PREHISTORIC CAVE ART

overall background , that never had any stylistic intention, is an initial rudimentary symbolic for- mula that at times when it is scratched by the superimposed engravings baring the rock, may make us see some sort of figure within it if we let ourselves he unduly carried away by our ima- gination . The large stains of red ochre have been used by Prehis- toric man not j ust to smear the profiles of the rocks, but the ground, his weapons and the human body itself, according to an old tradition known since the lower Paleolithic age. Maybe this color was used for protec- tive magic; or to encourage bra- very or life, or perhaps al] this together. But there is no doubt that the color red in itself had undeniable virtues in the eyes of primitive man, even though it may have not been involved with stylization. and simply perhaps due to its relationship with the color of blood. Therefore, it may be thought that this hall where the Great Panel was made might have been selected as a sanc- Fig. 106. - Tito Bustillo Cave. Hind figure painted in blaek ¡inc. tuarv much beforc there stylistic Fig. 106.- Cueca Tito Bustillo. Figura de cierva pintada en línea negra. depictions had been designed and by that time, ¡t liad already inches long. These are outlined doubt mi ght be a deer, and then been designated as a sacred by dull black lines , partially a bit lower to the left. another place by the large blot of ochre. covered up by a film of calcinate deer. with the same doubt, that After this rather long ciigres- deposit that is quite transparent seems to be going after the first sion on the comings and goings but does not allow the entire one. Another figure can be made of water. the samples from this outline to be seen. The incide out to the left (fig. 102). excavated site and the allusion to surface of the figures has a red These figures are done with ochre stains, it would be a good stain that is also quite thin, per- awkward, evidently clumsy dra- idea to concentrate again on the haps due lo the action of water, wing if they are compared to the paintings on the wall. The first for its location is almost at airy sensitivity and naturalistic figures are small in proportions, ground level. First there is a feeling that were behind the fine 134 the largest is no more than 14 depiction of what with some workmanship of the large size CHAPTER VIII. THE CAVES OF THE TOWNSHIP OF RIBADESELLA

Fig. 107.- Tito Bustillo Cave. Partially destroyed painting showing a horse located to the right of the photo, and underneath . painting of a deer in a running position with its head turned hack. Fig. 107.- Cueva Tito Bustillo, Pintura de équido, parcialmente perdida (derecha de la foto) y ciervo en actitud de correr , volviendo la cabeza hacia atrás. figures which shall soon be des- The concavity in the wall build of this horse is very sturdy: cribed. where this group is engraved thick, short neck, strong head Other lines continue on to the bends at an angle and at the very and stocky body. The artist has left allowing fragments of heads, peak of the angle, right down at expressed himself with vigor, flanks and possibly feet to be ,round level, the figure of a bravely simplifying the techni- seen, all of which leads to the sup- horse is depicted. The style que to achieve better representa- position that this whole group of totally changes. This figure mea- tion of strength in the figure figures represented there with sures 5' 9" from the base of the depicted (fig. 103). Below this similar stylistic features (black tail to the muzzle, and the height figure there is a large black stain outlines and small size) must have from the rear hooves to the back with almost lost outlines: howe- been numerous. The last figure of is 4' 1 1 ". Its profile is facino to ver, after long study, it appears this group can be more clearly dis- the left, drawn in thick black to depict the shape of a bovine tinguished: it is of a reindeer and ]me, with the surface of the body with a very high neck and han- an improvement over the poorer covered by pigmented stain with ging jowls. These features could drawing of the others (fig. 104). dark red and natural sienna. The suggest a bison. This figure is 135 PRLHISTORIC CAVE ART

facing toward the spectator - s right. The wall where these two paintings are found, which conti- nues on sornewhat concave and bordered on the top by a low overhang , makes a turn with a projecting angle and the surface following is more or less smooth rock. This rises and spreads out. providing a wide, inviting can- vas for the artistic statements of Prehistoric man who also saw it as such. and freely went ahead lo create the wonderful decoration of the Great Panel (fig. 105). This begins with the figure of a deer drawn in black line with its lengthwise axis perpendicular to the ground. Only the head. neck, part of the breast line and the back down to the middle are visible, taking intentional advan- tage of a crack in the rock with a shoulder to define and reinforce the withers line (fig. 106). Following the wall surface from right lo left as one looks at it. is the figure of a horse done Fig. 108 .- Tito Bustillo Cave . Schematic drawing of severa) examples of deer antlers in Prehisto- in very dark carmine red stain ric paintings. 1. Buck in Tito Bustillo Cave, reconstructed . 2. Lascaux Cavern. 3. Candamo Cave. with touches of hlack on the Fig. 108.- Dibujos de varios ejemplos de cornamentas de ciervo en pinturas prehistóricas: outlines. It is smaller than the 1. Ciervo en Tito Bustillo ( reconstituido ): 2. Caverna de Lascaux: 3. Cueva de Candamo. rest of the figures painted on this wall. The head and front feet toward the back . It is drawn at the rear. This argument is not nave been lost, and the profile the moment of fleeing as it glan- valid, because the depiction of faces left (fig. 107). ces back toward a supposed pur- movement in the drawing is Below there is a larse deer suer (fig. 107). This very clear determined by the perspective of depicted in red stain. and this movement of the neck was cha- the antlers. This would become stain does not extend to certain llenged by sorne publication 1 clear if we were to complete the parts of the body. thus showing can no longer recall. because the rest of it the way it should have the color differences in the coat fragment of the antler that can of these deer. The profile of the be seen comes out toward the body is facing toward the right front although the top branches Fig. 109.- Tito Bustillo Cave. Detail of rein- deer and horse facing eachother. of the observer, but the animal's curve lo the rear. Actually. these Fig. 109.- Cueva Tito Bustillo . Detalle de la 136 head turns back lo the left. antlers always come out toward pintura del caballo y reno enfrentados. 1 PREHISIY)RIC CAVE ART

