If the descent towards the " Gouffre de Bramabiau "is already,in. itselfthe discovery of a back of beyond scenery,so charactensuc of this far end of the world, of the Cevennes Méuntains,now once across the river Bonheur and in the cave with its dripping rocksstanned by the dm of water rushing and boomingthe visitor instantly loses any notion of the time and space he usually Iives in.

Like Orestes, he suiks into seemingly unexplored depths : He feels the ancient presence of whoever in his childhood was said to be prehistoric, not with an apelike face, properly hairy in his fur wrap, but of the homo sapiens the glortous man of the past, anxious about his survival and beliefs.

Although Bramabiau never knew any of the rock paintings that we know in some other places, the secret reminder that Jean TRUEL has realised here, appears as a link between those rough days of mankind, and our modem world.

I was rather apprehensiveféeling rather sacrüegiousbefore entering this temple where the presence of the men of yesteryears,though unobtrusive,is still actua&where nature bas remained unblemished.

And then i saw Jean TRUEL's achievements the perfect accord, almost musical, between the wall, hard, and smooth, the neat colourings,the natural accords,I understood, that was no sacrilege but some sort of hymn in honour of geology and what we call prehistory. J TRUEL who has lived long months underground, who has conceived many , so many cave sceneries throughout the subterranean world, has, here, accomplished a true and personal work, undoubtedly the very fim one any artist nught attempt to realise.

It's with this reassuring impression that i back to daylight and the verdant countryside along the Bonheurthe "Happy river ".

Perfect accord, mysterious symphony minglimg with the music of water, such is my discovery of that rare and unheard of work, and of this unique place.