Documentos de Académico
Documentos de Profesional
Documentos de Cultura
CANTABRIA Y EL PATRIMONIO
MUNDIAL DE LA UNESCO
EL GOBIERNO AUTONÓMICO DE CANTABRIA, JUNTO CON LOS DE ASTURIAS Y PAÍS VASCO, PROMUEVE
LA INCLUSIÓN DEL ARTE RUPESTRE PALEOLÍTICO DE LA CORNISA CANTÁBRICA ENTRE LOS BIENES
PATRIMONIO MUNDIAL DE LA UNESCO.
T E X T O / T E X T R O B E R TO O N TA Ñ Ó N P E R E D O
La elevada cantidad de yacimientos, su riqueza en uno de ellos dotado de marcadas peculiaridades regionales.
manifestaciones, la variedad iconográfica documenta- Entre ellos destaca, por derecho propio, la región franco-can-
da y la amplitud temporal que abarcan hacen del ter ri- tábrica, que reúne aproximadamente el 90% de los yacimien-
torio cantábrico una región de primer orden entre las tos conocidos y, dentro de ésta, uno de los territorios clásicos
que cuentan con testimonios de las primeras manifes- del arte rupestre paleolítico: la región cantábrica. La Cornisa
taciones de arte murario de la historia. Un valor que la Cantábrica es una estrecha franja de terreno confinada al sur
Consejería de Cultura, por la Cordillera y volcada
Turismo y Depor te aspira por el norte al mar del
a ver reconocido por la mismo nombre. Totalmente
Organización de las Na- expuesta a las condiciones
ciones Unidas para la oceánicas, la suavidad de su
Educación, la Ciencia y la clima ha convertido a la
Cultura (UNESCO) como región en un lugar óptimo
Bien Cultural en la selec- para la ocupación humana,
ta Lista del Patrimonio especialmente en los perío-
Mundial, reconocimiento dos más fríos de la última
que ya disfruta Altamira. glaciación. Además, su lito-
logía, constituida en buena
parte por rocas calizas, ha
l arte rupestre paleo-
E
propiciado la formación de
lítico podría definirse, numerosas cavidades que
de modo muy sim- fueron intensamente aprove-
ple, como una forma primiti- chadas por los primeros
va de expresión gráfica reali- pobladores de la región.
zada sobre soporte parietal.
La utilización de soportes no La mayor concentración de
perecederos como las pare- cuevas con arte rupestre
des de las cuevas y abrigos y SIGNOS PINTADOS EN LA CUEVA DE LA PASIEGA (PUENTE VIESGO). paleolítico se localiza en el
los afloramientos rocosos al SIGNS PAINTED ON THE PASIEGA CAVE (PUENTE VIESGO). centro de la región, en el
aire libre ha permitido la sector comprendido entre el
conservación hasta nuestros días de estas manifestaciones río Nalón, al oeste, y el Asón al este; esto es, el territorio que
prehistóricas. Por otro lado, y dejando aparte el arte mobiliar se extiende entre el centro-oriente de Asturias y el este de Can-
(elaborado sobre pequeños objetos en hueso, asta y piedra), tabria, al que hay que añadir las cavernas decoradas de Viz-
debemos considerar la existencia de un arte ejecutado sobre caya y Guipúzcoa. El número total de sitios con arte parietal
soportes precarios, vegetales y animales (corteza, pieles, ador- paleolítico se aproxima al centenar, y entre ellos se cuentan
nos corporales), hoy perdido pero sin duda rico y complejo. algunos de los conjuntos más importantes del mundo. La ele-
vada cantidad de yacimientos, su riqueza en manifestaciones,
Se trata de un fenómeno de gran escala, tanto en el espacio la variedad iconográfica documentada y la amplitud temporal
como en el tiempo, que cubre el vasto territorio que se extien- que abarcan hacen del territorio cantábrico una región de pri-
de desde los Urales hasta la Península Ibérica y se prolonga a mer orden entre las que cuentan con testimonios de las pri-
lo largo de unos 20.000 años (desde hace más de 30.000 meras manifestaciones de arte murario de la historia. Y den-
hasta 11.000 años antes del presente, aproximadamente). Su tro de este apretado conjunto, el núcleo más importante
distribución, sin embargo, dista de ser homogénea, y se confi- corresponde a la actual región de Cantabria, que incluye entre
gura en distintos grupos bien delimitados espacialmente, cada sus límites más de medio centenar de cuevas decoradas.