This figure measures 5' 7" from the base of the tail to the outline of the neck and 3' 7" from the reir hooves to the back. It is partially superimposed upon the aboye mentioned horse dra- wing, which would seem to indi- cate that it was painted later. At a higher level the hind quarters of another deer can be seen painted in very dull violet and done before the black deer. To the left, and with the profile pointing in the lame direction, is a figure of a reindeer. From the tail to the rnuz_zle it measures 5' 11- and from the bottom of the front feet to the farthest parí of the antlers, Fig. 110.- Tito Bustillo Cave. The complete painting of the black horse. Fi_. 1 10.- Cueva Tito Bustillu. La pintura del caballo negro completa. 5' 9". This is one of the most beautiful figures of the Great Panel. It depicts a strong bucle with its head thrust forward as though it were getting ready to attack. It is painted in black stain. with the neck and visible parí of the body modeled with striped touches that I think are an attempt to represent folds of the skin. This figure has been gone over with thick. multiple incision engraving, and froni the lower jaw to the shaggy chest coat. there has been scraping done to define the lighter hair these ani- mals have naturally, on the front parí of the neck and on the chest. Faeing this reindeer and a lit- tle higher. there is the depiction Fig. 111.- Tito Buaillo Cave. Pol.\chrome painting depicting a reindeer buck. Fig. 111.- Cueva Tito Bustillu. Pintura policroma representando un reno. of a largo horse painted in black stain. On the chest it touches the been in the original. which can offer the group of deer from muzzle of the reindeer and part would be more or less how it Lascaux and a specimen from of one of the front branches of looks with the drawing filled in. the Candamo cave to support the the reindeer's antlers pierces the There are many examples of this correctness our point of view horse. These two horse and rein- 138 perspectiva. among which we (fig. 108). deer figures seem to belong to a CHAPTER VIII. THE CAVES OF THF TO W NSHIP OF RIB Al)FSELLA

1 Fig. 112.-Tito Bustillo Cave. Painting of female reindeer or doc . also polychrome: Fig. 112.- Cueva Tito Bustillo . Pintura polícroma de reno hembra . Compone escena con la anterior. composition, despite the fact that outline is also gone over in white are left alone without any such depictions are infrequent in engraving (figs. 109 & 110). color applied : the stornach. back Cantabrian wall Art. The fact is Below the figure just mentio- of the flanks, front of the head that the horse is stretching up its ned there is another reindeer, and neck (fig. 111). The profile neck and throwing its head back which is different from the first faces to the left and from tail to while putting its feet forward. as one described both in drawing and muzzle it measures almost 6' 8". though it were trying to stop or color. which for me is an indica- reaching a height of 4' 3" from get away to escape the reindeer's tion that the two of these were not the front hooves to the withers. charge. Toward the withers of done at the same stage in time. In Some of the irregularities of the the horse there are three striped this last specimen coloring is stone are taken advantage of in spots. as though the color had varied. with the use of a brown the flank area to give to some been reinforced to define details which was probably obtained from parts of the figure sculptural of the coat. This figure measures natural earth. a black and a red. strength . The outline is also gone 5' 11— from the base of the tail These colors are sometirnes mixed over with engraving in the same to the muzzle, and its height together, giving shadings to model way as the unes before. from the end of the front feet to the bode of the animal. Those The possibility should be the top of the ear is 5' 3". The parts of the hair that are naturally mentioned that maybe there is an 139 PREHISTORIC CAVE ART

n Fig. 1 13.- Tito Bustillo Cave. Painting of horse in Iight colon outlined in hlack fine. H. 1 13.- Cueva Tito Bustillo. Pintura de caballo en colores claros y silueteado en línea negra.

attempt here to represent the two proportions between male and engraving on its outline with the recognized species of reindeer female and shape with the head sarne techniyue as the others with there two different speci- drawn no higher than the withers, hefore . From the base of the tail mens. Given the features of there then this identification becomes to the muzzle it measures 6' 5" painted figures, the one facing fully confirmed. From the tail to and jis height , from the front the horse would be similar to the the muzzle it measures 6' 1" and hooves to the ear. is 5' l—. Its Rangi fe r rariboil and the other, its outlines are also gone over appearance is elegant. with long to the Rart,t,'ifer tarandus. with engraving (fig. 112). legs, fine body, a long neck and To the left of this figure and At the top of this Great Panel small head (fig. 113). facing it. there is another of a and again descrihing froni right To the left of this horse there female reindeer or doe, doubtful to lefi, we have the figure of a is another one depicied with its because the painting of the head horse with the profile facing to profile also facing to the right. is verv dull, makin- identification the ri,-,ht. outlined in black line. Its outline is shown with black difficult. But the fact that it is part Though dull, the very pale violet line and it has thick, soft lines on oí' the group with reindeer gives stain coloring the body surface is the mane and hack line. The greater^credence to the first sup- still visible. It has two black stri- body is painted with faded out position. If we add to this its simi- ped spots on the withers. Mosi stain oí' bright violet color. On 140 lar color treatment. proper size oí' this figure is gone over with the feet, the violet paint fades CHAPTER VIII. THE CAVES OF THE TOWNSHIP OF RIBADESELLA

