All around this monumental frieze, a museographical area provides the visitor with an overview of Cap Blanc life and art. Objects, pictures, and a fresco tell the story of Prehistoric sculptors throughout Europe.

The limestone rock shelter of Cap Blanc, near Laussel, northeast of Les Eyzies in France’s Dordogne region, is well known to the world of prehistory as the site of one of the finest sculptured friezes to survive the last Ice Age, the first to be unearthed, and currently the best to remain open to the public. Its figures of horses, bison and deer, albeit found in a much damaged condition at the time of their discovery by Dr. Gaston Lalanne of Bordeaux in 1909, remain a moving and powerful ensemble. Lalanne dug here and unearthed a fine collection of typical Magdalenian – about 15 000 years old – stone, bone and antler tools, including harpoons, and a number of large stone implements that had clearly been used to produce the parietal bas-relief and haut-relief sculptures that his crude excavations brought to light on the back wall. (Ed: Parietal – term used to describe artwork done on cave walls or large blocks of stone, as opposed to portable art, such as most of the venuses)

In 1911, further digging in front of the shelter for the purpose of erecting a small construction to enclose and protect the frieze and for lowering the floor level to make the art more visible to visitors led to the discovery of a human skull. Work was suspended and prehistorians Louis Capitan and Denis Peyrony were asked to extract the skeleton, a task that took them three days.

The Cap Blanc skeleton is of tremendous importance – not only a relatively intact inhumation from the late Ice Age but also one of the very few found in close proximity to parietal art of the period.

Indeed, the body’s location directly in front of the central part of the shelter’s sculptured frieze can really only be compared with that of the double paleolithic inhumation of an adult woman buried with her arm around a 17-year-old male dwarf in front of the engraved block at the Riparo di Romito, Italy. It was suggested by the excavators that the Cap Blanc burial may even be that of the original sculptor (or one of them), and this is unquestionably a possibility; certainly the location of the inhumation indicates a person with a strong link to the site.

Conflicting Reports

In France, the excavation of the skeleton in 1911 led to a brief publication that discussed primarily the two skeletons unearthed at La Ferrassie by the same excavators. They gave few details about the Cap Blanc find, stating only that the skeleton lay at the bottom of the archaeological deposit, 2. 3 meters from the frieze and 60 centimeters below the hooves of the central horse. It had been buried amid stones, with three fairly big stones placed above it, one of them on its head and others at its feet. It had been placed on its left side, arms and legs flexed, occupying a space of only 3 feet by 2 feet (1 meter by 60 centimeters), immediately below a Magdalenian hearth.

It is curious that early reports of the Cap Blanc skeleton claimed that it was of a male aged about 25, whereas examination by physical anthropologists eventually established that it was of a young adult female.

A recent examination of the field Museum’s archive on the case made it possible to reconstruct much of the story. The earliest document in the archive is a letter, dated January 24, 1911, to Monsieur J. Grimaud, the site’s owner, from the president of the Société des Antiquaires de 1′Ouest in Poitiers, acknowledging receipt of a report on the rock shelters of Laussel (i.e. Cap Blanc) together with photos and five boxes, one containing reindeer teeth and bones and the other four containing flint tools. A letter, dated August 5, 1911, from Paul Leon, at the Ministère de l’Instruction Publique et des Beaux-Arts in Paris, thanks M. Grimaud for reporting the discovery of the skeleton and states that he will ask Peyrony to take appropriate measures to preserve it. Peyrony himself (the Membre Correspondant de la Commission des Monuments Historiques aux Eyzies) writes on August 8 that the Minister has asked him to verify the authenticity of the Laussel skeleton, make all necessary scientific observations, and supervise the excavation. He therefore went to the site that very morning and examined the find in the presence of Grimaud’s guard, Veyret. The remains were indeed authentic.

Only two days later, Grimaud received a letter from Dr. Capitan, professor at the Collège de France, dated August 10, which is a key document for the site. The letter contains a sketch of the location of the bones and reports that they are 2. 3 metres from the big horse and around 70 centimetres below its muzzle. They occupy a kind of pit, 50 centimetres deep, and the skull was unfortunately broken by a blow from a workman’s pickaxe.

Capitan insists, rightly, that the excavation be carried out by experienced and qualified people and suggests himself and Peyrony for the task, as they have just unearthed the two older skeletons from La Ferrassie. To make matters clear, he proposes that the excavators produce the scientific report, while any finds would belong to Grimaud. In the meantime, the skeleton has been covered with stones and planks for its protection.

A new letter from Capitan, dated August 28, reports that the skeleton has been removed in its entirety in a number of blocks of earth, and it will now be possible to excavate the bones properly and carefully, once Peyrony has transported them to Paris by rail, probably in September or October. For the present, these blocks are in Peyrony’s care, and he will dry them out slowly. Most important is a brief sentence, stating that “All we found with the skeleton was a shapeless fragment. probably of ivory.” This is indeed a small ivory point measuring 0. 6 by 3 by 0. 4inches (16 by 74 by 10 millimetres), which is kept at the Field Museum, having been sold along with the skeleton.

It is described as “several thin laminae glued together along with bits of matrix and partially reconstructed or plastered over with some sort of filling material.” According to its original display case label, this point was “found over the abdominal cavity of this individual” and “the weapon may have been the cause of death. ”

This is certainly the theory that was promoted by Henry Field, the eventual acquirer of the skeleton for the museum. He claimed in a 1927 article that the skeleton died a natural death, yet also noted: A small ivory harpoon-point found lying just above the abdomen may give a possible clue to the cause of his death. This weapon may have caused blood poisoning which resulted in death. It has been suggested tentatively that the young man [sic] felt death approaching and returned to the rock-shelter, as he desired to die before the masterpiece he had helped to create. . . It is not plausible that some one who had nothing to do with the sculpture should have been allowed to desecrate the sanctuary unless he had assisted in the work or, at any rate, was directly connected with it.

In Field’s memoirs, his speculations were even more romantic: “Why had she been buried beneath the frieze of horses? Was she killed by her lover’s ivory lance point? Was it by another Cro-Magnon girl? Was her brother avenging the family’s honor? Was she killed in battle? Why was she buried in the sanctuary? Was she the daughter of the sculptor-high priest? There was no real evidence, except that death probably resulted from blood poisoning.”

No source is given for the theory that the ivory point was the cause of death or the claim that it was found above the abdomen – perhaps this was merely M. Grimaud’s opinion – but nevertheless it is baffling that such a potentially important object was completely omitted from the published report by Capitan and Peyrony. Indeed, were it not for this casual mention in Capitan’s letter, there would be absolutely no guarantee THE CAP BLANC LADY that the point had any connection with the Cap Blanc skeleton. Yet ivory is not common in Magdalenian contexts in southwest France, let alone ivory points that may be a cause of death. In this connection, it is worth noting that the only clear evidence we have of violence inflicted on humans during the last Ice Age consists of a probable flint arrowhead embedded in the pelvis of an adult woman from San Teodoro Cave, Sicily, and an arrowhead in the vertebra of a child from the Grotte des Enfants at Balzi Rossi, Italy.

A letter to Grimaud from Peyrony, dated August 31, 1911, notes that”we have been able to lift the whole thing in a pretty good state. The whole skeleton will be able to be reconstructed and will be a very good study piece. I have conserved it in Les Eyzies, as Mr Capitan was not able to take it. I will carry it to Paris next October. ” However, it is clear that Capitan had major problems in getting the skeleton dealt with in Paris. Letters from him complain of the difficulty in finding someone qualified and with sufficient time available to prepare the bones for casting and display. It is also interesting to learn that there were plans afoot to have a cast made and placed in the shelter; in fact, for some reason this was never done, and instead a miscellaneous collection of casts of other bones was put together for this purpose. In a letter dated July 29, 1913, Capitan tells Grimaud that an artist will be sent to carry out this assignment. A letter from Grimaud in 1924 notes that “in accordance with the Ministere des Beaux Arts, I have had a modern skeleton set in place at the foot of the sculptures, in place of the real skeleton. ”

Nevertheless, the original skeleton was eventually extracted from its sediments by J. Papoint of the Laboratoire de Paleontologie at the Musee National d’Histoire Naturelle under the direction of Marcellin Boule(director of the museum) and of Capitan. A letter from Papoint, dated February 27, 1915, records the state of the bones:

You will find the skull in the wooden box. It is in two pieces. It was impossible for me to reconstruct it because of the deformation caused by fossilisation. I left in the same block the upper and lower jaws as well as the seven cervical vertebrae which I extracted as well as I could. There are two upper incisors that I put to one side, since I could not fit them in their sockets. These two skull pieces are very fragile and need to be unpacked with care. The dorsal and lumbar vertebrae are all present. The ribs are incomplete. All the limb bones are in good condition. A few fragments of the shoulder-blades and pelvis bones are missing. This is due to the fragility of certain parts of these bones. A few phalanges are missing from the hands and feet.
The Sale of the Bones
By early 1915, the Cap Blanc skeleton had been restored to its owner. Monsieur Grimaud. It then disappeared from view until the start of his attempt to sell it to an American museum nine years later. According to Henry Field, “in 1916 M. Grimaud, having made no money out of the discoveries on his property, decided to reclaim his anticipated profit, and during the stress of war conditions was able to ship the skeleton to New York.” In his later memoirs, he added that “the skeleton was said to have been smuggled out of France during World War I in a coffin as an American soldier with the necessary papers forged.” Yet documentation available at the Field Museum provides no real clue as to why Grimaud decided to send it to America, or why he apparently waited a further eight years before trying to sell it. His initial choice was the American Museum of Natural History in New York, but, to cut a long story short, his protracted negotiations, via American lawyers in Paris, eventually came to nothing, in part because of his huge asking price ($12, 000, equivalent to about $250, 000today).