cantabria infinita 7
TEMAS / PATRIMONIO
8 cantabria infinita
THEMES, TECHNIQUES,
MEANINGS
The human groups of the Upper Palaeolithic shaped on the walls and ceilings
of their caves - and also on rocky "canvases" situated in the open air -
representations whose CONTENT falls into two large thematic groups: the
animalistic one (including human beings) and what are called signs. The
repertoire of figures, although varied, is not at all extensive. The animals are
restricted basically to a certain few species - bison, horse, stag/hind, goat and
auroch (wild bull), and seems to be fixed in the time when this art was first
begun, after which it lasts a long time. The catalogue of signs - motifs whose
interpretation is not clear - varies according to a markedly regional and
chronological component.
Nor does the ARRANGEMENT of the figures within the cavern appear random.
Rather, it would show a certain degree of organization within collections
or panels which possess an internal order whose elements combine
in central and secondary themes, revealing a composition which is
reiterated over and over again in different parietal collections.
Likewise, there does not seem to be anything random about the
distribution of the decorated panels in relation to the plan of the
caves. Further evidence of organization of the space which the
representations occupy is that the artists took advantage of
natural unevenness in the rock to constitute authentic set
designs in the cave.
EL NÚMERO TOTAL DE SITIOS CON ARTE PARIETAL PALEOLÍTICO SE APROXIMA AL CENTENAR, Y ENTRE
ELLOS SE CUENTAN ALGUNOS DE LOS CONJUNTOS MÁS IMPOR TANTES DEL MUNDO.
THE TOTAL NUMBER OF SITES WITH PALAEOLITHIC PARIETAL ART APPROXIMATES TO ONE HUNDRED,
AND AMONGST THEM ARE SOME OF THE MOST IMPORTANT COLLECTIONS IN THE WORLD.
cantabria infinita 9
TEMAS / PATRIMONIO
10 cantabria infinita
2 3
5 6
7 8
cantabria infinita 11
TEMAS / PATRIMONIO
12 cantabria infinita
10 11
13 14
15 16
cantabria infinita 13
TEMAS / PATRIMONIO
de París y el CNRS. Desde 2003 es investi- THE AUTONOMOUS GOVERNMENT OF CANTABRIA, WITH THE ASTURIAS
gador de la UC dentro del Programa AND THE BASQUE COUNTRY GOVERNMENTS, IS PROPOSING THAT THE
Ramón y Cajal. En la actualidad es PALAEOLITHIC CAVE ART OF THE CANTABRIAN COAST BE INCLUDED IN
arqueólogo de la Consejería de Cultura, UNESCO'S WORLD HERITAGE SITES.
Turismo y Deporte y subdirector del Insti-
tuto Internacional de Investigaciones Prehistóricas de Canta- The large number of sites, their richness in manifestations, the documented
bria. Codirige las excavaciones en el Complejo Arqueológico iconographic variety and the length of the time period they cover make
de La Garma. Ha sido comisario de las exposiciones La Garma, Cantabrian territory a region of the first order amongst those which evidence
un descenso al pasado (Santander 1999, Barcelona 2001) y La the first manifestations of mural art in history. A value which the Ministry of
materia del lenguaje prehistórico (Torrelavega 2004, Madrid Culture, Tourism and Sport aspires to have recognized by the United Nations
2005). Coordina la propuesta de declaración como Patrimo- Educational, Scientific and Cultural Organization (UNESCO) as a Cultural
nio de la Humanidad del arte rupestre paleolítico de la Cor- Site in the select World Heritage List, in which Altamira is already included.
nisa Cantábrica.
The Cantabrian Coast is a narrow strip of land bounded on the south by the
Cantabrian Cordillera mountain range and rolled over in the North towards the
sea of the same name. Completely exposed to oceanic conditions, the mildness
of its climate has turned the region into an optimum place for human occupation,
especially in the coldest periods of the last ice age. Moreover, its lithology,
consisting largely of limestone, has favoured the formation of numerous cavities
which were used extensively by the first inhabitants of the region.
