Algeria - Tassili n'Ajjer - Shelter Tan-Zoumaïtak - Period «Roundheads»

Algeria - Tassili n'Ajjer - Site Sefar - Hunting Scene

Algeria - Tassili n'Ajjer - The beautiful shelter of Tan-Zoumaïtak (28m2) In the shape of a cupola, worthy to inspire religious sentiments.

Algeria - Tassili n'Ajjer - Site Tin-Tazarift - Several people painted with brown ocher

Algeria - Tassili n'Ajjer - Site Jabbaren - Hunting Scene

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 - Tin-Tazarift (Tassili-n’Ajjer) – Odd "ship shape". However, the floatability is not proved.

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

A Barbary sheep and two elegant women dominate a world full of mysterious characters and animals (Tan-Zoumaïtak site, Tassili n'Ajjer, Algeria).

The city of Ghardaïa, located 1000 km from Alger in the valley of M'zab, was founded in 1048 and constitutes the last entrance gate to the Sahara. Given its exceptional architecture, Ghardaïa was of great influence to Le Corbusier. In 1982, this city was declared a world heritage site by UNESCO.

The “Great God” is performing a mysterious ritual. His body is long, his genitals oversized, his head deformed, the bumps on his arms inexplicable. This rock painting is 1.55 m tall and can be found at the site of Sefar (Tassili n'Ajjer, Algeria).

On the high plateau of the Tassili n'Ajjer (Algeria), the arches of Ti-Sfad constitute a shrine of peace and quiet as they offer protection from the howling winds.

Every year, regular visitors meet at the Chouffane, a camel riding festival linked to an annual market that takes place at the Tarat oasis on the Lebanese border (Tassili n'Ajjer, Algeria). On this occasion, the Tuareg tribe leaders, who otherwise rarely meet, gather together in one of the tents.

At the Djanet oasis in the Tassili n'Ajjer (Algeria): Fadi is playing the imzad. This single-stringed bowed instrument is made out of a calabash and horse hair, accompanied by the singing of men, who tell of war, love and nomadic life without end...

In order to reach Djanet (Algeria) on the Tamrit high plateau (Tassili n'Ajjer), one must overcome – on foot or by camel – three steep, rocky paths known as akbas, one after the other.

Instead of being engraved on the walls of caves, as usual, this impressive rock engraving of a sleeping gazelle was carved into a rock ledge under open sky at the Tin-Terhert site (Tassili n'Ajjer, Algeria). Nowadays, this site, which was inventoried by Henri Lhote in the 1950’s, can only be reached on foot with the help of a guide.

These enigmatic threefold spirals in the Wadi Djerat were etched in rock with a simple stone wedge next to the imposing engraving of a rhinoceros on the northern Tassili Plateau, Algeria.

Fatamorgana in the area of Illizi - Algeria

Niger - Meet a camión from Bilma in the Ténéré Desert

A caravan leaves the village of Imenan in Tassili - Algeria

Dunes at Saoura in the Grand Erg Occidental

Caravan of donkeys - Food supplies near Gabr'acun

Dunes at Erg Issaouane - near Fort Polignac - Algeria

Sunrise near Tamanrasset - Hoggar – Algeria

Sheep market in Gadaïa - Algeria

Region Tin-Merzouga in Tadrart - Algeria

Descent from the Edjefane pass - Tassili plateau - Algeria

Dunes in Erg Issaouane near Illezi at Fort Polignac, at the background Tassili n'Ajjer - Algeria

Trail of caravans between Tan-Zoumaïtak and Titeras-n-Elias - Tassili - Algeria

In the desert, vegetation is often limited to individual grasses, sparse food for gazelles and cattle, but a poetic toy for the wind - between Gardel and Djanet - Tassili – Algeria

Tan-Zoumaïtak (Tassili-n'Ajjer). - Very beautiful dark brown capricorn from the epoch of the "round heads". On the right a medusa-like figure, below small cattles, and on the left an indefinable animal in the style of Séfar.

Oum Touami, site of prehistoric rock art - Tassili n´Ajjer / Algeria

Vipera (ceraste cerastes) - Oued Tabarakat / Tassili n´Ajjer / Algeria

Landscape of Tin-Kani, Rock art archaeological site - Tassili n´Ajjer / Algeria

Oued Taligit - Tassili Plateau - Algeria

The city of Ghardaïa, located 1000 km from Alger in the valley of M'zab, was founded in 1048 and constitutes the last entrance gate to the Sahara. Given its exceptional architecture, Ghardaïa was of great influence to Le Corbusier. In 1982, this city was declared a world heritage site by UNESCO.

Algeria - Moul n'Aga - Landscape in Tadrart

Two elegant women dominate a world full of mysterious characters and animals (Tan-Zoumaïtak site, Tassili n'Ajjer, Algeria).

The fuming dune - Moul n´Aga / Tadrart / Algeria

Grand Erg Occidental in the morning - Algeria

Dune and single tree - In-Djaren / Tadrart / Algeria

Oued Taligit - Tassili Plateau - Algeria

Akba Aroum - Tassili Plateau - Algeria

Targui in a Touareg camp in the Hoggar - Algeria

Kadi, sedentary Touareg woman, of French father, wearing her jewels (Djanet / Algeria / 1968)

Young sedentary Tuareg woman in party outfit (Djanet / Algeria / 1961)

Dance of dressed women, rock painting (Tadrart / Algeria)

Antique engraved version of "the origin of the world" (Oued Djerat / Tassili-n-Ajjer / Algeria)

Superimposed paintings of women of the period known as "round heads", symbolically stretching their arms towards an animal and a child (Tan-Zoumaïtak / Tassili-n-Ajjer / Algeria)

The dancers in ceremonial dress appear to be wearing long tunics, the band of cloth at the waist could be a knot. Note the structure of the caps and the original ornament of the heads. The arms wear many rings. (Tan-Zoumaïtak -Tassili n'Ajjer - Algeria)

Ruban de dunes
Belles dunes près d’Illizi, qui s’appelait Fort-Polignac pendant la période de la colonisation française. Elles sont situées au sud-est de l’Algérie, à une centaine de kilomètres de la frontière libyenne.
Algérie – Illizi – 1969

Sea of dunes
At the western border of Grand Erg Occidental, near the village Erg Tarouzi.
Algeria - Saoura - 1993

Unexpected parking
On the asphalt road between Hassi-Messaoud and In-Amenas, this «international parking signal» is unusual and surprising. His incongruity can make you smile.
Algeria - 1968

Well
Each well is a privileged point where the nomads meet. In the immensity of the great desert, it is also the secret of the initiates: Find it if you can! The unfortunate who has embarked on an adventure with a rope too short is likely to die of thirst at its side.
Algeria - Immidir - Hassi Meniet - 1965

Game
Every nomad likes to play. The preference is given to the game of checkers, whose pawns are pebbles or camel poop. Each move is punctuated by endless discussions.
Algeria - Hoggar Camp - 1968

Imzad
This instrument is made of half a calabash, covered with goat skin, a wooden handle and one horsehair string. The bow consists of a piece of bent oleander wood. Only women play this instrument on festive nights. They accompany the chants of the men, dedicated to warrior courage, love and eternal nomadic life ...
Algeria - Tassili - 1968

The shadows are getting longer
The evening arrives and the shepherdess returns to the oasis with her little herd of goats.
Algeria - Djanet - 1967

In the morning light
Dunes near Jabbaren.
Algeria - Tassili n'Ajjer - 1993

Sand pyramid
This tree has to feel quite lonely in this mineral universe.
Algeria - Tadrart - In-Djaren - 1993

In the midday heat
Piton and landscape with a camel skeleton of which only the skull remains.
Algeria - Tadrart - Tin-Merzouga - 1993

Art in the desert
Natural rock sculpture between Djanet and the cliffs south of Tassili.
Algeria - South Tassili - 1993

Touareg
This noble Touareg of the Kel Rela tribe is armed with his spear. The spear is becoming more and more rare; it was used to hunt gazelles or mouflons. The tagoûlmoust, the veil that surrounds the head and hides the lower face, is given by the father to his son when he reaches puberty.
Algeria - Hoggar - 1964

Long live the bride
The pectoral pendant is the centrepiece of the adornment of a woman on the day of her marriage. Around the neck, she wears a collar formed by cloves. The scent that emerges is very appreciated among women.
Algeria - Illizi - 1967

Fossil wood is found in various places in the Sahara, especially in the Tidikelt. This is a piece of an old Araucaria. In itself, this once vegetable but now entirely mineral material has nothing to do with prehistory; but it was highly sought after by all the civilisations that followed where it occurred, because it can be worked extraordinarily well. Moreover, it impressively demonstrates that the face of today's Sahara is only a temporary aspect of a landscape that had several times had large forest stands. A few thousand years ago, one could still find large hackberry trees, firs and oaks there ... Much has changed since then. - Algeria - 1966

The well! Like any well in the desert, the one at Hassi Meniet (Immidir, Algeria) is a favourite spot where all the nomads gather to camp. But in the immensity of the great desert, the well is also the secret of the initiated: Find it if you can! Depending on the location, it reaches 10, 20, 50, even 100 metres deep. The unlucky person who has set out on an adventure with a rope that is too short runs the risk of dying of thirst at its edge if he does not summon up the courage to descend by taking advantage of the alternating steps installed by the daring well builders. Incidentally, the reward for so much effort is often very meagre, for clear and pure water is rare, and often the bucket raises only a greenish, stinking, salty, undrinkable broth! ... Note that the wreath of the well is replaced by four crossed pieces of branch laid on the bare ground. - Algeria - 1966

The Atakor volcanic field ("Atakor" means "swollen part, knot at the end of something" in the Tuareg language) is a volcanic field with spectacular landscapes in southern Algeria and is located in the Hoggar Mountains. The Atakor is one of several large volcanic fields in this mountain range. Volcanism in this region took place in several phases, starting 20 million years ago and lasting until the Holocene. Currently, there is fumarolic activity. The highest elevation is Tahat in the west of the volcanic field, the highest mountain in Algeria at 2908 metres. - Algeria - 1966

The Atakor volcanic field ("Atakor" means "swollen part, knot at the end of something" in the Tuareg language) is a volcanic field with spectacular landscapes in southern Algeria and is located in the Hoggar Mountains. The Atakor is one of several large volcanic fields in this mountain range. Volcanism in this region took place in several phases, starting 20 million years ago and lasting until the Holocene. Currently, there is fumarolic activity. The highest elevation is Tahat in the west of the volcanic field, the highest mountain in Algeria at 2908 metres. - View from the Assekrem to the Atakor. - Algeria - 1966

