse epoch. Emaciated cow (?). Note the vertical line in the center of the abdomen, as well as the jugular appendage and the precise depiction of the animal. From the tip of the horn to the end of the legs: 0.30 m.

14 - Oued Tagalalat (Aïr). – (original photo) Horse epoch. Emaciated cow (?). Note the vertical line in the center of the abdomen, as well as the jugular appendage and the precise depiction of the animal. From the tip of the horn to the end of the legs: 0.30 m.

17 - Agalala (Aïr). - Horse Period. Male cattle. Note the jugular appendages and the extended punching meant to represent the coat's colors. Height of the central figure, from hoof level to the middle of the back: 0.45 m.

29 - Tagueït bas (Aïr). - Very schematic stippled engravings. The central figure does not clearly evoke equids. To its right, a figure with a bi-triangular garment and a head in an inverted U-shape. The central figure is 0.70 m tall.

30 - Tagueït bas (Aïr). - Figures with "ant head" (equids) set against a background of animals (domesticated?). Note the spears and round shields. The animals measure between 0.30 and 0.40 m in height.

35 - Tagueït haut (Aïr). - Giraffes, bovids, rhinoceroses, and ostriches intertwine and overlap in this fresco, where wild species seem to dominate.

42 - Tagueït high (Aïr). – Fresco depicting giraffes, an elephant, ostriches, and an ox. The important site of Tagueït does not offer any truly ancient engravings. The wildlife is still significant, but the arrival of foreign ethnic groups often makes it difficult to attribute them to a specific culture.

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.

85 - Enneri Domo, Arkana site. - Chariot period. Ox-drawn cart. The wheels have six spokes and are engraved in a "flattened" style. The "floor" plays an important role, and the yokes are very wide apart. Note the primitive stylization of the animals and the character. The cart from one outer edge of the wheel to the other: 0.58 meters.

86 - Enneri Domo, Arkana site. - Chariot period. Ostrich, oxen, giraffe; tifinars, sheep or goats. On the cart, whose wheels with four spokes are depicted in a "flattened" manner, the central yoke ends in a small crossbar. The floor is reduced to a flat triangle. The rock has a height of 1.77 meters.

99 - Enneri Blaka. Site 3. - Ox with a "solar disc" between the horns. Figures, giraffes, graffiti... The disc is actually an oval shape, which may refer to a secular ornament. The stippled engravings are late and difficult to classify.

110 - Enneri Blaka. Site 7. - Recent pastoral period. On a nearly vertical slab, an extraordinary grouping of cattle led Maximilien Bruggmann, the discoverer of the site, and his team to name it the "Ark of Noah." A mix of bovids, giraffes, hunters, and ungulates can be identified. The estimated number of subjects is 150! Width of the depicted panel: 1.75 m.

111 - Enneri Blaka. Site 7, known as the "Ark of Noah." - Detail of the fresco above: male bovid obtained by pecking, like most of the representations. The tail ends in a "broom." It is preceded by an animal with lyre-shaped horns (bovid?). From the tail to the tips of the horns: 0.91 m in length.

113 - Enneri Blaka. Site 8. - "Bubale" period. The engraving is difficult to interpret due to the arrangement of the hind legs. From the snout to the rump: 0.43 m.

115 - Enneri Blaka. Site 10. - Paintings from the "round heads" period (?). At the top, two cows with calves, in white. Below, three unidentifiable quadrupeds, one in red ochre, the other in white. The depicted panel is 0.75 m wide.

116 - Enneri Blaka. Site 10. - Engravings by pecking. End of the pastoral period. Giraffes, bovids, ungulates. The depicted panel is 2.20 m wide.

117 - Enneri Blaka. Site 10. - The shelter, seen from the inside, measures 9.60 meters in width. At the far end, behind the mountains, is the "Submarine of Blaka." On the ceiling, a red/pink elephant can be observed; additionally, one can spot bovids, a mounted animal... Sites 7 and 9 are located on the opposite cliffs.