Finally, after steadily dropping his price, he sold it to Chicago’s Field Museum for a much lower amount. According to Field’s memoirs, a representative of the museum was sent to Monsieur Grimaud “with twenty-five thousand-franc bills (the equivalent of a thousand dollars) in one hand and a receipt ready for signature in the other. ” He continues, “Some days later a cable came from Paris saying that the Cap-Blanc skeleton was ours. I hurried to New York and in the basement of the Museum of Natural History packed her very carefully in cotton wool and carried her in a suitcase to a compartment on the Twentieth Century [train]. We had a very uneventful night together. ”

With the benefit of hindsight, Field’s memoirs claim that, as he laid out the bones in Chicago, “the pelvic girdle was definitely feminine” – yet, as noted above, his article of 1927 still saw the skeleton as a young man! The skeleton in its new case was first displayed prominently just inside the museum’s main entrance.

It was introduced to the media as “the only prehistoric skeleton in the United States”, and so became front-page news. The first day, 22 000 visitors came to see for themselves. At noon, the crowd was so dense around her that the captain of the guard. . . notified the director that two guards must be placed there to keep the people moving and orderly. . . . Nothing like this had happened before in the Field Museum. . . . This was the first exhibit in the new building to capture the public and press imagination. ”

In 1932, the skeleton was withdrawn from exhibition so that the skull could be restored by T. Ito under the direction of Gerhardt von Bonin of the Department of Anatomy at the University of Illinois. According to von Bonin:

When the skeleton arrived at the Museum, it was in an almost perfectly clean condition, only a few bones being still embedded in a matrix of somewhat gritty, loam-like matter. The long bones were almost all perfectly preserved. The pelvic and the shoulder girdle were somewhat damaged, particularly in the pubic region and the scapula. The vertebral column appeared to be complete, the vertebrae were for the most part still held together by adhering soil. Twelve left and ten right ribs were found, and a rather decayed square piece of bone, apparently all that was left from the manubrium sterni. The cervical column was firmly attached to the lower jaw and a part of the upper jaw.

The skull was broken into a number of fragments. The bones are of a brownish colour, darker in some spots and lighter in others. They are firm enough to be handled conveniently, yet somewhat brittle. In some spots, dental cement had been put on the bones in order to prevent them from crumbling.

Von Bonin’s conclusion, after a full anatomical study, was that these were the remains of a young woman, about 5 feet, 1 inch (156 centimeters) tall and about 20 years of age.

In an exhibition case next to the skeleton, the museum installed a life-size diorama of the Cap Blanc rock shelter, modeled by Frederick Blaschke. As the only complete European paleolithic skeleton on exhibition in an American museum, the Cap Blanc woman was seen by several million visitors in her first decade in Chicago alone. But the story does have a happy ending of sorts.

Thanks to the generosity of a private sponsor, a complete cast of the Cap Blanc lady – and of her ivory point  was made, and on July 14, 2001, the cast was installed in its rightful place beneath the central frieze in France.

 The cast of the Cap Blanc lady, restored to her original resting place in front of the center of the carved frieze on July 14, 2001.

Also in 1863, Marquis Paul de Vibraye, an archaeologist who also started searching Laugerie Basse, and the finder (1864) of the now famous “Immodest Venus of Laugerie Basse”, the first feminine statuette to be found in France came to Les Eyzies. In 1865, Elie Massénat succeeded the first 3 researchers and launched a 20-year long excavation campaign with Léonard Delpeyrat, an inhabitant of the neighbouring hamlet.

All excavated pieces were published in 1900.

The beginning of the XX century was marked by the threatening arrival from Bern of the Swiss Otto Hauser, all his discoveries were directly sent abroad to the detriment of Science.
Fortunately, in 1913, Laugerie Basse was sold to Achille Le Bel, an eminent chemist, and Jean Maury became head of the excavation team: at last Laugerie Basse was saved from this dangerous foreign hold.
Most of the work done during the following 3 years related to the Marseilles shelter. Jean Maury exploited the site and created a museum, of which he became the curator.
He also decided to stop the excavation campaign to preserve the site for future generations.

In the 80s, Alain Roussot, the curator of the Museum of Aquitaine, started clearing the section, which enabled the detailed recording and study of its stratigraphy: the first 4 layers described were subdivided into 27 different layers. One part of layer 15 was then carbon dated at 13,850 years.

Part of the Marseilles shelter still remains to be searched.

The site has been classified as a Historical Monument.

Magdalenians were Homosapiens or Cro-Magnon men offering minor differences with today’s men. Some of them have been carefully buried, as for example in Laugerie Basse.

The last major drop in temperatures in the climatic history of the Earth, also called last “ice era”, took place during the Superior Paleolithic period, and during the coldest periods the temperature could -on a yearly average- be 4 to 5°c colder than today. Such a difference has a marked influence on both the flora and the fauna.

The Vézère valley used to host animal species that are typical of cold climates and that have now disappeared, such as the mammoth or the hairy rhino, and also species that still live today under the polar circle, such as the musk ox, the polar fox or the reindeer. Reindeers were the most hunted of all during Magdalenian times in Périgord. Excavation campaigns in Laugerie Basse have revealed that 90% of all bones discovered were reindeer bones.

Dead animals were fully utilized: flesh and fat were consumed, the skin was used for clothing or building huts, bones and antlers were turned into needles, harpoons, assegais or works of art.

The Magdalenians were not only great hunters, but also fishermen fishing trouts, salmons, pikes, and creating for all these activities quite sophisticated weapons such as assegais, propellers, etc.

The two sites are 150 metres from one another.

The Prehistoric Shelter of Laugerie Basse : : Free or guided visits in French or in English.
Guide books are available in German, Dutch, Italian or Spanish.
The tour lasts 45 minutes.
The shelter is accessible to disabled persons.
Dogs are allowed.
Open from easter to october

Low season: from 10:00 a.m. to 06:00 p.m.
High season: from 09:30 a.m. to 07:00 p.m. (july – august)

The cave was discovered on 12 September 1940 by four teenagers, Marcel Ravidat, Jacques Marsal, Georges Agnel, and Simon Coencas, as well as Ravidat’s dog, Robot. Public access was made easier after World War II. By 1955, the carbon dioxide produced by 1,200 visitors per day had visibly damaged the paintings. The cave was closed to the public in 1963 in order to preserve the art. After the cave was closed, the paintings were restored to their original state, and are now monitored on a daily basis. Rooms in the cave include The Great Hall of the Bulls, the Lateral Passage, the Shaft of the Dead Man, the Chamber of Engravings, the Painted Gallery, and the Chamber of Felines.

Lascaux II, a replica of two of the cave halls – the Great Hall of the Bulls and the Painted Gallery – was opened in 1983, 200 meters from the original. Reproductions of other Lascaux artwork can be seen at the Centre of Prehistoric Art at Le Thot, France.

The cave contains nearly 2,000 figures. Many are too faint to discern, while others have deteriorated. Over 900 can be identified as animals, and 605 of these have been precisely identified. There are also many geometric figures. Of the animals, horses predominate, with 364 images. There are 90 paintings of stags. Also represented are cattle and bison, each representing 4-5% of the images. A smattering of other images include seven felines, a bird, a bear, a rhinoceros, and a human. Among the most famous images are four huge, black bulls or aurochs in the Hall of the Bulls. There are no images of reindeer, even though that was the principal source of food for the artists.

The four black bulls are the dominant figures among the 36 animals represented in the Hall of the Bulls. One of the bulls is 17 feet long — the largest animal discovered so far in cave art. The bulls appear to be in motion. The most famous section of this cave is the great hall of the bulls, where there are bulls, horses, and stags.

A painting referred to as “The Crossed Bison” and found in the chamber called the Nave is often held as an example of the skill of the Paleolithic cave painters. The crossed hind legs show the ability to use perspective in a manner that wasn’t seen again until the 15th century.

History

• 1865 Count Murat andm. de Salvagnac climbed down the entrance shaft, maybe because of a bet.
• 9 to 11-July-1889 Edouard Alfred Martel, G. Gaupillat, Louis Armand, and E. Foulquiers make the first expedition into the cave.
• 9 to 10-September-1890 second expedition by Martel discovers the Dome.
• 1898 opened to the public, first show cave in France.

After the initial descent, you get in a boat for an eerie trip along a subterranean stream, passing through various underground caverns full of extraordinary rock formations.
The walking tour takes you past dramatic limestone formations, and around the spectacular pools. The most beautiful pool is a clear blue-green and is contained only by a naturally formed thin limestone rim in the Salle du grand Dôme. The Salle du grand Dôme is on an enormous scale, awe-inspiring to behold
Bring warm clothing with you as the temperature in the cave is a constant 13°C (54°F) even in high summer, and a waterproof jacket as the cave is rather damp.

Daily guided tours:  April to mid-July & Sept & Oct 9am–noon & 2–5/6pm
last two weeks July 9am–6.30pm; Aug 8.30am–6.30pm;

Price : €7.70

** Although highly recommended, this trip is best avoided at weekends, and other peak periods due to very high volume of visitors.

