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| drawings and polychrome rock paintings of wild mammals and human hands |
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| cave with prehistoric cave paintings that were discovered |
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| ed to a bitter public controversy between experts which continued into the early 20th century, as many of them did not believe prehistoric man had the intellectual capacity to produce any kind of artistic expression |
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| the acknowledgement of the authenticity of the paints became accepted in: |
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Santillana del Mar in Cantabria, Spain
west of Santander |
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| world heritage site by unesco |
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| through collapse following early karstic phenomena in the calcerous rock of Mount Vispieres |
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| Archaeological excavations in the cave floor found |
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| rich deposits of artifacts from the Upper Solutrean (c. 18,500 years ago) and Lower Magdalenean (between c. 16,500 and 14,000 years ago). |
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| Around 13,000 years ago a rockfall: |
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| sealed the cave's entrance, preserving its contents until its eventual discovery, which occurred after a nearby tree fell and disturbed the fallen rocks. |
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| charcoal and ochre or haematite to create the images, often diluting these pigments to produce variations in intensity and creating an impression of chiaroscuro. |
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| They also exploited the natural contours in the cave walls to give: |
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| their subjects a three-dimensional effect. |
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| The Polychrome Ceiling is the most impressive feature of the cave, depicting a: |
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| herd of extinct steppe bison (Bison priscus[2]) in different poses, two horses, a large doe, and possibly a wild boar. |
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| Dated to the Magdelenean occupation, these paintings include |
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| abstract shapes in addition to animal subjects. |
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| Solutrean paintings include: |
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| images of horses and goats, as well as handprints that were created when artists placed their hands on the cave wall and blew pigment over them to leave a negative image. |
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| Marcelino Sanz de Sautuola was led by his eight year-old daughter María to discover the cave's drawings in: |
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| The cave was excavated by |
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| Sautuola and archaeologist Juan Vilanova y Piera from the University of Madrid |
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| Due to the supreme artistic quality, and the exceptional state of conservation of the paintings: |
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| Sautuola was even accused of forgery. |
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| Emile Cartailhac emphatically admitted his mistake in the famous article: |
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| "Mea culpa d'un sceptique", published in the journal L'Anthropologie. Sautuola, having died 14 years earlier, did not live to enjoy his rehabilitation. |
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| Further excavation work on the cave was done by: |
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| Hermilio Alcalde del Río between 1902-04, the German Hugo Obermaier between 1924-25 and finally by Joaquín González Echegaray in 1981. |
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| In 2008, researchers using uranium-thorium dating found that the paintings were completed over a period of up to: |
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| 20,000 years rather than during a comparatively brief period |
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| In 2012, further uranium-thorium dating research was published supporting an: |
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| older age for portions of the art, including one claviform image at 35,600 years old. |
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| During the 1960s and 1970s, the paintings were being damaged by |
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| the carbon dioxide in the breath of the large number of visitors. |
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| Altamira was completely closed to the public in: |
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| Very few visitors were allowed in per day, resulting in: |
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| The logo used by the autonomous government of Cantabria to promote tourism to the region is based on : |
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| one of the bisons in this cave. |
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