Figurative and Abstract Themes in Mobiliary Art Of

Lolita Nikolova, Marco Merlini and Alexandra Comsa, eds. Circumpontica in Prehistory: Western Eurasian Studies

CHAPTER 1 FIGURATIVE AND ABSTRACT THEMES IN MOBILIARY ART OF THE GROTTA DELLE SETTECANNELLE (VITERBO - ITALY) IMPLICATIONS AND INTERPRETATIONS WITHIN THE CONTEXT OF LATE PALEOLITHIC CULTURE

PAOLA UCELLI GNESUTTA (ITALY)

ABSTRACT The cave measures about 10 meters in width and 15 meters in length. The upper levels of the archaeological deposit have The Epigravettian layers of Grotta delle Settecannelle, a cave yielded substantial evidence from the Neolithic period: situated near Viterbo in northern Latium, have yielded about decorated pottery of the Cardial ware culture and vestiges of 40 engraved objects discovered in situ, with flint instruments religious ceremonies consisting of stone circles for offerings, and faunal remains, in connection with fireplaces. Few of these one of them containing the skull of a young boy and the sherds incised artefacts come from the level of the Evolved Epigra- of a pot with red ochre. These rituals links Settecannelle with vettian, dated to 15700 BP, while the majority of mobiliary art other caves of central and southern Italy where the traces of was found in levels of the Final Epigravettian, dated between ceremonies connected with agriculture cult have been as well 12700 BP and 12000 BP, and of Late Epigravettian, dated discovered. The archaeological finds reveal that Settecannelle 10700 BP. cave was a sanctuary widely visited by local Neolithic Two pebbles used as retouchers show engraved animal populations and by other people from different parts of the figures. The other finds, stone and bone tools, non-utilitarian peninsula who brought ceramic pots produced in the local objects and body ornaments are decorated with abstracts and region and in faraway places (Ucelli Gnesutta and Mallegni geometric patterns that appear at a relatively early stage at 1988; Ucelli Gnesutta and Bertagnini 1993; Ucelli Gnesutta Grotta delle Settecannelle. 1999a, 2000, 2002 a-b, 2003). From archaeological evidence, it is possible to assume Immediately under the Neolithic remains, the excavation that some religious ceremonies were not performed in special has unearthed a series of layers with lithic industry of and secret sites, but in the same location where daily activities Epigravettian culture, from the early phase with typical points took place, as observed in “open air sanctuaries” of France à cran, to the final phase with backed bladelets and circular and of Spain. The presence of body ornaments indicates scrapers characteristic of Late Paleolithic Romanelli facies. differences of status and roles inside the human group. The 14C dates are 16620+210 BP, 16200+200 BP for Technological and stylistical analysis of the engravings Ancient Epigravettian layers; 15700+180 BP for Evolved and of the themes represented has pointed out similarities Epigravettian; 12700+170 BP, 12540+100 BP, 12050+150 BP between Settecannelle art and contemporary manifestations for final Epigravettian layers; and 10570+260 BP for the later discovered in Italian and European sites and has revealed the part of this cultural period (Ucelli Gnesutta et al. 2007). emergence of new spiritual conceptions common to a large part of Europe in the Tardiglacial age. MOBILIARY ART FINDS

INTRODUCTION The most intensive traces of human activity have been found in the inner part of the cave, mainly alongside the western Grotta delle Settecannelle is a cavern formed by wind and wall. Sheltered to keep from winds and precipitation, the water erosion within a rock formation of volcanic tufa located Epigravettian hunter-gatherers lived there from 17000 BP to in the countryside of Ischia di Castro (Viterbo), in Latium, 10000 BP. The traces of their settlements are indicated by 100 km. north of Rome. This site was excavated from 1985 to numerous fire places, formed by thick deposits of ash and 2003 by a team of archaeologists and scholars of natural charcoal, not delimited by stones structures. (Figure 2) sciences from the University of Pisa and from other Italian Samples of wood carbon have been collected from different and European Universities and research centers. (Figure 1) layers and submitted to radiocarbon dating and to botanical