The environment of the cave consists essentially of agricultural lots in front, surrounded by a dense tree cover. In order to preserve the natural landscape, there is no picnic area in close proximity. There is, however, a gravel parking lot around 100 meters from the cave entrance.

Just next to Les Combarelles, Rey Cave, excavated by Emile Rivière, yielded a magnificent decorated spatula made from reindeer antler.

Around 50 meters further up the valley, the two Les Combarelles caves open into one wide entrance on a ledge around 10 meters above the current valley bottom. Les Combarelles I is open to the public, Les Combarelles II is closed.
There is a free parking lot very close to the welcome center. Guided visits must be reserved ahead of time at the ticket office of Font de Gaume cave.
Discovered in 1901 by Louis Capitain Henri Breuil and Denis Peyrony, the engravings of Les Combarelles Cave made a major contribution to the acceptance of parietal art. Along with those of Font-de-Gaume Cave, discovered just a few days later, and those of La Mouthe, known since 1895, the parietal works of Les Combarelles convinced researchers who until then did not believe that prehistoric humans had the mental and technical capacities necessary to realize them.

The entrance of the cavity was long used as a stable by peasants who found many Magdalenian flint and antler artifacts. But at the time, their interest was not recognized and the stratigraphy of the site remained unstudied.

The enthusiasm of Prehistorians concerning the engravings, on the other hand, lifted the site to its rightful place as one of the most beautiful decorated caves known. Henri Breuil even referred to this discovery as “(…) an enormous firecracker in the world of prehistory”.

Les Combarelles I has belonged to the State since its discovery. It is classified as historic monument and is open to the public. To accommodate visitors, the floor of the cave, was lowered and covered with a metal walkway. The lighting is dim and Plexiglas covers protect some of the figures from rubbing. Due to the fragility of the walls and natural alterations such as calcite deposits, it is necessary to limit the number of persons to 6 per visit. Les Combarelles II is closed to the public.

The innermost part of the cave is covered with engravings from the Magdalenian period (about 12,000 years ago). Drawn over a period of 2000 years, many are superimposed one upon another, and include horses, reindeer, mammoths and stylized human figures – among the finest are the heads of a horse and a lioness.

Hours May 15-Sept 15 Mon-Fri and Sun 9:30am-5:30pm; Sept 16-May 14 Mon-Fri and Sun 9:30am-12:30pm and 2-5:30pm 
  
 Location On D47, 17km (11 miles) north of Bergerac 
  
 Phone 05-53-06-86-00 
  
 Prices Admission 6.50€ ($8.45) adults, 4.50€ ($5.85) students and ages 18-24, free for children under 18

He quickly climbed up to discover a small crack giving way to a slow flowing spring. Unaware of the origin of this flow, this inquiring mind rapidly imagined that a hidden cavity might reveal the source. After two years of hard work and a last mining foray on April 29, 1924, Jean Maury, his sister and daughter, entered the untouched cave.

“Shouts of joy and the national anthem first saluted the discovery. We could admire marvellous stalactites, whereas other strange forms, very clear and surprising, looked as if they had never been seen by anyone before, and others seemed to come straight out of unrealizable dreams – until the candles we used to light up the way began to be too small for us to continue. But at what point had we entered the cave? We passed this column again with the form of a cross, which we identified as the central point. After groping along for a while, we heard our parents calling and followed their voices to find, at last, the fox hole through which we had come. Drained of all anxiety, we presented ourselves proudly in our soaked clothes spattered with mud, filled with enthusiasm by what we had seen.”

The Grand Roc cave opened in 1927; following the discovery, 3 years were necessary to install the interior and the exterior of the cave.

The first visitors only had candles, hence a quite picturesque visit, during which not much could be seen. Acetylene lamps came later and in 1934 the electricity was installed. In 1993, the lighting of the cave was entirely reorganized. Engineers managed to conciliate the various features of the site (fragility, difficult access, necessary preservation) with a genuine artistic mise en scène of all crystallizations.

Also on the site is an archaeological museum, and about 20 semi-wild bears that roam around a naturalized habitat that’s barricaded against humans. The only way to experience this site (including the museum) is on a guided tour, conducted in both French and English. Tours depart frequently.

Location: About 450m (1,500 ft.) uphill from Lascaux I (the original caves) in Lascaux
Phone: 05-53-51-81-23
Hours: July-Aug daily 9am-7pm; Sept-June daily 11am-6pm
Cost: 4.50€ adults, 3€ children 6-12, free for children under 6

• Atelier Musee des Tisserands et de la Charentaise
  Contained within the Castle of Varaignes, this working weaving museum and the museum of the Bandiat – Tardoire valleys offers a glimpse of local life in the 19th century. Located at Varaignes.Tel: 05 53 56 35 76
• Ateliers Musee
  A mineral and gem stone museum found at the foot of the Castelnaud Castle. Located in Vezac.
  Tel: 05 53 28 35 78
• Chateau de Beynac et Cazenac
  The Beynac and Cazenac Castle occupies a dominant position on the rocky cliffs overlooking the Dordogne river. Reconstructed by Lord Beynac it’s architecture dates from the 13th century.
  Tel: 05 53 29 50 40
• Chateau de Biron
  The Biron Castle dates from the 12th century. It was one of the 4 Perigord baronies and owned by the Gontaut-Biron family for 8 centuries. Located in Biron near Monpazier.
  Tel: 05 53 63 13 39
• Chateau de Bourdeilles
  Features a fortress from the 13th – 15th centuries. Offers an interesting collection of cupboards, carpets, wardrobes from the 16th and 17th centuries. Open throughout the year. Located near Brantome.
  Tel: 05 53 03 73 36
• Chateau de Bruzac
  The ruins of the Bruzac Castle can be found between st Pierre de Cole and St Jean
  Tel: 05 53 03 70 74
• Chateau de Castelnaud
  This reconstructed castle overlooks the Dordogne and faces the Chateau Marqueyssac. Built in the 12th century the Castle experienced British rule from 1259 -1273. See website for more details (in French).
  Tel: 05 53 31 30 00
  