Fig. 114.- Tito Bustillo Cave. Horse painted in violes with black zebra stripes en feet. Fig. 114.- Cueva Tito Bustillo , Caballo pintado en color violeta con cebraduras negras en las patas. out and gradually fades into a ted on the surface of the body is painted to its right, with the zebra yellowish brown color, with grey and faded out; that is, with stripes included (fig. 116). some black horizontal unes on no coloring in the crea of the sto- The multitude of unes engra- the feet in the form of zebra stri- mach and back of the legs. It is 6' ved on the Great Panel make up pes. From the tail to the muzzle 1" long and its height, from the a complicated web that we still it measures almost five feet and bottom of the rear feet to the have not been able to unravel. its height, from the rear hooves back, is 4' 3". As in the aboye From among these engravings to the back, is 3' 6". Similar to figures, its outline has been gone we shall mention another that is the aboye figures, it is engraved over with multiple incision deep sufficiently clear, in addition to over part of the outline. Contrary engraving (fig. 115). the aboye. to the horse described before, Partially superimposed on this Under the stomach of the this one has short legs, large last equine figure and at about grey horse there are zig-zag sha- head and fat body. the lame height as the horse with ped drawings making up a sort There is another horse depic- zebra stripes, there is an engra- of screen, and fragments of back ted further to the left and a bit ving depicting another horse, but fines of horses and deer. To the lower. Its profile also faces the this time with the profile facing left and a bit lower, there is a right. It is drawn in black fine left. It is well drawn and repro- tectiform engraved in single and the stain in which it is pain- duces with precision the horse deep line with zig-zag symbols 141 PREIIISTORIC CAVE :ART

repeated at its bottom. To the left horizontal lene with nine vertical stain . which would allow us lo oí' this there is another rectangu- lines sprouting from it. having assume that they are from the lar, crosshatched engraving another horizontal ¡inc under same school. Three of these, partly done by scraping with a them. This concludes the pictorial which are precisely the same spatula. and on top of this, a deer depictions on the Great Panel. ones showing the greatest typo- head touching the top of the On the opposite wall there is logical differences. were pro- crosshatch with its lower jaw. also the figure oí' a cow depicted bably done by the same hand. The unique position of this head in black fine. and lo the left of One of these equine types is on top of the abstract engraving this and a bit lower, the figure of known and is faithfully reprodu- brings up the possibility of an a bison with the drawing non ced in the specimen located lo attempt lo show how a deer is being as well preserved as the the left of the high frieze of the caught in a trap. former, but al least well enough Great Panel: it is a wild Carpan At the left side of the panel lo be able lo identify the figure horse that became extinct oven a there is a small doe head, on and lo realize that it seems lo be hundred years ago, but its des- which the incide surface of the depicted at the mornent of char- cription corresponds exactly lo drawing is filled in using multi- Cging. z: with head lowered and la¡] our painting: rat grey coas (win- pie, fine engraving technique for straight out (figs. 1 18 & 119). ter coat), the stomach and baek a shading effect. Its similarity lo The wall Art of this cave also of the legs are white. short in the does^engraved at Llonín and has other traits worth reflecting height. potbellied. etc. (fig. 115). Altamira is total, and going on opon, in addition lo its great art If this figure is a meticulous por- with this parallelism, we could value placing it among the finest trait, We must then assume that consider this type of engraving specimens know-n. For example, the little horse with short lees lo be within a late Cantabrian one of these is the varied typo- with zebra stripes (fig. 114) also Solutrean. Almost at the same logy of the equines represented. corresponds to the description of height there is the head of a The different modes or cha- a species and is non just the bovine. and off lo the left. two racter of the zoomorphic styliza- artist's imagination. especially in deer heads together that also tions depicted are often attribu- the light of species that have recall the technique of the ones ted lo the imagination or tempe- developed up lo the present day. froni Llonín. rament of the artist. even when We can say the same about the At a much greater height, they are all of the sanie species. slim, white horse with long lees where the rock starts lo forro a Of course. in many cases this is and neck with a somewhat sma- noticeable dome, there is a large true. but without denying this llish head (fig. 113). This same horsehead painted in black line. expressive variety. we also wish opinion is also reasonably appli- The mane is depicted by a styli- lo point out that there are other cable lo the black horse facing zation of lance-shaped leaves. cases in which this reasoning is the reindeer. Thus. one of Che The border between the hairline non applicable, specifically with Prehistoric artists that worked at and the soft. hairlcss tissue of the regard lo the horses depicted on the Tito Bustilo cave has left us a muzzle is shown by a black line, Che Great Panel of the Tito Buss- detailed description of the diffe- just as in the large bovines of tillo cave. What we have here is rent kinds oí' horses that shared Lascarr.v, for example. The size not the stylization of a horse, but the fortunes of life with mankind of this head is just over threc feet rather of ditfere rtt horses. during the Upper Paleolithic era. from the base of the muzzle lo The largest group of those There are other circumstances the top of the ear (fide. 117). present shows uniform work- further affirming the relationship Below this there is another manship and esthetic concept in between these four horses in com- 142 siga drawn in black line. This is a line, coloring and application of parison lo the rest oí' the draw- CHAPTER V111. THE CAVES OF THE TOWNSHIP OF RIBADESELLA