13 Paola Ucelli Gnesutta

1. Non excavated area

2. Area of mobiliary art

3. Sample area for lithic industry analyses

4. Stratigraphical sections

Figure 1. The Settecannelle cave. Planimetry of the excavations. analysis to investigate climate development (Ucelli Gnesutta dency of Late Paleolithic artists to render animal figures with et al. 2007). schematic and geometric outlines. Possibly the outline of the Fireplaces were surrounded with faunal remains and very head and of the back were omitted because they could abundant lithic industry, instruments, cores and débris, interfere with the active part of the pebble and, as a attesting that flint was manufactured in situ. The Evolved consequence, have been damaged by strokes, but the Epigravettian level yielded a few artistic objects, while incomplete representation is an accentuated form of Epigravettian layers 10 to 8 turned out remarkably rich symbolism attested in Magdalenian culture, at La Marche, at mobiliary art. The finds include about 40 objects of stone, Gönnendorf, at Roc–la-Tour (Rozoy 2003) and at Ekain, as bone and horn, engraved with figurative, geometric and mentioned above. The technological analysis of engravings abstract themes, classified in three main groups: decorated attests the intention of the artist to transform a simple tool instruments, non-utilitarian objects and ornaments. into an object of magical value, capable to transmit to its owner the power of the formidably depicted animal. DECORATED INSTRUMENTS Another decorated instrument was found close to a thick deposit of cleaved animal bones. The stone, which conserved Only two limestone retouchers are decorated with zoomorphic inside the lines of the engraving the same traces of ochre figures engraved in “Mediterranean” figurative style, as Paolo evident on the bones, was probably used for slaughtering. Graziosi named the synthetic outdrawing of parietal and (Figure 4 a, b; 5 a, b). Both faces show figures of bovines: mobiliar art of Southern Italy, as distinct from the naturalistic an imposing Urus on the upper face (A) and another bovine, style of Magdalenian art in France and Spain. possibly a cow, on the opposite side (B) (Ucelli Gnesutta One of them was contained in the fireplace dated 12700 1999b). The powerful body of the Urus of Settecannelle is BP (D’Errico and Ucelli Gnesutta 1999). (Figure 3) The delineated by a skilled hand. Its horns are very developed, its engraving represents the profile of a bulky animal. Though snout is bulky and short, its front foot is drawn to the hoof, the head and the back parts of the body are lacking, the shape, and the line of the venter is intersected by two short traits posture, thick legs and some parallel traits, like crawls, in signifying the sex and the connection of the posterior hoof. relation with paws, suggest the figure of a brown bear. This Inside the body of the bull, it is possible to detect the shapes animal is not represented in the Italic Epigravettian, but occurs of other animals: an Ibex, and perhaps a small horse. Outside frequently in the Franco-Cantabrian region. A bear is engraved the Urus body some short traits can be interpreted as on a pebble at La Colombière (Leroi-Gouhran 1965, p. 384, ideograms explaining the representation. In my opinion, the Magdalenian IV, about 12000 BP), two bears without heads two traits facing the mouth depict the animal’s breath to signify are depicted in Ekain cave, in northern Spain (Leroi-Gouhran that he is alive, while the two others, converging to the nape 1965, p. 424). of the neck, indicate the vulnerable point of the animal to In our opinion, the zig-zag line of the belly, rather then suggest where to hit him (Ucelli Gnesutta et al. 2007). representing fur, or the mammas if female, reflects the ten- The bovine B has the features of a cow. The muzzle is 14 Figurative and Abstract Themes

b e c d h i f g

a Figure 2a-b. Final Epigravettian fireplaces with location of some art finds.

Figure 3. Retoucher with zoomorphic engraving.

15 Paola Ucelli Gnesutta

Figure 4a-b. Epigravettian pebble decorated with bovine figures on both sides.

Figure 5a. Side A of the pebble with double figuration of Figure 5b. Side B of the pebble with a retraced bovine figure. Urus and Ibex.