• Chateau de Chabans
  The Chabans Castle has been owned by some of the most prominent families of Dordogne. The castle dates back to the 15th century. It played a role in the Resistance movement when Jacques Chaban-Delmas took his “nom de guerre” from the castle.
  Tel: 05 53 51 70 60
• Chateau de Duras
  Castle dated from the middle age offers an architecture mixing middle-age and the 18th century. Located in Duras, Lot et Garonne (47).
  Tel: 05 53 83 77 32
• Chateau de Fenelon
  At Ste. Mondain between Sarlat and Soillac (24). An opportunity to visit a furnished Chateaux with it’s antique furniture and historical architecture. Pets are not permitted.
  Tel: 05 53 29 81 45 Fax: 05 53 29 88 99
• Chateau de Fratteau
  The Fratteau Castle dominates domain of the new prison. Built in the 12th and 17th century it has preserved chimneys from the 15th and 16th century. Now also home to potters. Located at the exit of Neuvic sur l’Isle.
  Tel: 05 53 81 11 02
• Chateau de Hautefort
  A classical castle built in the 9th century on a rocky spur. It once belonged to the viscounts of Limoges and features the Long Tower, The Palm Tower and The Prison Tower. Located in Hautefort. See website for more details.
  Tel: 05 53 50 51 23
• Chateau de Jumilhac le Grand
  The castle was originally built in the 13th century and used to act as a line of defence during many incursions. Well known for its unique roofs that were built around the 1600’s. Located at Jumilhac Le Grand.
  Tel: 05 53 52 42 97
• Chateau de L’Herm
  The Herm Castle was built at the end of the 15th century but was abandoned. Today it is going through a period of restauration. See website for details. Located at Rouffignac Saint Cernin de Reilhac.
  Tel: 05 53 05 46 61
• Chateau de Lanquis
  A combination of architectural styles from palatial renaissance to a medieval fort created this elegant chateau. Well know for its chimneys. Open all year except from 15 January to 15 February.
  Tel: 05 53 63 65 00
• Chateau de Mareuil
  The Mareuil Castle formed one of the four baronies of Perigord. Owned by the Talleyrand family, it comprised an effective defensive system. A visit to the castle takes one back to the 100 year war and is an excellent tribute to Napoleon. At Mareuil.
  Tel: 05 53 60 99 85
• Chateau de Monbazillac
  This 26th century chateau is home to a museum dedicated to wine-making, arts and local traditions, 17th century perigord furniture and protestanism. The 4 ha parc is open to the public. Open throughout the year. Call for times.
  Tel: 05 53 63 65 00
• Chateau de Montfort
  The Montfort castle has been razed to the ground 4 times. Once in 1254 by Simon of Montfort, once during the 100 year war, once under Louis the 11th and finally under Henry the 4th. Restauration work has been underway since the 19th century.
  Tel: 05 53 28 57 80
• Chateau de Neuvic
  The Neuvic Castle was built in 1520 along the banks of the Isle. The architecture shows the transiton from Medieval Time to the Renaissance. Located at Neuvic sur l’Isle.
  Tel: 05 53 80 86 65
• Chateau de Puyferrat
  The Puyferrat Castle was built in the 16th century and features a totally covered walkway that offers a panoramic view onto the neighbouring countryside. A chapel that hosts the family vault was built in 1825. Located near St Astier.
  Tel: 05 53 07 86 26
• Chateau de Puyguilhem
  The Puyguilhem Castle was built during the First Renaissance and is a fine example of a Francoise 1st castle. Located near the village of Villars.
• Chateau de Puymartin
  The Puymartin Castle is be found between Sarlat and Les Eyzies. Occupied by the English in 1358 the castle has managed to preserve its furniture, carpets, paintings and other works for over 5 centuries. Tel: 05 53 59 29 97
• Chateau de Sanxet
  Located 3km west of Monbazillac, they offer a prestige car museum. They also rent rooms for receptions.
  Tel: 05 53 58 37 46
• Chateau de Sauveboeuf
  16th Century castle, classified as a national monument. Displays a Louis the 18th style. Located in Aubas near Montignac.
  Tel: 05 53 51 89 46
• Chateau des Bernadiers
  Built on the side of a rocky slope around a high tower with views dominating Nizonne. This castle was no stranger to the 100 year war. The counts d’Aydie increased the castle and built terraces. Located at Champeaux et la Chapelle Pommier.
  Tel: 05 53 60 38 59
• Chateau des Bories
  Constructed on the banks of a river, the Bories Castle is an example of pure classical Perigourdian architecture. The castle dates from the 15th century. Located at Antonne et Trigonant near Perigueux. Tel: 05 53 06 00 01
• Chateau des Milandes
  At Castlenaud-la-Chapelle. A French chateau located in the heart of the Dordogne countryside with an exhibition relating to the life of Josephine Baker. There is also wildlife to discover on the castle grounds. 
  Tel: 05 53 59 31 21 Fax: 05 53 29 17 33
• Chateau et Jardins de Losse
  At Thonac (24). An opportunity to discover this 15th century castle and gardens of Losse.Take a tour around the moat and renaissance hall, which exhibit fine 16th & 17th century tapestries.
  Tel: 05 53 50 80 08 Fax: 05 53 50 80 08
• Chateau l’Eveque
  Located on the D939 north of Perigueux. The Bishops Castle was where Saint Vincent de Paul was ordained priest in the 1600’s.
  Tel: 05 53 04 66 84
• Chateau Saint Michel de Montaigne
  The Montaigne Castle dates back to the 15th century. This is where Saint Michael wrote his famous essays from. Located at Saint Michel de Montaigne.
  Tel: 05 53 58 63 69 Fax: 05 53 58 63 93
• Chateau Varaignes
  It’s facade boasts a mix of Medieval and Renaissance styles from the 13th and 16th century. The village bought the castle in 1965 and won an award for the restoration of the castel. Located in Varaignes.
  Tel: 05 53 56 35 76
• Cloiture des Recollets
  The House of Wine on Quai Salvette in Bergerac. This 17th century “Cloiture” exhibits the historical link between Bergerac wine and the history of Bergerac. Open June to September.
  Tel: 05 53 63 57 55
• Eco-musee de la Noix
  Walnut farm and museum located in the heart of the Perigord noir region. Documentary film in English shown. There is also a shop selling the local farm produce from walnut cakes to walnut wine.
  Tel: 05 53 59 69 63 Fax: 05 53 28 59 34
• Ecomusee de la Truffe
  Contains plenty of information regarding truffles. Located at Sorges.
  Tel: 05 53 05 90 11
• Institute du Tabac
  A tobacco research institute that has an extensive collection of different types of tobacco products. The institute opens its doors to the public in the summer. Located at Domaine de la Tour on route de Sainte-Alvére in Bergerac.
  Tel: 05 53 63 66 00
• Le Musee Costi
  A collection of works by the Greek sculptor Constantin Papachristopolous. Exhibited in a 12th century crypt in the Saint Jacques presbytery in Bergerac. Ask at the Mayor’s office for more details.
  Tel: 05 53 74 66 66.
• Le Musee du Perigord
  On Cours Tourny, Perigueux. An interesting presentation of fine arts and french archeology. There is also a zoological section. 
  Tel: 05 53 06 40 70 Fax: 05 53 06 40 71
• Le Musee du Thot
  The Thot Museum comprises an animal park and an exhibition centre. In the park one can see species of animal that closely resemble those that historically could be found there. Located at Thonac.
  Tel: 05 53 50 70 44
• Musee Atelier du Trompe-L’Oeil et du Decor Paint
  The Trompe-L’Oeil and Decorative Paint Museum is unique in Europe. It is possible to see demonstrations of work in progress. Located at 5 rue Emile Combes in Perigueux.
  Tel: 05 53 09 84 40
• Musee d’Histoire Locale
  The local history museum in Villefranche de Lonchat contains portraits, costumes and more. Located at Villefranche de Lonchat near Saint Michel de Montaigne. 
  Tel: 05 53 81 21 39
• Musee de Cognac
  A museum dedicated to manufacturing Cognac. The process is clearly explained and the tools clearly displayed. Located in St Aulaye.
  Tel: 05 53 90 81 33
• Musee de l’Or
  Located in the basement of the Castle of Jumilhac le Grand. The museum takes one back to Gaul times when gold was mined in the region.
  Tel: 05 53 52 55 43
• Musee de la Carte Postale Ancienne du Perigord
  The Historical Postcards Museum of Perigord offers more than 33 000 exhibits. Founded by Henry Brives. Located at Saint Pardoux la Riviere.
  Tel: 05 53 60 76 10
• Musee de la Ferblanterie
  Offers more than 1000 white & galvanised iron exhibits dating from the 18th century till today. At La Tour Blanche near Riberac.
  Tel: 05 53 91 11 98
• Musee de la Medicine
  This medical museum in Hautefort, is housed in what was known as a poorhouse that housed local destitutes. The building was finished in 1740 and now hosts the tourist office, a weavers workshop and the medicam museum. See website for more details. 
  Tel: 05 53 50 40 27
• Musee de la Paleontologie et de la Vie Sauvage
  Includes 3000 articles of paleonthology covering 700 million years. The Musee de la Vie Sauvage boasts more than 1000 stuffed exhibits. Open June to September. Located at 9 rue de la Republic in La Bugue sur Vezere. 
  Tel: 05 53 08 28 10
• Musee de la Pierre Taillee
  This sculptured stone museum displays stomes from the Paleothique and Neolithique periods. 
  Tel: 05 53 60 99 85
• Musee de la Prehistoire.
  Offres visitors an original projection room amongst the rocks. Offer various examples of sculptured rocks and Magdalenian art. Located at Teyjat. 
  Tel: 05 53 56 30 29
   
• Musee des Arts et Traditions Populaires
  The Museum of Arts and Popular Traditions in Mussidan assembled this collection of artifacts from yesteryear including furniture and other objects. 
  Tel: 05 53 81 23 55
• Musee des Records 
  situated in the “salle polyvalent”, it offers a light hearted history of the songs that featured for the town’s annual August festival. Located at La Tour Blanche near Riberac. 
  Tel: 05 53 91 11 98
• Musee des Rois d’Araucanie
  The Museum of the King of Araucanie celebrates Antoine de Tounens who left for Patagonia in 1860 where he declared himself king. He was expelled by the Chilean police in 1860. Medals and official documentation are on show. Located in Chourgnac near Sorge 
  Tel: 05 53 51 12 76
• Musee du Foie Gras
  Discover how geese and ducks are raised, how “Foie Gras” is processed and learn about how to prepare it. At place de Marechal Foch, Thiviers, Dordogne (24).
  Tel: 05 53 55 12 50
• Musee du Suaire
  The relic of St Suaire is to be found in the Cadouin Abbey. Built in 1115, the abbey has recently been declared a world heritage site. Located in Cadouin.
  Tel: 05 53 63 36 28
• Musee du Tabac
  A tobacco museum located at Place du Feu in Bergerac. Displays a large selection of tobacco paraphernalia. Open in season. 
  Tel: 05 53 63 04 13
• Musee du Ver a Soie
  An interesting and educational silkworm museum. Located at Saint Just near Riberac. 
  Tel: 05 53 90 73 60
• Musee du Vin de la Tonnellerie et de la Batellerie
  A museum dedicated to the making of wine barrels and related objects. Located at 5 rue des Conferences in Bergerac.
  Tel: 05 53 57 80 92
• Musee Eugene le Roy
  To be found in the old Saint Jean l’Evangeliste Hospital. It is dedicated to the writings of Eugene Le Roy who died in the city in 1907. Displays his writings, photos, clothing and other souvenirs. Located in Montignac.
  Tel: 05 53 51 82 60
• Musee Fossiles
  The Fossil Museum features a 5.5m high and 11m long metalique sculpture of a Tyrannosaurus-Rex amongst other exhibits. Located in Peyzac le Moustier near Montignac.
  Tel: 05 53 50 81 02
• Musee Gallo Romain Vesunna
  At Rue 26eme RI, Perigueux. Conceived by Jean Nouvel, this museum presents one of the most significant archeological remains in Aquitaine. 
  Tel: 05 53 53 00 92
• Musee Militaire du Perigord
  The Perigord Military Museum is at 32 Rue des Farges, Perigueux. Presents over 13000 pieces on French military history. 
  Tel: 05 53 53 47 36
• Musee Napoleon
  An opportunity to visit the Museum of Napoleon and to view his family history. Situated within the grounds of Chateau de la Pommerie in the heart of Cendrieux, Dordogne (24). 
  Tel: 05 53 03 24 03 Fax: 05 53 03 22 39
• Musee National de Prehistoire
  Offers an extremelly comprehensive and chronologically ordered exhibition covering the Paleolithic period. Located at Les Eyzies.
  Tel: 05 53 06 45 45 Fax: 05 53 06 45 55

In the remains of a prehistoric shelter which has now largely collapsed there is an excavation site where you can follow the successions of prehistoric occupations by looking at a stratigraphic section which is more than 9 metres high. Archaeological digs have revealed that there were more than forty encampments there between 35,000 and 20,000 years ago covering the Aurignacian, Gravettian and Solutrean periods. Some metres away, there is an area of the shelter which is still intact. The museum is located inside this cave, where artefacts found at this site are displayed along with the results of research by prehistorians (panels, models, reconstructions …) which allow us to understand better who Cro-Magnon was and how he lived.