The largest concentration of caves with Palaeolithic cave art is located in the
centre of the region, in the sector delimited by the River Nalón, in the west, and
CENTRO DE INTERPRETACIÓN Y DE RECEPCIÓN DE VISITANTES DE the River Asón in the east; this is the territory which extends between the mid-
LAS CUEVAS DE MONTE CASTILLO (PUENTE VIESGO). east of Asturias and the east of Cantabria, to which must be added the decorated
INTERPRETATION AND RECEPTION CENTRE FOR VISITORS TO THE caves of Biscay and Guipúzcoa. The total number of sites with Palaeolithic
MONTE CASTILLO C AVES. parietal art approximates to one hundred, and amongst them are some of the
FOTO: ROBERTO ONTAÑÓN. most important collections in the world. The large number of sites, their richness
in manifestations, the documented iconographic variety and the length of the
time period they cover make Cantabrian territory a region of the first order
amongst those which evidence the first manifestations of mural art in history.
And amongst this tightly grouped collection, the most important nucleus is the
current region of Cantabria, which includes within its boundaries over half a
hundred decorated caves.
Somewhat over 35,000 years ago these latitudes saw the arrival of the first
Homo sapiens, small groups spread throughout the territory who, for a while,
shared their resources - or competed for them - with the last communities of
Neanderthals established here. Some time later, when the previous inhabitants
had become extinct, our original ancestors took control of the region, starting a
period of cultural richness such as had never before been observed. Bone
projectiles and laminar industries in stone, personal ornaments and, particularly
the first artistic manifestations on portable and parietal media, are the signs of
14 cantabria infinita
cultural identity of these groups of humans who lived in our region 30,000 - caves have entailed profound alterations in the environmental conditions
25,000 before the present, in the early part of the period known as Upper necessary for preserving cave art, thus placing its preservation seriously at risk.
Palaeolithic. These first time spans of cave art are when decorating was done to Changes in air circulation patterns, increases in temperature and the
caves such as Chufín (Rionansa), Cudón (Miengo), La Garma (Ribamontán al concentration of carbon anhydride, reduction in relative humidity, biological
Monte), Hornos de la Peña (San Felices de Buelna) or the caves in the Carranza contamination, acts of vandalism or negligence, have upset the delicate balance
Pass (Ramales de la Victoria), with points and discs, hands in negative, linear of a sensitive medium, producing various kinds of damage to the works and their
carvings and synthetic representations of animals. matrix, ranging from fissuring and desquamation of the rock, to the profusion of
neo-formations which mask or cover the figures; from the absorption of the paint
Starting 25,000 years ago, environmental conditions on a planetary scale by the rock matrix, causing it to practically disappear, to the difumination of the
became harsher which reached its critical point about 18,000 years ago (the last shapes in blotches of colour; from the disgregation of the rock through the action
ice age). This cold stage coincided in our region with a time of flourishing artistic of certain micro-organisms to being covered by colonies of bacteria; from the
activity, defined by a multiplication in carved and painted collections and by the effacement of some representations executed on clayey films to their being
appearance of a particular artistic style between the basins of the Rivers Saja and defaced with graffiti or blackened with the smoke from carbide lamps.
Asón. It was characterized by representations of animals, with a preference for
hinds, painted in red using the stippling technique. Altamira (Santillana del Mar), We may say, however, that these deterioration factors are today under control: the
La Pasiega and El Castillo (Puente Viesgo), El Pendo (Camargo), La Garma administrative and actual protection of the cavities, their constant guarding, the
(Ribamontán al Monte) or the caves of Monte Pando and the Carranza Pass restriction on the numbers of visitors to the caves open to the public and the
(Ramales de la Victoria) contain important collections belonging to this school. continuous monitoring of their micro-environmental conditions all make us
To this time in the development of archaic Palaeolithic art also belong other optimistic about the possibility of preserving for future generations a heritage of
collections with engraved representations painted black in the caves of Chufín incalculable value which has been left to us by our most distant ancestors.
and Micolón (Rionansa), El Castillo and La Pasiega (Puente Viesgo) and El Cuco
(Castro Urdiales).