16 Figurative and Abstract Themes longer and slimmer, the horns shorter. A composite sign, process presumes a different meaning and content of the sticking at the base of the horns, is possibly a pictogram notations. representing a launch weapon. The figure, which was worn Microscopic observation and experimental tests have out by use, was retraced in a course geometric style, while the downsized some interpretations of the past, like “lunar first delineation was more naturalistic, but the original calendars”, or other lists (D’Errico and Cacho 1994). The proportions are respected. The recovery reveals the great value archaeologist and neurologist Rozoy, asserts that the brain of of this tool as a form of worshipping the engraved image. The our hunter ancestors was not yet evolved enough to elaborate Urus A, in small scale, looks like the formidable bull of Riparo and represent a long sequence of notations (Rozoy 2003, 2007). del Romito, and the fine outline of bovine B is notably similar This capacity was not necessary for people living in that time to the small cow depicted under the bull, engraved at the and exploiting natural resources. It emerged later in the Romito rock shelter (Martini et al. 2007). Neolithic and Bronze Age with the necessity for humans to In conclusion, we can assume that the images represent produce nutrition, build houses, propagate and defend villages the male and female couple, one of the basic principles of and wealth. prehistoric religion, according to Leroi-Gouhran. Possibly this fragment of bone, with no trace of ware, was Some other instruments are embellished by simple a piece of personal equipment, a symbol of authority, or an geometrical decorations, like notches along the edge. These instrument for ceremonial use. Rather than used for counting, stone retouchers are from Evolved and Final Epigravettian I suggest that the gravure represents a musical theme, a rhythm layers. (Figure 6) The more recent one is similar to an Azilian to accompany a ceremony or the narrative of mythic events pebble find from Chenanbault (D’Errico 1994). No change of performed in the cave. engraving instrument has been detected by microscopic A geometric motif formed by a meander combined with a observation. The different sizes of the grooves are due to the zig-zag is visible on a small fragment of bone, from layer 8 of repeated passage of the same tool and we can assume that the the Final Epigravettian. (Figure 10) The perfect miniature incisions were made all at once and not added at different times, design is engraved following an underlined scheme that has like marques de chasse, or other kinds of notation, calendars, been detected with scanning microscope (Ucelli Gnesutta and or memorisation systems (Marshack 1972b). Cristiani 2002). The themes, anticipating Mesolithic geometric Among the simple decorative motifs are also a series of patterns, are characteristic of Late Epigravettian decoration in V signs (chevrons), like the beautiful bone point of Italy at Barma Grande in Liguria (Graziosi 1973), at Maritza Settecannelle decorated on the superior face by chevrons and and Continenza caves in Abruzzo (Grifoni and Radmilli 1964, by bars on the inferior face rim. (Figure 7) They are the Grifoni Cremonesi 1998), at Riparo del Romito in Calabria, symbols of male and female and introduce the concept of the and at Riparo Gaban in the Trento region (Graziosi 1973). couple in this simple embellishment. The presence of both The cultural link between the Italic Epigravettian and symbols attests that, in primitive societies, decoration is always contemporary cultures of East Europe is confirmed by similar the vehicle of deep, magic or religious beliefs. engravings on bone artefacts from Cuina Turcului in Romania (Boroneanþ 1996). NON-UTILITARIAN OBJECTS In Neolithic iconography the meander symbolized the earth and the subterranean world; the zig-zag line represented water The same symbols combined in diverse ways can be recognized or snake, a water animal. in the engravings of a Bos metapodium and the fragment of an Is it possible to advance the same interpretation for these herbivore. In this case the graphic sequences of V and bar symbols in Late Palaeolithic? incisions are not a decorative pattern, but represent a “written” Climate change due to glacial retreat produced a reaction message, alas for us, undecipherable, composed by ideograms in the human way of life. The necessity to find new sources of recalling the batonnets and the signes couplés codified by Leroi food stimulated gathering and determined a new approach to Gouhran (Leroi-Gouhran 1965). (Figure 8) nature. We can reasonably think that these conquests developed A geometrically elaborated theme is engraved on the rib throughout the Mesolitic and Neolithic and that some graphic of the herbivore and the graphic composition matches the shape symbols conserved the same meaning through the ages. of the bone. This character foreshadows the compositions of A fractured schist plate engraved with an abstract Epipaleolithic and Mesolithic artefacts (Martini 1996). The composition (Figure 11) was found on top of layer 10 (dated decoration consists of blocks of parallel lines brightened by about 12000 BP). It had been placed in a zone largely scattered red ochre (Figure 9) arranged to form a Greek fret. Similar with ochre, with minor schist pebbles around, sealing an engraved schemes appears on Late Magdalenian artefacts such assemblage of animal bones with the mandible of deer. The as a bone blade from Remouchamps cave in Belgium, a context suggests an offering ceremony and the fracture ab decorated bone from Abry des Usclades in South Pyrenees antiquo of the plate may reveal a ritual fragmentation with the (Bouvry 2007), and a schist plate from Les Beaux Sarts delivery of the missing piece as a token of the rite. (Rozoy) in Ardennes region. These schemes are generally Two long horizontal lines engraved in the upper part, interpreted as notation systems (Marshack 1972b). possibly refer to the back of an animal. Afterwards, the superior Technological analyses of the engraving can determine surface of the stone was completely engraved by various if “notation marks” have been made all at once, if the engraving interwoven motifs, long and short parallel traits and a large tool was the same during the realisation, and if any mark had zig-zag. This composition recalls the Late Palaeolithic been added or retraced. Every variation in the technological figurations of animal outlines completely covered by thick hatching from Isturitz, Grotte Gouy, Abri Morin, and Borie

17 Paola Ucelli Gnesutta

Figure 6a-b. Retouchers with series of notches on the edges: a. Evolved Epigravettian, b. Late Epigravettian.

