The Land of Painted Caves - Jean M. Auel [211]
Beyond the smeared negative handprints, the stone on the wall became soft, as though covered with clay. The cave was high above the river valley floor, and reasonably dry inside, but it was calcareous rock, which was naturally porous, and water saturated with calcium carbonate constantly seeped through it. Sometimes, drip by infinitesimal drip, over millennia, huge stalagmite pillars formed, which seemed to grow from the floor of a limestone cave below stalactite icicles of equal size but different shape suspended from the ceiling. But sometimes the water accumulated in the limestone and left the surface of the cave walls softened enough that marks could be made with only the fingers. Significant areas of the softened stone had formed in the small room to the right, which seemed to invite visitors to mark. Portions of the walls were covered with a scrawl of fingermarks, which for the most part were unorganized scribbles, although one area included the partial drawing of a megaceros defined by a huge distinctive palmate antler and a small head.
There were other signs and dots painted in red or black color where the surface was hard enough, but except for the megaceros, Ayla felt the room was filled with disorganized marks that were meaningless to her. But she was beginning to learn that no one knew what everything in the painted caves meant. It was likely that no one actually knew what anything meant, except the person who put it there, and perhaps not even then. If something painted on the walls of a cave made you feel something, then whatever you felt was what it meant. It might depend on your state of mind, which could be altered, or how receptive you were. Ayla thought about what the Seventh said when she asked him about the rows of large dots. He put it in very personal terms and told her what the dots meant to him. The caves were Sacred Sites, but she was beginning to think it was a personal, individual sacredness. Maybe that’s what she was supposed to be learning on this trip.
When they left the small room, the Seventh crossed to the left side of the main passageway that led to it. The tunnel at that point turned toward the left and they walked along the left wall for a short distance. Then the Seventh held up his lamp. It illuminated a long panel filled with animals painted in black, many superimposed on others. At first she saw the mammoths—there were many of them—then she saw the horses, the bison, and the aurochs. One of the mammoths was covered with black marks. The Seventh said nothing about the panel; he just stayed there long enough for everyone to see what they wanted to see. When he saw most people starting to lose interest, except Jonokol, who could probably have stayed much longer just to study the painting, the Seventh moved on. He next showed them a cornice on which were painted bison and mammoths.
There were several more markings and a few animals that the Seventh pointed out as they moved slowly through the cave, but the next place he stopped was truly remarkable. On a large panel were two horses painted in black, back-to-back, and the inside of the outlines of their bodies was filled with large black dots. In addition there were more dots and handprints around the outside of the horse outlines, but the most unusual aspect was the head of the right-facing horse. The painted head was quite small, but it was painted inside a natural contour of the rock that resembled the head of a horse and framed the painted head. The shape of the rock itself had told the artist that a horse needed to be painted there. All the visitors were very impressed. The First, who had seen the horse panel before, smiled at the Seventh. They had both known what was coming and they were pleased that they got the response they had expected.
“Do you know