ANALYSIS OF THE PRESENT AND LOOKING TO THE FUTURE
In the final stages of the last ice age, the Late Glacial period saw a veritable
artistic explosion. The period known as the Magdalenian (17,000 - 11,000 years Palaeolithic cave art is a cultural asset of the first order; an authentic master work
before the present) constitutes a real floruit in all orders of Palaeolithic culture, of the creative genius which combines high artistic quality with its nature as an
and especially in art. This is, without a doubt, the most splendid period of cave exceptional testimonial to the history of civilization: the first artistic manifestation
art, in which a varied repertory of motifs, techniques and representation of the human species. For that reason it possesses universal value and meaning,
conventions crystallized, combining with one another, and constituting one of the closely linked with the evolution of culture and society.
high points in the history of universal art. Impressive collections like the
polychromes of Altamira or El Castillo summarize without words the artistic It is the responsibility of the Regional Administration to conserve this heirloom -
perfection of this time: the excellent use of the medium in the search for relief, which, let us not forget, belongs to and, therefore, is the responsibility of us all -
the technical mastery in combining different types of carving and the red and as well as promoting research and, at the same time, the dissemination of
black paint and the great realism, accompanied by painstaking detail, in the information to the general public. With the objective of honouring this
representations of animals, make of them the best-known examples of prehistoric commitment, the Ministry of Culture, Tourism and Sport is running a programme
art.Alongside these famous collections are known in our region other groups of for the preservation and study of cave art, and maintains a network of caves with
carved and painted figurations belonging to this period, not as spectacular in their mural art which the public may visit. Furthermore, it authorizes and finances
size and configuration but nonetheless of artistic interest, such as those in Las research projects into parietal art, co-operating for this purpose with other
Aguas Cave (Alfoz de Lloredo), the internal collection at Hornos de la Peña, regional, national and international institutions.
several figures in the Lower Gallery of La Garma, Cullalvera (Ramales de la
Victoria) or Urdiales Cave (Castro Urdiales). It is within this context that the Directorate-General of Culture of the Autonomous
Government of Cantabria has, in co-operation with its counterparts in the
But this apogee may also, at the same time, be considered the swan song of Principality of Asturias and the Basque Autonomous Government, launched an
Palaeolithic art: about 13,000 years ago there began a rapid and vigorous initiative which aspires to extend the registration as a Cultural Site in UNESCO's
improvement in environmental conditions, which gave way, some 10,000 years World Heritage List, in which Altamira is already included, to the rest of the
ago, to the current climatic period, the Holocene. This major climatic change was Cantabrian Palaeolithic cave art. The chances of success of this project, which
to bring with it profound changes in human culture and, amongst them, the has already been pre-approved by the Spanish Historical Heritage Council, could
decline, equally abrupt, of Palaeolithic art. Even in a final cold spell, collections not be better: the features summarized in the above paragraphs more than prove
like that of Las Monedas or El Otero testify to the final death rattle of an art the exceptional universal value of this artistic manifestation, which is a
undergoing extinction, with animals painted in black or carved in whose prerequisite for the acceptance of proposals for inclusion in such a select list by
execution techniques and conventions synthesize, composing brief the United Nations Educational, Scientific and Cultural Organization. ❙
representations in outline style. Very shortly afterwards, towards 11,000 years
ago, this cavern art which had been practised for thousands of years was to
disappear altogether.
cantabria infinita 15
TEMAS / PATRIMONIO
El arte rupestre prehistórico es una manifestación Es conveniente, dado que el acceso a estos destinos está
arqueológica extremadamente frágil, que no puede ser restringido por motivos de conservación, reservar siem-
empleada de forma indiscriminada para usos culturales pre la visita. Para ello, existe una central de reservas a
y turísticos. Es por ello que no todos los sitios arqueoló- disposición del público interesado, en la que se pueden
gicos que cuentan con expresiones rupestres se encuen- efectuar consultas sobre horarios, precios y régimen de
tran habilitados y reglados para la visita. acceso a cada destino, y efectuar las reservas oportunas
La Consejería de Cultura, Turismo y Deporte del Gobier- a estas cuevas.