Fig. 115.- Tito Bustillo Cave. Horse painred in grey. Fig. 115.- Cueva Tito 13t millo, Caballo pintado en color gris. ings, and it is that they have and supporting evidence from and even size, is the potential been drawn with their profile the deposit found at the foot of doe of the large ceiling group at facing to the observer's right. the wall. As we have said, this is Altamira, which is dated within That is not the case of the fat the most recent one and the only the Cantabrian Middle Magdale- horse described first nor of the one that has been preservad; but nian. We believe this date to be second, which is small in size at least it can serve as a basis for very appropriate for the female and stained in dark red; both of dating the most recent stage. As reindeer in the Great Panel of these are facing left. will be recalled, testing and in this cave in Ribadesella, espe- We shall attempt to define the some ways craft, place it in the cially when we consider that stages in which these paintings Cantabrian Middle Magdalenian Carbon 14 tests of the deposit at were done, both in the introduc- for us. Among the paintings, we the foot of the wall have given tory paintings before the Great have the one of the female rein- us a very appropriate age of Panel and within it, through use deer with options for identifica- 14,500 years. This dating of the of iconographic comparisons tion as a doe. Very similar to this doe or female reindeer takes the with paintings from other caves in position, movement, coloring reindeer facing it along with it, 143 PREHISTORIC CAVE ART

Fig. 116.-Tito Bustillo Cave. Engraving depicting the horse with zebra stripes painted to the right of it , with profile facing the opposite direction Fig. 116.- Cueva Tito Bustillo. Grabado representando al caballo con cehraduras pintado a su derecha , con el perfil en sentido contrario.

because the treatment of the two the pair of reindeer, though the ting of the reindeer first mentio- figures is so similar that 1 perso- hand of the artist may not have ned is superimposed on the pain- nally have no hesitation in attri- heen the lame in both cases. ting of the horse, which would buting them to the same author, The figures of the horse and already indicate that it was done having been made together as reindeer in black stain , which 1 later, makes me inclined to consi- parts of the same composition. believe to belong to the same der the horse-reindeer scene in The figures of the three hor- composition, have a more sober black as work belonging to the ses on the high part of the panel technique than the aboye depic- early Magdalenian or to a time of would be contemporary to these tions. and in their execution we transition between the Solutrean two: the tarpan horse, the one do not see the rich shadings, nor and Magdalenian . We could also with zebra stripes and the white use of varied colors. nor the black include therein, the figure of the horse of elegant appearance. 1 outlining around the drawing. leer in black stain that is running am basing this opinion on the Despite all this, they do have the and turning its head back to fact that the mannerisms of style advantage of more expressive observe a possible pursuer. and technique are very much in force. This. together with the fact The figure of the fat horse 144 tuve with the artistic moment of that a smal] portion of the pain- (fig. 103) with profile facing left CHAPTER VIII. THE CAVES OF THE TOWNSHIP OF RIBADESELLA

tionship with the large bovines of Lascaux. Their workmanship is similar, even in manner of dra- wino, showing the crea where the hair ends and the hairless part of the muzzle begins. The bovines of Lascaux are conside- red to he Magdalenian work. Personally, 1 would include these two figures in the Tito Bustillo cave. the doe and the horsehead, in a late Cantabrian Magdale- nian. The date for the black fine ideomorph of this same panel would be even later. So 1 therefore believe in general. that this rnain group of paintings in the cave would fall between the Solutrean and Mag- dalenian , both in their middle Cantabrian phase. We still have to arrange the remaining engravings. We would have no doubt in classifying the pair of small deer heads as Solu- trean-Magdalenian, due to their evident relationship to Llonín and others . 1 believe that the engraving with the depiction of the horse with zebra stripes, made with weak and very super- ficial cutting, belongs to a late stage of the Magdalenian. We must of course address Fig. 117.- Tito Bustillo Cave . Horsehead painted in hlack line. the large group of engravings Fig. 117,-Cueva Tito Bustillo. Cabeza de caballo pintado en línea negra. made at the hollow of the Long in contrast to the four that are The deer in black line and Gallero (fig. 97). Its single deep found on the Great Panel. shows axis perpendicular to the ground stroke technique is the one that a surprising similarity to an and the horsehead, also drawn in prevails. although in sorne parts example appearing at the Labas- black fine. remain as the last sig- of the figures the stroke is rein- tide cave (High Pyrenees) in its nificant figures of the Great forced and becomes multiple. stylistic conception and typologi- Panel. The location of these two These engravings belong to the cal structure, and to another at Le figures is first and last on the best Solutrean stage of Art Gabilhou ( Dordogne). that are wall respectively. Concerning which to me, belongs to the first both classified as late Solutrean. the horsehead, we find a rela- third of the period. 145 PREHISTORIC CAVE ART

mula that could be in accord with these ideas is the multiple, deep engraving technique that is used to go over the outlines of the figures painted on the Great Panel which was done after painting, because among other reasons, it was superimposed upon it and the paint was scrat- ched again and again. Techni- cally the engraving would have been explainable if it had been used as a sketch of the figure in preparation for painting. The theory that the function of the engraving would be to make the stain stand out more is not appli- cable either, because these figu- Fig. 118.-Tito Bustillo Cave. Cow figure painted in black line. Fig. 11 8.-Cueva Tito Bustillo. Figura de vaca pintada en línea negra. res gone over with engraving have been perfectly well drawn in a black paint outline with the smallest line details. On the other hand, the painted figures do belong to different styles and stages as we have leen, whereas their emphazising with engra- ving observes the same techni- que and style. 1 would even say they were executed at the same time. Thus, it may be supposed that the prayerful rite carne into a phase in which it was manifes- ted by engraving over the chapes of these painted figures of alrea- dy proven magical qualities. Per- haps this solution might be par- tially attributed to the lack of Fig. 119.- Tito Bustillo Cave. Bison figure painted in black fine. smooth. useable painting surfa- Fig. 119.- Cueva Tito Bustillo . Figura de bisonte pintada en línea negra. ces on rocks in the selected loca- The engravings incorporated It is like an almost invisible tions of the satictuarv: because, finto or related to painted figures image unfolded from the body let us remember that although deserve special consideration. In bulk of the painted horse and it superimposing engravings on this latter sense we first have the is also one more mystery of the depictions is frequent in Prehis- engraved reproduction of the magical ceremonies practiced by toria Art. superimposing on 146 horse painted with zebra stripes. Prehistoric man. Another for- painted figures is unusual and at CHAPTER VIII. THE CAVES OF THE TOWNSHIP OF RIBADESELLA