The flat stone slabs of Tiratimine (Hoggar) at the site known as the "slave market" are still covered with banal Tifinagh inscriptions (e.g. "Salah loves Mabruka"), but mainly with sandal prints of a votive nature. Each imprint measures 25 to 30 centimetres. There we have an example of modern (and quite decadent!) survival of rock art. - Moudyr - Algeria - 1966

Nomad tent made of animal skins in Sidi Mohammed's camp on the track through the Hoggar. - Algeria - 1966

Facing Mecca, a Tuareg performs his prayer in a nomadic «mosque». Everywhere in the Sahara, you can find such open-air churches, whose enclosure consists of stones piled on top of each other. - Hoggar - Algeria - 1966

Departure. The women fold up the Issabeur or Assaber, a kind of removable fence 8 to 10 metres long that protects against wind and winter cold. The Issabeur is made of mats stitched together with the long stems of the Markuba, a grass plant that thrives in clumps in the desert. - Algeria - 1966

Targui Kel Rela is a distinguished Tuareg of the Rela tribe from Hirafok in the Tamanrasset province in the Hoggar mountains. The lance has become rare. In the sixties of the twentieth century, gazelles and mouflons were still hunted with the lance. The veil that surrounds the head and masks the lower half of the face is called litham in Arabic and tagulmust in the Tuareg language. The son receives it from his father as soon as he reaches puberty. - Algeria - 1964

Targui Kel Rela is a distinguished Tuareg of the Rela tribe from Hirafok in the Tamanrasset province in the Hoggar mountains. The veil that surrounds the head and masks the lower half of the face is called litham in Arabic and tagulmust in the Tuareg language. The son receives it from his father as soon as he reaches puberty. - Algeria - 1966

The tea water is boiled on an open fire. Targui Litni in Sidi Mohammed's camp on the track through the Hoggar. - Algeria - 1966

Targui Litni in Sidi Mohammed's camp on the track through the Hoggar. - Algeria - 1966

In the camp, life melts away in little drops of time that you sip with relish. Every nomad loves to play. The favourite pastime is a kind of checkers game with stones, some of which are pebbles, others camel dung balls. There are endless discussions between the individual moves. - Algeria - 1966

Tuareg woman from the Dag Rali tribe in the Hoggar. Around her neck, apart from the simple necklaces, she wears a pendant of 14 silver, faceted diamonds attached to a leather base. Underneath is an amulet with geometric ornaments. It encloses a Koran verse and is typical of Berber art. - Algeria - 1966

Agricultural centre in Amsel near Tamanrasset in the Hoggar Massif. When the grain is ripe, it is cut with simple sickles. - Algeria - 1966

These three Arabs have plenty of time to chat. - Ksar Ikiss oasis south of Adrar in Algeria. - 1971

Back from the fields - Two women in Tamentit village south of Adrar in Algeria. - 1971

Schoolgirls in Adrar, Algeria - The oasis itself is of great beauty and is home to several historical monuments. The settlement of the region is quite old and the area has been home to different cultures. This intermingling has produced a number of traditions, cultural and craft practices that are still present in the lives of the inhabitants today and are reflected in the local folklore and cultural heritage. - Algeria - 1971

Young woman in Adrar, Algeria - The oasis itself is of great beauty and is home to several historical monuments. The settlement of the region is quite old and the area has been home to different cultures. This intermingling has produced a number of traditions, cultural and craft practices that are still present in the lives of the inhabitants today and are reflected in the local folklore and cultural heritage. - Algeria - 1971

Timimoun is located north of Adrar in Algeria. The town was a caravan site where, for centuries, grain, textiles and other valuable goods from the north were exchanged for metals and ivory from the south. - Algeria - 1971

The Adrar Oasis is of great beauty and is home to several historical monuments. The settlement of the region is quite old and the area has been home to different cultures. This intermingling has produced a number of traditions, cultural and craft practices that are still present in the lives of the inhabitants today and are reflected in the local folklore and cultural heritage. - Fantasia refers to various traditional horse spectacles simulating military attacks, practised mainly in the Maghreb, where they are called the "game of powder" (Goum) or the "game of horses". - Algeria - 1971

The Oued Saoura in the region of Béni Abbès on the western edge of the Western Great Ergs. - Algeria - 1971

The Oued Saoura in the region of Béni Abbès on the western edge of the Western Great Ergs. - Algeria - 1966

Béni Abbès is an oasis town in western Algeria inhabited mainly by Berbers. It is located on the Oued Saoura, which only has water in winter and spring and forms the western border of the Western Great Erga, the second largest sand sea in the Sahara. The new town of Béni Abbès is situated on a rocky plateau above the valley floor. The plain is surrounded by sand dunes that rise almost 40 m above the surface of the plateau in the immediate vicinity of the town. Other dunes reach a height of more than 80 m. - Algeria - 1971

Béni Abbès is an oasis town in western Algeria inhabited mainly by Berbers. It is located on the Oued Saoura, which only has water in winter and spring and forms the western border of the Western Great Erga, the second largest sand sea in the Sahara. The new town of Béni Abbès is situated on a rocky plateau above the valley floor. The plain is surrounded by sand dunes that rise almost 40 m above the surface of the plateau in the immediate vicinity of the town. Other dunes reach a height of more than 80 m. - Algeria - 1966

Béni Abbès, in the north-western Algerian Sahara, is the prototype of a Saharan oasis. Here, the roots of the palm trees are bathed by the waters of the Wadi Saoura, but the immense dunes of the western Great Ergs loom menacingly in the background. In a country where the sand is 75 degrees Celsius in summer, the main architectural problem is to create shady and cool zones. - Algeria - 1971

Sand dunes in the Western Great Erg near the small oasis town of Taghit on the - only in winter and spring water-bearing - Oued Zousfana. - Whirlwind on the sand dune. - Algeria - 1971

Sand dunes in the Western Great Erg near the small oasis town of Taghit on the - only in winter and spring water-bearing - Oued Zousfana. - Note the swirl of sand above the dune. - Algeria - 1971

Sand dunes in the Western Great Erg near the small oasis town of Taghit on the - only in winter and spring water-bearing - Oued Zousfana. - Algeria - 1971

Flock of sheep by the water near Mécheria, in north-west Algeria, on the northern edge of the Sahara. - Algeria - 1966

Moghar and Taghtani (Algeria). - The famous slabs, which have been known since 1847 and were first published in 1849, are situated in front of a landscape that already hints at a desert. It has been said that the real difference between the north and the south is the palm tree: it gives dates in the north, hard nuts in the south. You can see the engravings on the slabs opposite the meagre gardens of the oasis. The deep and mysterious engraving at the bottom right is of Neolithic age. Perhaps it shows a man? But nothing is certain. This engraving is a first indication of an affirmed spirituality: it encloses an idea in a symbol whose meaning escapes us. Height: 0.97 m. - Algeria - 1971

Ghardaïa is an oasis town in Algeria. The city is located in the M'zab in the northern central Sahara at an altitude of 526 m and forms the pentapolis of the M'zab together with the southeastern cities of Beni Isguen, Melika (both in this picture), Bou Noura (Has Bunur) and El Atteuf (Tadjnint). Together with the other oases of the M'Zab valley, Ghardaïa has been on the UNESCO World Heritage List since 1982 because of its exemplary urban design. - The name Ghardaïa comes from a saint named Daïa who lived in a cave (ghar) in the area. Later, Kharijite Muslims fleeing persecution by Orthodox Muslims in the north built a city there. - Algeria - 1961

Ghardaïa is an oasis town in Algeria. The city is located in the M'zab in the northern central Sahara at an altitude of 526 m and forms the pentapolis of the M'zab together with the southeastern cities of Beni Isguen (in this picture), Melika, Bou Noura (Has Bunur) and El Atteuf (Tadjnint). Together with the other oases of the M'Zab valley, Ghardaïa has been on the UNESCO World Heritage List since 1982 because of its exemplary urban design. - The name Ghardaïa comes from a saint named Daïa who lived in a cave (ghar) in the area. Later, Kharijite Muslims fleeing persecution by Orthodox Muslims in the north built a city there. - Algeria - 1971

Ghardaïa, one of the most beautiful oases in the Sahara and capital of the Mzab. The other Mzab towns offer the same characteristic sight: the houses are arranged in steps on a roundish hill dominated by a pyramid-shaped minaret. - Algeria - 1966

Ghardaïa, one of the most beautiful oases in the Sahara and capital of the Mzab. The other Mzab towns offer the same characteristic sight: the houses are arranged in steps on a roundish hill dominated by a pyramid-shaped minaret. View of the market place of Ghardaïa. - Algeria - 1962

Ghardaïa, one of the most beautiful oases in the Sahara and capital of the Mzab. The other Mzab towns offer the same characteristic sight: the houses are arranged in steps on a roundish hill dominated by a pyramid-shaped minaret. - Algeria - 1971

Ghardaïa, one of the most beautiful oases in the Sahara and capital of the Mzab. The other Mzab towns offer the same characteristic sight: the houses are arranged in steps on a roundish hill dominated by a pyramid-shaped minaret. View of the market place of Ghardaïa. - Algeria - 1966

Ghardaïa, one of the most beautiful oases in the Sahara and capital of the Mzab. The other Mzab towns offer the same characteristic sight: the houses are arranged in steps on a roundish hill dominated by a pyramid-shaped minaret. View of the market place of Ghardaïa, where a sheep market is taking place. - Algeria - 1971

Sheep market in the market place of Ghardaïa. - Algeria - 1971

Resting at a corner of the market place of Ghardaïa. - Algeria - 1971

Locals haggle over their goods in the marketplace of Ghardaïa. - Algeria - 1971

The marketplace of Ghardaïa. It is empty, it will soon be evening. Tomorrow, a teeming crowd will crowd here again in the sun. The donkey is the most comfortable means of transport to meander through the narrow streets that make up the coolness of the oasis. - Algeria - 1966

On the way home through the cool alleys of Ghardaïa. - Algeria - 1966

A Mozabite from Ghardaïa, "businessman". The Mozabite is a cunning trader, a fox in everything that concerns money. Trade is the essential driving force of the Mozabite state. - Algeria - 1966

In the cool interior of a house in Ghardaïa, an Arab woman weaves a carpet. Mzab carpets are well known throughout the Sahara for their elegant, colourful geometry, especially those from Beni-Isguen, the holy city of the Mzabites. - Algeria - 1966