no de Cantabria, entidad encargada de velar por la con-
servación y disfrute público de este singular patrimo- TELÉFONO DE INFORMACIÓN 942 598 425
nio, ofrece en la actualidad seis enclaves rupestres
abiertos al público. http://culturadecantabria.com/
41 CAVIDADES,
6 ENCLAVES ABIERTOS AL PÚBLICO
41 cavities, 6 enclaves open to the public
INFORMACIÓN Y RESERVAS INFORMATION AND APPOINTMENTS INFORMACIÓN Y RESERVAS INFORMATION AND APPOINTMENTS
www.culturadecantabria.com Tel. 942 598 425 Fax 942 598 305 www.culturadecantabria.com Tel. 942 598 425 Fax 942 598 305
DESCRIPCIÓN DESCRIPTION
Fue descubierta por H. Alcalde del Discovered by H. Alcalde del Río in DESCRIPCIÓN DESCRIPTION
Río en 1903 y excavada, entre 1910 1903 and excavated, between La cueva y sus pinturas rupestres The cave and its paintings were
y 1914, por el Instituto de Paleonto- 1910 and 1914, by the Institute of fueron reconocidas en 1952 por Feli- surveyed in 1952 by Felipe Puente
logía Humana de París bajo la direc- Human Palaeontology in Paris under pe Puente y Alfredo García Lorenzo. and Alfredo García Lorenzo. They
ción de H. Obermaier. En los últimos the direction of H. Obermaier. In Fue estudiada y publicada por were studied and published by
años han reanudado las excavaciones recent years excavation has been Eduardo Ripoll. La cueva esconde un Eduardo Ripoll. The cave hides
V. Cabrera y F. Bernaldo de Quirós. resumed by V. Cabrera and F. auténtico espectáculo geológico en within it a truly spectacular geolo-
Presenta un conjunto muy rico de Bernaldo de Quirós. su interior: columnas, coladas, esta- gical formation: richly coloured co-
arte rupestre paleolítico con más de The cave presents a very rich collec- lagmitas y estalactitas de gran belle - lumns, flowstones, stalagmites, sta-
250 representaciones, tanto pintu- tion of Palaeolithic cave art with over za y colorido hacen de la visita a la lactites of great beauty make visiting
ras (signos, manos, animales, etcé- 250 representations, both paintings cueva un regalo para los ojos. Lla- the cave a delight for the eyes. There
tera), como grabados (ciervas, (symbols, hands, animals, etcetera), man la atención algunas manifesta- are some striking multi-coloured
cabras, uros, etcétera). La cronolo- and carvings (hinds, goats, aurochs ciones multicolores, debidas a la manifestations produced by the
gía de las manifestaciones abarca (oxen), etcetera). The chronology of mezcla de minerales (hierro, manga- mixing of minerals (iron, magnesium
desde el Auriñaciense (hace 30.000 the manifestations extends from the neso...) con la calcita en disolución. ...) with calcite in solution. The
años) al Magdaleniense Final (hace Aurignacian (30,000 years ago) to El conjunto de manifestaciones collection of cave dwelling mani-
12.000 años). En el vestíbulo de la the Final Magdalenian (12,000 years rupestres se encuentra en una peque- festations is located in a small
cueva se conserva uno de los más ago). In the vestibule of the cave is ña sala galería, situada junto a la pri- gallery room, situated next to the
importantes yacimientos paleolíticos one of the major Palaeolithic finds in mera gran sala. Se trata de pinturas first great room. There are black
de Europa que, en proceso de exca- Europe, which may be visited while negras, realizadas con carbón entre paintings, executed in charcoal, and
vación, puede ser visitado. También excavation is in progress. There is las que abundan los caballos. Ade- depicting many horses. There are
existe un centro de interpretación also an interpretation centre illus- más aparecen representaciones de also representations of reindeer,
sobre las ocupaciones humanas de trating the human occupations of the renos, cabras monteses, bisonte y mountain goats, bison and aurochs,
la cueva y el fenómeno artístico cave and the phenomenon of oso, además de algunos signos. La as well as a few symbols. The dating
paleolítico. Palaeolithic art. datación del conjunto se puede esta- of the collection may place it in the
blecer en el Magdaleniense (hace Magdalenian (13,000 years ago).