Fig. 120.- Tito Bustillo Cave. Pendant carved in the shape of a goal hcad. Fig. 120.- Cueva Tito Bustillo. Colgante tallado en forma de cabeza de cabra. most. limited to superimposing which 1 say with all kinds of was discovered and appraised, it small fragmenta. It is as though reservations. We must again can be raid that it has now gained the engraving were a valuable emphasize the extraordinary a position equal to that of those rnessage from the mere fact that artistic quality of this sensational renowned caves, with one of the it was done, without any further group in the Tito Bustillo cave, rnost exclusive and beautiful contemplative purpose. On the evidencing the European charac- collections of paintings ever made other hand. the painting itself ter of this Prehistoric ancestor in by the hand of Prehistoric man. fulfills both conditions: the the area of Art at very least. Upon comparing the pain- value of its creation and the Though Asturias was already tings from the Sella River caves value of permanent admiration. the custodian of a very significant with the paintings from those After these observations and Prehistoric Art legacy including two great monuments, the nota- continuing on with this hypothe- the splendid examples from El ble differences in concept distin- tical discourse, it could be surmi- Pindal, Candamo and El Buxu, it guishing them from the latter sed that the engraving of the had rever been able to equal that may be noticed, due to their very outlines of these figures may per- quintessence of the Art of Alta- personal interpretation of nature. haps be motivated by an action mira and Lascaux. Nonetheless, With no doubt at all, we are wit- to rengo' their magical power. ever since the Tito Bustillo cave nessing here a new example of 147 PREHISTORIC CAVE ART

the interpretive diversity of the artist confronted by the model. For example, in its most cha- racteristic painting, Altamira generates admiration channeled along the suggestive roads of a very evident figurative styliza- tion in fíat, tense colors, subjec- tively modeling anatomies that are equally tense from the effort of the body in an action pose, thus giving rise to an expressio- nism with an elernent of fantasy. With this, the naturalist idea bre- aks off: though without our being able to notice it clearly. In contrast. the paintings of the Fig. 121.-Ti to Bustillo Cave. Fragment of Magdalenian perforated staff. Fig. 1 21.- Cueva Tito Bustillo. Fragmento de bastón perforado magdaleniense. Sella River cave are dominated by great stylistic faithfulness. Before concluding this lengthy stylistic depictions of nature The artists, possessed of extraor- but deserving dissertation on this (figs. 41, 42, 120. 121 & 122). dinary mastery, have depicted most significant Asturian cave All this material comes from the character, attitude, reactions due to its many details , we shall the last period of the site or the and gestures of their models. make reference to its rnobiliary first excavated. and belongs to assigning each one its own per- Art that has provided interesting the Upper Magdalenian. It is sonal features . That is; it is not a pieces, though lacking the specta- hoped that older strata may be horse , but specific lrorses; not a cular qualities of the wall Art. uncovered as deeper digging reindeer, but specific reindeer. Included among these are two progresses at the deposit. Prehistoric man created his really exceptional pieces: a frag- In addition to its extraordi- Art works in the Tito Brrstillo ment of a drilled staff and a small nary wall Art, the Tito Brrstillo cave during a time period be- fíat sculpture depicting a goat's cave has also left us the portable tween thirteen and twenty thou- head that was used as a pendant, message of its tableas. lances, sand years B.C. The first time I judging from the hole it has near palettes. etc. under the -round, beheld the paintings on the the ear . These pieces are both that are beginning to give us a Great Panel was a very stirring very finely nade, especially the handle on dates. moment. Over twenty thousand latter. The sum of the utensils Overcome by a dizzying array years ago. unknown beings had found in the dio is very large: of ages, mysteries and silentes, met together to ]cave us this harpoons with geometric type we now ]cave behind the world message of their existente engravings , palettes also having of our ancestors, who left us through a feat of supreme magic, incisions and some with animal their desperate cries for attention a message that is so intensely figures . In addition to these deco- on the walls of these caverns so felt. that standing before this dis- rated instruments , a collection of that we would not forever he play of their paintings amid the slate and sandstone tablets was ignorant of the dual truth of their starkness of that buried silente, also found whose only purpose life: spirit and substance, already we can still sense the breath and was for engravings to be made in perfect harmony thousands of 148 heat of their living humanity. upon them, sorne of which were years ago. CHAPTER IX

