In 1489, François de Caumont, Lord of Castelnaud, a fortress a little further along the valley, built the Milandes castle, at his wife, Claude De Cardaillac’s request as she was depressed by the austere atmosphere of the Castelnaud castle. Les Milandes, or Mirandes as it used to be pronounced referring to its site which has a delightful view over the valley, was thus used as the permanent, and preferred, residence of the De Caumont family until 1535, at which time it became their second home, due, mainly to the fact that they were spending more and more time at the Court of Versailles. At that time, the Chateau des MIilandes consisted of the main building and the square tower raised in the 19th Century. The Chapel dates from the 15th Century.

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.

On the left bank of the Beune River, a group of caves are located at the opening of the small Combarelles Valley. The entrance to the Les Combarelles Caves is located on the right side of the departmental road 47, 2 kilometers after the village of Les Eyzies in the direction of Sarlat.

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

Tucked away in the Beune Valley a few kilometres from Les Eyzies, the Cap Blanc Prehistoric Centre reveals another aspect of Prehistoric Art Sculpture.
Over 15 000 years ago, Prehistoric hunters carved horses, bison and reindeer, some of which are over two metres long, straight into the Limestone cliffs.
Cap Blanc, which was discovered in 1909, is today the only frieze of prehistoric sculptures in the world to be shown to the public.

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.

Prehistory at Commarque

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 €

L’abri Pataud is the only prehistoric site in the Dordogne to have been converted into a museum. It is situated 15 metres above the river Vézère at the foot of an imposing cliff which dominates the village of les Eyzies de Tayac. Not far away to the north is the famous Cro Magnon shelter whose discovery made the village of Les Eyzies known to all prehistorians.

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