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Photo Archives: Paleolithic Art in Northern Spain


Pondra

Preview Edition

  • 10 photos and the 4 variations (about1280x1000, 1470x980/JPEG) .
  • Commentary by César González Sainz & Roberto Cacho Toca, Univ. of Cantabria.
  • Royality Free for private and educational use.
In this downloadable photo archives are contained 9 photos of Paleolithic cave art of Pondra cave with the archeological data and commentary as shown in this preview pages. Only the small sized reference images and a part of commentary are shown in this preview edition, but if you are interested to see more and to use these photos, please go to Kagi store and purchase the data package. Once payment has been made at the Kagi store, you will receive an e-mail containing the URL to download the data package. All photos that are contained in this package are ROYALITY FREE for private and educational use.



Pondra

This cave is located on the northern side of the gorge formed by the River Carranza, a tributary of the Asón, very near the boundary between the Autonomous Community of Cantabria and the Basque Country. The same gorge has other caves with Paleolithic cave art: from east to west they are, Venta de la Perra, Arco A. Arco B-C and El Morro del Horidillo, as well as Cueva de Sotarriza on the opposite side of the gorge. Furthermore, several caves are known, like Cuevas del Polvorin and Chiquita, which only have human occupation deposits, with lithic and bone assemblages and faunal remains, corresponding to the Middle and Upper Paleolithic. All these sites are found in a stretch of the gorge little more than one kilometer long, coinciding with its narrowest part, between the hills of Pico del Carlista to the north and Peña de Rebuño in the south.

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[References]

González Sainz, C.; San Miguel Llamosas, C. 1997. Avance al estudio de los conjuntos rupestres paleoliticos del desfiladero del rio Carranza (Ramales de la Victoria, Cantabria): las cuevas del Arco, Pondra y Morro del Horidillo. Actas del II Congreso de ArqueologiaPeninsular (Zamora, 1996), pp. 163-172.




Photographed by Takeo Fukazawa & Co-Project Team of Texnai Inc. and the University of Cantabria
Commentary by César González Sainz & Roberto Cacho Toca, Univ. of Cantabria

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