When It All Begun the Copper Age Roots of Valcamonica Rock Art

Alberto Marretta

When it all begun The Copper Age roots of Valcamonica rock art

Introduction In Valcamonica there are no data growing adult. If we just consider what we know quicker than the ones pertaining the Cop- of the preceding periods - whether we ac- per Age, a period that in the Alpine region cept the idea of the oranti figures belong- covers roughly the end of the IV and the ing to Neolithic times (Anati 1975, 2004; whole III millennium BC. A long and intense Sansoni & Gavaldo 2009) or not (Arcà 2009; season of archaeological excavations has De Marinis 1994b) - we are just left with in fact started to change our perspective the abstract/geometric compositions inter- on this period, now crucially enriched by preted as “topographic” representations, a close relationship between carved im- and perhaps with few other rare symbols. agery and the primary context in which What we know of the period before the III the figured stones were placed. Important millennium BC is thus essentially not figura- conferences and exhibitions (De Marinis tive, or at best extremely limited in its range 2013, 2014; Poggiani Keller 2009c) displayed of depicted subjects (Fedele 2011), while recently some of the most significant novel- the phase two of Copper Age, which be- ties and, despite the still large unpublished gan around 2900 BC, witnessed instead the materials, begun to offer new interesting dawn of all the main characteristics, both insights to the increasingly rich and ever- in terms of graphic conventions and techni- more fascinating iconography. At the same cal ability, that will become the distinctive time the opening of the Museo Preistorico mark of later periods as well. For example, Nazionale della Vallecamonica (MUPRE) in image creation technique on rock surface Capo di Ponte in 2014 (Poggiani Keller et are here fully mastered, apparently even al. 2014) has made accessible some of these on the most ancient monuments: extremely extraordinary findings in a new and capti- precise and uniform pecking is ubiquitous, vating exhibit. but scratching, and probably paintings were Due to the extent and complexity of in use, while we have also exceptional ex- the phenomenon, it is only possible here amples of natural chromatic features of the to offer a general updated overview, with stone surface, exploited in order to convey a specific focus on the recent excavations, peculiar contrast effects (Fedele et al. 2001). the specificity of some depicted subjects The same apply to the adoption of long and the main lines of interpretations of the lasting rule of depictions – such as the Hori- standing monoliths at the light of the cur- zontal Oblique Projection for solving the rent state of research. foreshortening problem (Willats 1997) – or the invention of durable themes, like the distinctive abundance of animals – exclusive The III millennium in Valcamonica of Valcamonica and Valtellina monoliths rock art: characteristics and –, the use of “solar” antlers for some deer, interpretations along with the fringed skirt worn by some A somehow striking fact is that the Cop- human beings (Cemmo 3), the ploughing per Age imagery seems to be an art born

52 Adoranten 2014 central and final stages of the Copper Age in Northern Italy (2900- 2200 BC), is known to be characterized by the con- struction of dedicated sites, where the erection of monoliths, often engraved with ornamental weapons or symbols, stand out as a new prac- tice (Fig. 1). This same habit spreads simulta- neously across much of the Italian territory and South-Eastern Europe, but with a much strong emphasis on the anthro- Fig. 1. Map with the main statue-menhir areas in Northern pomorphic metamorpho- Italy and detail of the distribution of Copper Age sites in sis of the stone. A selection of figures com- Valcamonica: 1. Valcamonica; 2. Valtellina; 3. Arco (TN); 4. mon on monoliths – like daggers, ploughing Lagundo (BZ); 5. Aosta; 6. Sion; 7. Lunigiana. scenes and geometric/abstract elements scene, the four-wheeled wagon on Cemmo – can also be found on some rocks in spe- 2, etc. cific selected sites, like Foppe di Nadro or The first actual figurative phase of Valca- Luine (Anati 1982; Arcà 2007; Sansoni 2007, monica rock art, which corresponds to the 2014). These standing monuments, which

Fig. 2. Archaeological Park of Asinino-Anvoia (Ossimo, Valcamonica, BS). Reconstruction of the alignment of monoliths at Ossimo-Anvoia on the basis of the excavation by Francesco Fedele (photo by Alberto Marretta).

Adoranten 2014 53 are known as statue-stelae, statue-menhir of weapons – especially daggers but also or simply monoliths, are found usually in axes, bows and arrows, halberds –, while places interpreted as “ceremonial centres” the other is marked by the presence on the or “megalithic sanctuaries”, where further chest of stylized breasts and by the recur- archaeological evidences - ceramic remains, rence of various garments such as collars, offerings, complex stone structures - con- pendants, etc. To a lesser extent, menhirs firm the performance of symbolic activities are also found with no specific gender at- linked to cult and religion (Fedele 2013). tributes, a hint that the graphic decoration In Valcamonica the statue-menhirs were was not a mandatory attribute for the sa- usually erected in groups, generally aligned credness of the monument (Fedele 2006b), in long rows and with the main side point- but only an addition to a stone already ing to the East, as demonstrated especially embedded with uncommon evocative prop- by the excavations at Anvòia (Fig. 2) and erties. Pat (Ossimo). In all the European sites, In Valcamonica, where few Copper Age two types of well recognizable decorated compositions are known, also on massive, stones occur: one is characterized by figures unmovable boulders (Cemmo, Corni Fres-

Fig. 3. Examples of masculine monoliths: a. Bagnolo/Ceresolo 1 (Malegno); b. Ossimo-Plasagrop 9; c. Ossimo 8 (all after Casini 1994).

