Iberic Bibliography (English)
CERRO DE LOS SANTOS EN MONTEALEGRE
-ALBACETE-
HILL OF THE SAINTS IN MONTEALEGRE
-ALBACETE-
Its formation is of stone and sand, and a vegetable layer, remains of the detritus of the old flora.
To the North and about 3 kilometers there is a mountain range called Mediabarba , this name is due to its form as a horseshoe or half moon, towards the southeast and about 3 kilometers we have Monte Arabi - or- Mount Arabi, which still preserves its pine tree and grass (the only vegetation) in that area. The top surface of the mountain forms a small plateau and on the north side of it, there was the temple, whose rectangular form was 20 meters in lenght and 8 meters in breadth. The floor has mosaics, the walls were of stone adorned with bronze and lead, and its interior would hold different sculptures from different schools. Its size and location has all the conditions to be considered as an acropolis. To the north and at its base, there was the village in the place known today as "Las Zorreras" in which neolithic ruins can be seen.
The temple of "Cerro de Los Santos" - or- "Hill of the Saints" was originally dedicated to an Iberian cult and it was built by iberians. Later was accepting different ways of worshippings due to the different kind of worshippers; these sects in time, got mixed and corrupted, reasembled as one with a variety of ceremonies - remains of past religions- as there were many gods/godesses that were being paid homage to. Many riches were accumulated as well as many devotees, which explain the extense amount of statues as well as ceramics that along with the bronze and weapons have been found in these ruins. All statues found in this place are for worship.
During the roman domination, it was adopted by them, being the rule to impose its law to those defeated. To take foreign gods/godesses as their own (even when they have their own pantheon) is one grand political strategy that gave them extraordinary results. When Constantino declared the christian religion as being of the state, the "Santuario del Cerro de los Santos" - or " The Sanctuary at the Hill of the Saints", was seriously hit, because it had few adepts at those times, mostly lost to the preaching of the christian faith; and it was mortally wounded when in the year 399 Arcadio's Law demanded that all temples ( country and city alike) were to be totally destroyed, as per description of Don Aureliano Fernandez Guerra, (2).
The holy rage that devastated said temple still shows today, as remains of melted lead in big lumps can be seen here and there. Could be that after its destruction, the place was declared "cursed" and that is why it is until now that all the objects d' art had reached our museum today, and enriched it....
Very old must be the name given to the hill, since it was already known in the XVI (16) century as Cerro de Los Santos as it shows in some mark in Yecla and Montealegre, made in those years and which original document happen to be in my hands, and furthermore its for sure that in this case, the word saint is used to refer to statues, in the account connected to this region, given by the neighbors of Montealegre & Yecla on December 21, 1579 and March 20, 1575 to Phillip II; nothing is said about these ruins neither its refered to by Lozano in his work Batistania & Contestania, printed in Murcia 1794.
-14-
In 1873 Paulino Soberon was instructed by the Ministry of Education to do same work on Cerro de los Santos , excavation that gave good results and that he repeated two more times with success.
With his findings, as well as those of Amant's a floor was designated in the National Museum of Archaeology, showing statues (some whole, some in pieces) mosaics or tiles, weapons, ceramics, lanterns, small bronze idols and lead residues, coins and other objects.
The sculptures found in this hill, today being at the National Museum of Archaeology, represent men and women, most of them holding either a cup or chalice in the act of offering; animals (real and fantasy) and inanimated beings stilled like and obelisk, a sun dial, a ship, sphinxes, etc, totaling about 271 (the entire collection - whole and in pieces) plus there are other who are part of private collections. The principal one, which we will describe later on, carries the number 3500 in the catalog and it has been reproduced many times via drawings, photographs, engravings and molds. The collection has been separated in two groups: one which is believed to be the authentic and the one considered as fake -270 pieces on the first group and 64 on the second, give or take.-
There are also about 60 objects made of copper (rings, small bulls figurines and others) etc. etc., lots of weapons (iron) pieces of lead and those that melted during the big fire of the temple in Teodosio's times, apart from these lots: two medallions (one big, one small) with greek motifs, re: ceramics we find some clay, bass-reliefs, tiles in rhomboid shape, lamps, molds, small vases, cups similar to the ones in the statues, dishes, etc. and tiles/mosaics in black and white. Among these objects there are several believed to be fakes, among them a vase in ovoid shape (like an egg) with figures, a vase with a face and an inscription, a lamp and the two bronze medallions. All inscriptions, of which much have been talked about and are in the majority of the sculptures/statues are considered apochryphals.
Total sum of the collection: 675 pieces. Believed to be fakes: 225 pieces.
