PREHISTORIC CAVE PAINTINGS [1968]- by REBECCA MARCUS.pdf
January 17, 2017 | Author: Athanasios N. Papadopoulos | Category: N/A
Short Description
Download PREHISTORIC CAVE PAINTINGS [1968]- by REBECCA MARCUS.pdf...
Description
•
:
WbHblUkIL
CAVE PAINTINGS By
REBECCA
B.
ILLUSTRATED WITH
s «t ;
',,
MARCUS PHOTOGRAPHS
n
PREHISTORIC CAVE PAINTINGS Twelve-year-old Maria de Sautuolo liked to
accompany her
father
when
he went cave exploring near their home in northern Spain. It was fun to hunt for tools left in the cave by ancient, unknown men. Then one day Maria went exploring by herself and made a discovery of her own. Wandering into a deep part of the cave, she saw a painted herd of lifelike bison charging across the ceiling. Maria's discovery
was the first step
an exciting treasure hunt for cave paintings that led from Altamira to in
Lascaux and Font-de-Gaume,
to
Mexico, to South Africa and back in time to Cro-Magnon man through the
Olmec Indians of 3,000 years ago, and
down
to th«* present. Maria's
tures
were
adven-
like those of the priests
and explore.s who have devoted their lives to the search for clues to solve
the mysteries of these paintings.
In a crisp, clear style
Rebecca
Marcus conducts an adventure of discovery. She explores the history, origins, and techniques of the art and the artists, reveals the meaning of their work, and describes the methods used by present-day scientists to date the paintings and protect them from mold and temperature changes. She shows how we, too, can go cave exploring and discover for ourselves the remarkable world of these artists of long ago. (see
back
flap)
PREHISTORIC CAVE PAINTINGS
ROSLINDALE
Cro-Magnon man painting to
make
the wall of a cave.
a picture of a stenciled hand.
He
is
using a blowtube
PREHISTORIC CAVE PAINTINGS by
REBECCA
illustrated with
B.
MARCUS
photographs
FRANKLIN WATTS, INC. 575 LEXINGTON AVENUE NEW YORK, N.Y. 10022
ROSLINDALE
\
.t)
.$& ACKNOWLEDGMENTS The author wishes
to
thank Dr. Richard A. Gould of the Department of
Anthropology of the American
Museum
of Natural History for his criti-
Thanks are
cal reading of the manuscript.
also due the following persons
for their special kindness and courtesy in helping to gather material for this
book:
Seiior Felipe
Mendez de
la
Torre, Jefe de Relaciones Publicas, Cuevas
de Altamira, Spain; Sefior
Tomas Maza
Solano, Director de
la
Revista Altamira, Patronato
de las Cuevas Prehistoricas, Santander, Spain; Dr. Jean Guichard, Director,
Photo credits appear on page
Musee de
Prehistoire, Les Eyzies, France.
89.
BOSTON PUBLIC
LIBWfltf
©1968 by Franklin Watts, Inc. Library of Congress Catalog Card Number: 68-25724 Printed in the United States of America Copyright
12
3
4
5
CONTENTS MARIA'S DISCOVERY
3
SEALED IN A CAVE
4
THE SECRET TREASURE AT ALTAMIRA
8
DISCOURAGEMENT AND DISAPPOINTMENT IN
THE VEZERE VALLEY
IN
FRANCE
13
16
LES COMBARELLES, FONT-DE-GAUME,
AND BACK TO ALTAMIRA
20
DISCOVERY OF THE LASCAUX CAVE
28
THE PAINTINGS AT LASCAUX
29
THE MYSTERIOUS SCENE
IN
THE WELL
CRO-MAGNON MAN
39 42
ROSLINDALE
BEGINNINGS OF CAVE ART
47
HOW CAVE PAINTINGS WERE PRODUCED
48
SKETCH SHEETS AND ART SCHOOLS
50
CAVE PAINTINGS AND SYMPATHETIC MAGIC
51
CAVE ART MAY HAVE A DIFFERENT MEANING
55
THOUSANDS OF YEARS OF CAVE ART
58
MEXICAN CAVE PAINTINGS
62
ROCK PAINTINGS - SPANISH LEVANTINE ART
64
ROCK ART
AFRICA
67
CAVE PAINTINGS TODAY
72
IN
VISITING THE
APPENDIX I — Some APPENDIX
II
Painted Caves in Spain and France
- Radiocarbon Dating
75
80
GLOSSARY
82
INDEX
86
PREHISTORIC CAVE PAINTINGS
\T
The painted
ceiling in the Altamira cave.
MARIA'S DISCOVERY "Tows, torosl—
Bulls, bulls! Father,
come and look
at the
Maria de Sautuolo's cry from deep inside the cave reached her father as he dug in the rubble at
bulls!" Twelve-year-old
the cave's front.
