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.

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 €

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

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.