Nearly 35,000 years ago, the first occupants of “l’abri Pataud”, the Aurignacians were there for short stays only as the shelter was not very large. They were semi-nomad hunter gatherers. In about 27,000 BC the Gravettians came to live in this cave which was now larger due to erosion and they stayed for longer periods. At the end of the Gravettian civilisation (20,000 BC) the shelter’s roof collapsed and only a gallery running the length of the rock face remained. It was used as a burial place (7 individuals were interred there).
The Solutreans stayed there for very short periods.
The museum is situated in the part of the shelter which didn’t collapse and displays the principal objects found there, as well as illustrated explications of their probable use. All the other important finds, witness to this era, are conserved in the laboratory. The museum ceiling is decorated with the sculpture in bas-relief of an ibex from the Solutrean period, about 19,000 years ago.

Open everyday in the high season
in the lower season open for groups upon prior reservation

accessible to disabled persons

Duration of the visit: approx. 1 hour

For any further information, please contact

SEMITOUR PERIGORD
221 bis route d’Angoulême
24000 Périgueux
Tel : 33-553-05-65-65

0800 891 991
fax : 33-553-06-30-94
email:contact@semitour.com

http://www.semitour.com

reservations for groups
Tel: 33-553-35-50-40
Fax: 33-553-06-30-94

Confiscated during the French Revolution, the Château des Milandes went through several owners who did not make any particular mark on its history. In 1870, a rich industrialist, Monsieur Claverie, acquired it, restored and enlarged it to give it the appearance it has today. In this Monsieur Claverie was largely inspired by the Neo-Gothic architectural movement led by Viollet le Duc. The exterior was modified or rebuilt during the 19th Century and some parts, such as the square tower were raised. On top of this tower, a 36m3 water tank was built, fed by a spring passing under the Château. In fact the tower served as a water tower, the first modern convenience in the Château. The gardens, laid out in the 15th Century, were also reorganized in the 19th. The farm on the site of the present gardens was removed and a new one built a bit further away. It was reputed to be a model’ farm, extremely modern for its time. Making use of the additional space available and the perspectives opened up, Monsieur Claverie laid out a new garden “a la française”. The wine trade, important in the region from the 14th Century onwards, made a significant contribution to the local economy. “Gabarres”, flat bottomed boats, carried wine for export to England and Holland down the Dordogne to Bordeaux. Monsieur Claverie built the wine cellars, an outbuilding in the form of a barbican, in which he placed enormous vats called “foudres” (tuns) each containing some 45 barrels of wine. On the death of her husband Madame Claverie sold the Château in 1920 to a Monsieur Mallez and the Chapel to the Commune of Castelnaud.

In 1938 Josephine Baker the Vaudeville star rented the Château and then bought it in 1947. Born in the slums of St. Louis, her childhood was spent in the streets, getting by, along with other black kids, she grew up sleeping in cardboard shelters and scavenging for food in garbage cans. At the age of 13,she left her parents’ house and got a job as a waitress. In 1918, she started work for the BOOKER WASHINGTON THEATER Dance Troupe, first as a maid, then, fairly soon after, as the “Funny Girl”. In 1924 she became dresser to a troupe of “Girls” where, when one of them fell ill, she took her place at a moments notice. She rapidly became the main attraction, and her success made her famous. Soon after, a producer, Caroline DUDLEY, offered her a chance of a European tour as she was recruiting black artists for a show in Paris. Josephine accepted, but with a certain trepidation. On her arrival she soon discovered that people could be so open-minded; not like her beloved, but cruel, racist USA. Now, far away from racism and racial segregation she was free to take part in the struggle on behalf on her brothers and sisters, a battle in which she felt morally obliged to participate. France became her new country,Château des Milandes her new home and she remained there to the end of her life. Baker engaged in undercover work for the French Resistance during World War II. She became an “honorable correspondent” and became sub-lieutenant in the Women’s Auxiliary of the French Air Force and was awarded the “Medal of Resistance” and the “Legion d’Honore”. In 1940, Baker moved to MoroccoIn 1942, she toured the region performing for the resistance. She returned to France in 1944, got married in 1947 to Jo Bouillon, an orchestra leader, and was back in the States in 1948, where she became an activist for civil rights. She was back at the Milandes Château in 1954, with the intention of raising a family of ethnically diverse children that she had brought to France from her tours around the world. She called them her “Rainbow Tribe.”In her last years, Baker suffered struggles, financial difficulties, and poor health.She died on April 12, 1975, four days after the opening of Josephine, a show based on her life. Her funeral took place in her beloved France, the country which she had adopted as her home and had taken her into their hearts.

The Beune Valley has been occupied for a very long time. Around Commarque, prehistoric man has left numerous traces of his passage. Not far from the site at Commarque, Paleolithic man left two female statuettes known as the Venus of Sireuil and the Venus of Laussel.
On the other side of the valley, in the shelter at Cap Blanc, one can admire a frieze of prehistoric sculptures. Under Commarque Castle there is a cave where Magdalenian man carved animals on the wall, notably a very beautiful life-sized horse (not open to the public).

 
The Uncertain Origins of Commarque

The most reasonable hypothesis would be to attribute the founding of a keep at Commarque to one of the two abbots of the same name who succeeded the abbey see of Sarlat during the last third of the XIIth century: Garin (1169-1181) or Randolph de Commarque (1195-1201). The building of a tower allowed them to contain the ambitions of their vassals the Beynacs, with whom they had a relationship of conflict. It was a member of their family who obtained its guard. The first Lord of Commarque, thus, was a “milites castri” or knight, who followed orders from the Abbey of Sarlat. In the XIIth century, a concentration of population existed there, made up of a keep with living quarters, a chapel and house towers: it was the castrum of Commarque.
 

The Beynacs, Lords of Commarque

There is mention of Commarque in archive documents from 1255 onwards. Maynard de Beynac became the lord of the château. The house towers were held by the lineages of lesser nobles, the names of several of which are known: the Commarque, the Cendrieux, the Gondrix, the La Chapelle… Each house tower had an enclosure, its own access, and ditches. The lord and knights fought over the rights of justice, land and other property.
 

The Rise of the Beynacs

During the course of the XIVth century, two major lineages had the first regrouping of lands by successive acquisitions. The Beynacs succeeded in constituting a veritable castellany around Commarque when they retook the rights of Marquay and of Sireuil from the Cendrieux and imposed their suzerainty on the den of Laussel. The Commarques took back the lands and rights from the descendants of the other knights, either by buying them or through alliances. From the middle of the XIVth century, the entire lower courtyard had become the noble house of the Commarques: they now disposed of a defensive parameter largely exceeding that of the Château of Beynac.
 

The Patrimony of the Beynacs Combined

In 1379 Pons de Beynac, Lord of Commarque, married Philippa, 12 years of age, heiress of the lords of Beynac. By this alliance, the lords of Commarque acquired the castellany of Beynac and its dependencies.
 

The Hundred Years’ War

During the Hundred Years’ War, the Beynacs stayed faithful defenders of the throne of France. Pons de Beynac enjoyed several political favors: he was among the clients of Beaufort-Turenne, of the Avignon papacy and of the Anjou party. The extension of Commarque Castle between 1370 and 1380 has been attributed to him. He undertook heightening the keep and the curtain wall, and had the crown of machicolations built which was inspired by the Palace of the Popes in Avignons.
 

The Decline of the Beynacs and the Commarques

Nevertheless, the Beynacs came out of the Hundred Years’ War badly. First of all, in 1406, the English, driven by Archambaud d’Abzac, seized hold of Commarque. The whole family was brought together and made prisoner. A tax, ordered by the king, was levied on the inhabitants of Perigord and Quercy to pay the ransom. The castellany of Commarque began to break up. In 1395, Pons lost the suzerainty over Laussel . He was unable to retain Domme. And in 1441, the Beynacs went under the influence of the Count of Perigord, a visible sign of their political weakening. During the 1500s, it seems that the resident families had already deserted the castrum of Commarque.
 

The Wars of Religion

During the Wars of Religion, the Beynacs were loyal to the cause of the Reform. From Commarque, which was his base of operation, Geoffroy, Baron of Beynac and Lord of Commarque, launched several attacks on Catholic hideouts in the area and even furtively took hold of Sarlat. In 1569, Commarque Castle was taken for the first time by the Catholics led by the seneschal and by the Governor of Perigord. It is without doubt following this siege that the vaulted room collapsed. As the new master of Commarque, Geoffroy installed a garrison there which, by way of reprisal, would be hanged the same year.
 

The Abandon and Renaissance of Commarque

Guy de Beynac, the last castellan living in Commarque Castle, died there in 1656. The site was definitively abandoned in XVIIIth century. A century later the castle was in ruins. In 1968, Hubert de Commarque bought his ancestors’ ruins. He undertook the consolidation of the most damaged parts. Since 1994 there have been successive phases of consolidation and restoration. Hubert of Commarque has given Kleber Rossillon, the creator of the Museum of Medieval Warfare in Castelnaud Castle and the Gardens of Marqueyssac, the task of opening the Commarque site to the public. A program of archeological research has been in place for several years.