A CAVE AT CANGAS DE ONIS

The El Buxu Cave

Although the Cangas de Onís area is not a part of central Astu- rias. it seems that there, Asturias is even more so. or at least it is that bucolic Asturias that none- theless was capable of taking action with bravery when outsi- ders tried to break up this belo- ved land. There, Asturias is a .-.- .gis more authentic Asturias because a mountain is more a mountain, the snow is whiter and the rivers clearer. Everything is more virgin and more original. It is like when the rain falls hard and fast after a hot summer afternoon. leaving Fig. 122.- Tito Bustillo Cave. Magdalenian needles. magdalenienses. nature clean and refreshed. Fig. 122.- Cueva Tito Bustillo. Agujas From Cangas de Onís. the Years arao, in 1956, back Today we leave the mechani- highway goes to Onís, to Cabra- when 1 was studying the Art of cal fury of the automobile les and to the two Peñamelleras. that cavern, the river had to be behind, and at a trail's pace, off Starting off it follows along the crossed by a jumbled collection we go to the El Buxu cave. At Güeña River, that is born yonder, of rocks, some of which were our side is a creek called Entre- at La Rebollada, and rushes under water whenever the river peñas. At times it gets so bottled down tojoin the Sella. rose a bit, and you had to get up in the canyon that the trail The highway has a fork lea- wet. But the bridge and high- strays from its bed. ding over to Covadonga, but way soon to be built were alre- Finally, way back in the before meeting History we must ady being considered. Cardes shade, the blue-grey bulk of an meet Prehistory. Therefore, only still had elevated granaries and enormous limestone rock comes two and a half miles from Can- stone houses with sun porches. into view, with a surface wrin- gas, before we get to that Cova- On cool mornings it still sme- kled and cracked like an ele- donga fork, we find another lled of wood fueled ovens; there phant's pide. At its base we have coming from motín de Teleñes or were still those fat, generous the entrance to the El Buxu cave. Teleña?; the mili and inn of loaves of bread packed with Does Buxu mean "búho" Teleñes. This highway crosses flour that also speckled their (owl)? This does not seem proba- the Güeña and goes to the town rough. toasted crust. The ble because the name given to of Cardes and there it stops. But tavuelu and the esquirpia cart that nocturnal bird around there from Cardes, there is a trail were still used in the chores of is nothing like that form. But going to the El Buxu cave. the country house. there is bruju, from "brujo" 149 PR[.IIISTORIC CAVE ART

Fig. 123.- El Buxu Cave . Schematic map of the cave. Fig. 123.-Cueva de El Buxu . Plano exluemático de la cueva.

(warlock), which in the purest that were studied right away by Mario Menéndez, who published dialect is bru.vu. and from this it the Count himself and Hugo the results of his work in Bulletin eould indeed have hecome Buxu. Obermaier. They made the 112 of the I.D.E.A. Here. he So this is how it could have results of their work known in a believes that the Art of El Buxu become the Warlock's Cate, book published in 1918 by the falls between a Cantabrian Upper since by exercising> their sharp Commission for Paleontological Solutrean and the beginnings of imagination. people would have and Prehistoric Research. Papes the Magdalenian. and provides associated the unfathomahle N° 20, under the title La cueva vine wall Art specimens that had mysteries of the darle, disquieting del Buxu. been unknown until then. depths of those galleries with the In 1970. Emilio Olávarri did The galleries of the El Buxu unnatural and made up this war- some excavation assays at the cave contamino the Art of our lock: or clse. some wandering edge of the majo deposit provi- Prehistoric ancestors are small. misanthrope may have found ding material that was not very and as intimate as a pocket date shelter in this cave and provided characteristic. but that nonethe- book. It also dried out al] of a a reason for it to he named so. less gave an indication of belon- sudden with no further seepage. Seventy-two years ago. in ging to Solutrean occupation. Therefore most of its hollows 1916, Cesáreo Cardín. hired by The most important deposit is and ceilings are smooth. Though Count de la Vega del Sella lo do sealed off by severa) stalagmite it is small in size and intimate. at an initial location oí' the caves to layers. which causes serious pro- the same time it is also a maze. he explored. discovered the blems in excavation. The wall It spreads out in little branches 150 decorated walls of El Buxu cave Art was recentiv studied hv of low galleries, cat holes or CHAPTER IX. A CAVE AT CANGAS DE ON[S

halls, that branch out in an The same happens in the follo- attempt to make one stray from wing specimen (N° 7 on the the proper road. map). On the top of this location 1 only made occasional return may be seen an engraving drawn visits to the El Buxu cave after in an abstract fashion made with the work 1 had done there in deep cutting and single fine. 1956. For such reason, my story Under this. there is another series refers to what 1 saw back then of fine unes and a little farther and to the conclusions 1 put down, another group of unes that down in my notes, having in are hard to interpret. mind the publication of a study In N° 8 on the map, which is that was never done. now a part of the wall of the pit, Wall Art depictions do not there is another engraved abs- start until some two hundred tract sign drawn in a well defi- thirty or so feet from the ned manner. This consists of a entrance: and then begin with an sort of rectangle crossed inside by unes and outside it has some incomplete drawing of a horse, Fig. 124.- El Buxu Cave. Engraving of a horse. marked as N° 1 on the map of the Fig. 124.- El Buxu. Caballo grabado. fines like fringe at its sides. At cave (fig. 123). This is an engra- ving showing the outline with a multiple stroke fine (fig. 124). In 1963 this engraving had disappe- ared. Opposite this figure, where the stone becomes a sort of low arch preserving its natural rough- ness and then smooths out in an intrados to go up to the ceiling of the gallery that continues on. there are two small sized deer. They are about a foot long and are painted in very faded black that is hard to see (nos. 2 & 3) (fig. 125). To the left. on the main surface of the wall, there is a depiction of a doe also painted in black, and to the right of this, another engraved and painted Fig. 125.- El Buxu Cave. Two deer painted in black line. doe (nos. 4 & 5) (fig. 126). Fig. 125.- El Buxu . Dos cérvidos pintados con línea negra. This display starting at the then come out into a higher con- aboye mentioned arch has a tinuation, and on the wall to the the top right comer there is ano- length of some 23 feet and right. a group of engravings ther group of lines that look like toward the end it opens up finto a appears. One of these (N° 6 on the neck and head of a horse in very Iow gallery to the right of the map) has a series of very their shape (fig. 127). the entrance path. We are going vague fines that could have Going back a little and en the to continue along to the left to belonged to a zoomorphic figure. left wall, N° 9 on the map, there 151 PRI:IIISTORIC CAVE ART