119 - Enneri Blaka. Site 10. - Pastoral period (?). This fresco decorates the ceiling of the rock shelter at Site 10. It primarily depicts bovids and human figures. Two of them are mounted on an ox. The width of the depicted ceiling section is 2.05 meters.

121 - Enneri Blaka. Site 10. - Another view of the ceiling painted in the pastoral period. The presence of a large herd of bovids does not exclude wild animals such as the elephant, which appears here in a red color. The bovids are white. An ox is ridden by a figure, which seems (?) to guide it with a rope. The elephant measures 0.41 meters in length.

122 - Enneri Blaka. Site 10. - A mounted, white ox. The painting style is very homogeneous. Notice the feather on the rider's headdress. From the tip of the tail to the snout: 0.225 meters.

128 - Confluent Blaka-Domo. Site 12. - Chariot Era. Chariot drawn by oxen, depicted in the naive technique of the "flat-format." Note the axle, the four-spoked wheels, and the very cramped platform. Width of the panel: 0.69 m.

133 - Confluent Blaka-Domo. Site 12. - Bubaline Era. Extraordinary bovine with oversized horns. Several central parts of loincloths. Vulvar sign, hooves... The surface depicted measures 1.17 m in height.

134 - Confluent Blaka-Domo. Site 12. - Bubaline Era. Beautiful cow engraved. The color differences in the coat are represented by lines separating the areas.

140 - Oued Mathendous. In Habeter III. - Giraffes engraved with continuous, regular, and deep lines. Bubaline period. A smaller, unfinished giraffe precedes them on the right. At the top left: recently etched bovine.

151 - Oued Mathendous. In Habeter III. - Two bovids with forward-facing horns. Above, another trap with a diameter of 0.56 m.

153 - Oued Mathendous. In Habeter III. - Period of the "bubale". A very beautiful engraving of a bovid with hanging horns. Note the depth of the lines and the cracks in the rock formed after the engraving. Length from the tip of the snout to the tip of the tail: 0.72 m.

154 - Detail of the previous one showing the quality of the engraved lines.

158 - Oued Mathendous. ln Habeter III. - Period of the "bubale." A bovine whose head, according to L. Frobenius, is topped by a symbol, which is uncertain. From the tip of the left horn to the hoof: 0.60 m.

159 - Oued Mathendous. ln Habeter III. - Two giraffes and two bovids engraved on a vertical rocky surface at the edge of the Oued. From the lowest legs of the large bovine to the head of the giraffes: 1.32 m.

160 - Oued Mathendous. ln Galgien. - Bovid. Bovid period. Notice the line between the horns, which are represented along the axis of the spine. From the tip of the tail to the muzzle: 0.73 m.

161 - Oued Mathendous. ln Habeter II. - Male bovid (?) with crescent-shaped horns. From the top of the horn to the hooves: 0.35 m.

162 - Oued Mathendous. ln Habeter II. - Decadent bovid with crescent-shaped horns. Tail in motion. The eyes were not engraved. From the top of the high horn to the hoof: 0.50 m.

163 - Oued Mathendous. ln Habeter III. - The "sad cow" (!), anatomically correct, with well-marked nostrils.

164 - Oued Mathendous. ln Habeter II. - Ox with lyre-shaped horns.

173 - Oued Mathendous. In Habeter II. - Engraved bovine with geometric tendencies, featuring a jugular appendage. The horns resemble the shape of a lyre. From the snout to the base of the tail: 0.65 m.

174 - Oued Mathendous. In Habeter II. - Very beautiful ox, whose contours are engraved with a double line. As is often seen, the abdomen is marked by a vertical line. The lyre-shaped horns are above a clear eye. It is preceded by an antelope with very fine, long horns in the same style. From the left horn of the ox to the base of the tail: 0.65 m. Decadent graffiti between the horns of the ungulate.