Open hours

April and all saints holidays: from 10:00 am- 6:00 pm
May, June, September:
from 10:00 am – 7:00 pm
July and August: from 10:00 am – 8:00 pm
Last admissions 1 hour before closing.

Free parking
Parking located 600 m from the site.
A specially fitted forest path leads to the entrance of the site.

2008 Price

Individual price
Adults: 6 €
Children (10 -17 yrs): 3 €
Children (-10 yrs): free

Group price
(for 20 or more persons)
Adults: 5 €
Children: 2,50 €

More than 160,000 visitors come here each year, to spend a few hours or a whole day. The originality and unique character of the place have made it the number one touristic site in the Dordogne.

Here is a place that will delight both younger and older visitors and will give them the opportunity to find out what life was like in a Périgord village some 100 years ago, to preserve handycraft traditions thought to be lost, to sample the local specialities, and to bridge the gap between the generations.

One of the most interesting features of the village is the number of craftsmen who work here, bringing back to life before your eyes many trades which have become very rare. You will be amazed by their congeniality and friendliness.

• The baker, he comes to his stone oven specially to bake bread before your eyes.
• The wood-turner, do you know how the old-fashioned tops were made?
• Basket-weaving and Wheat-braiding, see how the slim stalks are intertwined between the weaver’s nimble fingers, to become a basket.
• The Farrier no one matches his skill for manufacturing old fashioned nails and luck-bringing horseshoes.
• The Barrel-hoop Maker, how to select the best branches to make hoops that will encircle the barrels containing our finest wines…
• The Spinner, discover how, from the coarse wool from our sheep, one can spin and work the immaculate strands, as our grandmothers used to do.
• The Potter, see her hands gradually give shape to jugs, vases, jars which she then decorates with talent.

And many more…

Opening dates and times
The village is open from 18 February to 11 November
Opening times: May to September from 10am to 7pm – October to May: from 10am to 5pm

Contact
24260 Le Bugue sur Vézère
Tel. 05 53 08 41 99 / Fax 05 53 08 42 01
www.lebournat.fr

This cave is known for its numerous mammoth paintings and etchings, more than 150 have been counted so far! These were spread throughout the cave and almost exclusively in groupings. Rouffignac also has its own “Sistine Chapel” called Le Grand Plafond. The ceiling here is richly decorated mammoths, bison, ibex, and horses reminiscent of Lascaux.
The main difference is that these were drawn only in black line on a ceiling only two feet tall (The ceiling in Lascaux’s main chamber is about 10 feet tall). Al of this was done of course with the light of a fat burning lamp more than a half mile from the entrance to the cave. Even Michelangelo would have had difficulty here.

The authenticity of some of Rouffignac’s artwork is often called into question. In particular the wooly mammoth drawings here caused early prehistorians a lot of trouble. The tail end of these creatures included a strange flap of skin near the anus. This anatomical mystery was authenticated when in modern times the remains of wooly mammoths were found in Siberia with this same feature. So these drawings couldn’t have been fakes. No one knew of this feature until modern times.

Along with the paintings and engravings found in these caves there are also a number of “tectiforms.” These are pattern-marks that repeat themselves within a cave or regions of a cave. Some are painted dots, rectangles, lines, and triangles, and others are engraved scratchings. In Rouffignac there are miles of lines drawn in the soft mud of the walls by fingers. Researchers have studied the shape and size of these finger flutings and determined that these markings were made by eight different people at least three of which were children under the age of eight. The children must have explored extensively as their markings are found even in the remotest areas of the cave. They appear to be like a kind of signature or sign specific to a cave, area of a cave, a people group, or artist group. Because of the uniformity of the markings they are thought to be an early form of writing or least a way of signing one’s name. Could this be the beginnings of written language dating back to over 15,000 BC?

Original article can be found here

These natural cavities were occupied by man in prehistoric times. Later on they were altered and became a fortress and a city in the Middle Ages.
The visit of la Roque St Christophe gives you a clear idea of the lifestyle of our troglodyte ancestors over thousands of years.
Here you will discover the mark that these men left on the rock, as well as a museum of civil engineering machines reconstructed to pay tribute to the great medieval builders.

It has been said that just by choosing to live in this beautiful location Cro Magnon people demonstrated their extreme intelligence. It is a huge cliff shelter directly above the Vezére River. This site has been continuously inhabited since prehistoric times around 15,000 BC. Cro Magnons gave way to iron age Neolithic agriculturists, who gave way to the Gauls, who gave way to the Romans, who gave way to Middle-Ages kingdoms and Norman invaders, up to present times. Because of its constant use there is little evidence of the earliest people of this area. There is no cave art here as there really aren’t any caves, just overhanging cliffs. People lived here! Burials and religious activities must have taken place elsewhere. It appears that daily life took place in one area while death and ritual in another. One exception to this rule is found nearby at Abri Cap Blanc, where the cave art is part of the overhanging cliff rather than deep in the cave. But there was also a burial beneath the carvings.

So why are there paintings deep in the caves? Lascaux would have been extremely difficult to enter. The passages in Font-de-Gaume are extremely narrow. Grotte de Rouffignac is several miles long and was a regular home to hibernating bears. None were easy to access. None of these have evidence of human habitation from the Magdalenian period: worked flint, fire pits, or butchered animal remains. Human habitation for these caves is from the Middle Ages when many of the caves in this region were used as shelters for local people seeking refuge from invaders; these people didn’t even notice the cave art. Because of the remote nature of the art most researchers describe these areas as spiritual or religious worship centers. The description seems to match our modern concept of what religion should look like. The dead are buried near these areas. They are richly decorated, candle-lit shelters. There may even be priestly representations. The “unicorn” in Lascaux appears to be a compilation for several animals but has human hind legs. Could this be a priest wearing animal skins and performing some sort of ritual for the people? If these really were places of worship, based upon the quality of work and space inside the cave, Lascaux appears to have been the “Vatican” and other sites as local shrines. All of this is purely speculation based upon our modern interpretations and limited evidence. At minimum it makes for great stories and brings these people to life as humans much like us.

The original article written by Marty Robertson can be found here

Built in an overhang shelter on the face of a striking cliff, the National Prehistoric Museum of Eyzies-de-Tayac is located in Dordogne, in southwestern France. The museum features unique archaeological collections chiefly discovered at the most prestigious excavation sites in the Vézère Valley, added to UNESCO’s World Heritage List owing to its many Palaeolithic remains. 300,000 visitors annually are expected at the new museum, located in the heart of the Périgord Noir area, land of French philosopher Montaigne – a region acclaimed for its history, beautiful landscapes of dark and mysterious forests, and world-renowned gastronomy.

Established since July 2004 in the new building designed by architect Jean-Pierre Buffi, the museum houses some 18,000 pieces and a collection of six million objects.“Although the new museum bears witness to the presence of men and women of the 21st century, its modernity manifests itself through its environment, marked by the sheer height of the cliff it is built on and the small size of the historical village of Eyzies-de-Tayac, with its 900 inhabitants and its medieval ruins”, remarks Jean-Pierre Buffi, architect of the Toulouse multimedia library and of the Façade of the Bercy Park in Paris.

The museum’s collections were established as early as 1913, when indefatigable researcher Denis Peyrony convinced the French state to acquire the Château des Eyzies, built at the end of the 16th century, and to transform it into an excavation warehouse that could double up as a museum. These collections have since been tremendously enriched through excavation discoveries at regional sites as well as private donations.

“The museum made a political choice by deciding not to portray the entire history of the Hominids’ development”, explains Jean-Jacques Cleyet-Merle, the museum’s director since 1988. “Instead, the museum describes the Palaeolithic era: the history of the Neanderthals, who vanished 50,000 years ago, and of the Cro-Magnon man, who lived in socially structured groups, buried his dead and made objects that had a symbolic meaning”.

Visitors enter the new museum as though embarking on a trip to the origins of humanity. At the museum’s entrance, the main chapters of the Hominids’ development are evoked through an anthropological frieze and a brief reminder of Africa’s history, starting with the early Australopithecines. Many themes are explored, including the legendary “Lucy”, the small 3.5-million-year-old woman discovered in Ethiopia in 1974. Next, the staircase leading to the permanent exhibit galleries plunges visitors into the mists of time, revealing seven sequences that cover the entire Palaeolithic era through an “idealstratigraphy”.

Upon leaving the“abysses of time”, visitors – equipped with the keys necessary for interpreting the rest of the exhibit – slide into the lower gallery and discover, along a passageway, the various material cultures that succeeded one another from 400,000 to 10,000 BC. This same itinerary also retraces the development of these different cultures: early tools, furniture, and other artefacts. Many themes are presented, such as the lifestyle of Neanderthal populations and the appearance of modern man.

In the upper gallery, visitors are invited to follow an initiatory path from the outside world of mankind’s ancestors to the semi-darkness of the painted caves. Museum-goers can also admire the replicas of prehistoric hearths, of the homes built under shelters and of the places of origin of the objects on display in the rest of the gallery. The reconstructed grave of “L’enfant de la Madeleine” is of particular interest in this section.

Each object – statuettes, jewels, harpoons, lamps, scrapers of all sorts, to name but some of the pieces – has been selected with great care, based on its representativeness and its state of conservation.