engraving. From appearances this shows that the making of abstract engravings was first in order hefore the stylized pain- tings in hlack. Another series of engraved abstract chapes may be seen in this group. but among these there is a drawing that is also engraved with deep. single line showing a goat and at the bottom of this group. a somewhat vague red painting looking like a letter E (fig. 129). To the side of N° 11 on the map. there is a series of paintings and engra- vings that are impossible to iden- tify. hut the head. neck and Fig. 126.- El I3u.xu Cave. Hind figures painted in hlaek with one al so engraved. beginning of the front feet of a Fig. 1 26.- El Buxu. Cierras pintadas con línea negra. goat can be seen clearly among these. drawn in black paint (fig. 130). Going back to the wall to the left. almost opposite N° 10. there is another very faint engra- ved tectiform shown on the map as N° 12. Following along the wall to the left. N° 13 on the map, we find the figure of a horse engraved with deep, but incomplete cutting (fig. 131). Almost opposite this figure there is a hollow with a very low cei- ling, and on the left wall at its entrance there are other groups of figures which are the most beautifully expresed figures oí' the entice cavern. One oí' them Fig. 127.- El Buxu Cave. Ideomorphic engraving. achieves perfection equal to that Fig. 127.- El Buxu. Grabado ideomórfico. oí' the hest specimens from other are two engraved horses measu- After having gone around the caverns of the Cantabrian region. ring around 20 inches long each. pit arca and following alon`g in a Close to the start of this wall and The engraving is deep cut and Westerly direction, again on the almost at ground level, there are single fine. especially on the bot- right wall. N° 10 on the map. two horses one after the other tom one (fig. 128). 1 noticed the there is a set of deer antlers pain- shown in engraving. In the one in disappearance of these engravings ted in hlack with its bottom part front, the lines of the engraving 152 more than twenty-five years ago. superimposed on an abstract cover the entice body. modeling CHAPTER IX . A CAVE AT CANGAS DE ONIS

Fió. 128.- El Buxu Cave. Engraving depicting two horses. Fig. 128.- El Buxu. Grabado representando dos caballos. with their unes the anatornic deer figure also having a combi- low ceiling of this grotto and all layers of the animal (fig. 132). nation of engraving and black the way inside there is another Over these , separated by close tú paint. It measures some 15 inches large deer figure executed in five feet and by a crack in the long and is of truly admirable engraving with black paint retou- rock, there is another engraved drawing quality. Superimposed, ching. This is also quite expres- horse (fig. 133). The first two there is another very incomplete sive; it is falling down wounded have sets of unes drawn perpen- engraved figure that appears to be by some javelins piercing its dicular to the stomach , as though another deer. On the highest part chest. Over this deer there is a to indicate weapons piercing it. of the wall there is an engraving goat engraving (fig. 136). Going along , we find the dra- of a horse that is also incomplete Lastly, shown by number 17 wing marked as N° 15 on the and higher up, a figure of a on the map, there is a black paint map, corresponding to the loca- fallow deer drawn in black paint sign that looks like it represents tion of a small bison engraved with six dots of the same color on the antlers of a deer. with single cut and a cure hand, the neck and body. This animal We think that the abstract sty- mostly retouched with black seems to be depicted at the lizations in engraving at the El outlines (fig. 134). To the right of moment of bellowing (fig. 135). Buxu cave are the first to be cut the bison , N° 16 on the map, is a Part of this figure is done on the into the walls of this sanctuarv, 153 PREHISTORIC CAVE ART

becoming manifested in arcas that are far from the entrance. The small ideomnorplrs would belong to a stage in which they are widely used as the only means of communication, for man does not have the technical skills for naturalistic expression on flat surfaces due to the diffi- culty involved in having to cre- ate an impression of three dimensions using only two. This, and the fact that they are all grouped together at the same place, and the few places where there is some link with a natura- listic figure they are always underneath it, supports the sup- position that their appearance upon the walls is the most ancient, possibly during the Aurignacian cycle. The second phase would belong to the deep, single line engravings with very schernatized naturalistic figures. including the drawings of the two goats, one of which is located incide the group of the ideomorphs, N° 10 on the map, and another in the fallow deer hollow. We also define the figures of three horses as beinrg of this same type of engraving, two

of which are under N° 9 of the Fig. 129.- El Buxu Cave, ldcomorphic and goat engravings. map and the third, in location N° Fió. 129.- El Buxu. Grabados y pintura ideombrficos v grabado de cabra. 13. These figures would already be included in the Solutrean not present in the aboye descri- the fragment of a goat, the fallow cycle, perhaps its initial stage. bed engravings. deer in the hollow, etc. Finally, and those engravings that follow Lastly, we would have exam- those half abstract, half stylized the Jeep cutting technique would ples of shallow, weak, multiple signs also painted in black. the continue to becorne intertwined stroke cut engraving, sometimes deer antlers, would belong to a with them until the end of the retouched with black paint. which very recent Magdalenian stage. Solutrean, though they nonethe- we assurne to be definitely of a The long period of use of the less co en with a multiplication Magdalenian stage, ihe same as cave and scinctucirv supposed by 154 of strokes. a circumstance that is the figures painted in this color: this classification is not suppor- CHAPTER IX. A CAVE AT CANGAS DE ONIS

