Griffin head. Sculptural group of Cerrillo Blanco (Porcuna, Jaén, Spain)

This sculpture represents a tap head, has a great expressive force, both front and profile. The crest is divided into three large waves ahead and from it starts back a row of frizzy hairs that continue through the head and the nose. Pegated to this crest of hair, we found both ears raised and of equine characteristics. In front of the ridge and the ears separated by an incision in the center of the forehead, come out two hair-coats that follow through the face in soft waves finished in a few volute turns to the beak. Two other crenches, similar to the previous and longer ones, come out behind the ears from the frizzy hair of the morrillo and following in waves similar to the previous ones and almost parallel to them ending in volutes. The eyes are almonds and saltons and are very well marked with deep incisions that also indicate the tears. The superciliary arches are protruding and marked with five parallel incisions that start from the beak and are lost under the crench of the face. The beak is marked with a double parallel incision and a strong border that marks its curation, appreciating the corneal hardness very well achieved. The lower piece of the beak, which has not been preserved, would be short and hamstring outward. This sculpture presents a state of bad conservation since it has suffered erosions and attacks of external agents that have produced calcareous concretions. It also lacks much of the beak, part of the ears as well as some remains of the frizzy hair on the top and back of the head. Dimensions Height = 46 cm Width = 30 cm This piece belongs to the sculptural group of Cerrillo Blanco found in 1975 in the municipality of Porcuna (Jaén). This set constitutes nowadays the most important Iberian sculptural group of the known so far. It is composed of more than forty pieces that represent heroic struggles of men with each other or men with animals, hunting scenes, images of fantastic animals or important characters. Specifically, it is part of the group known as mythological animals formed by figures of mythological isolated animals that do not interact with any of the characters belonging to the sculptural group. These animals would constitute the metaphorical bases of the landscapes expressed in the monument. Therefore the pairs of animals could go at the ends of each step of the front of the tower. In general, five groups are established: First and at the base of the tower, the sphinxes of which there is only one example but of which the turn of the head to the side could justify the existence of a second similar sculpture and with the head in opposite position. Both would protect the monument at its base, marking from the beginning that it is a mythical area, as the lions did in the Pajarillo. The struggles of the wolf with the lamb, of which there is a second fragmented example of two animals one fierce and another meek, would frame the duels. The grifo-lion with snake that poses its claws on the bracket and the second tap (described above) whose action is unknown, because only the head is preserved, would complete the corners of the step of the zoomachias. The harpy or siren and the eagle would frame the mythical Oikos. The last couple formed by the two Hispanic goats around the body of the divinity would close the fifth level, but this figure is included in the group of The Ancestors. Currently the sculptures from Cerrillo Blanco can be visited in the Provincial Museum of Jaén and the archeological site in Porcuna (Jaén) is also visible, since it is one of the stops of the cultural route “Journey to the time of the Iberos” with which it is intended to value the iberas first level traces existing in the province of Jaén. Bibliography: Chapa, T. (2015): “Los escultores del Cerrillo Blanco de Porcuna,” in A. Ruiz y M. Molinos (coord.): Jaén, ibera land. 40 years of research and transfer. University of Jaén. Jaén. Olmos, R. (2002): “The sculptural groups of Cerrillo Blanco de Porcuna (Jaén). A convergent iconographic reading essay.” Spanish Archive of Archaeology, 75 107-122. Ruiz, A. and Molinos, M. (2015): “The sculptural group of Cerrillo Blanco, Porcuna,” in A. Ruiz and M. Molinos (Eds.): Jaén, Iberian land 40 Years of research and transfer. University of Jaén. 67-84. Torrecillas, J. F. (1985): The late period cemetery of Cerrillo Blanco. Institute of Giennenses Studies. Jaén.