The Caves of Perigord

wine and two of fizzy water, some yogurt, and a wizened lemon. She would have to start planning her life better than this.

Lydia ate the yogurt, told herself she could put the clothes in the dryer tomorrow and went to bed. Ignoring her bedside copy of The Hittites, she was asleep almost at once. Her last thought was of the oddity of time. The oldest cave paintings, at the Grotte de Villars, had been dated by that legendary prehistorian Abbe Breuil to about thirty thousand years. The carbon dating of the charcoal they used in the Lascaux cave suggested the great paintings had been done seventeen thousand years ago. Which meant fifteen thousand years B.C., she thought. She could never teach herself to use that politically correct term B.C.E., Before the Common Era. So for fifteen thousand years before Lascaux, humans had lived around the valleys of the Vezere and Dordogne rivers, hunted and painted in caves, and carried on doing what their ancestors always had. And then came a the sudden explosion of talent and genius that created the stunning achievement of Lascaux. As the explosion faded, people embarked upon the next seventeen thousand-year march to the present day. The human race launched into agriculture and metals and towns and ships and politics; everything began to change as life seemed to shift into a higher gear. Like a video, thought Lydia, fast-forward. Instead of B.C. and A.D., you might call it B.L. and A.L. Before and After Lascaux. Before and after art.

The first response to Lydia’s e-mails came the next morning as she was sipping coffee at her desk and taking detailed notes on the rock, perched on a chair at her side. Beyond its weight and dimensions, the colors and the shapes, there was not much to say. Not, at least, that could be put into plain words. The bull was in black and dark red, with muted shadings of red and yellow to give depth. There were some other lines, suggestions that the designs continued beyond the edge of the broken rock, but nothing she could begin to describe. And there was a line of three dots, and perhaps part of a fourth on the edge of the rock, equally spaced, in a reasonably straight line. Such patterns had also been found at Lascaux, but nowhere else, from her superficial researches of the previous evening. But there was no reference that she had found to any damage to the caves at Lascaux, no gaps in the drawings where the Manners rock might have been wrenched free.

She sat back, trying to assess whether she responded to the bull as a magnificent but crude drawing, or whether she simply felt awe at something so old, when the phone rang, and she recognized Horst’s voice. He was speaking an English as precise and fluent as her own, with barely a trace of German accent, asking her warmly how she was and sounding much more friendly than one evening of pleasant chatter at a reception would explain. It was soon clear that he was excited by the photographs.

Yes, she still had the rock in her possession, she told him. It was on her desk. No, she had not yet heard from the museum at Les Eyzies, but she felt it possible that it was from Lascaux, even though it was so small. No, her auction house did not intend to put the piece on public sale, but simply to establish whether it was real and where it might have come from.

“I know where it’s from,” said Horst. “It is from Lascaux, the style and detail are unmistakable. But this is different. It is a miniature, by far the smallest of any bull that I have seen and it is not from any cave I know of. This could mean that somebody has found a new cave, with Lascaux-style art. But why would they be so foolish as to approach an auction house if they want to make some money from this? They must have known you wouldn’t put it on open sale. Who is this person who brought it to you, do you know anything about him?”

She described Manners, told Horst of his father and the inheritance, and the possible connection to the Perigord region in 1944, and added, “I don’t think he knows the first thing about cave paintings. He was happy enough to leave the piece in my care, and for me to make inquiries to trace it. He seemed genuine and rather innocent. I don’t think he’s the type to trade in looted goods. And if he were, he would hardly have come to us. But I can quiz him some more when I see him-he’s coming in again on Friday to see what I have found out.”

“If I came over, would you introduce him to me?” Horst asked. There was a sound of rustling down the phone as he leafed through a calendar. “I can change a lecture, put off a student or two, and fly over on Thursday in time to take you to dinner. By then, we should have confirmation from les Eyzies that this comes from an unknown cave.”