The cave was
in a gently rolling
meadow
at Altamira,
near
Mar in northern Spain, a few miles from the Sautuolo summer home. Marcelino de Sautuolo sometimes took his daughter with him when he went digging for remains Santillana del
by ancient man. Maria liked to poke around in the dark cave, to shine her candle on the walls and ceiling, and watch the shadows cast by the bulges in the rock. On this day in 1879, Maria had found her way to a part of the cave that only a child could have entered walking upright. As she flashed her candle on the low ceiling, she saw, painted on the rock, a herd of animals that looked like bulls. The paintings were so lifelike that the animals seemed to be left
there
(3)
charging right out of the rock. In wonderment, she called to her father.
Her father stooped through the opening into the part of the cave from which Maria's voice came. There he found a treasure, not of gold or precious stones, but of pictures painted
the ceiling of the cave
by men who had lived 15,000 years
SEALED IN The entrance
ago.
A CAVE Altamira cave had been sealed for
was discovered only by accident. hunter in the meadow saw his dog disappear
15,000 years. In 1868 a
to the
on
It
into
the ground. Following the faint barking of the dog, the hunter
began
to dig
away
at a small hole into
which the animal had
apparently fallen. This hole led to an underground pile of loose rock. In order to free the dog, the hunter had to
move away some
of
the rock. In so doing, he discovered that the rocks covered
had fallen and blocked the entrance. The hunter released the dog and conthe entrance to a cave. Part of the cave ceiling
tinued his search.
Upon
his return to Santillana del
told of his discovery, but
Mar he
no one was curious enough
to ex-
plore the cave.
Ten years
Marcelino de Sautuolo, a historian and archaeologist, returned to his home in northern Spain from a visit to the Paris Exposition of 1878. There he had seen a later,
display of tools and other objects
(4)
made by
ancient peoples.
Rhinoceros engraved on bone, found among the remains of ancient in
man
southwestern France.
The
had been found in 1864 in a cave near the town of Les Eyzies in the Dordogne valley of southwestern France. Among the objects Sautuolo had seen were engraved pieces of animal bone and ivory that came from the tusks of mammoths, an extinct type of elephant. One piece of ivory had a fine engraving of a mammoth, and undoubtedly had been made by a man who had seen such an animal. Now mammoths had not roamed Europe for about 15,000 years. They had died out about the time the great ice sheet that covered much of Europe was melting. The engraving, then, had to be articles
at least
15,000 years old. In
all
probability, the other objects
found with the piece of ivory were also
(5)
at least as old.
Sautuolo had been intrigued by these remains showing the
work
of ancient men. Perhaps groups of these
lived near his
own home
men had
also
few hunFrance. Perhaps
in northern Spain, only a
dred miles from the Dordogne region in these men, too, had left remains that told something about their lives. He knew of the unexplored, barely opened cave at Altamira. Might not this be a place to look for evidences of ancient
cavemen?
Soon after his return from Paris, Sautuolo went to Altamira and began to remove more of the rubble and slabs of rock that had fallen down and sealed the mouth of the cave. When he had cleared away enough of the fallen rock to enter, he found himself in a dark chamber. He explored the chamber and saw that it showed signs of having been occupied by people. Here and there he found bone needles, stone axheads, spear points, knives, and scrapers — objects unmistakably made by man. That winter, back in Madrid, Sautuolo spoke of his finds Juan Vilanova of the University of Madrid. Vilanova was one of the world's foremost scholars engaged in the study of ancient man. He encouraged Sauto his friend Professor
tuolo to continue his digging in the cave the next summer. In the
home
summer
of 1879, Sautuolo returned to his country
At Altamira he spent many days digging in the front part of the cave, and found many different objects. Among them were small pieces of bone, each in northern Spain.
pierced with a small hole at one end. pieces of bone together, he
an ancient
man
or
woman
saw
When
he strung the
had a necklace that might have worn. Once, on a rocky
(6)
that he
V
i
1 <
r
I
i
kid
s
Some of the bone and
stone tools,
by Marcelino de Sautuolo.
now in the Altamira Museum,
collected
wall in a far part of the cave, he glimpsed black drawings of animals, but he thought little about them.
So things remained until that day when Maria saw the painted animals on the ceiling of the low chamber and called to
her father.
THE SECRET TREASURE AT ALTAMIRA The
chamber in which Maria stood sloped downward toward the back of the cave. Just inside the entrance, Sautuolo was able to stand upright. But as he walked toward his daughter at the rear he had to lower his head to keep from hitting the ceiling. Where Maria was pointing at the ceiling, the cave's height was just a little over five feet. Sautuolo had to crouch to look at the ceiling of the cave. Through the darkness, pierced only by candlelight, Sautuolo saw a herd of bison painted on the ceiling— the "bulls" Maria had seen. They were painted in various shades of red, but in some there was yellow and brown as well. Some animals were standing, some sitting with legs folded under them. One painting showed a bison struck with a spear. The animal's head was sunken, its hind legs doubled up, as a real animal would have fallen. In addition to the bison, there were paintings of wild boars, deer, and horses. Most of the animals were from four to six feet long, but some were life-size. They looked so alive ceiling of the
(8)
Necklaces and neck ornaments like the ones found at Altamira. These are from caves in southwestern France.
