[1] The Cave of the hundred mammoths, also known as Miremont cave, Cro des Cluzeau or Cro de Granville, is about 5 km (3.1 mi) south of Rouffignac on a hill slope along the right-hand side of the La Binche river, a left tributary of the Manaurie.

The rocks of the cave are flat-lying limestones belonging to the uppermost Coniacian; they are very rich in flint nodules.

[2] The plan of the cave reveals a fractal-like dendritic pattern that is not random but organized along certain preferred directions.

In his editorial in 'Antiquity' December 1958 (reproduced in 'Writing for Antiquity'..Thames and Hudson ) Glyn Daniel mentions the then disputed authenticity of the paintings at Rouffignac.He compares the dispute to the Glozel forgeries and the Piltdown man which authenticities were initially endorsed by many archaeologists.

He notes that Martel spent eighteen hours in the caves in 1893 and saw nothing, and the four members of Cambridge University Speleologic Society who visited Rouffignac in 1939 and saw nothing.

Fairly common are finger flutings, macaroni- or meander-like traces that take up a surface of 500 m2 (5,400 sq ft) and decorate walls and ceilings.

In September 2011 Jess Cooney, a Cambridge archeologist, and Dr Leslie Van Gelder of Walden University, USA announced that their research had identified the artists who had created a large proportion of the flutings to be children as young as three years old.

Because of the general lack of artifacts (a single blade was found so far) and occupation traces, the Rouffignac cave could not be dated directly so far.

Reconnaissance excavations in front of the entry of the cave found traces of human occupations (several fireplaces, animal bones and stone tools) dating back to the Mesolithic (Tardenoisian and Sauveterrian) and to the Neolithic.