Attempts To Establish Chronology
The cave of La Pasiega offers many examples of overpaintings and repaintings which allow one to make an attempt at a relative chronology: on the other hand, the great variety of techniques and colours employed make one think of a fairly extensive chronological sequence. The authors of the monograph brought out in 1913 ended by establishing three chronological phases which span practically the whole development of palaeolithic art: two Aurignacian phases, a Solutrean and a peak of two-colour work (very rare in such paintings), which could be Magdalenian Later Henri Breuil, one of the authors of the monograph, increased the decorative phases to eleven, within the same chronological framework.
Later came the analysis of Leroi-Gourhan, who proposed a chronology, rather general certainly, which broadly was in agreement with González Echegaray. In both publications the decorations of the whole of Gallery A and the first sub-sanctuary of Room XI are placed at the very start of Style III; whereas the second sub-sanctuary of the same room should be placed within the earliest Style IV. Leroi-Gourhan argued from the basis of comparing the works of Gallery A with Lascaux, although recognising that that is more archaic, suggested that they were contemporaneous. Recently, as a result of being able to apply absolute systems of dating to the paintings, it has been demonstrated that the style-classification proposed by Leroi-Gourhan, and some relative dating of other investigators, is shaky.
Professor Jordá took on the task of revising the chronology of La Pasiega. His last publications place the decoration of this cave in his "Middle Cycle: Solutrean-Magdalenian", accepting integrally the eleven phases of Breuil, but without allowing (or at least seriously doubting) that any part of the decoration could really be Aurignacian. In the Solutrean phase of the Middle Cycle he includes the figures painted in red, and those with fine lines or outlines; also some of the figures in the tampanado method. The engravings of this period would be, according to Jordá, rare and crude. A little later come the incomplete red horses, but in a lively and realistic style, some of the ideomorphs and the so-called inscription. During the second part of his Middle Cycle, he says, of the Cantabrian Lower Magdalenian, the archaizing engraved contours continue, but there also appears the multiple and striated line drawing in the horses of Galleries B and C, and in the hinds of Gallery C. The painted figures can be red, with tamponado, outline or modelled line. But more important are the tinta plana red paintings treated with modelled chiaroscuro, sometimes associated with graved or black lines which complete them: These are the ones which express dynamism most of all (twisting of the neck, movement of the legs, etc.). For some authors, these figures are the most evolved. The bi-chromes are rare, and in the majority of cases we are dealing with later corrections in a different colour to the original painting. Only a horse from gallery A, in the final group, could be considered an authentic bichrome, comparable to those of El Castillo. The most abundant ideomorphs are the quadrangular ones with internal divisions. Jordá maintains that, during the Middle Cycle, the anthropomorphs disappear, even though La Pasiega contains a few: according to the oldest authors four, and according to the most recent only one.
For their part, Professors González Echegaray and González Sáinz seem to share the general idea proposed by Leroi-Gourhan, in accepting that the works of La Pasiega belong to Styles III and IV. In fact, pretty much all of Gallery A and the first assemblage of Gallery C (room XI) belongs to Style III, in which predominates the red painting with simple lines or lined tamponados, also including the block colours and the addition of engraving or the bi-chrome work as a complement to model the volumes. For its part Style IV is present above all in Gallery B and in the second group of Gallery C: this phase has mainly the black colour or drawn with a fine linear outlining, almost without modeling, but with an internal filling of scratches. The engraved forms are most abundant (simple linear marks, or repeated or striated lines, including scraffito).
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