179 - Oued Mathendous. In Habeter II. - Bubaline period. In fact, the designation *Bubalus antiquus* Duv. was initially abandoned in favor of *Omoïoceras antiquus* Duv., eventually leading to *Pelorouis antiquus* Duv. This bovine with monumental horns is contemporary with the Neolithic and disappears with it. This specimen has two tails. A large bird is engraved between the horns, which are spread 0.72 m apart at their tips.

181 - Oued Mathendous. In Habeter II. - A magnificent bull engraved with deep, regular lines. The tops of the horns are marked with two lines, themselves topped by a disc, in which some see an Egyptian influence, though this is not certain. From the tip of the snout to the end of the tail: 0.60 m in length.

190 - Oued Mathendous. In Habeter III. - Detail of an engraved bovine head, showcasing remarkable artistic mastery. Width of the head at the level of the nostrils: 0.58 m.

194 - Oued Mathendous. In Habeter III. - Bovine depicted in the grazing position. Below it, a teratological animal artificially composed of two hindquarters joined at the belly. From one tail to the other: 0.62 m in length. To the right of the tail's origin, a late addition of an animal head to correct (?) the lack of rationality of such a monster.

199 - Oued Mathendous. In Habeter I. - Beautiful engraved ox with lyre-shaped horns. The coat is depicted by alternating reserved and polished areas. Below, another animal is sketched, partially overlapping the first. From the left tip of the horn to the end of the tail: 0.83 m in length.

200 - Oued Mathendous. In Habeter I. - Engraving of a bovid. The rendering of the scapula of the right front leg creates an impression of an added limb. The eyes are not shown. From the top of the horn to the end of the tail: 0.83 m.

201 - Oued Mathendous. In Galgien. - Pastoral fresco depicting four bovids: three on the left, one on the right. The coat is represented by alternating polished and unpolished areas. Width of the depicted panel: 1.30 m.

202 - Oued Mathendous. In Habeter III. - Physical destruction of a beautiful rock document. Several fragments have disappeared, and the remaining ones show a shift from the original depiction. The three upper blocks are 1.33 m wide.

204 - Tadrart Acacous. Ouan Amil. - We enter a different world: that of the bovids, dominated by livestock farming. Rock art leads us to the idea that we are looking at a true visual imagery of the period. Many beautiful ochre paintings, sometimes highlighted with white, are found in shelters, as two fine examples at the edge of the Oued Amil on the next page’s photo. The naturalness of the characters and the accuracy of their postures stand out. The life of this time is represented realistically. The panel measures 1.43 m in height.

213 - Tadrart Acacous. Ouan Amil. – A deep familiarity of our bovids with their cattle leads to highly precise painted representations, such as this moving cow with a bicolored coat. Horns on the back leg: 0.33 m.

214 - Tadrart Acacous. Ouan Amil. – In the same style as the previous cow, a standing cow in front of another lying one. Above, a third with a “pack” on its back. The coat’s colors are rendered in red and white areas. From the muzzle of the lying cow to the muzzle of the standing cow: 0.47 m.

221 - Tadrart Acacous. Tin-Achigh. – Pastoral scene. A herd of bovids is followed by a shepherd in the style of Ouan Amil, holding a long staff in one hand, while the other rests on the waist. A difference in style can be noted between the animals depicted, indicating they are not from the same era. Width of the panel: 0.65 m.

235 - Tadrart Acacous. Teshouinat. - Complex series of figures, of which it is unclear whether they are dressed or not. Eight are painted in white, one in red. The figure at the bottom seems to wear a transparent cloak. The heads are topped with one or more feathers. A small bovine carries a symbol (?) above its head. Height of the represented panel: 0.72 m.

239 - Tadrart Acacous. Tin-Anneouin. – Composite fresco featuring "diabolo" figures, palm trees, bovids, "flying gallop" chariots, etc. Several layers are superimposed here. Painted Tifinagh characters. Only red ochre was used.

243 - Tadrart Acacous. Tin-Anneouin. – Lying cows painted with red ochre. Bovidian period.

