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Professor Juan
Vilanova y Piera supported Sautuola's assumptions, and they published their results in 1880, to considerable public acclaim. In contrast, the scientific establishment of his day was reluctant to accept the presumed antiquity of the paintings. The French specialists, led by their guru
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Sautuola started exploring the caves in 1875. He did not become aware of the paintings until 1879, when his eight-year-old daughter MarĂa noticed that the ceiling was covered with images of bison. Sautuola, having seen similar images engraved on
Paleolithic objects displayed at the World Exposition
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Sautuola had died fourteen years before
Cartailhac's apology, and did not live to enjoy the restitution of his honour or the later scientific confirmation of his premonitions. Modern dating techniques have since confirmed that the paintings of the Altamira cave were created over extended periods,
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During the next 20 years, several other findings of prehistoric paintings made the
Altamira-paintings more plausible, and mainstream scientists retracted their opposition to the Spaniards. In 1902, the respected French archaeologist
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222:, were particularly adamant in rejecting the hypothesis of Sautuola and Piera and their findings were loudly ridiculed at the 1880 Prehistorical Congress in
197:, was well known to local people, but had not been given much attention until 1868, when it was "discovered" by the hunter Modesto Cubillas PĂ©rez.
242:, who had been one of the leading critics, emphatically admitted his mistake in the article, "Mea culpa d'un sceptique", published in the journal
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the year before, rightly assumed that the paintings might also date from the Stone Age. He therefore engaged an archaeologist from the
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Breves apuntes sobre algunos objetos prehistĂłricos de la provincia de
Santander
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Nissani, M. (1995). "The Plight of the
Obscure Innovator in Science".
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Did not live to see the worldwide recognition of his great discovery.
402:(1902). "La grotte d'Altamira, Espagne. Mea culpa d'un sceptique".
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MarĂa Sanz de
Sautuola, the discoverer of the Altamira paintings
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Sautuola's daughter later married into the BotĂn family of
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ranging from 20,000 and 40,000 years ago. For the study of
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The
Altamira cave, now famous for its unique collection of
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28: and the second or maternal family name is
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301:. London: John Murray. pp. 274–275.
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167:Marcelino Sanz de Sautuola y Pedrueca
58:Marcelino Sanz de Sautuola y Pedrueca
330:Sanz de Santuola, Marcelino (1880).
458:19th-century Spanish archaeologists
351:The art of scientific investigation
271:bourgeoisie. The current owners of
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143:Prehistorian and archaeologist
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181:who owned the land where the
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336:Real Academia de la Historia
275:are Sautuola's descendants.
20:, the first or paternal
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349:Beveridge, W. I. B (1957).
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378:10.1177/030631295025001008
299:The Secret Lives of Colour
297:St. Clair, Kassia (2016).
39:Marcelino Sanz de Sautuola
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366:Social Studies of Science
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171:Marcelino de Sautuola
220:Gabriel de Mortillet
207:University of Madrid
353:. New York: Norton.
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126:MarĂa (1871-1946)
400:Cartailhac, Émile
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134:Scientific career
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84:(1888-06-02)
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18:Spanish name
433:1888 deaths
428:1831 births
213:Publication
95:Nationality
82:2 June 1888
68:2 June 1831
422:Categories
410:: 348–354.
372:: 165–83.
279:References
269:Cantabrian
64:1831-06-02
386:144949936
317:936144129
89:Santander
72:Santander
183:Altamira
123:Children
117:Altamira
30:Pedrueca
16:In this
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263:Family
250:Legacy
224:Lisbon
175:jurist
140:Fields
382:S2CID
203:Paris
152:Notes
106:Spain
313:OCLC
303:ISBN
165:Don
79:Died
54:Born
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