The main statue or figure, already mentioned due to its beauty and perfection, deserves a detailed description and nothing would be better than to copy the words of this wonderful spanish archaeologist and also the Curator for the National Museum of Archeology, Don Jose Ramon Melida, in his work: "Esculturas del Cerro de Los Santos: cuestion de autenticidad"
or "Statues of the Hill of the Saints: a question of authenticity"
"The size of the statue - he says - is little less than a normal one, because it measures (without the base) 1.15 meters.
The characteristical feature here is the solemnity with which it makes the offer of a chalice or cup, no handles; the kind of oriental vase that is found among pre-roman artifacts found in Costig (Island of Mallorca) showing bullheads made in bronze, all these housed at the National Museum of Archeology. It holds the vase with both hands, close to its body at waist level.
Wearing three tunics whose trims are visible towards the feet and the neck. The first, being shorter has oblique designs going towards the middle. The second one is totally plain, and the third one falls towards the feet showing them fully shoed, has minute and symmetrical pleats that after being compared with the Hera of Samos (Louvre Museum) M. Heuzey tells that is not the interpretation of the assyrian hem as was thought originally, but the interpretation of the "egyptian-jonic colorisis" being admirable according to the opinion of this emminent archaeologist, that greek artwork, more or less, started gaining acceptance since the V Century throughout the Mediterranean and extending more and more as the hellenic lifestyle gained dominance in the ancient world.
The collar (pretty closed up) of the tunic is held by a brooch very even and of which kind -made in bronze- have been found in many places in Spain; can be seen in our museums, many of them similar to the one shown on the statue. Completing this garment, is the cape (in rectangular shape) that from the shoulders, folds into the symmetrical pleats that conforms to the archaic greek style of which one have before, and the same style goes from the elbows to below the waist. The pleats are in zig-zag as in contrast to the ones from the elbows that are in curves at the four sides showing acorn desings. This detail plus the brooch in comparison to those of Galia and Etruria in M. Hbuze's opinion, to be oriental or barbaric style.
The head is adorned by a complex and wonderful tiara, a very delicate artwork in goldsmith or silversmith, composed by the front piece that adapts to the craneum and shows in two series as desing of wavy lines, with a series of small acorns designed over a row of wavy fringe; on each end, rosettes that remind those in oriental designs, and the other that breaks in two, with acorn-like motifs that reach the shoulders and with all these chains and folds, others more thick that reach the breast, very much like the women wear in Algeria. It is very peculiar that this headress is similar to others-in gold-picked up by Schlieman in LaTrande as is shown in the museum's catalog.
This attire is completed by a breastplate made of three thick chains separated by an embroidery of glass beads in the shape of opposite "V"'s and ends up with a series of designs (like acorns) egyptian style.
On the left hand, the pointer finger as well as the ring and little finger, show rings some on the first phalange. That was the ways told by Plinio and can be verified in observing oriental or etruscan figurines.
Regarding the style, the solemn rigidity, the physical stillnes in which this bastetana woman is presenting her offering before the libation, dress in rich clothes and fabulous accesories like a princess. Her face is grave and serene, the expression is a sad one. This is due to the way the eyes and the eyelids are set, and the corner of her mouth like all the others found in the hill, turned downwards. The hands are timidly cupping the chalice and the fingers showing the nails.
The facial expressions as well as the accessories are evidence of the times and were the influence and rule that the shy bastetanos worked with. Also in this statue there is the religious touch that elevates it (therefore that is where its merit is) holding it as a masterpiece of the school we are studying. One look at it is enough to think that it is a consecrated piece. Mr. Rada is of the belief it was a priestess.
As a supplicant has been considered afterwards, and we might also share this criteria and as it is, it should be noted because is similar to other bronze figurines regarding clothing and jewelry, because of their cape and this culd be to a tradition practiced by those believers who thought they were granted health by their gods/godesses.
The literature about Cerro de Los Santos (Hill of the Saints) is vast, being many books and articles published related to it and also very difficult to obtain, because believe it or not, these spanish works, were printed in newspapers a long time ago, and are no longer available and (the prints were done in small numbers due to the fact I and it shows it to mention it here) the lack of interest by the public regarding this issue.
NOTES:
1.- WE SAY WERE, BECAUSE PRESENTLY THERE IS NOTHING LEFT TO SHOW AFTER THE DIGS AND EXCAVATIONS WERE PERFORMED.
2.-IN RESPONSE TO SR. RADA DELGADOS'S SPEECH, AT THE ROYAL ACADEMY OF HISTORY.
© 2004-2007 Northvegr.
Most of the material on this site is in the public domain. However, many people have worked very hard to bring these texts to you so if you do use the work, we would appreciate it if you could give credit to both the Northvegr site and to the individuals who worked to bring you these texts. A small number of texts are copyrighted and cannot be used without the author's permission. Any text that is copyrighted will have a clear notation of such on the main index page for that text. Inquiries can be sent to info@northvegr.org. Northvegr™ and the Northvegr symbol are trademarks and service marks of the Northvegr Foundation.
|