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.

What an incredible day!. We met our guide for the cave region, Bart Vranken, just after breakfast, and before long he had us spellbound. His knowledge of history, art and philosophy was so well integrated, and he is so articulate, that the information came forth like a river, and all we had to do was to stay alert and process it all! This was a man with a plan. Bart arranged for us to be the first tour of the day at Rouffingnac, so no crowds would mar our experience?.. 

The town’s history is tied into that of the abbey. Around 620 AD, a hermit named Cyprien settled in a cave that overlooked the Dordogne valley. Others gathered around him and a monastic community grew up. Barbarian invasions in the mid-9th century made the monks build defensive ramparts, of which the belltower-keep survives.

In 1076 the monastery, now an Augustine body, was doing so well that Bertrand de Got, archbishop of Bordeaux and later Pope Clement V, took it under his wing.

In the Hundred Years’ War, St Cyprien suffered from its exposed border position between Eleanor’s Aquitaine and the Kingdom of France.

In 1568, during the Wars of Religion, Calvinist troops burned the priory to the ground, but the monastery was rebuilt in 1685. Declared a “national asset”, in April 1791 it was sold to the town for 8,125 francs and renamed “Temple of Reason dedicated to the Supreme Being”.

In 1871 the state tobacco monopoly knocked down the cloister, closed off the inner doors, and turned the place into a warehouse.

Every summer the St Cyprien tourist office receives over 10,000 visitors. Located in the village centre, it is open all year round.Place Charles de Gaulle 24220 Saint Cyprien

Opening hours

1 November to 28 Febuary
Monday to Saturday 9:30 to 12:30, 3 to 6pm Except wednesday afternoon

1 March to 31 October
Monday to Saturday 9:30 to 12:30, 3 to 6pm Sunday 10 to 12am

15 Mai to 30 September
Monday to Friday 9:30 to 12:30, 3 to 6pm Sunday 10 to 12am

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.

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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Contrary to appearances, the name of the Dordogne is not a recent word resulting from the names of the Dore and the Dogne. It comes from an ancient Durānius, dérived from a preceltic root dur-, dor- (as the Durance).

The medieval forms adopted a redoubled suffix -ononia : Dorononia fluvius (sixth century), Dornonia (eighth century) that evolves in Dordonia (ninth century) by a phenomenon of dissimilation, giving the impression of an etymology *Dore-Dogne.

Geography

The river rises on the flanks of Puy de Sancy (1 885 m) in the mountains of Auvergne, from the confluence of two small torrents above the town of Mont-Dore: the Dore and the Dogne. It flows generally west about 500 km through the Limousin and Périgord regions before flowing into the Gironde, its common estuary with the Garonne, at the “Ambès beak”, in the north of the city of Bordeaux.

Nature

The Dordogne is one of the few rivers in the world that exhibits the phenomenon known as a tidal bore. The Valley of the Dordogne is quite beautiful and contributes significantly to the attractiveness of the region. The main season for tourism in the Valley of the Dordogne is from June to September with July and August being high tide.

Course

The départements of France through which the Dordogne River runs, together with some towns in those départements that are on or quite near the River, are as follows:

• The département of Puy-de-Dôme – the towns of Mont-Dore (near the source of the River), La Bourboule
• The département of Corrèze – the towns of Argentat and Bort-les-Orgues
• The département of Lot – The town of Souillac
• The département of Dordogne – The towns of Beynac-et-Cazenac, Sarlat, Saint-Cyprien, and Bergerac
• The département of Gironde – the towns of Sainte-Foy-la-Grande and Libourne

Tributaries

Dordogne River in the PérigordMain tributaries from source to mouth:

(R) Rhue
(R) Diège
(R) Luzège
(L) Sumène
(L) Auze
(R) Doustre
(L) Maronne
(L) Cère
(R) Sourdoire
(L) Ouysse
(R) Vézère along which many of the great prehistoric caves of Southwest France are located
(R) Isle
(L) Laurence
N.B. : (R) = right tributary; (L) = left tributary

Canoeing on the Dordogne River

1. Lascaux II- Lascaux is considered to be the number one prehistoric site in all of Europe. The paintings on the site date from 17,000 to 15,000 years ago. Shortly after that the cave entrances were closed by mudslides or other natural means, and thus the paintings were perfectly preserved until the modern era. The cave was rediscovered in 1940 by two local boys who were chasing their dog, and several years later it was opened to the public. However, in 1963 it was closed again, as it was discovered that too many people in the cave were causing the paintings to deteriorate. Since then only a few scientists, scholars or art historians per day were allowed in for several hours maximum. For the past few years even those limited visits have been stopped, as new signs of further deterioration have been observed. The French government, however, took up a 10 year project to make an exact duplicate of the cave. This effort, which opened in 1983, uses exactly the same pigments that were used by the Cro-Magnon artists thousands of years ago, and is dimensionally accurate to less than one inch of error. It is called Lascaux II, and is located only about 400 yards from the original cave.

The quality of the artwork is the main reason that Lascaux is considered the finest example of prehistoric cave paintings. Done with only oil lamps for light and using high scaffolding, the prehistoric artists who created this site were highly accomplished artists. Most of the guided visits to Lascaux II are conducted in French, but there are tours in English on most days. One needs to call the Lascaux ticket office in Montignac or the Montignac Office of Tourism to find out if and when there is an English tour on any given day. If you have a group they will probably set up an English tour for you and other English speakers, but this needs to be arranged in advance through the ticket office. Even though Lascaux II is a replica and not the original, it is very well done, very informative, and not to be missed.

2. St. Leon sur Vezere- This is another of the “Most Beautiful Villages of France”. Built in a picturesque loop of the Vezere river, this charming village possesses two castles and one of the finest Romanesque churches of the Perigord. The church was part of a Benedictine priory which was founded in the 12th century. It was built on the ruins of a Gallo-Roman villa. The remains of one of the villa’s walls can be seen on the river side. There is a picnic area next to the church on the banks of the river, and a café is nearby as well. This is an excellent spot to have a pleasant lunch or a refreshing drink.

3. La Roque St. Christophe (St. Christopher’s Rock) is a huge Troglodyte cave complex. For about a half mile in length this majestic cliff rises vertically above the Vezere valley to a height of over 250ft. It is like a huge hive with about 100 caves hollowed out of the rock on five tiers. Excavations have proved that the cliff dwellings were inhabited from the Upper Paleolithic Age onwards. In the 10th century the cliff terraces served as the foundation for a fortress which was used against the Vikings, and again later during the Hundred Years War. It was subsequently destroyed during the Wars of Religion at the end of the 16th century. The self-guided tour explains the evolution of human life at La Roque St. Christophe, which took place over many centuries . In fact even Neanderthal fossils have been found at this site and at other locations nearby.

4. Chateau de Losse- This renaissance chateau sits on the right bank of the Vezere river, and it has a large terrace that overlooks the river and offers picturesque views. The chateau is well known for its excellent furniture and tapestries, which can be seen on the guided tours. The tours are in French, but foreign language guides are available, and these are easy to follow so one does not miss anything. The tours are quite good, and one can also visit the well kept gardens and stroll around the outside of the chateau in the former moat area.

As stated earlier, these four venues in the Vezere Valley between Les Eyzies de Tayac and Montignac can easily be visited in one day, since they are relatively close and do not take too long to visit any of them. If one is staying nearby, in Les Eyzies de Tayac, for example, only about 25 kilometers away, a visit to these sites is well worth the effort.