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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,
237:. Due to the supreme artistic quality, and the exceptional state of conservation of the paintings, Sautuola was even accused of forgery. A fellow countryman maintained that the paintings had been produced by a contemporary artist, on Sautuola's orders.
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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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233:, were particularly adamant in rejecting the hypothesis of Sautuola and Piera and their findings were loudly ridiculed at the 1880 Prehistorical Congress in
208:, 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.
253:, 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.
413:(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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39: and the second or maternal family name is
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312:. London: John Murray. pp. 274–275.
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178:Marcelino Sanz de Sautuola y Pedrueca
69:Marcelino Sanz de Sautuola y Pedrueca
341:Sanz de Santuola, Marcelino (1880).
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362:The art of scientific investigation
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154:Prehistorian and archaeologist
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347:Real Academia de la Historia
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31:, the first or paternal
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360:Beveridge, W. I. B (1957).
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389:10.1177/030631295025001008
310:The Secret Lives of Colour
308:St. Clair, Kassia (2016).
50:Marcelino Sanz de Sautuola
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364:. New York: Norton.
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29:Spanish name
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224:Publication
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79:2 June 1831
433:Categories
421:: 348–354.
383:: 165–83.
290:References
280:Cantabrian
75:1831-06-02
397:144949936
328:936144129
100:Santander
83:Santander
194:Altamira
134:Children
128:Altamira
41:Pedrueca
27:In this
18:Sautuola
33:surname
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274:Family
261:Legacy
235:Lisbon
186:jurist
151:Fields
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214:Paris
163:Notes
117:Spain
324:OCLC
314:ISBN
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