The Caves of Périgord (2 page)

“Do you have any more of this at home, or is this the only piece?” she asked.

“The only one,” he replied. “My father had it in his study, standing on a bookcase. He never mentioned it, except to say it was a souvenir of the war—of the most dangerous part of his war. And that he had made the case himself. The only other thing he ever said was to my mother, and he told her that he knew it was at least seventeen thousand years old.”

“Hardly,” said Lydia politely. Her voice sounded almost normal, as
her brain began to work again in its accustomed grooves. “If it is from North Africa, the Hagar paintings were still being done just a few hundred years ago. Cappadocian work might be seventeen hundred years old, but seventeen thousand years would predate whatever we now think of as the kind of civilization that could produce this kind of work. If it is genuine.”

There were swiveling brass arms on the rear of the case. She pushed them sideways to remove the glass and with a brisk “Allow me,” her visitor lifted the large and not quite flat chunk of stone free from the velvet. She took a magnifying glass from the drawer, and turned a spotlight onto the edge of the rock, studying what seemed to be a long scorch mark along the side of the rock. Perhaps the burning from some sort of thermal lance that had cut it free? Seventeen thousand years, she was thinking. There was one obvious candidate, too obvious to be possible.

“Did your father serve in France or Spain at all?” she asked quietly, her brain quickening but her stomach lurching at the thought of Lascaux or Altamira. Nobody could ever have done this to Lascaux. The French would bring back the guillotine for anyone who tried. So they should. She would even volunteer to sharpen the blade.

“Yes. As a matter of fact he was in France. Not for long. But in 1944, around the time of the invasion.” She was suddenly aware of a sharper note in his voice, and a concentration as he looked at her.

“The Périgord, perhaps? The Dordogne region?” Through the magnifying glass, the lines of the bull looked coarse as well as decisive. Clay, she thought. Not finger-daubed, but a shaped point of tinted clay used as a kind of pencil. The muscles of the neck had been given force by a thinner layer of dappled color. How could that have been done? She curled her hand into a loose fist and put it to her mouth, remembering some long-ago lecture. Yes, this must be an example of the blowing technique. A wash of color in the artist’s mouth, half-spat and half-sprayed through a half-closed fist would produce that effect. The rock had to be limestone. She was no expert on the oldest cave paintings
of prehistoric man, but she knew that the bulls at Lascaux were ten, even twenty times larger than this. And she was certain that a painting such as this was never found outside its cave, and there was nothing of such size in any museum she knew. But if the rock were from the Lascaux culture, it would be priceless, and even historic. Unbidden, the thought came that this could be the very item to save her career. Properly handled, she told herself. It could also unleash the kind of scandal that could ruin her.

“Yes, I think he was in the Dordogne area,” said Manners. “He was attached to Special Operations, with the French Resistance and all that. The summer of 1944, around the time of the D-Day invasion, I know he was in Périgord. He got a French decoration, the
Légion d’Honneur
. But this isn’t French, is it?”

“I don’t know,” she said automatically, playing for time as the excitement surged through her again. “I’ll have to check. If it comes from one of the French caves, then it could be seventeen thousand years old, or even older. But it would be about as illegal as any artifact could possibly be. We couldn’t possibly sell it,” she said, straightening to look gravely at the man. There was no twinkle in his eye now, indeed, no expression at all, which irritated her. “This is not portable art, in any event. It has been cut from the living rock, from a rather larger painting. In artistic terms, and probably legally, this is a crime.”

He looked at her silently, his head cocked slightly to one side as if he were about to speak. His self-confidence made him quite an attractive man, she thought. She felt herself blushing, and he carefully took the string he had unwrapped from the parcel, wound it into a small skein, neatly tied the loose end, and tossed it onto the table. Then he carefully folded the brown paper, drew a very clean handkerchief from the cuff of his jacket and wiped his hands before picking up the magnifying glass and looking carefully at the rock’s edges. He had very finely shaped hands.