54 Adoranten 2014 chi, Foppe di Nadro, Paspardo-La Bolp) or both the masculine and feminine attributes vertical cliffs (Paspardo-Plas), the anthro- (Fig. 6; Marretta 2004), sometimes suggest- pomorphic aspect is almost dissolved and ing a change of gender during time (Casini the stone surface become the canvas for a et al. 2014). series of highly symbolic images. The mas- Valcamonica bears so far over a hundred culine monuments are marked by daggers, monuments, many heavily fragmented. halberds, axes, the solar disk, countless wild Around half of them come from excavated animals, ploughing scenes and, finally, prob- sites, while occasional, out-of-context find- able clothing parts, such as horizontal belts ings, like the notable one from Cevo (Fig. made by parallel stripes or cloaks (?) in the 4e; Sansoni 2013), still happen (Casini & Fos- form of fringed rectangles with checkered sati 2005; Marretta 2007). If we also add the or striped internal decorations (Fig. 3). Big wealth of Copper Age monuments found so U-shaped collars, double-spirals pendants, far in the neighbouring Valtellina (Casini et necklaces, concentric circles, earrings and al. 2007), which has long been considered a schematic components of the face and the prehistoric “province” of Valcamonica be- body (the eyebrow-nose motif, the breasts) cause of the striking resemblance shown by characterize instead the feminine menhirs its archaeological findings, the Valcamon- (Fig. 4). A variation of the feminine typol- ica-Valtellina region is now one of the rich- ogy is common in Valtellina (Fig. 5), where est site in Italy, and among the major sites the eyebrow-nose motif is absent and the in Europe, for concentration of Copper Age range of depicted subjects is reduced com- menhir. The new material, while confirming pared to Valcamonica (Casini 2008; Casini the general range of subjects so far known, et al. 2007). Few monoliths exist that show suggest now clearly the preference of spe-

Fig. 4. Examples of feminine monoliths: a. Ossimo-Anvoia C20 (after Fedele & Fossati 2012); b. Cemmo 10 (after Poggiani Keller 2009a); c. Ossimo-Anvoia 4 (after Casini 1994) ; d. Cemmo 6 (after Poggiani Keller et al. 2007); e. Cevo 1 (after Sansoni 2013).

Adoranten 2014 55 one of them sometimes crowned by a sun disk. Similarly, the switch during Copper Age from an ideology of ancestors-warriors embodying the living link with the cosmic power of the sun disk (“worn” as a face), to an organized community that auto- represents itself through the lines of human beings, has been recently discussed with interesting arguments by Giovanni Leonardi (2013). What are the statue-menhir? Scholars have expressed different point of views de- pending on the data available across sites, though the Alpine group shows undoubtedly a certain internal consistency, and appear crucial for a general understanding of the period, thanks to the unique data coming from excavated contexts. Therefore, where there is a strong link with funerary structures, such as in Aosta (Italy) and Sion

Fig. 5. The feminine variant and the Valtellina cases: a. Fig. 6. Campolungo 1 (Grevo, Cedegolo). Monolith show- Caven 3; b. Cornal 1; c. Valgella 1; d. Ca Morei 1 (all after ing the sun/head, a single double-spiral pendant, six dag- Casini 2008). gers with triangular blade and the belt made by a parallel lines motif (after Marretta 2004). cific elements among different sites along the valley, like, for example, the frequency of the “fringed” rectangles in the Ossimo area or the T-face stelae in Cemmo. Further- more, it is now common to find in the same site a wide typology of shapes: actual stelae; round and smoothed, almost cylindrical or conical boulders; relatively small rock fragments with rough surfaces; impressive pillars with four flat sides (Cemmo 9). From the elaborate figurative language visible on the statue-menhir, Raffaele de Marinis has drawn the widest accepted interpretation of the phenomenon, both in terms of chronology and of iconographic content (De Marinis 1994a). According to De Marinis, a first phase – synchronous of Adoranten 2014 the copper daggers with triangular blade found in the necropolis of Remedello Sotto, Brescia (2900-2500 BC) –, and a second Bell- beaker phase (2500-2200 BC), have corre- spondence respectively to a symbolic period made up of pure iconic signs (the sun, the weapon, the ploughing; Fig. 3a) as opposed to an evolved “anthropomorphic” phase, where the monuments are more and more marked by the prevalence of human beings,

