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There was a first phase of decoration on the hanging rocks and walls at the start of the "black sector» (Hillaire Chamber and Chamber of the Skull), partially obliterated by bears and humans. Another human group later engraved other figures then again drew in charcoal on the same panels and extended the decoration to other areas. In some places superpositions are still visible whereas in others, such as the Panel of the Horses, only a few engravings can be perceived while the last phase obliterated all the others. The relative chronology of certain panels sheds new light on the whole of the cave's decoration.The dates are consistent, as far as the last phase is concerned (30000-32 000). The interval after the first decoration is difficult to estimate. Geological surface phenomena could help us, as the wall seems to have become softer between the two phases.

Les recherches sur la taphonomie des parois ornées de la grotte Chauvet-Pont d'Arc ont conduit à l'identification et à l'étude détaillée de traces résultant d'un processus de chauffe : teintes rose et grise de la roche, écaillage et dépôts dus à la fumée. Ce faciès thermique a été observé aussi bien dans les premières salles, comportant majoritairement des peintures rouges, que dans les salles profondes où se trouvent la plupart des représentations réalisées au charbon de bois. Une étude paléothermométrique par thermoluminescence a été mise en oeuvre sur des fragments de calcaire rubéfié collectés au sol ou sur les parois. Elle montre que la roche a été chauffée dans le passé à des températures comprises entre 300 et 375°C selon l'échantillon. Les données chronologiques, tant absolues (datation C14 des charbons) que relatives (relation avec les représentations pariétales) indiquent que les feux se rapportent principalement à l'Aurignacien. La fonction de ces feux reste inconnue : éclairage, ravivage de torche, production de colorant, ou encore de fumée ou de chaleur sans nécessité directe autre que symbolique, modification de l'état de surface de la paroi, protection vis-à-vis des ours qui fréquentaient la grotte en même temps que les hommes...

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The ‘Grande Grotte’ cave at Arcy-sur-Cure (Yonne, France) with its prehistoric paintings shows important calcite concretions. Two types of calcite have been observed on the wall: translucent yellowish layers and opaque white or grey layers that completely obstruct the paintings. Other calcite types are present in the lakes of the cave (floating calcite rafts at the surface of the lake and soft calcite at the bottom of the lake).The morphology of the different calcites was observed at different scales by optical microscopy with normal and polarized light, scanning electron microscopy (SEM) and transmission electron microscopy (TEM). The elemental composition was measured by using particle-induced X-ray emission (micro-PIXE) and the structure by X-ray diffraction (XRD), infrared (FT-IR) and Raman spectroscopy. The bacterial diversity and its role in calcite formation were assessed by culture and 16S-SSCP in order to distinguish and to assess various abiotic and biotic formation mechanisms.The investigation of calcite characteristics enables conclusions on the formation mechanism and on a biotic or abiotic origin of the calcites. The change of calcite types on the walls reveals changes of the environmental cave parameters. In addition, interactions of calcites with the prehistoric paint layer could be evaluated.