THE OLD STONE AGE 
gnacian and Magdalenian art, and in response to the same 
psychological stimuli. That is, the animal figures were 
undoubtedly designed to obtain aid in the hunt or to 
bring about an increase in the number of food animals. 
Scenes in which human figures occur appear to have had 
as their motive the imparting of strength, swiftness, and 
Fic. 63. Wounded warrior running away at top speed, probably drawn to bring 
about an enemy’s defeat; painted in light red. From the rock-shelter of La 
Saltadora, eastern Spain. After Obermaier 
courage to the warriors of the artist-magician’s own tribe, 
or the weakening through spells and incantations of their 
enemies. The latter were accordingly depicted as running 
away, sometimes riddled with darts (Fig. 63), in the belief 
that when the actual combat took place the same results 
would be obtained through the power of magic. 
This eastern Spanish art, as it is sometimes called, is 
usually found in shallow and relatively open rock-shelters; 
for deep caverns, like those in which so much of the 
Aurignacian and Magdalenian art has been found, very 
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