“If you walk out with it now and take it home and put it back on the
bookshelf, there is nothing that I or anybody else could do,” she said, wondering if this were the right argument to make to this stranger. The last thing she wanted was for him to walk out with his rock. But if it stayed with her, she would have to contact the proper authorities. This conversation with a potential client had suddenly become very complicated. “I don’t think you should do that. Not because you could make much money out of this, but because I don’t think it would be right.”

“Well, it’s not my fault. I just inherited the damn thing,” he said, squinting at the side of the rock. He straightened and then looked squarely at her. “I don’t mean that. It’s not a damn thing. I think it’s marvelous. I always have, even as a boy. I used to go from looking at it in my father’s study out to the fields to look at the cattle, wondering why this felt more like the real things than the Buttercups and Jennies I’d take to the milking shed.” His voice trailed off, and he cleared his throat. “How can you tell if it is real? Carbon-dating?”

“Carbon-dating only works on organic material like cloth or vegetation. This is rock,” she said, her voice crisp. “I would have to consult with an expert or two, send them photographs, see if any caves have been vandalized of paintings like this. But I can tell you there is no market in this kind of work, if I am right about its provenance. This is not a conventional item of preclassical art, this is prehistory from the very dawn of primitive man. Governments take this kind of thing very seriously.” He was not reacting at all. Perhaps he did not understand her sense of outrage.

“Imagine if somebody tried to sell one of the stones from Stonehenge,” she went on, thinking the English parallel might stir him. “If your father took this, even if the cave had collapsed and this had been plucked from a pile of rubble, then I think the French government would want to revoke whatever medal they gave him.” He was nodding gravely, but without real comprehension. In fact, he was looking at her in that appraising, male way, that made this even more complicated. She would have to be blunt. “I understand you brought this here in
good faith, hoping it might be worth money. But I have to warn you that it could land you in serious legal trouble if you tried to sell it. Not a windfall, sir, but quite possibly a prison sentence.”

“So, none of this kind of thing is ever sold, nor ever appears at auction,” he said. “There is no market, and so no value. I am left with a curious and highly unsavory family memento, and the thought that my father may have been a bit of a rogue.”

“You are left with an obligation,” Lydia said. “I think we ought to try to find out if this is real, and if so, where exactly it comes from. There may be a hole in a cave painting, although I don’t know of one offhand. Anyway this probably belongs in a museum. Sometimes there can be a finder’s fee, but in this case, which looks like the result of an act of vandalism, that might be difficult.”

She looked at it again, noticing the way the curve of the jaw and of one of the horns followed carefully the folds and indentations in the rock, using the shape of the stone to give a sense of force and muscle in the beast. Where the jaw met the neck, the painter had suddenly blurred his line, as if to suggest movement. She had not seen the real Lascaux cave, only the copy that the French government had built when the breath of too many tourists threatened to damage the original. But she remembered this trick of the blurred line to suggest movement, and the way that artists would try to follow the shapes of rock on which they drew. If this were a fake, it was a remarkably fine one.

“What do you suggest I do? Take it home to Wiltshire and put it back on the bookcase?”

“No,” said Lydia firmly. “I strongly suggest you leave it with me, and I shall give you a receipt, and ask one or two experts in the field where it might have come from. If your father found it in 1944, there were then very few painted caves. Lascaux was only found in 1940. If it comes from this region, or from the Spanish caves at Altamira, they’ll identify it quickly enough. If not, we’ll have to think again about its provenance. But the style says Lascaux, and so does your father’s estimate
about its age. But even if it comes from somewhere altogether different, I don’t think you would be able to sell it, not publicly at least.”

“How long would these consultations take?” he asked. “And how long would you want to keep the rock?”

“I’ll photograph it digitally, and send that with an e-mail to two or three people. I should hear something within a day or two. Just to be sure, I’ll send copies to an expert on the Hagar paintings, and check out one or two more possibles. I’m not an expert on Cro-Magnon man, but I know the people who are.”

“Cro-Magnon, was he the one with the low, thick forehead, the missing link back to the apes?”

