550 ANNUAL REPORT SMITHSONIAN INSTITUTION, 1909. 
On leaving the Roca del Moro at a distance of 200 meters, Breuil 
chanced to see in another rock shelter a figure painted red. He 
leaped from his horse and clambered up to the spot to find a com- 
panion figure in black and near these, two deer in red and black 
and three other smaller figures (wild goat) in black. This discovery 
caused the explorers to change their plans so as to include a recon- 
naissance tour of the whole province. After three months, Cabré 
reported that he had found nine other localities with paintings or 
engravings in open shelters® (a Vair libre). A tenth situated to the 
south of the province has been discovered and it looks, says Breuil, as 
if we might have the satisfaction of seeing Quaternary art clasp 
hands by the way of Gibraltar with the rock paintings and engray- 
ings of northern Africa. 
A Catalonian rock-shelter near Cogul, south of Lérida in the prov- 
ince of the same name, is adorned with frescoes that furnish interest- 
ing additional data concerning paleolithic art. These frescoes known 
for ages were formerly attributed to the Moors. The researches of 
Breuil prove them to be of Magdalenian age. They form five groups, 
two of which are shown in plate 6, figure 6. Both of these are hunt- 
ing scenes. Above and to the left is a hunter in the act of striking 
down a stag after having already killed one. The drawing is highly 
stylistic without obscuring the real meaning of the ensemble. The 
dead stag lies on his back with all four feet in the air. The group at 
the right is a combination of stylistic and realistic art, the figure of 
the bison being similar to figures of that animal in a number of 
French and Spanish caverns. But the bison emigrated from south- 
western Europe before the close of the Quaternary ; the Cogul frescoes 
are therefore Magdelenian. Another remarkable group in this rock 
shelter represents nine women surrounding one man. The latter is 
executed in the style of the hunters reproduced in figure 6. The 
female figures are somewhat more realistic and are readily distin- 
guished by skirts reaching to the knees and by pendent. breasts. 
While the presence of feminine skirts gives to the scene a modern air, 
the art as a whole is more closely related to the paleolithic than to 
that of any succeeding epoch. 
The explorations of French caverns have more than kept pace with 
those in Spain. Confining ourselves chiefly to caverns with mural 
decorations those of the Dordogne are perhaps the most important, 
the largest group being in the Vézére Valley. The calcareous forma- 
tion, cleft by the Vézére and its tributaries, is composed of Cretaceous 
beds approximately horizontal and of varying degrees of hardness 
(pl. 7); so that overhanging rocks often shelter horizontal galleries 
and niches. Again subterranean streams have left meandering cav- 
erns, some of them several hundred meters in length. These as well 
«This province has a very dry climate. 