“I haven’t got my diary to hand-I’m not sure I’m free on Thursday,” she said quickly. “Perhaps we’d better wait until we do hear from les Eyzies.”

“I’m not giving up the opportunity to see this piece, and Friday morning may be my last chance, if your mystery man decides to take it away with him again. I’ll call you again after I hear from Clothilde at les Eyzies.”

Within the hour, the Frenchwoman was on the line, more formal and much more cautious than Horst. No, she could not be sure from the photographs she had seen that this was Lascaux work, but it certainly looked interesting. And no, it did not come from any known site. A lot of caves were damaged in places, or eroded, but she knew of no rock scar from which Lydia’s exhibit might come. Then she wanted to know if Lydia or her company had informed anyone else.

“Only Horst Vogelstern, in Cologne, and Professor Willoughby at Oxford,” said Lydia. “Horst phoned me this morning to suggest that it might come from a new cave, not yet discovered or known about. He seems very excited. He wants to come and see the rock, before the owner comes back on Friday.”

“Horst and his theories,” sniffed Clothilde. “He is so ambitious to make a big coup and become famous. You know he is trying to persuade people to finance a TV series on prehistoric art. Some theory about an undiscovered cave is the kind of thing he could put into the newspapers and magazines, and then he could make his TV show and write a best-seller and get rich. Horst was a very good researcher, but he gets carried away by his dreams.”

“It sounds as though you know him well,” Lydia ventured, intrigued by these personal dynamics between scholars.

“Too well,” snapped Clothilde, and then went on, almost apologetically, as if Lydia were owed some explanation. “He worked with me here at les Eyzies for two years, and we were very good friends. We were very happy. Then it ended. You know how these things are.”

Lydia supposed she did. Or had once, but not for quite some time. David had been almost a year ago.

“I’m sorry,” she said. “I had no idea. Look, if this is embarrassing for you I can tell Horst I have put the entire thing in the hands of your museum.”

“No, not at all. It was all some time ago, and Horst and I are good friends and colleagues. But I do know how much he is driven to succeed, to make the splash. So I have my doubts when he jumps at conclusions about new caves. We have not fully investigated all the old ones. Remember it took many years even in the well-known caves for the right people with the right lighting to see that there were paintings and carvings. The caves are very big, Lydia. The one at Rouffignac has it own railway line inside, you know, and it was only forty years ago that people first realized that there were cave paintings under the walls and ceiling where the tourists used to carve graffiti.” She paused. “But, Lydia, there is something much more important now,” she said. “You cannot let the owner take this away. We may never see it or hear of it again. This is French national patrimoine, you know, national heritage, like your Crown Jewels in the Tower of London.”

“Not my Crown Jewels. I’m American.”

“All right, like your Constitution, or George Washington’s house. It is the oldest thing that makes us what we are. This belongs to France. We shall have to get some legal document over to you to stake a claim, I suppose.”

“You seem pretty sure it’s genuine, and French,” Lydia said, startled. “I think all that is premature. The owner seems quite happy to leave it in my hands, even when I said that it was my duty to get this item back where it belongs.”

“Well, he may say that now, but he could change his mind. We have to put this on a proper footing. I want to come to London this week to make a visual identification, and file a statement for our Embassy legal officer. We are checking with the Ministry of Culture in Paris and with the Foreign Ministry. Nobody here at the museum knows the procedure.”

“I think you all ought to calm down,” Lydia said. “Legal procedure and all that sounds as if you suspect a crime, but the current owner has obviously been acting in good faith. And if it cannot be shown to be stolen property, I’m not sure if the law comes into it. But I’d better check with our own legal department and see what they say. Why don’t we talk again later today or tomorrow, when we both know what the legal position is?”

“For me, that is fine,” said Clothilde. “I think it is getting beyond just me and you. Lawyers and government officials and diplomats are already starting to get involved in this. And then the politicians cannot be far behind. Our