Organised by Jean-Jacques Cleyet-Merle, in close partnership with the Scientific Council chaired by Jean-Philippe Rigaud, honorary director of the Institute for Prehistory and Quaternary Geology of Bordeaux, the new National Prehistoric Museum’s scientific programme has been influenced by the establishment’s location at the heart of the prestigious sites and deposits from which its acquired its exceptional collections. In addition to the famous Lascaux Cave and its colourful cave paintings, many listed sites hark back to 400,000 years of human history, from the Font-de-Gaume cave to the Combarelles and Rouffignac caves, as well as the Poisson, Moustier and Micoque shelters.

Artists at the time had a very basic colour palette, consisting of black, ochre and red, which they skilfully used to make colour gradations, creating astoundingly lifelike animal scenes. In the new museum, “the ochre tones, such as the grey of the cast-aluminium roofs, mirror the cliff’s timeless colours”, points out Jean-Pierre Buffi.

In addition to presenting its collections to the general public, conserving humankind’s heritage and supporting archaeological digs, the National Prehistoric Museum also hosts archaeologists, researchers and students from the world over, and collaborates with various foreign institutions.

The abundance of masterpieces, shelters and grottos that dot the entire Vézère Valley, framed by dark and mysterious forests, vineyards and rivers, should not cause visitors to forget that Périgord is also the land of foie gras, duck confit, walnuts, cep mushrooms and the distinct-smelling truffles. Just 20 km away from Eyzies-de-Tayac, Sarlat – a town full of art and history, whose old streets shelter the former home of humanist writer La Boétie – is well worth a visit. One of the favourite visiting places of film directors, this prestigious site regularly hosts special events such as film festivals, theatre games, village celebrations, and much more.

Nestled in the heart of Périgord Noir, Les Eyzies-de-Tayac is sure to captivate you. The entire region, including its soil, beats with the soul of humanity.

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This Middle Ages construction, with its austere appearance, is perched on top of a limestone cliff, dominating the town and the north bank of the Dordogne River.

HISTORY

The castle was built from the 12th century by the barons of Beynac (one of the four baronies of Périgord) to close the valley. The sheer cliff face being sufficient to discourage any assault from that side, the defences were built up on the plateau: double crenellated walls, double moats, one of which was a deepened natural ravine, double barbican.

The oldest part of the castle is a large, square-shaped, Romanesque keep with vertical sides and few openings, held together with attached watch towers and equipped with a narrow spiral staircase terminating on a crenellated terrace. To one side, a residence of the same period is attached; it was remodelled and enlarged in the 16th and 17th centuries. On the other side is a partly 14th century residence side-by-side with a courtyard and a square plan staircase serving the 17th century apartments. The apartments have kept their woodwork and a painted ceiling from the 17th century. The Salle des États (States’ Hall) has a Renaissance sculptured fireplace and leads into a small oratory entirely covered with 15th century frescoes, included a Pietà, a Saint Christopher, and a Last Supper in which Saint Martial (first bishop of Limoges) is the maître d’hôtel.

At the time of the Hundred Years’ War, the fortress at Beynac was in French hands. The Dordogne was the border between France and England. Not far away, on the opposite bank of the river, the Château de Castelnau was held by the English. The Dordogne region was the theatre of numerous struggles for influence, rivalries and occasionally battles between the English and French supporters. However, the castles fell more often through ruse and intrigue rather than by direct assault, because the armies needed to take these castles were extremely costly: only the richest nobles and kings could procure them.

The castle was bought in 1962 by Lucien Grosso who has lovingly restored it.

Visitors to the castle can see sumptuous tapestries showing hunting and other scenes from the lives of the lords of the period. The Château de Beynac has been listed as a monument historique by the French Ministry of Culture since 1944.

Beynac castle has served as a location for several films, including Les Visiteurs by Jean-Marie Poiré, in 1993, La Fille de d’Artagnan by Bertrand Tavernier, in 1994, Ever After by Andy Tennant, in 1998, and Jeanne d’Arc by Luc Besson, in 1999. The village of Beynac below the chateau, also served as a location for the film Chocolat by Lasse Hallström, in 2000.

Barons de Beynac

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Locations

Communes of Les Eyzies de Tayac, Tursac, Montignac-sur-Vézère, Saint-Leon-sur-Vézère, Marquay, Manaurie-Rouffignac and Saint-Cirq-du Bugue, Department of the Dordogne, Region of Aquitaine
N45 3 27 E1 10 12

Theory

The Vézère Valley is on a limestone plateau in Southwestern France. It is home to several hidden calcareous caves. This is Lascaux Cave, the most well known. These drawings here date back to the Paleolithic period around 17,000 years ago. The cave was closed in 1972 for preservation work.

Subsequently decorated grottoes of the Vézère Valley including this Lascaux cave have been inscribed on the list of World Heritage. In this drawing, the front foot of the horse was drawn over the bulky rock surface to give a solid impression. The technique is used to express a galloping horse. This drawing of cattle has many layers. The front red figure is a cow, and behind her is black ox with large horns.

Why did man start to draw? Dr. Michel Lorblanchet has proposed a new theory through practical archaeology that takes account of the painting materials and artistic techniques of the time. He put charcoal in his mouth and sprays it onto the wall, exactly as people during the Paleolithic period used to do. By blowing onto the rocks, they believed that it would breathe life into something inside it. People in those days believed that some kind of supernatural power existed inside the rocks. They tried to capture this great power by projecting images of wild animals onto them. Signs of human imagination have been found here. This unicorn is drawn on the closest wall from the entrance of the Lascaux cave.

People stopped painting in these caves about 10000 years ago. Once they had mastered the skills of stock farming, they started to regard themselves as superior to other animals and with that change the Great Spirit in the caves was gradually forgotten.

Caves decorated with art from the late Paleolithic period, approximately 10,000 to 30,000 years ago, have been found only in France, Spain, Italy, Portugal, Russia and Mongolia. The largest cluster of Paleolithic art caves dot the Dordogne department of southwestern France the Vezere Valley, which is honeycombed ,with limestone caves and towering cliff shelters eaten out by glaciers and underground rivers as long as 140 million years ago. In this underground network, with constant temperature and humidity and isolation from light, the art has been very well preserved.

The most exciting sites open to visitors in the Dordogne include Lascaux, Font-de-Gaume, with drawings of bison, horses and deer; Combarelles, where Stone Age people left more than 300 engravings, and Cap Blanc, offering 14 animals gracefully sculptured in deep relief.

Cave art had been seen by villagers as least as far back as the 16th century, according to graffiti in the vast cavern at Rouffignac. But it was assumed to be modern until an explorer announced in 1880 that the paintings in the Altamira cave were prehistoric.

The notion of art as ancient as 30,000 years before the birth of Christ was met with skepticism on the ground that it conflicted with Christian belief. Only in the 20th century did scientists agree that humans indeed discovered how to artfully draw, sculpture and carve engravings during the Stone Age.

The Louvre of all the caverns is Lascaux. The cave entrance, less than a mile south of Montignac on the Vezere River, was sealed from harmful air for centuries by landslides. After trees covering the entrance were uprooted by a storm, four teen-agers seeking buried treasure discovered the cave in 1940.

Opened to tourists in 1948, Lascaux had to be closed in 1963 after green algae and white calcium deposits attacked the paintings. An exact copy built in cement nearby was inaugurated in November 1984. The cement cannot be harmed by bacteria and outside air and the paintings are covered with a transparent film.

Contrary to widespread belief, the original Lascaux, guarded by a wire fence and two German shepherds, can be seen by qualified people. Applicants connected with science, journalism, teaching, art, museums, even politics, have received invitations after waiting for months.

On an authorized visit one recent day, a guide, Jacques Marsal, led the way past the dogs and wooden towers with instruments that record humidity, temperature and air pressure in the cave, monitored by the Pasteur Institute in Paris. Visitors must wet the soles of their shoes in antiseptic and descend to the dark, cold cave through three anterooms that keep out air. Then the electric lights go on, and the stereotype of the Stone Age brute is crushed. The cave gleams with delicate drawings in ocher and brick red, outlined in deepest black by artists who were obviously sensitive people. Deer with graceful horns, drawn with sensual lines, recall works of Picasso. The guide’s flashlight plays on a splendid herd of deer, apparently clambering out of water, each with a different expression, each in a different position.

On the cold stone walls, a calf stumbles before a three-sided square that could depict a trap. A horse falls over a cliff, its face showing fright, possibly depicting organized stampedes to slaughter animals.

”The artists painted the outline of each animal all in one movement without hesitation, quite a feat,” says the guide.

The final shock is emerging from the Stone Age cave to see white trails from jet fighters crisscrossing the blue sky. A two-minute walk downhill stands Lascaux II, the cement reproduction built by the owner of the land and the state, now the proprietor.

Molded above ground by 12 Brazilian, Greek and French sculptors over nine years, the cave is a feat in itself as the cement truly resembles rock. A French artist worked seven years with prehistoric tools and pigments to copy the paintings from photographs. The copiers even repeated holes where the prehistoric artists had inserted logs to stand on so they could reach a high ceiling to paint a circle of horses reminiscent of Chinese art.

The reproduction is impressive. But the ancient Lascaux, like any original artwork, is worth the wait. Lascaux II lacks the impact of antiquity, and the drawings appear flat because the real Lascaux walls glisten with crystals.

Some 200 paintings and 1,500 engravings decorate Lascaux I, which is 819 feet long. Lascaux II, 131 feet long, displays 100 or so paintings and no engravings.