Resting at a corner of the market place of Ghardaïa. - Algeria - 1962

El-Oued, the city of a thousand domes, capital of the Souf, seen from the Sidi Salem mosque. Situated in the middle of the high dunes of the Great Eastern Erg, El-Oued is distinguished from the other oases by its houses with their differently shaped domed roofs. - Algeria - 1966

El-Oued, the city of a thousand domes, capital of the Souf. Situated in the middle of the high dunes of the Great Eastern Erg, El-Oued is distinguished from the other oases by its houses with their differently shaped domed roofs. - Algeria - 1966

El-Oued, the city of a thousand domes, capital of the Souf, seen from the Sidi Salem mosque. Situated in the middle of the high dunes of the Great Eastern Erg, El-Oued is distinguished from the other oases by its houses with their differently shaped domed roofs. - Algeria - 1966

Dunes of the Great Eastern Erg near El Oued. - Algeria - 1966

Sand rose. Some reach a respectable size, over a metre long. They are sold as ornaments in the main oases of southern Algeria. In El-Oued, in the region of the Souf, they are used as a material for building houses. - Algeria - 1966

A lone palm tree peeks out from among the dunes of the Great Eastern Erg. - Algeria - 1966

The Sahara in the hour of technology: The oil town of Hassi-Messaoud (Algeria). The oil hums in the thick oil pipes. The waste gas flares spew their fury into the air. - Algeria - 1966

Unexpected parking! The asphalt road between Hassi-Messaoud and In-Amenas. This "international signal" for parking is unusual and surprising. Its incongruity may lead to a smile. But it marks all too clearly the end of an era, and the smile it first evokes ends in a sad grimace. - Algeria - 1966

Geographers have found that erosion in the Sahara was not subject to the rules that apply to temperate zones. In Europe, for example, there is mechanical degradation resulting from the intensive sprinkling caused by the multitude of steep slopes. Even a single waterfall in the Alps transports a considerable amount of earth and rock every year. Here, nothing of the sort. Everything seems to be frozen in perpetual motionlessness. In reality, however, one has to reckon above all with the sand. With infinite patience, in interaction with the wind, it gnaws away at the rocky reefs from whose debris it feeds. The softer materials it transforms into peaks before destroying them completely; and the others only seem to resist it, for its ally, the wind, blows, as it were, without ceasing. But it is not only the sand that changes the landscape. In an area where the temperature difference between 1pm and 1am can exceed 50°, even the most solid minerals are put to the test, and it is not uncommon to feel as if you are under artillery fire at night: this is due to the rocks shattering with a roar as they cool. We see a consequence of this "thermal destruction" here, on the slope of the Tinterhert plateau, not far from Port Flatters, today's Bordj Omar Driss (Algeria). - Algeria - 1966

Muslim cemetery in Fort-Flatters. On the left, the tomb of a marabout, a holy man who knows and interprets the Koran. Sedentary and passing nomads come to his grave to worship. - Algeria - 1966

This picture, taken in the evening, strangely evokes - even in the uninitiated - a feeling of crushing desolation. Incidentally, a strange optical illusion, this Targui apparently splashing around in a pool. But we are here in the north of the Tassili, and the illusion simply stems from a difference in the density of the air in the area of contact with the ground overheated by the sun. - Algeria - 1969

The purple mountains of the Tassili N'Aijer shimmer in a mirage of water. The Tassili mountains are the domain of the Ajjer Tuareg, the land of veiled, poor but independent men. - Algeria - 1966

Dunes of Erg Issaouane in the vicinity of Fort Polignac, today's Illizi. - Algeria - 1969

Dunes of Erg Issaouane in the vicinity of Fort Polignac, today's Illizi. The Tassili Mountains rise in the background. - Algeria - 1969

Dunes of Erg Issaouane in the vicinity of Fort Polignac, today's Illizi. - Algeria - 1969

Tarat is a fortification in Illizi province, Algeria, near the border with Libya, on a wadi on the eastern edge of the Tassili n'Ajjer mountains. A Saharan Meharist company (from méhari, the Saharan riding camel) was stationed here. The Meharists were units of the French army that were supposed to control the areas of the Sahara during the colonial period. They employed regular soldiers, the tirailleurs, and Saharan "suppletifs" recruited among the large nomadic tribes, the Moors, Tuaregs, Toubous or Arabs. Since the first automobiles could not penetrate these regions, they used dromedaries. As true guardians of the desert, these companies were tasked with pacifying Tuareg territories, topographical work, monitoring caravans and trails, border surveillance, etc. - Algeria - 1962

Every year, regular visitors meet at the Chouffane, a camel riding festival linked to an annual market that takes place at the Tarat oasis on the Lebanese border (Tassili n´Ajjer, Algeria). On this occasion, the Tuareg tribe leaders, who otherwise rarely meet, gather together in one of the tents. - Algeria - 1962

Kel Meddale, a Tuareg Meharist from Tarat in the Illizi province of Algeria, on the border with Libya. - Algeria - 1962

A Tuareg Meharist from Tarat in the Illizi province of Algeria, on the border with Libya. - Algeria - 1962

At the Tarat well in Illizi province, Algeria, on the border with Libya. - Algeria - 1962

The well of Edjef in the province of Illizi in Algeria. - 1962

At the well of Tarat - Tarat is a village in the municipality of Illizi in the province of Illizi in Algeria. It is located near the border with Libya next to a wadi on the eastern edge of the Tassili n'Ajjer mountains. - Algeria – 1962

Nomad tent at Fort Polignac, today called Illizi. - Algeria - 1966

The preparation and tasting of green tea represent the most uniformly performed rite in the whole expanse of the Sahara, where coffee is practically unknown. There is an "etiquette of tea", and the way it is prepared and drunk is followed with a critical eye by the Tuareg. The Targuia of Illizi, Tassili n' Ajjer, stands out as much for the nobility of her bearing as the delicacy of her features. The Berber ancestry is very clear here. All the jewellery she wears is made of silver. The wealth of this "big tent" woman would undoubtedly allow her to own gold, but this metal is said to attract the evil eye. The Tuareg are extremely superstitious. - Algeria - 1966

Feminine adornment. The silver chest pendant is the jewel in a woman's outfit on her wedding day. Its composition and ornaments are always the same. Around the neck: a kind of necklace composed of cloves, whose fragrance is much appreciated by women. - Algeria - 1966

Feminine adornment. The silver chest pendant is the jewel in a woman's outfit on her wedding day. Its composition and ornaments are always the same. - Djanet - Algeria - 1962

Illizi in Algeria: The Touareg woman - wife of Amastan - loads her dromedary with her household goods. - Algeria - 1962

Illizi in Algeria: This Tuareg boy is the son of Amastan, a noble Targui. - Algeria - 1962

On this track you drive south from Illizi through the Tassili. - Algeria - 1969

Foothills of the Tassili, washed out and torn by river and wind erosion. This is the kingdom of the nomads who pitch their tents in the wadis, the dried-up rivers, not far from a watering hole where sprouts a meagre vegetation indispensable for the camels and goats. - Algeria - 1969

Tassili promontory not far from Fort Polignac. - Algeria - 1966

The Oued Djerat is a wadi located south of Illizi. It leads through a remote rock valley in the Tassili n'Ajjer National Park, which has thousands of rock paintings, mostly rock paintings, but also petroglyphs. The picture gallery stretches for many kilometres. What is unusual in this region is that the pictures are particularly large. Giraffes alone are depicted on an area of 100 m², the largest of which measures eight metres. The discovery for the public dates back to 1934, when the French officer Brenans stopped at this place with his troop and came across the drawings of rhinos, hippos, crocodiles, elephants and giraffes. The French explorer Henri Lhote picked up the thread and discovered thousands of other drawings, which he studied scientifically. The petroglyphs date back to the Neolithic period and show similarities to those in the provinces of Oran (Algeria) and Fessan (Libya). According to Henri Lhote, they date back more than 7000 years. - Algeria - 1966

Tuareg nomad camp in the Oued Djerat in the Tassili Mountains. - Algeria - 1962

Targui Amasher prepares the fire in the Oued Touloult in the Tassili n'Ajjer. - Algeria - 1966

On the Fadnoun plateau in the "Parc National du Tassili", you come across a large rock slab full of engravings: giraffes, antelopes, ostriches as well as human figures, but above all the famous, five-metre-long cow that people carved into this rock slab thousands of years ago. – Tin-Terhert - Oued Djerat - Algeria - 1962

The preparation of the tea is a ritual. The water is boiled on an open fire. - Algeria - 1962

If you walk along the Wadi Djerat in the Tassili n'Ajjer, on its left bank you come across a stone known only to the Tuareg. If you pick it up, you will see the carefully oiled imprint of a human foot underneath. For the blue men there is no doubt: this is the mark left by their oldest ancestor when he came to this land. To prevent the precious relic from weathering, each visitor reverently brushes it with oil and places the stone on it again (length 22 cm). - Algeria - 1962

A gelta, a wadi pool with a rocky bottom in Iherir. Some are wide and deep, forming real little lakes teeming with fish, catfish and barbel; in 1934, a small crocodile was found in one of these waters, one of the last remnants of the green Sahara of prehistory. - Algeria - 1962

In the Sahara, water is more abundant than you think, but it is hidden, underground. In the valley of Iherir (Tassili N' Ajjer), however, it flows freely, bouncing off the rocks in waterfalls. Iherir is one of the areas of the Sahara where there is the most water. The rocky bottom prevents the precious wet from seeping into the ground. - Algeria - 1962

In the Sahara, water is more abundant than you think, but it is hidden, underground. In the valley of Iherir (Tassili N' Ajjer), however, it flows freely, bouncing off the rocks in waterfalls. Iherir is one of the areas of the Sahara where there is the most water. The rocky bottom prevents the precious wet from seeping into the ground. - Algeria - 1966

An oasis means above all water and palm trees (Phoenix dactylifera), a symphony of green and blue in counterpoint to the golden yellow of the dunes, but also the contrast of royal fertility, completely isolated in the midst of an extinguished drought. Like so many others, the palms of lherir, in the heart of the Tassili n' Ajjer, reflect the beauty of their finely chiselled fronds in the fertility of a still water which, in gratitude, they protect with their shade from evaporating too quickly. - Algeria - 1966

There is water in the valley of Iherir in Tassili N'Ajjer. That is the only reason why these palm trees can grow here. - Algeria - 1966