13.000 años).
16 cantabria infinita
CUEVA DE EL PENDO
LOCALIZACIÓN LOCATION
Barrio de El Churi, Escobedo de Camargo (Camargo).
SERVICIOS SERVICES
- Aparcamiento. - Car park.
- Visitas guiadas. - Guided visits.
- Iluminación eléctrica. - Electric lighting.
- Estructuras de tránsito por la - Structures for moving around the
cave.
CUEVAS CON ARTE RUPESTRE
cueva.
Nº Nombre Municipio Visitas
DESCRIPCIÓN DESCRIPTION
The cave was discovered by M. Sanz 1 El Salín Val de San Vicente No
La cueva fue descubierta por M.
Sanz de Sautuola en 1878. Desde de Sautuola in 1878. Since then, 2 Chufín y Chufín IV Rionansa Sí
entonces, el importante yacimiento the major find which it houses has 3 Micolón Rionansa No
que conserva se ha excavado en been excavated on numerous occa- 4 Los Marranos Lamasón No
numerosas ocasiones. Los grabados sions. The carvings were surveyed in 5 Porquerizo Rionansa No
fueron reconocidos en 1906 por 1906 by Alcalde del Río, and the 6 La Meaza Comillas No
Alcalde del Río, y las pinturas en paintings in 1997 by A. Valle, Carlos 7 Las Aguas Alfoz de Lloredo No
1997 por A. Valle, Carlos G. Luque, G. Luque, and J. M. Morlote. It is a 8 Cualventi Alfoz de Lloredo No
y J. M. Morlote. Se trata de una cavity of enormous proportions with 9 El Linar Alfoz de Lloredo No
cavidad de enormes proporciones a great room 80 metres long by 45 10 Altamira Santillana del Mar No
con una gran sala de 80 metros de metres wide by 20 metres high. In a 11 La Estación Reocín No
largo por 45 metros de ancho y 20 frieze at the back of the cave there is 12 La Clotilde Reocín No
metros de altura. En un friso al a collection of up to 24 cave 13 Las Brujas Suances No
fondo de esta sala aparece un con- dwelling representations formed of 14 Cudón Miengo No
junto de hasta 24 representaciones red paintings - mostly hinds, a 15 Sovilla San Felices de Buelna No
rupestres formado por pinturas horse, a goat and several symbols. 16 Hornos de la Peña San Felices de Buelna Sí
rojas, la mayoría de ellas ciervas, un These manifestations may date from 17 El Castillo Puente Viesgo Sí
caballo, una cabra y varios signos. 20,000 - 23,000 years ago. In a 18 La Pasiega Puente Viesgo No
Estas manifestaciones pueden datar small room at the back there are 19 Las Chimeneas Puente Viesgo No
de hace unos 20.000-23.000 años. Magdalenian carvings (15,000 20 Las Monedas Puente Viesgo Sí
En una salita del fondo hay graba- years old) representing a bird and a 21 Calero II Piélagos No
dos magdalenienses (hace 15.000 quadruped. 22 Santián Piélagos No
años) que representan un ave y un 23 El Juyo Camargo No
cuadrúpedo. 24 El Pendo Camargo Sí
25 La Garma Ribamontán al Monte No
26 Salitre Miera No
27 Cobrante Voto No
28 El Otero Voto No
29 Emboscados Ruesga No
30 El Patatal Ruesga No
31 Cofresnedo Ruesga No
32 Peña del Perro Santoña No
33 El Cuco Castro Urdiales No
34 Urdiales Castro Urdiales No
35 La Lastrilla Castro Urdiales No
36 Grande / Los Corrales Castro Urdiales No
37 Arco, Pondra, Morro del Oridillo Ramales de la Victoria No
38 Sotarriza-Covanegra Ramales de la Victoria No
39 Cullalvera Ramales de la Victoria No
40 El Haza Ramales de la Victoria No
41 Covalanas Ramales de la Victoria Sí
Prehistoric cave art is an extremely fragile archaeological Given that access to these sites is restricted on conserva-
manifestation, which cannot be used indiscriminately for tion grounds, it is advisable always to request an
cultural and touristic purposes. That is why not all the appointment to visit. For that reason, a booking office is
archaeological sites which contain expressions of cave available to interested members of the public, where
dwelling have been fitted out and regulated for visiting. they can enquire about visiting times, prices and access
The Ministry of Culture, Tourism and Sport of the Auto- arrangements for each site, and obtain a suitable
nomous Government of Cantabria, whose role it is to appointment to see the caves.