Fig. 130 .- El Buxu Cave . Ideomorphic paintings and engravings and fragment of a goat in hlack paint. Fig. 130.- El Buxu . Grabados y pintura ideornórficos y pintura de un fragmento de cabra. ted by the results of excavations capabilities of others who never is no doubt that the first hypo- that have been performed up to quite achieved the degree of thesis was tempting. They might now. which show a possibility of workmanship that shines in the have been a depiction of shelters Cantabrian Upper Solutrean in stylizations depicted in the to be occupied during a possible the most ancient strata: but we fallow deer hollow. survival of mankind after death. are still deprived of knowledge of The large number of ideo- Such a chame that these messa- the main deposit due to the diffi- inorphic representations concen- ges must be hidden from us in culties that have already been trated in this cave still remains the deepest recesses of darkness! mentioned. Once these are over- to be considered. Years ago, Concerning mobiliary art from come, then perhaps one day we many of these abstract symbols this cave, we should mention that shall know if all this classifying were grouped under the name of a piece of obvious interest was we are putting forth with so many tectiforms. or roof chapes, recovered in the excavations reservations is correct, or if our because there was an idea that directed by Dr. Olávarri in 1970. guesses will be proven wrong. they might have represented huts This is a figure of a bird sculpted The Art of the El Bu.vu cave or houses . Today, the variety of from a bear tusk. It was held to be mixes the capabilities of the their shapes also increases the Solutrean work. No doubt it was most skilled artists with the variety of suppositions; but there used as a pendant (fig. 137). 155 CHAPTER X

THE CAVERNS OF THE CENTRAL REGION

In our tour through the Astu- rian region in pursuit of the Art legacy left to us by our ances- tors. we must make a hig leal) from Canoas de Onís to the cen- tral area of the province because it is here. where the Nora arad Nalón rivers join together under the beneficia) influence oí' both their chan- nels, that the most Westerly habitat of the first Asturians spread out.

The Cave of Caldas

This is one of the caves that Fíe. 1 31 .- El Buxu Cave. Engravin, uf a horse. snuggles up to the Nalón. Sorne Fie. 131 .- El Buxu. Grabado representando un caballo. thirty-odd years ago. Prof. Jordá nade some explorations The Cave of Las Mestas of Sofo.vó. also located in the and assays in it where he found Las Regueras district close to out about a formidable sito Las Mestas. in the Las Balsera and next to the Nora very rich in Solutrean tools of Regueras district on the bank by river. Around 1916 it was dis- model perfection. Later, in the the confluence of the Nalón and covered and excavated by seventies, M. Soledad Corchón the Nora. provided poor speci- Count de la Vega del Sella. It made a systematic study of the mens o1' wall Art. but these are provided Magdalenian crafts. deposit after having mude an very interesting because they and notable among these is a equally systematic excavation. belon,,ed to the Aurignacian- group oí' bone shafts with abs- recovering four successive Gravettian cycle. Aside from tract type decoration (fig. 138). layers of occupation with Can- some undecipherable strokes No wall Art. tabrian Early Solutrean and engraved on the wall, there is a Middle Solutrean, and contri- neck and back line which could The La Paloma Cave buting laurel-leaf and asymme- be the figure oí' a horse. The tric bifacial tips and the rnost stroke is wide and deep. Also located in the Las ancient iteras of mobiliary art: Regueras district Glose to the but there was no specimen of The Sofoxó Cave Soto river. a trihutary of the great wall Art. The scale of Nalón. Aside from tool kit levels goes down to the Magda- Another interesting Prehisto- objects such as palettes. shafts, 156 lenian ric deposit is found at the cave drilled staffs. etc., it also provi- CHAPTER X. THE CAVERNS OF THE CENTRAL REGION

Fig. 132.- El Buxu Cave. Engraving of two horses. Fig. 132.- El Buxu. Grabado representando dos caballos.

ded interesting specimens of mobiliary Art in a group of stone tablets with engravings having drawings of deer, horses and others.

Dark Cave of Ania

Another name linked to the Las Regueras district is the Dark Cave of Ania, which has been under excavation by J.M. Gómez Tabanera and Manuel Pérez since 1975. In the vesti- bule area there are stylizations. among which a supposed bison

Fig. 133.- El Buxu Cave. Engraving of a horse. and a horsehead seem to be dis- Fig. 133.- El Buxu. Grabado representando un caballo. tinguishable, possibly from the 157 PREHISTORIC CAVE ART

134.- El Buxu Cave. Bison figure. engraved waith buches of hlack paint. Fig. 134.- FA Buxu. Figura de bisonte ;grabado N con toques de color en negro.

Aurignacian-Gravettian cycle cut strokes and to the rieht. in a ted with superimposed symbolic some 25.000 years B.C. sort of little hollow, there are depictions. more or ]ess parallel stairlike The Conde Cave Jeep-cut unes. The Cave of Also known as the Cave of The La Moratina Cave Los Murciélagos ( Bat Cave) Taliión. This is situated in the Sto. Adriano district and was Close to the place called In the district of Ribera de discovered by the Count de la Amieves in the parish of Tudela Arriba on the border with Vega del Sella in 1915. It has a de Agtieria. district of Oviedo. is Oviedo, also close lo the Nalón. rich Aurignacian deposit and this cave they call La Moratina. is found the cave oí' Los Murcié- wall engravings fronn that period It was examined by José Manuel lago.c (Bat Cave), explored in have also been recoinized. Quintanal in 1975. with magnifi- 1972 and examined again in There are two series located on cent Magdalenian specimens and 1978 by the Polifemo speleologi- the shelter walls; lo the left are various tablets with engravings cal group. In this Iast examina- 158 some more or less vertical deep found along with a pehhle pain- tion. an engraving depicting a