Since there is enough water in the valley of Iherir in Tassili N'Ajjer, the sedentary people can cultivate their fields. - Algeria - 1966

The construction of this hut of a sedentary Targui is only found in Idaren in the valley of Iherir in the Tassili N'Ajjer. - Algeria - 1966

Landscape with tufts of grass in Maader de Dider in Tassili N'Ajjer. - Algeria - 1966

A small herd of dromedaries on their way to a grazing area in Tassili N'Ajjer. - Algeria - 1966

A Tuareg woman grinds the grain on a stone mill - Camp Idriss - Dider - Tassili n'Ajjer. - Algeria - 1966

From an early age, the Tuareg boy gets used to the harsh life of the desert. He looks after the camels and the herds of goats, takes them to the wells to drink. When he reaches puberty, he receives the tagulmust from his father, the veil he puts around his head and never takes off in front of the women, not even to eat. - Algeria - 1966

Pre-Islamic tomb, facing east, in the surroundings of Idriss-Gardel. The tomb consists of a low stone mound in the centre, surrounded by two concentric circles with an entrance running through them. The Central Sahara is rich in such funerary monuments, which are most often found on the slopes of stony hills. - Algeria - 1966

Grave of the chief of a Tuareg tribe from the region at Camp Idriss near Iherir. - Algeria - 1969

Meharists on a reconnaissance ride at Fort Gardel, Tassili n'Ajjer. - Algeria - 1966

The Erg Admer in the southwest of the Tassili N'Ajjer. The Erg is a massif of dunes, a sea of sand, patiently shaped by the wind over the centuries. - Algeria - 1966

Dunes of Tahort in the area of Djanet, Tassili n'Ajjer. - Algeria - 1966

On the edge of the Erg Admer, with the Tassili Mountains to the west of Djanet in the background. - Algeria - 1966

Pre-Islamic tomb, facing east, in the surroundings of Djanet. The tomb consists of a low stone mound in the centre, surrounded by two concentric circles with an entrance running through them. The Central Sahara is rich in such funerary monuments, which are most often found on the slopes of stony hills. - Algeria - 1966

Pre-Islamic tomb, facing east, in the surroundings of Djanet. The Central Sahara is rich in such funerary monuments, which are most often found on the slopes of stony hills. - Algeria - 1964

A watering hole in the Djanet region. - Algeria - 1962

Arrival at the oasis of Djanet in the south of the Tassili n'Ajjer. - Algeria - 1969

Djanet is an oasis and the most important city in the southeast of the Algerian Sahara. The original city consists of three quarters (ksour), built in the 16th century: El Mihan, Adjahil and Azzelouaz (pictured), which lie on either side of the Wadi Idjeriou. During French colonial rule, the town was called Fort Charlet. - Algeria - 1962

Djanet is an oasis and the most important city in the southeast of the Algerian Sahara. The original city consists of three quarters (ksour), built in the 16th century: El Mihan, Adjahil (pictured) and Azzelouaz, which lie on either side of the Wadi Idjeriou. During French colonial rule, the town was called Fort Charlet. - Algeria - 1962

Overview of Wadi Idjeriou and the oasis of Djanet from Tin Beur mountain. Djanet is the most important city in the southeast of the Algerian Sahara. The original city consists of three quarters (ksour), which were built in the 16th century: El Mihan, Adjahil and Azzelouaz, located on either side of the Wadi Idjeriou. During French colonial rule, the town was called Fort Charlet. - Algeria - 1962

The shadows are getting longer, evening is coming. The shepherdess returns to the oasis with her meagre herd of goats. In the background, the Arab village of Azzelouaz, which together with the Tuareg-inhabited Adjahil and the predominantly black El Mihan forms the most important oasis in southern Algeria, Djanet. - Algeria - 1962

The water service is women's work. The containers are made of bottle gourds. The women carry them from the well to their homes with the help of a rope tied around their foreheads. - In the El Mihan district, Djanet. - Algeria - 1966

The water service is women's work. The containers are made of bottle gourds. The women carry them from the well to their homes with the help of a rope tied around their foreheads. . - In the El Mihan district, Djanet. - Algeria - 1966

Early in the morning, the Koran school is held in front of the mosque of one of the three villages that make up the Djanet oasis. The taleb (teacher) writes a Quranic verse on a wooden board. The student has to repeat it aloud until he knows it by heart. Since everyone has a different verse to memorise and speaks at their own discretion, you can imagine the relaxed atmosphere that prevails here. - Algeria - 1962

Early in the morning, the Koran school is held in front of the mosque of one of the three villages that make up the Djanet oasis. The taleb (teacher) writes a Quranic verse on a wooden board. The student has to repeat it aloud until he knows it by heart. Since everyone has a different verse to memorise and speaks at their own discretion, you can imagine the relaxed atmosphere that prevails here. - Algeria - 1966

At the festival that concludes the thirty fasting days of Ramadan, Djanet throws himself into gala, dons his flaming ganduras. And then the communal prayer takes place in the cemetery to honour the dead. - Algeria - 1966

Two Tuareg couples in festive garb. The woman on the left plays an imzad, the targui on the right has his lance stuck in the sand in front of him. - Djanet - Algérie - 1962

Young sedentary Tuareg woman in festive robe. - Djanet - Algeria - 1962

Tuareg girl from the Djanet region. - Algeria - 1962

The Sahrawi woman makes the "tasufra" from goatskin, decorates it with beautiful patterns and attaches a manual lock made from a leather rope called "sir" to make it easier for the man to open. It is a leather bag with a length of about 1.5 m and a width of 70 cm, which is attached to both sides of the camel. The "tasufra" is used to store food, tea sets and other things that nomads need when travelling. It takes 4 to 6 days to make. Liquids and sharp tools that could damage the camel during the ride are not carried. - Algeria - 1962

Fadhi, the daughter of Philippon, in a festive costume - Djanet - Algeria - 1969

The imzad, a one-stringed violin, consists of half a bottle gourd covered with goatskin and a wooden handle. The string is made of horsehair. The bow is a curved piece of laurel rose wood. Only the women play this instrument on festive days. Tuareg poetry is expressed orally. - Algeria - 1962

Young Tuareg woman from the Djanet region. - Algeria - 1962

Tuareg society has a matriarchal structure. This imzad player (the imzad is a one-stringed musical instrument) praises the great deeds of her ancestors as handed down to her by her mother; she is the keeper of tradition. However, the difficult art of playing the imzad is becoming more and more lost. The instrument is made of half a calabash with sheepskin stretched over it, the bridge is made of the wood of the laurel rose. - Algeria - 1962

In the evening breeze, two Tuareg go to the Tindé, a gathering of young people, where they make acquaintances around the campfire. - Algeria - 1962

In the gilded sands of the evening, the inhabitants of Djanet dance. It is the festival of Shebiba, so called because it takes place in the first month of the year, which is called "Shebiba" in Tamashek, the Tuareg language. The two main characters of the festival, dressed in rich robes, twirl the takuba, the sword of the noble Tuareg. The women beat the obsessive rhythm tirelessly with their drum, the Ganga. - Algeria - 1966

One of the main characters of the Shebiba-festival. The jewellery he wears on his headgear is made of silver and comes from the village blacksmith. - Djanet - Algeria - 1966

One of the main characters of the festival. The jewellery he wears on his headgear is made of silver and comes from the village blacksmith. - Algeria - 1966

The inhabitants of Djanet dance the festival of Shebiba. The women beat the obsessive rhythm tirelessly with their drum, the Ganga. - Algeria - 1962

The preparation of the tea is mainly a man's job. It requires all the seriousness of this Targui, who demonstrates his agility by filling the glasses from high up: He must not miss a drop. The kettle in the foreground stands on a charcoal fire. The teapot is generally the obligatory souvenir that the pilgrim brings back from Mecca. Traditionally made of brass, it is often replaced by an enamelled pot on the bottom of which you can read Made in Czechoslovakia. The tea is always very heavily sugared, and the great luxury is to add a sprig of mint, which gives it a very pleasant taste. The walls of the tent are made of an assaber, a very fine weave of split palm leaf ribs held together by thin leather straps. This is not only decorative, but also has the advantage of allowing the air to circulate and yet shielding the tent occupants from the outside and protecting them from the wind. - Algeria - 1966

The preparation of the tea is mainly a man's job. It requires all the seriousness of this Targui, who demonstrates his agility by filling the glasses from high up: He must not miss a drop. The teapot is generally the obligatory souvenir that the pilgrim brings back from Mecca. Traditionally made of brass, it is often replaced by an enamelled pot. The tea is always very heavily sugared, and the great luxury is to add a sprig of mint, which gives it a very pleasant taste. - Hoggar - Algeria - 1966

The Takuba, the sword of the noble. As former warriors, the Tuareg are often homesick for their past. In their secret thoughts, they revive the memory of the former rezzous, raids against the caravans that brought slaves and gold up from the south. - Algeria - 1966

This targui crushes dates to free them from the seeds. Dates are rich in sugar and have a correspondingly high calorie content. This earned them the name "bread of the desert". Fibre, minerals such as potassium, calcium and magnesium, and B vitamins make them a healthy snack. The content of the amino acid tryptophan is particularly interesting. - Djanet - Algeria - 1962

A caravan leader from Sudan is resting in Djanet. He has brought goods from the south with which he barters here. - Algeria - 1962

Two Tuareg mime a fight with the takuba, the sword of the noble. As former warriors, the Tuareg are often homesick for their past. In their secret thoughts they revive the memory of the former rezzous, raids against the caravans that brought slaves and gold up from the south. - Algeria - 1962

A Saharan Meharist Company (from méhari, the Saharan riding camel) was stationed in Djanet. The Meharists were units of the French army that were supposed to control the areas of the Sahara during the colonial period. They employed regular soldiers, the tirailleurs, and Saharan "suppletifs" recruited among the major nomadic tribes, the Moors, Tuaregs, Toubous or Arabs. The Targui Caïd Bellaï is one of these "suppletifs". He is very tall and measures 2.01 m. - Algeria - 1962

This desert horned viper (Cerastes cerastes) was photographed near Azellouas, one of the three districts of Djanet. This snake is primarily crepuscular and nocturnal. In the midday heat, it buries itself in the sand, hides in mouse holes or under stones. The desert horned viper can be found in a wide variety of habitats, from rocky hamada to pure sandy desert, but prefers to stay around plant clusters. It moves sideways rather quickly. It alternately lifts a piece of the body from the ground behind the head and in front of the tail and puts it down again in a staggered manner. In doing so, the snake leaves the characteristic tracks of the sidewinders in the sand. - Algeria - 1966