take care of the conservation and public enjoyment of
this unique heritage, currently has six cave enclaves INFORMATION LINE 942 59 84 25
open to the public.
http://culturadecantabria.com/
cantabria infinita 17
TEMAS / PATRIMONIO
COVALANAS CHUFÍN
LOCALIZACIÓN LOCATION LOCALIZACIÓN LOCATION
Monte Pando, Ramales de la Victoria. Riclones (Rionansa).
18 cantabria infinita
HORNOS DE LA PEÑA
LOCALIZACIÓN LOCATION
Barrio de Tarriba (San Felices de Buelna).
SERVICIOS SERVICES
- Visitas guiadas. - Guided visits.
DESCRIPCIÓN DESCRIPTION
Fue descubierta por H. Alcalde del Discovered by H. Alcalde del Río en
Río en 1903 y excavada en 1906 1903 and excavated in 1906 by the
por el Instituto de Paleontología Institute of Human Palaeontology in
Humana de París. Presenta dos con- Paris. Presents two art collections.
juntos rupestres. Del exterior, con On the outside is a deeply-carved PANELES DE PUNTUACIONES JUNTO AL ESTANQUE DE LA CUEVA
grabados profundos, destaca un horse.Inside, there are carved repre-
DE CHUFÍN (RIONANSA).
caballo. En el interior aparecen sentations of horses and bison, a
representados grabados de caballos stag, a reindeer and a serpentiform. PANELS OF SHADING NEXT TO THE POOL OF THE CAVE OF CHUFÍN
y bisontes, un ciervo, un reno y un One carving that stands out is an (RIONANSA).
serpentiforme. Destaca un antropo- anthropomorph with hand in the air FOTO: PEDRO SAURA RAMOS.
morfo grabado con mano en alto y and a long tail. The external mani-
larga cola. Las manifestaciones exte- festations are Gravetiense (25,000
riores son gravetienses (hace years ago) and the internal ones are
25.000 años) y las del interior mag- Magdalenian (15,000 years ago).
dalenienses (hace 15.000 años).
CUEVA DE ALTAMIRA
PROPIEDAD Y VISITAS OWNERSHIP AND VISITING
Estado español. La visita debe solici- Spanish State. Appointments to visit CABALLO PINTADO DE LA CUEVA DE ALTAMIRA
tarse por escrito al Museo Nacional y must be requested by writing to the (SANTILLANA DEL MAR).
Centro de Investigación de Altamira, Museo Nacional y Centro de Investi- HORSE PAINTED ON THE ALTAMIRA CAVE (SANTILLANA DEL MAR).
en Santillana del Mar. No obstante, gación de Altamira (Altamira Natio- FOTO: PEDRO SAURA RAMOS.
existe una réplica de la cueva de gran nal Museum and Research Centre),
calidad y una vasta exposición per- in Santillana del Mar.However, there
manente sobre Los tiempos de Alta- is a high quality replica of the cave
mira abiertas todo el año. and a vast permanent exhibition on
El museo cierra los lunes. Los Tiempos de Altamira (The Time
Tel. 942 818 005 of Altamira), open all year round.
http://museodealtamira.mcu.es/ The museum is closed on Mondays.
Information line: 942 818 005
http://museodealtamira.mcu.es/
LOCALIZACIÓN LOCATION
Santillana del Mar.
PROTECCIÓN PROTECTION
Declarado BIC: Gaceta 07-05- Declared an Object of Cultural
1924. La UNESCO la declaró Patri- Interest in the Gazette (Gaceta) of
monio de la Humanidad en 1985. 07-05-1924. UNESCO declared the
cave a World Heritage site in 1985.
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