Those startling handprints are a frequent motif in art of the late Paleolithic period. Handprints fringe paintings in the Pech Merle grotto, including one of a black polka-dotted horse. Two hundred fifteen handprints, usually of the left hand, decorate the Gargas cave in the Hautes-Pyrenees department near Spain.

Experts say 11 footprints at Pech Merle were those of a woman and child. They believe women and children often visited the caves to see the art, or to worship. The caves are believed to have been sanctuaries, devoted to the worship of animals, magic or the hunt, but scientists do not know for sure. The guides emphasize that prehistoric people were not ”cave men.” Because of the dampness of grottos and the need to build fires, Cro-Magnon people lived only at cave entrances, in minuscule caves or under overhangs of giant cliffs.

Patterns emerge in their art. Most of the subjects are grass-eaters such as horses, bison, deer, reindeer and ibex. Less numerous are meat-eating mammoths and rhinoceroses, which once roamed France, boars, wolves and fox, plus fish, birds and reptiles. A fish was engraved on the ceiling of a riverside shelter north of Les Eyzies, a Dordogne town dotted with prehistoric sites that calls itself the Prehistoric Capital of the World.

Drawings of humans are rare and not realistic. Men appear more often than women (although many prehistoric statuettes of women have been dug from sites throughout the world). In Lascaux, a man falls dead before a bull pierced with a spear, its entrails dangling. Arrows were thrust into men drawn at Lascaux, Pech Merle and Cougnac, north of Cahors. Evidence of war? Experts say flints have not been found in Paleolithic skeletons, but they have in later Neolithic graves after agriculture was discovered and people became property owners, and thus could have been defenders and aggressors.

The Cro-Magnons painted under the light of small stone lamps, which have been found in cave digs. They applied charcoal, ocher or red and yellow pigments of oxidized iron with brushes or their fingers or dabbed on colors with fur or blew them through tubes. Engravings were made with bone, horn or stone.

The art is seldom seen near cave entrances, perhaps for religious reasons – or because paintings near airy entrances did not last. The gigantic grotto at Rouffignac offers a mile and a half ride on a small train to view paintings of mammoths, some overdrawn with graffiti of modern explorers.

At Cap Blanc, near Les Eyzies, a 14,000-year-old frieze of five horses, carved in relief, rivaling those of ancient Greece, was even more ruined by the pickaxes of overenthusiastic diggers in the 20’s.

A visitor can see the major Paleolithic caves in the Dordogne within a week.

Most tours are in French, although descriptive pamphlets in English, Spanish and German are sold in most grottos. Large luxury chain hotels are absent, in favor of small, comfortable hotels.

Perigord and Quercy restaurants serve local specialties such as foie gras, truffles, walnuts and wild mushrooms. Canoeing and swimming in rivers and visiting more chateaus than are found in the Loire valley are other temptations.

But the passion for prehistory is catching. At La Madeleine, a site near Les Eyzies, prehistoric families lived in a riverside cliff shelter to be near fish. In the ninth century, about 80 people lived higher up, apparently so they could hurl stones on invading Vikings. The visitor turns away from the cliffside village, disappointed. Ninth century? That’s modern.

Perched with hillside on left bank of the Dordogne, Castelnaud dominates the small borough coiled with its feet. Its former owners, vassal of kings of England, opposed a long time to their neighbors, the lords de Beynac, faithful to kings de France. If the protagonists of these remote quarrels have all disappeared, the two fortresses always continue their immutable face to face, like a mineral challenge with the lapse of memory and the ravages of time.

History

English Castelnaud After the Treaty of Paris, signed in 1259 by Saint Louis and Henry III, which put an end to the dispute between the Capetians and the Plantagenets, the Perigord was restored to the English. Castelnaud thus fell under English rule. In 1273 the castle reverted back to the legitimate feudal line, that of the Castelnauds, who gave tribute to the Count of Perigord, vassal of the king of France.The power of a FortressFor Castelnaud, the end of the 13th century heralded in a period of prosperity and relative calm. The castle established itself as one of the principle powers of the Perigord. The barons of Beynac during this epoch were semi-permanently in conflict with the lords of Castelnaud. Continuously the two rival houses contested control of the region, trailing after them a section of the Perigord nobility divided by the two camps. The two castles watched and spied on each other. Never, however, did an open battle occur. In 1317 the Pope himself intervened to prevent the worst from happening; Jean XXII authorized a marriage between the two families to try and put an end to the endemic conflict. This context of private feud, so common in the Middle Ages, was soon relegated to a position of secondary importance: in 1337 the Hundred Years’ War broke out.

The Hundred Years’ War

The first few decades of the war were favorable to the English. In 1346 at Crecy, the cream of French nobility was decimated by English archers. In 1356, King John the Good was taken prisoner at Poitiers. The Treaty of Bretigny-Calais freed the king but ceded Aquitaine to the English, which was from then on ruled by the formidable Black Prince.In 1368, Magne de Castelnaud, sole heiress of Castelnaud, married Nompar de Caumont. This was a major event for Castelnaud, as the Caumonts would subsequently continue to be proprietors of the castle until the Revolution. During the War, the Caumonts were often in the English camp. Henry IV, King of England, named Nompar de Caumont his seneschal for Agen.

State of SiegeIn 1442, tired of the English hold on Castelnaud, the King of France ordered the town put under siege. The siege lasted three weeks. The English commander ended it by giving the keys to the castle and 400 crowns for his life. Thus the English were finally driven from Castelnaud. They left French soil after the battle of Castillon (1452) which marked the end of the Hundred Year’s War.

Pleasure Residence After a century black with wars, epidemics and hardships, a great period of prosperity unfolded for Castelnaud.
The castle’s reconstruction was begun by Brandelis de Caumont and followed by his son François and his grandson Charles. The old 13th century fortress took on a look that conformed more to the style of the times. François de Caumont, besides enlarging Castelnaud, built a pleasant Renaissance-style manor not far from Castelnaud: Milandes Castle.
Castelnaud, which no longer had a strategic purpose, became a pleasure residence. It was fortified because of its prestigious function as the center of power of the domain.
The imposing artillery tower, built around 1520, had no function other than that of a symbol of power.

The Huguenot Captain

A new chapter in the history of Castelnaud opened with the Huguenot Captain Geoffroy de Vivans. Soldier, companion of the future Henry IV, his life was punctuated by audacious actions which earned him a great reputation in the country. Geoffroy the warrior was feared throughout the Perigord, a reputation which assured that Castelnaud was never disturbed during the Wars of Religion.

Ruins and renaissanceBetween the exploits of Captain Vivans and the 20th century, the castle did not live through any other remarkable events. The Caumont lords preferred Milandes first, then their castle of the Force near Bergerac. The condition of Castelnaud continued to deteriorate until it was completely abandoned. After the Revolution the deterioration accelerated. Soon the castle served as no more than a stone quarry.1969 / 1998 : The Renaissance of CastelnaudIn 1966, Castelnaud Castle was classed as an Historic Monument. Since then, it has undergone two periods of extensive restoration: between 1974-1980 and from 1996-1998. Certain parts of the castle which had collapsed were reconstructed, other parts were only consolidated due to the lack of information regarding their original state.

Discovered in 1901 by D. Peyrony, the Cave, 130 m long, contains about 250 paintings. The visitor can only see 30 of them, the most beautiful ones and the best preserved. After 60 m underground, the “Rubicon” is the beginning of the decorated part of the cave, with red dots on the left wall. These caves were not used as dwellings, they were shrines, according to A. Leroi-Gourhan The Grotte de Font-de-Gaume is famous for its cave paintings from the Magdalénien period. It is entrance is 20 m above the valley floor of the Beune valley, at the lower edege of a huge limestone rock.

There are many polychrome paintings and some engravings. The 240 figures show 80 bisons, which are the dominant motive. Most other pictures are also animals, 40 mammoths, 23 horses, 17 reindeers and deer, eight primitive cow, four goats, a wolf, a bear, and two rhinoceroses. More interesting, but less frequent, are four hand outlines and 19 geometric figures.

The cave was first settled by Stone Age people during the last Ice Age – about 25,000 BC – when the Dordogne was the domain of roaming bison, reindeer and mammoths. The cave mouth is no more than a fissure concealed by rocks and trees above a small lush valley, while inside, it’s a narrow twisting passage of irregular height in which you quickly lose your bearings in the dark. The first painting you see is a frieze of bison, at about eye level: reddish-brown in colour, massive, full of movement, and very far from the primitive representations you might expect. Further on a horse stands with one hoof slightly raised, resting. But the most miraculous of all is a frieze of five bison discovered in 1966 during cleaning operations. The colour, remarkably sharp and vivid, is preserved by a protective layer of calcite. Shading under the belly and down the thighs is used to give three-dimensionality with a sophistication that seems utterly modern. Another panel consists of superimposed drawings, a fairly common phenomenon in cave painting, sometimes the result of work by successive generations, but here an obviously deliberate technique. A reindeer in the foreground shares legs with a large bison behind to indicate perspective.

Useful Information

Location: Les Eyzies-de-Tayac. 1km from the centre of Eyzies on the left side of the Beune valley.

Open:

• MAR Thu-Tue 9:30-12 + 14-17:30,
• APR-SEP Thu-Tue 9-12 + 14-18,
• OCT Thu-Tue 9:30-12 + 14-17:30,
• NOV-FEB Thu-Tue 10-12 + 14-17.

Closed 01-JAN, 01-NOV, 11-NOV, 25-DEC.