From Djanet, two passes lead over the rock face that forms the western edge of the Tassili n'Ajjer to the summit plateau: the Tafilalet pass (photo), which leads in three successive steps (Akba) to the village of Tamrit, and the more direct and steeper Aroum pass, which leads to Jabbaren. - Algeria - 1962

The desert is only flat to those who have not crossed it. Sure, there are huge regs littered with pebbles blackened by the sun, but almost everywhere the rock seems hard, rough, often impassable. And nothing is more astonishing than the range of colours it offers us, like the deep blue discovered at the top of the Tafilalet in the Tassili n'Ajjer, Algerian Sahara. But it is a worn, shattered rock. - Algeria - 1969

In order to reach Djanet on the Tamrit high plateau (Tassili n´Ajjer), one must overcome – on foot or by camel – three steep, rocky paths known as akbas, one after the other. - Algeria - 1962

Somewhere in the Tassili, a Targui returns home; and nothing in his posture, nothing in his surroundings, nothing in his clothes yet makes us think that the mineral resources of the Sahara will one day turn him into a man of the distant 21st century. And yet ... ! - Algeria - 1962

In order to reach Djanet on the Tamrit high plateau (Tassili n´Ajjer), one must overcome – on foot or by camel – three steep, rocky paths known as akbas, one after the other. - Algeria - 1962

The Tassili n'Ajjer is a mountain range in the Sahara in south-eastern Algeria and forms the north-western border of the Chad Basin. It is about 500 km long and consists mostly of sandstone. Erosion has formed almost 300 stone arches in the area, among other forms worth seeing. The inhabitants of the mountainous region and the surrounding desert areas belong to the Tuareg confederation of the Kel Ajjer (People of Ajjer). - Algeria - 1964

After crossing the Tafilalet pass, the trail descends again through a gorge to Tamrit. - Algeria - 1966

In the middle of the Tassili, you can suddenly come across a nomadic mosque. - Algeria - 1962

Bizarre forms of erosion in the Tamrit area of the Tassili Mountains. - Algeria - 1962

One of the last survivors of the green Sahara in Tassili N'Ajjer: the Duprez cypress (Cupressus dupreziana), called Tarut in the Tuareg language. It is about 3000 years old. The Tuareg at the foot of the tree gives a size comparison. Some trees are more than two metres in diameter. It is estimated that there are about 300 of them in the Tassil Mountains. - Algeria - 1966

One of the last survivors of the green Sahara in Tassili N'Ajjer: the Duprez cypress (Cupressus dupreziana), called Tarut in the Tuareg language. It is about 3000 years old. The Tuareg at the foot of the tree gives a size comparison. Some trees are more than two metres in diameter. It is estimated that there are about 300 of them in the Tassil Mountains. - Algeria - 1962

Because of the altitude and the water-retaining properties of the sandstone, the vegetation in the Tassili is somewhat richer than in the surrounding desert. This includes a very sparse tree population of the endangered, endemic Sahara cypress (Cupressus dupreziana) and the Sahara myrtle (Myrtus nivellei) in the higher altitudes in the east of the area. - Tassili n'Ajjer - Tin Abou Teka - Algeria - 1966

At the foot of these bizarre erosional forms in the Séfar area, you will come across shelters where you can admire countless rock paintings. - Algeria - 1966

At the foot of these bizarre erosional forms in the Séfar area, one encounters shelters where one can admire countless rock paintings. The Targui Hosseinie gives us a size comparison. - Algeria - 1966

The Targui Hosseinie stands at the entrance to a cave created by wind erosion near Séfar. - Algeria - 1966

At the Guelta of Séfar, Targui Hosseinie is busy raising water. - Algeria - 1966

At Jabbaren, Targui Hosseini kneels in deep prayer. - Algeria - 1966

The Tuareg script, the Tifinagh, is reminiscent of that of the ancient Libyan peoples. The rocks often bear engraved signs of this kind; sometimes they are love poems dedicated to the beauties of the desert. Hosseinie, a Tuareg from the Meddak tribe (Tassili N'Ajjer), deciphers «verses». - Algeria - 1966

This picture of the site of Jabbaren in the Tassili n' Ajjer (Algerian Sahara) shows the extensive abris where Neolithic people lived. On their walls they painted with consummate skill the familiar scenes from their daily lives. - Algeria - 1966

The Tin Tazarift area also has bizarre erosional forms. - Algeria - 1966

Targui Hosseinie with his donkeys in front of a large rock gate near Tin Tazarift. - Algeria - 1966

The stone forest of Tin Alkoum, Tassili n' Ajjer (Algeria), is a sight to behold in the Sahara. It is the result of erosion, which is not unusual in itself. Here, however, the factors determining the attack on the minerals are quite peculiar. First of all, there is the abrasion caused by the Saharan storms, which hurl the sand against every obstacle in a manner comparable to a sandblaster. Then there is the difference between the daily temperature maxima and the nightly minima of such magnitude that it causes veritable rock explosions. And finally, although this has practically ceased, the attack by water at a time when the rains fell mainly in the form of thundery and heavy downpours. Witnesses to the violent thunderstorms are the numerous fulgurites or thunderbolts that formed in the sand as a result of lightning strikes by melting it around the impact hole. These hardened tubes were then exposed by erosion. - Algeria - 1969

The members of mission T4 (Tassili - Ténéré - Tibesti - Tchad - 1966/67 - led by Maximilien Bruggmann) on the march in the Tissouar area of Tassili n'Ajjer. - Algeria - 1966

Rocky landscape, shaped by erosion into strange sculptures, in the highlands of the Tassili Mountains. Hidden amidst these stone citadels are the numerous rock art sites. - Tamrit - Algeria - 1966

Rocky landscape in the Tissouar area, shaped by erosion into strange sculptures, in the highlands of the Tassili Mountains. Hidden amidst these stone citadels are the numerous rock art sites. - Algeria - 1966

A Torha plant at Terarart in the south of Tassili n'Ajjer. - Algeria - 1975

The Oued Terarart south of Djanet in the evening sun. - Algeria - 1966

Stone tombs on a slope near In-Affelalea, in the south of the Tassili. - Algeria - 1975

In prehistoric times, when water still flowed through the Sahara, the erosion of the rivers formed strange mythical creatures out of the stone. Today, the water has disappeared and the wind takes care of the erosion that gnaws at the rocks and slowly grinds them into sand. - Algeria - 1969

Rock formation in the south of Djanet - Algeria - 1962

At Tin-Amali on the southern edge of the Tassili, near Djanet, these rocks rise out of the sandy desert. - Algeria - 1969

Years have passed since the last rain. Only in the evening, when the shadows of a rare plant finally lengthen on the pale-multicoloured carpet of soil, does the immense panorama show its true face. The rock, lost on the edge of the Adrar Tin-Amali somewhere southeast of Djanet, is reminiscent of an island. Don't we also have an ocean in mind when we call the camel a "desert ship"? - Algeria - 1969

Mont Gautier south of Djanet, on the southern edge of the Tassili. - Algeria - 1975

And the caravan moves on, untouched, it seems, by fatigue, thirst and sandy winds. Never does the leader lose his way, of which he knows every dune, every bend. But sometimes, consumed by his too great efforts, a camel falls as if struck by lightning. It will not rise again. Often, not only must the animal be abandoned, but also its burden left behind if no replacement camels follow the train. And all along the track, white skeletons, slowly buried by the sand, mark the harsh ordeal of the peaceful "desert ships". - Ténéré - Niger - 1966

Balise number 1 of the Berliet expedition in the area of today's Djanet airport. The Berliet-Ténéré mission of 1959-1960 was a two-phase expedition across the Sahara organised by the truck manufacturer Berliet. It began in November 1959 and led from Djanet in Algeria via the Ténéré tree and the Termit massif to Lake Chad and Fort-Lamy (today N'Djaména in Chad) through the Sahara. The return route was via Bilma and the Djado Plateau back to Djanet. - Algeria - 1975

That man populated even the most desolate places in the Sahara is amply attested by the countless worked implements he left there. But the quern-stone for grinding grain, seen here together with the handstone, and elsewhere the ceramic containers still filled with grain seem to have been suddenly abandoned, as if a brutal upheaval had forced the people to flee. Perhaps there was a sudden lack of water ... Historically, it is possible that this happened and those affected all died of thirst. (Erg d' Admer, Algerian Sahara). - Algeria - 1975

At Terarart, south of Djanet, you will not only find the highly stylised but carefully executed Weeping Cattle on a group of rocks, which are among the most beautiful Saharan rock art has left behind. If you are lucky, you will also find Neolithic stone axes in the sand.

Essendilène is a now uninhabited oasis in the Algerian Sahara and belongs to the Tassili Cultural Park, the largest of the Algerian national parks. The oasis is located in a gorge of the Tassili n'Ajjer, about a hundred kilometres northwest of Djanet. Algeria - Tassili n'Ajjer - 1993

Essendilène is a now uninhabited oasis in the Algerian Sahara and belongs to the Tassili Cultural Park, the largest of the Algerian national parks. The oasis is located in a gorge of the Tassili n'Ajjer, about a hundred kilometres northwest of Djanet. In the foreground, a simple Touareg mosque.Algeria - Tassili n'Ajjer - 1993

Essendilène is a now uninhabited oasis in the Algerian Sahara and belongs to the Tassili Cultural Park, the largest of the Algerian national parks. The oasis is located in a gorge of the Tassili n'Ajjer, about a hundred kilometres northwest of Djanet. Algeria - Tassili n'Ajjer - 1993

Tikoubaouine is located near Essendilène, about 100 km west of Djanet. Algeria - Tassili n'Ajjer - 1993

Rock arch of Tikoubaouine, near Essendilène. Algeria - Tassili n'Ajjer - 1993

Maader de Dider on the way to the Iherir oasis. Algeria - Tassili n'Ajjer - 1993

An old cypress near Maader de Dider on the way to the oasis of Iherir. Algeria - Tassili n'Ajjer - 1993

The wadi of Ihérir is an oasis inhabited since the Neolithic period, located in the Tassili n'Ajjer Cultural Park in southern Algeria. Declared a UNESCO World Heritage Site in 1982 and a Human and Biosphere Reserve in 1986, Ihérir is the only real watering hole in this desert region. The Ihérir Valley is home to an exceptional landscape of wadis, gueltas and lush vegetation. Algeria - Tassili n'Ajjer - 1993