253 - Moghar et-Taghtani (Algeria). - Beneath a finely engraved small bovine and two ostriches below its head, a curious being with its legs folded and open in a praying position. The vertical lines crossing the body remain unexplained. One must accept that the intention of the (or the) engraver cannot be revealed. Head diameter: 0.12 m.

255 - Thyout (Algeria). - A scene that shocked many at the end of the 19th century. It is now referred to as "The Hunting Lesson". In fact, at the top of this Neolithic engraving, there is a "placental bond" linking a mythical being with a hunter aiming at an ostrich followed by a dog. Between the "god" and the "creature" is a small, undefined ungulate. This is a scene of fertility invocation. The three engraved scenes below are of the same nature. On the far right of the photo, the hindquarters of a large bovine. The large figure at the bottom left measures 0.64 m in height.

259 - Taghit (Algeria). - Detail from photo 262. Engraving of a bovine and inexplicables signs.

260 - Taghit (Algeria). - Curious engraving of a bovine whose tail reaches a natural fissure, intentionally extending it. From the tip of the horn to the edge of the rock on the left: 2.40 m.

261 - Taghit (Algeria). - Engraving of a bovine executed with regular strokes. The head is lightly dotted. Another figure exists at the bottom right. The rest represents recent and crude overpainting. Width of the panel depicted: 1.30 m.

262 - Taghit (Algeria). - Large fresco showing many bovines and caprines oriented in both directions. There are only two representations of humans in the form of small schematic engravings slightly to the right of the center, at the bottom of the fresco. Above, further to the right, there is an engraved hand and foot. The slab measures between 1.70 m and 2 m in height and 4.50 m in length.

263 - Taghit (Algeria). - Detail from photo 262. Engravings in a uniform stroke style. Two schematic humans are clearly visible here.

264 - Taghit (Algeria). - Detail of photo 262. It seems the engraver wanted to depict all the species of ungulates he knew. The large central bovine measures 0.93 m from the top of the horns to the bottom of the front legs.

277 - Region of Smara. - Bubale (the famous Pelorouis antiquus Duv.), whose horns, in aerial view, contrast with the body shown in profile. Deep-line engraving. One interpretation suggests the animal is lying down and struck by lines. Length from tail to snout: 0.27 m.

284 - Noudache (Mauritania). - A chariot in a very decadent style, difficult to date. The interest of this chariot, painted in red ochre and drawn by oxen, lies in the driver’s donkey head. From the oxen's head to the driver's head: 0.25 m.

285 - Noudache (Mauritania). - A chariot drawn by two oxen, executed in red ochre. Two-wheeled axle. The driver here is a man. The giraffe is unintentionally comic due to the length of its neck and the excessively long tail. From the giraffe’s snout to the driver’s head: 0.48 m.

287 - El Beridj (Tadrart). - Bubaline age engravings, but very difficult to read. The anatomical precision is quite remarkable here. Five bovid species are identified, and on the right, a later depiction of a giraffe. Width of the panel: 4 m.

288 - El Beridj (Tadrart). - Detail from the previous photo.

289 - El Beridj (Tadrart). - Return to the “diabolo” type of man. This fresco, painted in red ochre and white paint, is located in a deep shelter with a low ceiling. Figures can be seen, including a rider, dogs, goats... A figure painted in white (the “Kokopelli,” according to ethnographers of the Native Americans) playing a flute. Height: 0.15 m.

291 - El Beridj (Tadrart). - Large fresco painted in red ochre and white. It measures 2.50 m in width. A large number of bovid species are painted. The animals are on average 0.20 m to 0.25 m in length. Their execution is sometimes very fine (see the red bull, at the top left of the center).

293 - El Beridj (Tadrart). - Beautiful naturalistic engraving of great ethnographic interest, as while bovids interest us because of the beauty of the lines, engraved containers are extremely rare: if one is found, characterized by its opening, it could be dated. In that case, we would also have the age of the engraving. Width of the block presented: about 2 m.