Figure 7. Bone point with chevron and parallel incisions on the superior and inferior faces.

Figure 8a-b. Decorated bone fragments with Figure 9. Engraved rib with geometric motif forming a Greek fret. chevron and double traits incisions (signes couplés). 18 Figurative and Abstract Themes

Figure 10a-b. Bone decorated with meanders and a zig-zag line.

Figure 11a-b. Schist plate with hatchings that cover an animal figure.

Figure 12a-b. Engraved pebble with symbolic themes.

a b del Rey (Martin 1989; Bouvry 2007) in France and Grotta resemblance to the Italic Epigravettian, nor to any con- Romanelli in southern Italy (Graziosi 1973; Martini 1996). temporary art manifestation in Europe. This makes it even Artists no longer searched for resemblances in nature. more arduous to attempt an interpretation. Upper Palaeolithic art expressed the spiritual world of hunters The composition is formed by three elements; one of them, through the images of big and powerful animals. After the on the right, is realized with a thicker point and was probably naturalistic style and figurative non-naturalistic style, at the engraved at a different moment. A zigzag flowing between end of Ice Age artists adopted an abstract language to give two straight lines presumably depicts a large river, and two form to new conceptions and beliefs. With climate change, long bands, with hatching inside, may be “streams” converging big herbivores, chased and worshipped by early hunters, together and then flowing into the “river”. migrated and disappeared from the grassy plains overrun by The second image is a trapezoidal form filled by narrow expanding forests, and, at the same time, they also left the parallel lines (a lake?). From the top of it arises a band similar scene of art. to the others, which takes a course parallel to the large “river”. Three abstract themes engraved on a flat stone found in a Somewhat apart, the third theme recalls the signes quadran- ritual context are a striking proof of the change in Late gulaires of Leroi-Gouhran, interpreted as feminine symbols, Palaeolithic representations. (Figure 12) This drawing has no and by analogy as a settlement place, a cave. 19 Paola Ucelli Gnesutta

a b Figure 13. Steatite pendant imitating a deer tooth.

I see this scene as a geographic sketch, a map, or rather, is drilled by the opposite rotation of a point. As Y. Taborin the depiction of an initiatory journey, the illustration of the pointed out (Taborin 1987), the hole of an ornament not only path of the ancestors. has a utilitarian function, but it is a symbol in line with other decorative themes and can influence their disposition and ORNAMENTS meaning. Three long lines descend on the left of the hole and two The ornaments found in the Final Epigravettian layers are on right. A group of shorter irregular lines is situated downward pendants made of shells (Glycymeris and Columbella,), deer and we can distinguish an ideographic sign among them, maybe canines, bird bones and steatite, a metamorphic rock, a sprout. The back side, deeply worn out and marked by use, resembling jade, that was used since the early Upper had not been engraved. Palaeolithic to make ornaments and little sculptures (Mussi This is the only ornament found with human remains: nine 1990). Near Pisa and Livorno, at a compatible distance from teeth of an adult woman and one of a child (according to Settecannelle are steatite deposits for Palaeolithic transport Professor Francesco Mallegni’s supervision) left at the bottom and exchange of materials. of a grave destroyed by later diggings, which disrupted the The six pendants make a remarkable discovery due to their archaeological deposits. homogeneous material and high quality of manufacturing. We The woman was the owner of the ornament and she had will examine three of them. been wearing it long enough to smooth the surface by contact One is a black steatite bead that imitates the shape and the with her body. decoration of deer canine pendants. (Figure 13) Beads from If this pendant was a feminine ornament, we can suppose animal teeth and from shells are the earliest ornaments worn that the other pendant, similar in shape and in decoration, was by late Neanderthal and early Homo Sapiens populations a feminine ornament, too. (Vanhaeren and D’Errico 2006). As pendants or added to A body ornament is a medium for individual identification garments, they were a visual display to emphasize the physical within a group, it signifies the authority, the status, the role attribute or individuality of the wearer and marked a watershed and the division between men and women. Possibly the high event in human communication and social relations. Beads number of steatite pendants in the cave is the witness of an are durable media, unlike mineral and organic body colorants, influential role of women inside this settlement. and could be used in composition with a great number of In my view the decoration of the two pendants may be a elements to increase the visual impact of the message. symbol of life-giving water and of vegetation: nature Furthermore, the message they embodied could be transferred manifestations that became, in later ages, feminine deities. from one individual to another in the form of a gift (Kuhn and This interpretation is suggested by schematic re- Stiner 2007; Vanhaeren and D’Errico in press). presentations of plants, starting to appear during the Late A beautiful jade color pendant is engraved along the rim Magdalenian about 10000 BP, like the marks on the incised with deep notches and on both faces by abstract figurations stick of Queto de La Mina, in which Marshack even identified composed of vertical lines and a few more definite signs. plants in different stages of vegetation (Marshack 1972a). In (Figure 14) On the upper face a central group of lines spreads the Final Epigravettian, about 12000 BP, stylized vegetal motifs like a fan and other vertical lines follow the margins among appear in northern Italy at Riparo Villabruna (Broglio 1992, which we can detect a line with 5 small traits and a ramified 1998) and at Fonte di Pale (Dalmeri 1998). They are not sign with similar hatchings. On the opposite face, the decoration naturalistic depictions but expressions of concepts generated includes groups of lines with different orientations: dots, a by a new lifestyle. chevron and a ramified sign. The object is vaguely anthropo- The warming climate of Tardiglacial caused the definitive morphic and the “fan” could represent a garment, the fringe of shift from large game to other resources like small animals, a waistband, as proposed for analogous patterns appearing on birds, marine resources and vegetable foods (grinding stones Azilian pebbles (D’Errico 1994). to process seeds are documented from the Upper Palaeolithic). The other ornament is a black steatite oval pendant Man opened his eyes over the vegetable kingdom and received decorated in a similar linear style on the face side. (Figure plants food, knowledge and inspiration. 15) Like the former pendant, its contour is etched and the hole