The wadi of Ihérir is an oasis inhabited since the Neolithic period, located in the Tassili n'Ajjer Cultural Park in southern Algeria. Declared a UNESCO World Heritage Site in 1982 and a Human and Biosphere Reserve in 1986, Ihérir is the only real watering hole in this desert region. Algeria - Tassili n'Ajjer - 1993

The wadi of Ihérir is an oasis inhabited since the Neolithic period, located in the Tassili n'Ajjer Cultural Park in southern Algeria. Declared a UNESCO World Heritage Site in 1982 and a Human and Biosphere Reserve in 1986, Ihérir is the only real watering hole in this desert region. The Ihérir Valley is home to an exceptional landscape of wadis, gueltas and lush vegetation. Algeria - Tassili n'Ajjer - 1993

The wadi of Ihérir is an oasis inhabited since the Neolithic period, located in the Tassili n'Ajjer Cultural Park in southern Algeria. Declared a UNESCO World Heritage Site in 1982 and a Human and Biosphere Reserve in 1986, Ihérir is the only real watering hole in this desert region. Algeria - Tassili n'Ajjer - 1993

From Ihérir, the impressive Akba (pass) of Tin Teradjeli leads to the plain of Erg Admer. Algeria - Tassili n'Ajjer - 1993

On the edge of the Erg Admer between Gardel and Djanet. Algeria - Tassili n'Ajjer - 1993

On the way at the edge of the Erg Admer between Gardel and Djanet, the cook Hamma prepares the meal. Algeria - Tassili n'Ajjer - 1993

On the road at the edge of the Erg Admer between Gardel and Djanet - tea ceremony. Algeria - Tassili n'Ajjer - 1993

Portrait of a Touareg of the Kel Idjera-Ajeroven tribe. Algeria - Tassili n'Ajjer - 1993

View of the Erg Admer Admer between Gardel and Djanet. 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

Arrival at the oasis of Djanet in the south of the Tassili n'Ajjer. Algeria - Tassili n'Ajjer - 1993

The Sebiba is the famous Tuareg festival that takes place every year in Djanet. It unites the Tuareg from the Tassili N'Ajjer and neighbouring countries in a festival that has its roots in an ancient chapter of history in which two Tuareg tribes ended a war between themselves. A magic of music, song and dance, the colours of the costumes, the glamour of the jewellery the women adorn themselves with, or the weapons the Tuareg brandish - the Sebiba is an unforgettable experience. Algeria - Tassili n'Ajjer - 1993

On the way through the Wadi Taligit, which leads from Djanet to the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

On the way in the Wadi Taligit, which leads from Djanet to the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

View from the top of the pass back into Wadi Taligit. Algeria - Tassili n'Ajjer - 1993

High plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

The caravan descending from a pass on the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

High plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

Pebble desert on the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

Plateau of the Tassili - Guelta Allagagaaven Algeria - Tassili n'Ajjer - 1993

Plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

Plateau of the Tassili - Guelta Allagagaaven Algeria - Tassili n'Ajjer - 1993

High plateau of the Tassili - Two Touareg playing checkers. Algeria - Tassili n'Ajjer - 1993

Evening atmosphere on the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

Evening atmosphere with full moon on the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

High plateau of the Tassili - dromedaries in the morning sun. Algeria - Tassili n'Ajjer - 1993

View towards the east on a mountain on the high plateau of the Tassili. On the horizon you can see the Acacus Mountains in Libya. Algeria - Tassili n'Ajjer - 1993

Another route over the Tafilalet pass also leads to the high plateau of the Tassili. Algeria - Tassili n'Ajjer - 1993

The fantastic sandstone towers of Tamrit. What look like pillars are actually wall-like bastions of eroded sandstone separated by narrow gorges. Algeria - Tassili n'Ajjer - 1993

The valley of Tamrit with its famous cypresses, a legacy of the last wetter period when vegetation extended to the Mediterranean coast. The giant cypresses are thought to be thousands of years old and have survived both the gradual drying out and the wood-hungry nomads who live in the area. Algeria - Tassili n'Ajjer - 1993

Landscape between Tan Zoumaïtac et Tinteras-n-Elias. Algeria - Tassili n'Ajjer - 1993

The magnificent shelter of Tan-Zoumaïtak, 28 m² in size. You can see the paintings there from the photos below. This dome-shaped shelter was worthy of arousing religious feelings. Algeria - Tassili n'Ajjer - 1993

The landscape on the way to Ouan Bender, another place where you can find beautiful rock art. Algeria - Tassili n'Ajjer - 1993

The landscape at Ouan Bender, another place where you can find beautiful rock art. Algeria - Tassili n'Ajjer - 1993

In these shelters of Ouan Bender you can find excellent rock art. Algeria - Tassili n'Ajjer - 1993

This dromedary with herringbone tail is harnessed in a logical way, which is not the case with the "frame", in which a person sits without legs, but who has a leather cushion in front of him. The "frame" is 0.16 m high and 0.23 m wide. Algeria - Tassili n'Ajjer - Ouan Bender - 1993

Evening atmosphere in Ouan Bender. Algeria - Tassili n'Ajjer - 1993

In these shelters of Ouan Bender you can find excellent rock art. Algeria - Tassili n'Ajjer - 1993

You have to imagine this typical Tassili landscape with trees, bushes, grass, water, people and animals. The water no longer attacks the rock, but sand has taken its place. Algeria - Tassili n'Ajjer - Tin-Aboteka - 1993

Tin-Aboteka - Here too you will find shelters with magnificent rock art. Algeria - Tassili n'Ajjer - 1993

Negride person holding a bow in one hand and an arrow with its triangular tip visible in the other. Height 1.60 m. Algeria - Tassili n'Ajjer - Tin-Aboteka - 1993

An indeterminate animal, perhaps a dog. The tail is highly imaginative. The dentition of the entire outline corresponds to the hair of the presumably younger animal, whose age is indicated by the tifinarian characters. Rock painting with red ochre. Algeria - Tassili n'Ajjer - Tin-Aboteka - 1993

Tin Tazarift is about two hours' walk northwest of Séfar in a labyrinth of sandstone streets and towers. Algeria - Tassili n'Ajjer - 1993

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

Tin Tazarift is about two hours' walk northwest of Séfar in a labyrinth of sandstone streets and towers. Algeria - Tassili n'Ajjer - 1993

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

In-n-Aleouene region between Tan Zoumaïtak and Titeras-n-Elias. Algeria - Tassili n'Ajjer - 1993

Mighty rock tower near Titeras-n-Elias. Algeria - Tassili n'Ajjer - 1993

Landscape near Titeras-n-Elias. Algeria - Tassili n'Ajjer - 1993

The region of Oum Itouami is also known for its beautiful rock paintings. Algeria - Tassili n'Ajjer - 1993

Tin Teferist near Séfar. Algeria - Tassili n'Ajjer - 1993

In the Séfar region - three Touaregs are on the road with their fully packed donkeys. Algeria - Tassili n'Ajjer - 1993

The Séfar region is known for its rich rock art. Bizarre rock formations and shelters abound. Algeria - Tassili n'Ajjer - 1993

The Séfar region is known for its rich rock art. Here the place Tin Rassoutine. Algeria - Tassili n'Ajjer - 1993

The Séfar region is known for its rich rock art. Bizarre rock formations and shelters abound. Algeria - Tassili n'Ajjer - 1993

The large shelter with the "Martian" of Séfar. Algeria - Tassili n'Ajjer - 1993

The Séfar region is known for its rich rock art. Bizarre rock formations and shelters abound. Algeria - Tassili n'Ajjer - 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

At the edge of the Wadi Séfar, the shelter "aux amazones" (H. Lhote). The following pictures are from this shelter. Algeria - Tassili n'Ajjer - Séfar - 1993

Here you see goats or sheep tied "on the rope". This gives them an amazing impression of order. Below this is a red structure that is extended downwards by V-shaped strokes. There are also archers sketched with painted strokes, then figures in a red structure, cattle and later archers treated with dark grey paint. Diameter of the circle: 0.25 m. Algeria - Tassili n'Ajjer - Séfar - 1993

Two hands at the end of severed arms. The left one is finely decorated; the other is delineated by a double line. Lower left: Head of a mouflon. Length of the right hand and arm: 0.33 m. Algeria - Tassili n'Ajjer - Séfar - 1993

An archer appears to be kneeling before a stylised mouflon. Below left are two elephant heads. Below right, a person in a long tunic that is tight at the waist. From the front paw to the back paw: 0.30 m. Algeria - Tassili n'Ajjer - Séfar - 1993

A European figure with the name "De Gaulle". Height: 0.20 m. Algeria - Tassili n'Ajjer - Séfar - 1993

Tin-Kani is an archaeological site in the Tassili N'Ajjer region in southeastern Algeria, home to impressive geological formations as well as numerous rock paintings. Algeria - Tassili n'Ajjer - 1993

Overview of the shelter where the following picture was taken. Algeria - Tassili n'Ajjer - Tin-Kani - 1993

A Targui leads his dromedaries through the labyrinth of Tin-Kani. Algeria - Tassili n'Ajjer - 1993

The Ti-Sfad area is located southeast of the famous Sefar site on the Tassili-n-Ajjer plateau. It is an impressive landscape with stone forests and standing rocks. The visitor will find here a labyrinth of deep passages (Ti-Sfad means "The Passages" in the Tamahaq dialect) into which the sunlight never penetrates at any time of the day. Undoubtedly one of the most magnificent landscapes of the Tassili National Park. Algeria - Tassili n'Ajjer - 1993

The Ti-Sfad area is located southeast of the famous Sefar site on the Tassili-n-Ajjer plateau. It is an impressive landscape with stone forests and standing rocks. The visitor will find here a labyrinth of deep passages (Ti-Sfad means "The Passages" in the Tamahaq dialect) into which the sunlight never penetrates at any time of the day. Undoubtedly one of the most magnificent landscapes of the Tassili National Park. - Dromedaries at the Guelta Anallamina. Algeria - Tassili n'Ajjer - 1993

The Ti-Sfad area is located southeast of the famous Sefar site on the Tassili-n-Ajjer plateau. It is an impressive landscape with stone forests and standing rocks. The visitor will find here a labyrinth of deep passages (Ti-Sfad means "The Passages" in the Tamahaq dialect) into which the sunlight never penetrates at any time of the day. Undoubtedly one of the most magnificent landscapes of the Tassili National Park. Algeria - Tassili n'Ajjer - 1993