298 - Tan Ekli (Tadrart). - Astonishing frieze showing cows engraved in the best naturalistic style of high quality. The dotted contours form circles that allow the depiction of the animals' coat. Between the legs of the bovine, whose rear end is the only part visible, there is a very small figure.

302 - Ou an Ouksem (Tadrart). - Shelter. A fresco of bovids from the "bovid" period painted in white and red. In the top right, one bovid is above another. The panel shown measures 1.10 m in width.

313 - In Djaren (Tadrart). - Bovids licking their left rear foot. The engraving by puncturing is astonishingly precise. From the front hoof to the base of the tail: 0.67 m.

314 - Ouan Zouaten (Tadrart, region of In Djaren). - Procession of engraved bovids. Width of the depicted panel: 2.50 m.

321 - Ouan Adjane (Tadrart). – Ceiling of a shelter with bovid paintings in two colors. Width of the depicted panel: 0.95 m.

324 - Tisseteka (Tadrart). – Beautiful fresco painted on the ceiling of a shelter. Bovids with lyre-shaped or hanging horns. The coat of an animal in the middle left is represented by dotted lines. A large bovid at the bottom is lying with one leg folded against its belly. Width of the depicted panel: 0.75 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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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

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.

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.

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.

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.

631 - Oued Mertoutek (Hoggar). - At the top, two pairs of figures with "dash-shaped heads." The central one is sometimes called "the guitarist," though this, of course, is unverified. This painting, in brown ochre and white, also shows animals rendered entirely in white. Below, there are two groups of two individuals and one isolated figure. At the very bottom, a little devil (?) in red ochre (Photo: Jörg Eberl).

634 - Oudingueur (Tibesti). - We enter Chad, where a vast volcanic massif occupies much of the northern part. The engraved bull seen here leads a large series of works created either by pecking or by lines of varying depth. There seem to be no large painting sites. The rear measures 0.19 m in height.

635 - Bardaï (Tibesti). - Engraved herd of bovids.

638 - Bardai (Tibesti). - Pastoral scene combining figures and bovids. Each individual is equipped with some sort of sickle. The curvature does not suggest that it is a "boomerang."

639 - Bardaï (Tibesti). - The same scene as the previous one, and in the same style. An unexplained semicircular form is added. From the tail of the central cow to the farthest tip of the horn: 0.68 m.

641 - Bardaï (Tibesti). - A large bovine rendered through rough but regular dotting. The horns are exaggerated, and the posture is somewhat schematic.

642 - Bardaï (Tibesti). - A cow with overloaded horns. The added horns are asymmetrical, which is also found in nature. From the top of the left horn to the front hoof: 0.63 m.

645 - Enneri Bessama (Tibesti). - Two schematic bovines with exaggerated horns.

646 - Enneri Bessama (Tibesti). - A large bull, dotted with lyre-shaped horns. From the nose to the tip of the tail: 0.57 m.

649 - Enneri Direnao (Tibesti). - Another lancer between two bovines. His costume resembles that of the Swiss Guard! The spear is oversized, and his abdomen is reduced to a line. He has not only three feathers on his head but also "appendages" hanging from his ears. From the top of the central feather to the feet: 0.27 m.

652 - Gonoa (Tibesti). - Pastoral scene engraved by puncturing in a very decadent style. The first archer on the right is 0.41 m tall.

655 - Gonoa (Tibesti). - A large elephant towers over a bull with lyre-shaped horns whose belly is marked with a vertical line. Between the two, a later camel. Note that the elephant has no observable eye. The belly of the elephant, at its center, measures 0.57 m.

656 - Gonoa (Tibesti). - On a beautiful fresco of eight finely engraved giraff. Above, a punctuated bovine, later in date. Inside the bovine, there is an inexplicable structure. The very small man standing in front of the first giraffe, on the left, measures 0.14 m in height.

657 - Gonoa (Tibesti). - Punctuated and deeply engraved bull. Although clumsy, the engraver has made an effort.

659 - Gonoa (Tibesti). - Deeply engraved bovine. From the muzzle to the start of the tail: 0.72 m.

Photo Gallery