Gouffre de Padirac

The Gouffre de Padirac (Padirac Chasm) is a navigable underground river in the Lot départment, east of the Dordogne.  It begins at the bottom of a a 75-metre deep sinkhole, a huge cylindrical shaft which was once a cave before the ceiling fell in eons ago to leave a massive lightwell almost half its height across.  Three separate lifts and a scaffolding of metal stairs have been built against the walls to reach the floor of the chasm.

It was drizzling on the drive there.  It had been raining for days, so we were carrying umbrellas and rain jackets.  By the time we parked the car the rain stopped , but Mai Li asked if we should bring the umbrellas.

"Pff," I mocked. "We're going underground. It doesn't rain underground."

Indeed it does.

After wending us through corridors of limestone on a subterranean passage of water coloured jade with silt, our guide moored the flat-bottomed boat and led us up the corkscrewing ballroom stairway of the enormous Grand Dôme.  Water fell more heavily than the showers outside from the nearly 100-metre ceiling into the Lac de la Pluie, the Lake of Rain, below us, soaking us on the way down.

The 60-metre tall stalactite called the Grande Pendoloque, the Great Pendant, dips down to just two metres above the surface of the lake.  Limestone formations congealed over millennia on the cavern’s tiers look genuinely organic, like broad mushrooms or a Chinese Juniper bonsai, and in the pools that collect on the cascading plateaux smooth natural weirs form, curving so artistically that we debated over whether it was man-made.

The cave complex is vast.  Two journeys by boat, long passages by foot and hundreds of stairs represent only a tiny fraction which is open to the public.

Where there is Man there is art, and where there is art there is graffiti

The Vézère Valley in the Dordogne region of France is littered with limestone caves, 25 of which are decorated with paintings estimated to be up to 20,000 years old, the earliest known example of painting.  The most famous of these is the Lascaux complex of caves, discovered in 1940 by some boys looking for their dog (actually, it was discovered by the dog himself, Robot, who had fallen in).  Comprising nearly 2,000 figures, primarily of horses but also of stags, bison, and aurochs (ancestors of modern cattle), it has been dubbed "the Sistine Chapel of Prehistory" and includes the famous Painted Gallery and the Great Hall of the Bulls.

The only other polychromatic paintings discovered in the valley are in the Font-de-Gaume cave, depicting bison and horses again but also mammoths and, the principle food source of the time, reindeer.  The best known images from this cave are a frieze of five bison and "the sexual parade of the reindeer," where a stag is smelling the head of a kneeling doe.  The natural contours of the cave walls were exploited to emphasise the hump of a bison or the belly of a horse.  (Photography is disallowed, so here's a picture from a government website.)  Sadly, yet again this is artwork defaced by graffiti, this time from the 19th century, where bison paintings at the fore of the cave have had names carved into them.  It's difficult to excuse, but it has to be said that the paintings had not been scientifically observed at the time and there was no comprehension of their age or significance.

Another site, Grotte de Rouffignac, is sometimes called "the cave of a hundred mammoths."  An electric train takes visitors into a ten-kilometre deep complex of painted mammoths, horses, ibex, and even rhinoceros.  I hugely regret that I missed this.  On 30 October, I set out late to see both Font-de-Gaume and Rouffignac, but had to wait for over an hour at Font-de-Gaume because they limit the size of the tours.  This is understandable; when Lascaux was discovered there was no such limitation, and the change in air quality from 1,200 visitors a day caused the development of a green fungus, la malaise vert, and a white calcite crystal, la malaise blanc, to damage the paintings.  This in turn led Lascaux to first limit numbers of visitors, and then to close permanently in 1963.  Indeed, there is suggestion that this may happen with Font-de-Gaume; the tour guide showed us an example of a white fungus growing on the wall.  The only way to appreciate Lascaux today is to visit "Lascaux II," an impressive centimetre by centimetre three-dimensional reproduction of the cave built into the hillside beside the original, with the paintings exactly reproduced using the same pigmentation and techniques.  Of course, knowing it is a facsimile unavoidably detracts from the awe, and the experience becomes a slightly carnivalesque appreciation of the facsimile itself.  Nevertheless, it is sympathetically and tastefully executed.  But with the delay at Font-de-Gaume and the closing for the season of Grotte de Rouffignac on 01 November, it was too late to return another day.