The Ti-Sfad area is located southeast of the famous Sefar site on the Tassili-n-Ajjer plateau. It is an impressive landscape with stone forests and standing rocks. The visitor will find here a labyrinth of deep passages (Ti-Sfad means "The Passages" in the Tamahaq dialect) into which the sunlight never penetrates at any time of the day. Undoubtedly one of the most magnificent landscapes of the Tassili National Park. Full moon! Algeria - Tassili n'Ajjer - 1993

The Ti-Sfad area is located southeast of the famous Sefar site on the Tassili-n-Ajjer plateau. It is an impressive landscape with stone forests and standing rocks. The visitor will find here a labyrinth of deep passages (Ti-Sfad means "The Passages" in the Tamahaq dialect) into which the sunlight never penetrates at any time of the day. Undoubtedly one of the most magnificent landscapes of the Tassili National Park. Algeria - Tassili n'Ajjer - 1993

In the Tin-Messeous area, there are many stone forests with shelters where rock paintings can be found. Algeria - Tassili n'Ajjer - 1993

The shelter of Alan-Edoument with its magnificent paintings. Algeria - Tassili n'Ajjer - 1993

One of the thousand-year-old cypresses in the Rayaye area. Algeria - Tassili n'Ajjer - Alan Edoument - 1993

One of the thousand-year-old cypresses in the Rayaye area. Algeria - Tassili n'Ajjer - 1993

A cypress tree in the Oued Tabarakat area. Algeria - Tassili n'Ajjer - 1993

At Ozeneare, about 5 km from Alan-Edoument, you can find some very beautiful paintings from the cattle period. The site is rarely visited. Algeria - Tassili n'Ajjer - 1993

At Ozeneare, about 5 km from Alan-Edoument, you can find some very beautiful paintings from the pastoral period. The site is rarely visited. The following picture shows the painting from this shelter. Algeria - Tassili n'Ajjer - 1993

At Ozeneare, about 5 km from Alan-Edoument, you can find some very beautiful paintings from the cattle period. The site is rarely visited. Algeria - Tassili n'Ajjer - 1993

Where people lived in the Neolithic period, they had to carry out numerous grinding processes: Seeds, dyes, pharmaceutical plants, etc. Therefore, where the rock allows it, one often finds round depressions that were used instead of portable grinding stones. This is the case with the settlement floor shown in the photo. Algeria - Tassili n'Ajjer - Ozeneare - 1993

This ancient cypress stands in the Techouinat area. Algeria - Tassili n'Ajjer - 1993

Cypress tree in the Oued Tabarakat. Algeria - Tassili n'Ajjer - 1993

A desert horned viper (Cerastes Cerastes). The horns above the eyes, each consisting of one scale, are characteristic and give the species its name. Algeria - Tassili n'Ajjer - Oued Tabarakat - 1993

Lonely cypress on the plateau in the region of the Oued Tabarakat. Algeria - Tassili n'Ajjer - 1993

Dunes in the morning light at Jabbaren. Algeria - Tassili n'Ajjer - 1993

Rock arch in Jabbaren. Algeria - Tassili n'Ajjer - 1993

Rock formation with shelter in Jabbaren. Algeria - Tassili n'Ajjer - 1993

The shelter of the "Abyssinian" in Jabbaren. On the following picture a detail of it. Algeria - Tassili n'Ajjer - 1993

Hands in negative form. They are moving because they represent the sign of a person who placed them on the rock with a wish. Was it fulfilled? 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

Landscape image from the Oued Amazzar. Algeria - Tassili n'Ajjer - 1993

Rock formation with shelter in the In-Aouanrhet area. Algeria - Tassili n'Ajjer - 1993

Running archer. He is dressed in a coloured loincloth. His appearance is negroid. The head resembles that of a praying mantis. The right hand raises a bow and an arrow above the head. The hand of the arm stretched forward is empty. The loincloth is white with mauve tinting, the rest of the body is painted with red ochre. From the back foot to the top of the head: 0.17 m. Algeria - Tassili n'Ajjer - In-Aouanrhet - 1993

In-Aouanrhet. Rock formation with shelter where the "white lady" was painted, which can be seen in the following picture. Algeria - Tassili n'Ajjer - In-Aouanrhet - 1993

Shelter in the area of In-Aouanrhet. Algeria - Tassili n'Ajjer - 1993

Waterhole between the rocks near In-Aouanrhet. Algeria - Tassili n'Ajjer - 1993

Rock formations between In-Aouanrhet and the Edjefané pass. Algeria - Tassili n'Ajjer - 1993

Landscape between In-Aouanrhet and the Edjefané pass. Algeria - Tassili n'Ajjer - 1993

After the descent from the Edjefané pass, south-east of Djanet. Algeria - Tassili n'Ajjer - 1993

After the descent from the Edjefané pass, south-east of Djanet. A Targui prepares his meal. Algeria - Tassili n'Ajjer - 1993

The Akba Aroum pass leads from Djanet to Jabbaren. Algeria - Tassili n'Ajjer - 1993

Art in the desert Natural rock sculptures between Djanet and the cliffs in the south of the Tassili. Algeria - South Tassili - 1993

Landscape in the Tadrart, in the south-east of Algeria, in the region of El Beridij. Algeria - Tadrart - 1993

Another shelter in the El Beridij area of the Tadrart. Algeria - Tadrart - 1993

The wind took centuries or even millennia to create this rock sculpture. Algeria - Tadrart - El Beridij - 1993

Impressive landscape n the region between El Beridij and Moul n'Aga. Algeria - Tadrart - 1993

Impressive landscape with the dunes of Moul n'Aga. Algeria - Tadrart - 1993

In the dunes of Moul n'Aga... Algeria - Tadrart - 1993

Sparse plant growth in the dunes of Moul n'Aga. Algeria - Tadrart - 1993

Impressive landscape with the dunes of Moul n'Aga. Algeria - Tadrart - 1993

The mysterious island mountain of Moul n'Aga. Algeria - Tadrart - 1993

Impressive landscape with the dunes of Moul n'Aga. Algeria - Tadrart - 1993

The cathedral of Tamesguida in Tadrart. The rocks were formed by the constant wind. Algeria - Tadrart - 1993

Dune Carousel in the Tadrart. Algeria - Tadrart - 1993

Wind-sculpted rock in the Tadrart. Algeria - Tadrart - 1993

A "smoking dune" in the Tadrart. Algeria - Tadrart - 1993

Rocky desert and dunes in the Tadrart. Algeria - Tadrart - 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

On a large pyramid rock is an engraved fresco showing eight elephants. Cattle Epoch. Flat engraving created by chipping with remarkable accuracy. The last elephant is in the process of defecating. Below is a frieze of figures also engraved, but at a later date. Algeria - Tadrart - In-Djaren - 1993

On another side of the same pyramid rock is engraved a group of giraffes. Algeria - Tadrart - In-Djars - 1993

Three men with shaved heads and beards. Two are looking to the left, the third to the right. The middle and right figures are depicted with erect penises. One of them holds a spear, all have a European profile. From head to toe, the right figure is 0.70 m tall. Algeria - Tadrart - In-Djaren - 1993

Typical landscape with the orange sand, Bou Ediane region. Algeria - Tadrart - 1993

Two engraved giraffes of good quality. The tails are curled. The body is completely engraved. The front legs are in the position of the giraffe drinking. From the horns to the front hoof of the left animal: 0.95 m. Algeria - Tadrart - Guelta Bou Ediane - 1993

Dune in the morning light at Ouan Zouaten. Algeria - Tadrart - 1993

Animals have left traces in the red sand. Region between Bou Ediane and the Grotto of the Viper. Algeria - Tadrart - 1993

Region between Bou Ediane and the Grotto of the Viper. Algeria - Tadrart - 1993

Region between Bou Ediane and the Grotto of the Viper. A nomad is on the move with his packed donkeys. Algeria - Tadrart - 1993

Landscape near Tin-Merzouga. Algeria - Tadrart - 1993

In the midday heat. Rocks and landscape with a camel skeleton of which only the skull remains. Algeria - Tadrart - Tin-Merzouga - 1993

Weathered rocks and dunes in the Tin-Merzouga region. Algeria - Tadrart - 1993

Rock sculpture in Wadi Tin-Tehak. Algeria - Tadrart - 1993

Landscape between Tin-Tehak and Ouan Zouaten. Algeria - Tadrart - 1993

Tufts of grass, sand and rocks at Tan-Ekli. Algeria - Tadrart - 1993

Desert landscape near Tan-Ekli. Algeria - Tadrart - 1993

A burial tumulus near Tan-Ekli. Algeria - Tadrart - 1993

Several burial tumulus can be found in the Tan-Ekli region. Algeria - Tadrart - 1993

Desert landscape near Tan-Ekli. Algeria - Tadrart - 1993

This plant, called torha, is a toxic plant for camels. Algeria - Tadrart - 1993

Pyramid of sand. How lonely this tree must feel in this mineral universe. Algeria - Tadrart - In-Djaren - 1993

Dune in the Ouan Zouaten region. 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

On the left is a man carrying a pot. In front of him, three giraffes are walking in the same direction as him. The giraffes and the man begin to sand up. From the horn of the giraffe on the right to the sand level: about 1.70 m. Algeria - Tadrart - Tin Abedine - 1993

Tufts of grass, sand and rocks at Tin-Inabaden. Algeria - Tadrart - 1993

Rock slab with engravings and a probable mill hole. Algeria - Tadrart - In Djaren - 1993

Shelter in the area of In Djaren. Algeria - Tadrart - 1993

Overview of the shelter with an engraved elephant in the next picture. Algeria - Tadrart - In Djaren - 1993

Engraving of an elephant in In Djaren. Algeria - Tadrart - 1993

In Djaren. - The shelter of the painted giraffe in the next picture. Algeria - Tadrart - 1993

Desert and tree in the Tisseteka region. Algeria - Tadrart - 1993

Blooming desert! Tisseteka Region. Algeria - Tadrart - 1993

Where the roots of plants find the sparse water in the soil, life thrives in the desert. The valley of Tisseteka. Algeria - Tadrart - 1993

Shelter in the valley of Tisseteka. Algeria - Tadrart - 1993

A young acacia tree has been able to develop in this inhospitable area around Mount Issoudad, between Djanet and the Tadrart. Algeria - Tadrart - 1993

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.

