First, note that the subdominant perfect fourth, G, and the dominant perfect fifth, A, occur in both scales. The subdominant fret of the Venus scale coincides with the top of the cusp between the breasts. The dominant fret of the Venus scale coincides with an incised line at the top of the pubic triangle. In between, in the Venus scale, we have noted a line defined by the bottom of the breasts, corresponding to ab, the tritone. This most discordant note does not occur in the Dorian scale. We may interpret this line as a fret for occasional ornamentation, and not part of the Canon of Lespugues: an extra fret.
Secondly, the seventh note of the Canon of Lespugue at coordinate 84 is audibly flat, relative to the seventh note of the Greek Dorian Mode, c, at 80. It is also slightly sharp relative to the b of the chromatic scale in just intonation, so we might denote this b+ or c-. Of the seven notes of the diatonic scale, this is the only one which differs significantly from the Greek Dorian Mode. An interval greater than a whole tone is suggested, in contradiction to the (later) rules of ancient Greece.
We may compare three scales (the Dorian, the Venus, and the aulos measured by Schlesinger) in Christian length coordinates:
Further support for our musical interpretation of the Venus of Lespugue is provided by the incisions on the back of the figurine, which look very much like the strings of a lute, gathered to a single peg or nut, as shown in Fig. 6.