“No, absolutely not. Cro-Magnon man had a skull and brain cavity not unlike our own, and in creating these cave paintings he gave us the first recognizable human culture. He replaced—and we are not sure how—Neanderthal man, who did have a low, thick brow. But even his brain capacity was just as big as ours—even bigger, I seem to recall. I’m not even sure we know whether or not the two types could interbreed.” Lydia was suddenly aware that Manners was watching one of her more irritating habits, twisting a lock of her hair around and around a single finger as she talked. She only did it when she was nervous. She dropped her arm to her side and spoke quickly. “Would you like me to give you a receipt for this, or do you want to take it away with you? I’d like to photograph it anyway, if I may.”

He leaned back casually, perched on the table, and for the first time he smiled openly at her. It was a very agreeable smile, with no guile in it. “But if you can’t sell it for me, why would you want to go to all this bother? Why not just refer me to a museum and save yourself the effort?”

“Perhaps I should,” she said, and gave her coolest, most professional smile in return. “I suppose that having come across this, and suspecting what it might be, I feel rather responsible. If it has been wrenched away from a cave wall, I think we ought to try to get it back.”

“Do you feel the same about statues from Egyptian temples and giving
the Elgin marbles back to Greece?” His tone was curious, rather than aggressive.

“There are few hard and fast rules about this. The Elgin marbles were bought and exported under the legal rules of the time, and have been better cared for in the British Museum than they might have been in Athens in the past. And that is a case where political issues will probably outweigh any artistic argument. But if somebody in my profession knows something had been taken illegally from a tomb or a temple—or a cave—then we have a sort of ethical code that says we do not deal in it and alert the proper authorities. The laws against trafficking in stolen goods certainly apply to the art world, and there is also a moral consideration, particularly about something such as this.” She gestured at the rock.

“Would all your colleagues here, or at other auction houses, take the same attitude? Or is this a particularly American ethic, to do with fear of lawsuits?”

“I certainly hope my colleagues would take the same view, on either side of the Atlantic. This is not about lawsuits, but about fair dealing,” she said crisply, suddenly wondering whether the whole thing had been some kind of test arranged by her management. “Now, would you like that receipt?”

“Yes, please,” he said. “And I have to be back in town on Friday. If I came in at about midday, perhaps I could take you to lunch?” He smiled again. “You have been helpful above and beyond the call of duty.”

“I’m afraid we tend to be rather busy on Fridays,” she said automatically, pulling a receipt form and a ballpoint pen from the drawer and starting to fill it in. “But I’ll certainly see you here at noon. And if you leave a phone number, I can let you know if some firm information comes back to me before then.”

Lydia took a dozen digital photographs of the rock, and weighed and measured it carefully before asking a janitor to take it up to her office. Then she sent e-mails and the digitalized photos to Professor Horst Vogelstern in Cologne and to the National Museum of Prehistory at les Eyzies in the Dordogne, in the heart of France’s cave region. It had been founded by Denis Peyrony, the French scholar who had first identified the frieze of the horses in the Font-de-Gaume cave, and ever since had been the main center for the study of early man. She marked the museum e-mail for the attention of Clothilde Daunier, a curator renowned for her encyclopedic knowledge of Lascaux and the surrounding caves. Lydia knew her only by reputation. She had heard of Horst as one of the leading authorities on prehistoric art even before she met him at a reception after he had given a lecture at the Courtauld Institute when she had been studying there. As a courtesy, she sent another e-mail to her old professor at the Ashmolean in Oxford. It was not his field, but she thought he might be interested. At least he could confirm that it was not African. She pondered sending more e-mails to some of her classmates who were still working in the field. There was a boring Irishman, now teaching in Australia, who had been interested in cave painting, and that insufferable Californian who had gone into paleoarchaeology. No, she thought firmly. No need to reopen those old connections. She pulled out Ann Sieveking’s
The Cave Artists
and André Leroi-Gourhan’s
Dawn of European Art,
and increasingly fascinated, she read until the night watchman found her just before ten. She climbed the stairs again to her small office, just to look at it once more. The night watchman followed her, a rather dear ex-serviceman with a carefully tended long white mustache.