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.

249 - Moghar et-Taghtani (Algeria). - The famous slabs, known since 1847 and whose depiction was first published in 1849, are located in front of a landscape that already hints at a desert. It has been said that the real difference between the north and the south is the palm tree: it gives dates in the north and hard nuts in the south. The engravings on the slabs face the sparse gardens of the oasis.

250 - Moghar et-Taghtani (Algeria). - The deep and mysterious engraving is from the Neolithic age. Perhaps it depicts a man? But nothing is certain. This engraving is the first clue of an affirmed spirituality: it encapsulates an idea in a symbol whose meaning seems to elude us. This document is an enlargement of the previous photo. Height: 0.97 m.

251 - Moghar et-Taghtani (Algeria). - Engraving from the Bubaline age (Neolithic), often said to represent an archer. Nothing is less certain, although it is likely a human. Height: 0.37 m.

252 - Moghar et-Taghtani (Algeria). - Engraving from the Bubaline age. Some see the rear part of an animal. This is a hypothesis, no more. Height: 0.51 m.

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.

254 - Moghar et-Taghtani (Algeria). - This beautiful set of Bubaline engravings is typical of the problem posed by interpreting works from this era. In the center, a figure with disheveled hair. The arms, whose hands are always highlighted, are in the so-called "praying" position. A line at chest height is unexplained. The figure wears a loincloth, part of which forms a tail (could it be an animal skin?). It dominates a scene in which a ritual appears to be performed. On the left, a curious hoofed animal with a "round" head carries strange horns. Its legs transition into a humanoid figure similar to those in photos 251 and 253 but may have a bow at the right arm. In the center and bottom, then to the right, two hoofed animals remove, through their engravings, any suggestion of clumsiness from the engraver. Note the links that seem attached to the hind legs of the two hoofed animals. Inside one of them, at the center, a small animal is engraved. The praying figure is 0.67 m in height.

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.

256 - Thyout (Algeria). - The same scene as the previous one, but reduced to the two figures connected by the "placental bond".

257 - Thyout (Algeria). - This propitiatory scene depicts an "archer" holding an undefined object in his left hand. A placental bond connects him with a small figure.

258 - Taghit (Algeria). - Detail from photo 262. Engraved foot and hand.

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.

265 - Figuig (Morocco). - ‘Sacred’ sheep. The collar is only depicted on one side and was obviously not engraved at the same time as the animal. Only the lines above the head give the sheep a mysterious appearance. From the rump to the forehead: 0.80 metres.

266 - Tazka-Tafraout (Morocco). - Very schematically engraved ungulate (ram?). The genitals are, however, depicted. From the tip of the horn to the right front hoof: 1.54 m.

267 - Tazka-Tafraout (Morocco). - Engraving related to the previous one, but more elaborate. From the base of the tail to the tip of the horn: 1.96 m.

268 - Tigane (Morocco). - Gazelles, whose lightness is well conveyed by the engraving. Many lines without graphic organization may be traces of polishing. Width of the depicted panel: 0.45 m.

269 - Icht (Morocco). - Curious engraving with difficult identification. An ungulate is topped by another engraving that starts from the tail and ends at the snout. From the tail to the snout: 0.30 m.

Chapter 5: TADRART - Algeria This rock formation, the so-called ‘Cathedral’ of Tamesguida, is located in the Algerian Tadrart. The rocks were formed by the constant wind.

The Tassili Tadrart (also known as the Red Tadrart) is the southern extension of the Tadrart Acacus. It is located in the south-east of Algeria, bordering Libya to the east and the Niger to the south. The mountain range is criss-crossed by west-east orientated, gorge-like wadis, of which In Djaren is the largest. The Tassili Tadrart has magnificent rock paintings that cover a long chronological span from the early Neolithic to modern times. Walls and overhangs at the bottom of the wadis are littered with rock paintings and rock engravings that document the climate change of the area from a savannah 10,000 years ago to a desert 5,000 years ago. The rock art changed over time from wild fauna such as elephants, rhinos, giraffes, antelopes, wild cattle to domesticated animals such as sheep, horses and finally camels.

286 - El Beridj (Tadrart). - The cliffs have been, in prehistory and even up to today, favored places by humans seeking a habitat. One site of El Beridj is located at the end of the rocky spur to the right. Photos 287 and 288.

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.

290 - El Beridj (Tadrart). - At the entrance of the shelter, a hunting scene with a mouflon. It is attacked by three dogs, two red and one white, of which it is unclear whether they are Sloughis. From the tip of the horn to the tail: 0.20 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).

292 - El Beridj (Tadrart). - Deer (?) chased by a dog (Sloughi?). From the animal's muzzle to the dog's tail: 0.55 m in length.

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.

294 - Merkadaoui (Tadrart). - Remarkably painted sheep (?). From the hind leg to the animal's muzzle: 0.25 m.

295 - Merkadaoui (Tadrart). - Red ochre fresco, isolating the sheep from the previous painting.

296 - In Djaren (Tadrart). - Red ochre fresco. Character with a short tunic at the top; with a long tunic at the bottom. The upper figures are exchanging weapons. The lower figure, wearing a long tunic (a woman?), holds unidentified objects. In the lower right corner, a figure raises a stick with one hand and touches an animal with the other. The man in the upper left is 0.17 m tall.

297 - In Djaren (Tadrart). - The red ochre painting of a woman being dressed by others is already known and pertains to the same pastoral ethnic group. In fact, the picture has two groups: the left group shows a woman at her toilette, while the right one depicts a character holding a stick or long object. The scene is difficult to interpret. The panel measures 0.55 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.

299 - In Djaren (Tadrart). - Shelter. Spearman (?). This figure, painted in white, is in the style of Ouan Amil (photo 215): same morphology and same style.

300 - In Djaren (Tadrart). - Shelter. Javelin thrower (?): The javelin appears in one of the man's hands. The movement of quick walking is well rendered. Height from head to foot: 0.17 m.

301 - ln Djaren (Tadrart). - Shelter. A fresco in red ochre depicting a therocéphale with a head topped by an oblong sphere. It appears to hold a club in its left hand. Behind it are strange animals, the largest of which, despite appearances, is merely an ungulate.

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.

303 - Ouan Ouksem (Tadrart). - Shelter. Two figures walking (perhaps talking?) painted in red ochre. The figure on the left measures 0.15 m in height from head to foot.

304 - Ouan Ouksem (Tadrart). - Shelter. A large fresco of sheep painted in white. In the lower left, a figure with raised arms may be a later addition. The height of the figure is 0.07 m.

305 - ln Djaren (Tadrart). - Shelter. Considering the basic tools used to create this masterpiece, one can only be amazed. This giraffe, painted in red ochre, is truly surprising. It is also noteworthy that the work, done in a shelter, does not receive direct light. Length 0.43 m.

306 - ln Djaren. - The shelter of the painted giraffe. Photo 305.

307 - ln Djaren (Tadrart). - On a large pyramidal rock, there is an engraved fresco showing eight elephants. From the "bubale" period. The engraving is shallow, executed through pitting with remarkable attention to accuracy. The last elephant is defecating. Below, there is a frieze of figures also engraved, but at a later date.

308 - Drawing by Maximilien Bruggmann showing how the engraver depicted the last elephant in photo 307.

308 - (original photo) Drawing by Maximilien Bruggmann showing how the engraver depicted the last elephant in photo 307.

309 - ln Djaren South (Tadrart). - A carved elephant charging a hunter wearing an "Ouan Amil" hat. The man holds a weapon. A second elephant appears in the background. The distance from the back leg of the elephant to the front foot of the man is 1.05 m.

310 - ln Djaren (pyramidal rock, Tadrart). - Three men with shaved heads and beards. Two look to the left, the third to the right. The figure in the middle and the one on the right are ithyphallic. One of them holds a spear, all have an Europoid profile. The height of the right figure from head to foot is 0.70 m.

311 - In Djaren (Tadrart). - Small rabbit with a very distinctive profile. It looks to the left. Life size.

312 - In Djaren (Tadrart). - Fish shown from different perspectives: one in profile, another, which is very rare, from an aerial view. This highlights the engravers’ familiarity with aquatic fauna. From the head to the tip of the tail of the large fish: 0.50 m.

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.

315 - Bou Ediane (Tadrart, region of In Djaren). - Rock painting under a shelter showing many figures, all wearing a short tunic tightly fastened at the waist or a long one. The height differences among the figures may be an attempt to respect perspective? Quite a few animals. Men armed with a stick or spear. Heads in the “hyphen” style. The tallest figure, on the left, is 0.42 m in height.

316 - Bou Ediane (region of In Djaren, Tadrart). - Figures with long or short tunics, painted in red or white. The one on the right appears to be holding a spear and a rectangular shield. The one on the left, painted white, holds a bow in the left hand and wears three feathers on its head. The white tunic reaches down to the feet. The white figure is 0.40 m tall.

317 - Bou Ediane (Tadrart, Shelter). - Antelope painted in red and white. Below, a very thin cow, with its udders clearly highlighted. From the front legs to the back legs: 0.60 m.

318 - Bou Ediane (Tadrart, Guelta). – Two well-preserved spotted giraffes. Their tails are curled. The body is entirely dotted. The front legs are in the drinking position of a giraffe. A horn on the front hoof of the left animal: 0.95 m.

320 - Tin Abedine (Tadrart). – To the left, a man holding a pot, followed by three giraffes going in the same direction as him. The giraffes and the man are beginning to sink seriously into the sand. From the horn of the right giraffe to the level of the sand: about 1.70 m.

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

322 - Ouan Adjane (Tadrart). – White-painted figures with curious trilobed heads. The central figure holds a stick and seems to threaten the figure on the left. The figure on the right is only remarkable for the appendage hanging between its legs. Width of the depicted panel: 0.45 m.

323 - Tisseteka (Tadrart). – Yellow ochre-painted giraffe. The hind legs are highly exaggerated. From the hind hoof to the head: 0.30 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.

Chapter 6: TASSILI N'AJJER - Algeria In the Tin-Messeous area there are many stone forests with shelters where rock paintings can be found. A typical landscape in the Tassili n' Ajjer.

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.

336 - Oued Djérat (Tassili-n'Ajjer). - A large bubale (antelope) engraved, with the tips of its horns separated by 1 m. This "leading fossil" of the oldest rock art is beautifully rendered here and corresponds to what animal paleontology teaches us. It is overlaid with a very beautiful double spiral and other unremarkable graffiti.

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.

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).

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