biface (11. 288)

The left panel of the original diptych executed by French court painter Jean Fouquet in the mid-fourteen hundred for the collegiate church of Notre-Dame in Melun on the Parisian outskirts depicts patron of the arts and royal secretary Étienne Chevalier with St Stephen, regarded as the first Christian protomartyr, robed and holding a book and a jagged rock as part of his iconography, having been stoned to death for blasphemy. On closer examination of this feature, however, archeologists believe that the rock might represent a prehistoric artefact—a handaxe (properly the above term) several hundreds of thousands of years in age from the Acheulean industry of manufactured tools used by Homo erectus and Homo heidelbergensis throughout Africa, the Middle East and Western Europe. Abundant finds as a source of mystery and fascination for centuries, and something not unfamiliar to the artist with the tool-making epoch named for a suburb of Amiens in Picardy, their folk-origin before the Enlightenment and acceptance of time-out-of-mind was sourced to “thunderstones” ejected from clouds, believing the well-wrought rocks appeared where lighting had struck and passed down as family heirlooms in the belief that they protected against subsequent strikes.