20 Figurative and Abstract Themes

a b Figure 14a-b. Steatite pendant with etched rim and abstract decorations on the two faces.

a b

0 1 2 3 cm Figure 15a-b. Steatite pendant with linear incisions.

New art expressions foreshadowing the abstract-geomet- Villabruna A (Dolomiti Venete), Atti XXVII Riun.Scient. I.I.P.P., ric style of the Mesolithic do not denote an impoverishment Firenze 1989, 224-249. in contrast to the great art of the Glacial Age; they indicate a phase full of energy and creativity for human society. Cultural BROGLIO A. homogeneity overlaps regional differentiations of lithic 1998, Considerazioni sulla produzione artistica dell’Epigravettiano recente del Veneto e del Trentino. Due nuove pietre dipinte del Riparo industries and other technologies. Art is, in fact, an irreplace- Villabruna A. RSP XLIX, 103-121. able and irreducible medium of communication that trans- forms the world (Bouvry 2007). DALMERI G. The mobiliary art of Settecannelle is well integrated in 1998, Le incisioni epigravettiane della Marchesina, RSP XLIX, 141- the genesis of this process, as in a great part of Europe. Beside 148. zoomorphic representations, a surviving link with the tradition of early hunters, ideograms and symbolic and geometric D’ERRICO F. themes appear which visualize the expectations and the 1994, L’Art Gravé Azilien- De la technique à la signification. XXXI religious beliefs of a new lifestyle. Supplement à Gallia Préhistoire, CNRS éditions. D’ERRICO F.- CACHO C. BIBLIOGRAPHICAL REFERENCES 1994, Notation versus Decorations in the Upper Paleolitic : a case- study from Tossal de la Roca, Alicante, Spain,Journal of BOSCHIAN G., UCELLI GNESUTTA P. Archaeological Science, 21, 185-200. 1995, Osservazioni geoarcheologiche sui livelli paleolitici della Grotta delle Settecannelle (Ischia di Castro, Viterbo), Preistoria e D’ERRICO F, UCELLI GNESUTTA P. Protostoria in Etruria” (Atti II convegno di Studi (Farnese, 21-23 1999, L’art mobilier Epigravettien de la Grotta de Settecannelle maggio 1993), vol. 2, Milano, 45-51. (Viterbo, Italie). Analyse technique et stylistique. “L’Anthropologie” (Paris), 103, n.1, 121-160. BOUVRY F. 2007, Les manifestations esthetiques du Mésolithique de la fin du D’ERRICO F.,VANHAEREN M . Tardiglaciare et durant le Postglaciaire en Europe occidentale. Thèse 2002, Criteria for Identifying Res Dee (Cervus Elaphus) Age and de Doctorat. 20 Janvier 2007, Université Paris I. Sex from Their Canines. Application in the Study of Upper Paleolithic and Mesolithic Ornaments. .Journal of Archaeological Science , 29, BROGLIO A. 211-232. 1992, Le pietre dipinte dell’Epigravettiano recente del Riparo

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