/
4 to
#»a
Deer
at Altamira.
The body was
The
outline
filled in
was
first
engraved, then painted in black.
with shades of brown and red.
that Sautuolo could almost see
them breathe. Yet the animals
were mainly types that were no longer found in Spain. Nothing like these paintings had even been known to exist. Sautuolo gazed at them in astonishment. Who had made these beautiful polychrome (many-colored) paintings? When had they been made, and for what purpose? It seemed clear to Sautuolo that the artists must have been able to observe these ancient animals closely to have made such lifelike paintings. Therefore, the paintings must have been made Above left: Close-up view of some of the animals on the ceiling mira. Below left: Bison with legs folded under it, Altamira.
at Alta-
many thousands
of years ago.
that old for another reason.
cave
He
believed the paintings were
The stone
tools sealed inside the
when part of the ceiling collapsed showed that Stone Age
men were
the last to have been in the cave before
covered. Thus the paintings must be the
work
it
was
redis-
of Stone
Age
men.
Day study
went into the side chamber He saw that the shapes of many
after day, Sautuolo its
painted ceiling.
had
to
of
been cut into the rock with a sharp tool, then outlined in black and painted in. Sometimes a part of an animal was painted on a bulge in the rock so as to give the feeling of the rounded form of the animal. Many of the animals were painted in different shades of
the animals
the
same color
ings, the color
first
to bring out the animal's shape. In these paint-
was
darker color. This
lighter at the center
made
from a person looking
and shaded off into
the animal appear to curve
away
at the picture.
In addition to the paintings, there
were many small engrav-
ings cut into the rock. And, in the far part of the ceiling,
were a few pictures of hands— just hands. Some were painted in red, and several appeared to be stenciled on the rock. Probably a hand had been placed against the rock and paint applied around it. When the hand was removed its shape was outlined in paint on the bare rock. Sautuolo explored the cave further, and found more paintings on other parts of the cave. However, these were not as beautiful as those on the ceiling, for they were in monochrome (one color), red or black. The walls of most of the cave were bare, yellowish limestone rock. But in the rear, where the height of the ceiling there
(12)
Sketch of lines drawn by fingers on the clay of the roof
The head of
was
less
a cowlike animal
than four
is
at Altamira.
at the right.
rock was covered with natural
feet, the
yellow-red clay. Sautuolo saw designs in the clay that ap-
peared to have been scratched into
it
by
fingers.
He made
drawings of these scratches for the notes he was keeping on his discoveries.
DISCOURAGEMENT AND DISAPPOINTMENT In 1880, Sautuolo
wrote an
article telling of his discoveries
Altamira cave. In his article he stated that the paintings had been made by Stone Age artists. The article was brought in the
(13)
King Alfonso XII of Spain. With much royal fanfare, the king came to see the cave paintings for himself. He was so impressed that he permitted his name to be inscribed on the wall near the entrance, as a sign of his to the attention of
favor.
Later that year, the International Congress of Anthropol-
ogy and Prehistoric Archaeology was to meet in Lisbon. (Anthropology is the science that deals with the study of man. Archaeology deals with the study of relics left by ancient man.) Sautuolo wanted his report on the Altamira cave to
be read and discussed
at the congress.
He knew
that this
body must first approve it before scientists all over the world would acknowledge its truth. He also hoped that some of the members would come to Altamira when the meeting was over to see the paintings for themselves.
But Sautuolo was doomed to disappointment. When his friend Professor Vilanova showed the program committee Sautuolo's report and asked that
be read before the entire congress, the request was denied. The committee members did not think it possible that paintings such as those described in the report could have been made by Stone Age men. The report was never read before the congress. Word of the cave paintings spread, however, in spite of the fact that few people believed they had been made by Stone Age men. One group of scientists declared that the paintings had been done by Roman soldiers less than 2,000 years earlier. At one point an insane painter whom Sautuolo had befriended came forward and "confessed" that Sautuolo it
had paid him to paint the caves. But the confession was easily proved false, and was completely discredited. (14)
*ri
f
Bisc Oy
Santander* Santillana del
Mar
Altamira
T
'GQntQb
nan Sea)
\ EI Castillo
Pindal
Las Chimeneas La Pasiega Las Monedas
Hornos de
la
Covalanas La Haza Sotarriza
Pena
FRANCE 0^
SOME PAINTED CAVES OF NORTHERN SPAIN
'
S.iniander • <
SPAIN
View more...
Comments