Period of painting Paléolithique supérieur (Magdalénien VI) (≈ 1505000 av. J.-C.)
Creation of assigned betting works
1920
Discovery of paintings
Discovery of paintings 1920 (≈ 1920)
By Abbé Amédée Lemozi
1923
Authentication of paintings
Authentication of paintings 1923 (≈ 1923)
By Abbé Breuil and Raymond Vaufrey
9 février 1993
Registration for historical monuments
Registration for historical monuments 9 février 1993 (≈ 1993)
Protection of the site and its cavity
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Parcel E 325 for the ground, the basement and consequently all the cavities situated below the said plot: inscription by order of 9 February 1993
Key figures
Abbé Amédée Lemozi - Discoverer of paintings
Identified the works in 1920
Abbé Henri Breuil - Expert in prehistoric art
Authenticated the paintings in 1923
Raymond Vaufrey - Prehistory
Collaborated with authentication in 1923
Origin and history
The Cantal Cave is a natural cavity dug by the Célé River, located in the commune of Cabrerets, in the Lot department (Occitanie region). It is located on the left bank of the Célé, 300 metres from the bridge leading to the hamlet of Cornu, at the place called Le Verdié. This cave, 166 meters long, has a main gallery of 3.50 meters wide and 3 meters high on average, with an entrance reaching 4.50 meters. Its soil may be temporarily submerged, making its human occupation intermittent. It belongs to the municipality and is not open to the public.
The prehistoric paintings of the Cantal Cave were discovered in 1920 by Abbé Amédée Lemozi. They include a bovide and a cervid, accompanied by painted lines and dots, as well as a large red tablet on the ceiling, comparable to that of the Pech Merle cave. These works, authenticated in 1923 by Abbé Breuil and Raymond Vaufrey, are attributed to Magdalenian VI (Superior Paleolithic). The cave was listed as historical monuments on 9 February 1993 to preserve its soil, basement and all its cavities.
The cave is distinguished by its unique geological and archaeological context. Drained by river erosion, it could communicate with the "igue de Conté", another nearby cavity. The paintings, located 90 metres from the entrance and 3 metres high, illustrate the parietal art of that time. Their style and layout suggest temporary occupation, probably linked to hunting or ritual activities. Father Lemozi published a detailed study in the Bulletin of the Prehistoric Society of France in 1937, consolidating its scientific importance.