56 Adoranten 2014 (Switzerland), decorated stones are seen of supposed “Indo-European” elements in as effigies of ancestors-founders (Gallay the hierarchy, showed by the sun disk, the 1995), but where these elements are miss- weapons and the ploughing scenes, and ing, as in Valcamonica, they are interpreted – finally – on the cosmological synthesis im- as possible images of deities (Casini 1994; plied by certain compositions (Anati 1977; Casini et al. 2014). The hypothesis that even Sansoni 2008). in Valcamonica erected monoliths are to be related to a peculiar form of ancestor remembrance/worship has been nonethe- Highlights from excavated contexts: less envisioned by Francesco Fedele who, for Cemmo and Ossimo the first time, found at Anvoia few human The excavation project at Cemmo, con- remains attributable to ritual manipulations ducted from 2000 to 2011 by the Soprint- in the vicinity of an alignment of monoliths endenza per i Beni Archeologici della Lom- (Fedele 2008, 2013). bardia, has brought to light the structure of Different approaches, more concerned a complex and long-lasting ceremonial site with the universal symbolic values provided composed of a semi-circular dry stone wall by the range of depicted subjects, have just in front of the two well-known carved been expressed by Emmanuel Anati and boulders, Cemmo n. 1 and n. 2 (Poggiani Umberto Sansoni. In their interpretative Keller 2000, 2002a; Poggiani Keller & Ruggi- framework an emphasis is placed on the ero 2009). Excavation data suggest that the masculine and feminine polarities – and wide wall was built in the Late Bronze Age especially on the apparent drop in impor- and that people used the site and enlarged tance of the female figure in respect of the wall during the Iron Age, lasting well the Neolithic times–, on the appearance into Roman times.

Fig. 7. National Park of the Massi di Cemmo (Capo di Ponte). Overview of the two boulders, placed at the base of a cliff and facing a wide flat area (photo by Alberto Marretta).

Adoranten 2014 57 Fig. 8. National Park of the Massi di Cemmo (Capo di Ponte), Cemmo 1. Detail on the regular arrangements of animals and weapons, sometimes in complex superimpositions (photo by Alberto Marretta).

Aside from previous published data seemingly “deactivated” (Poggiani Keller (Anati 1967; Casini 1994; De Marinis 1982), 2009a). it is clear now that several standing statue- About twenty kilometres south of menhir were erected nearby the wall and Cemmo, the Ossimo-Borno plateau includes the two big boulders (Fig. 7, 8, 9). All were some of the most important sites of Valca- carved with the characteristic Copper Age monica prehistory, and more generally of imagery: solar signs, weapons, animals, the whole central Alpine area. As early as ploughing scenes, garments. Many mono- the ‘50s some isolated findings hinted at liths survive in fragments, but nonetheless the archaeological significance of the pla- the new research brings the total number teau, with the following years witnessing of decorated monuments found so far in new discoveries of engraved boulders and Cemmo to 27. Differently from Ossimo-Pat fragments of them, often reused as build- and, partly, Ossimo-Anvoia, all the mono- ing material for the houses in Ossimo and liths at Cemmo were found not in their Borno. But the research saw a turning point original positions, due to the complex his- only at the end of ‘80s, when Francesco Fe- tory of rearrangements faced by the site dele signalled the existence of three sites in during its long duration. the Ossimo territory (Anvòia, Plasagròp and The site, as a matter of fact, lost its cul- Pat) and opened a new chapter of archaeo- tural purposes only in the IV-V century AD, logical findings and analysis (Fedele 1990). when the progressive introduction of the After a long excavation phase at Anvoia, Christian religion lead to the foundation of Fedele brought to light several monoliths a new sacred site in the nearby church Pieve (Fig. 10), some of them still in their original di San Siro, and the previous “pagan” sa- place (Fig. 4a), and an almost pristine Cop- cred place was carefully disassembled, and per Age ceremonial site. For the first time

58 Adoranten 2014 with a short-lasting graphic form the engraved images (Fedele 2006a). As said, the finding in 2002 of a few human bones in a secondary burial in the cairn, close to the excavated alignment of monoliths, has strengthen the hypothesis that all the standing stones – and not only the ones bearing images – and the surrounding artificial structures could be related to a sort of ancestors worship site. According to this interpretation, the monoliths could be seen as images of real or mythical individuals, proving and preserving the link between the territory and the living community (Fedele 2008). The Pat area, on the other hand, became in the following years the focus of research conducted by the Soprintendenza per i Beni Archeologici della Lombardia. The excavation of this site, led by Raffaella Poggiani Keller, and still under way, have brought to light a site of unexpected size and stunning richness, composed by more than thirty monuments in their original place (some of them still standing in their planting spot), fireplaces, small mounds, stone circles and votive offerings. The excavation of two of Fig. 9. National Park of the Massi di Cemmo (Capo di Ponte), Cemmo 2. Daggers with the typical triangular the stone structures led to the discovery of blade, animals and schematic human beings (photo by some sort of cenotaphs, characterized by Alberto Marretta). the deposition of objects similar to grave goods, but missing the dead body. In the new data about the cultural role played mound (Fig. 11) a vase, a necklace made of by the engraved monoliths, which up to small rings, and a double-spiral copper pen- that moment had been found only out of dant was found resting upon a wood box (a context and with no relationship with each female outfit), while in the stone circle nine other, could be drawn in scientific form (Fe- arrowheads and flints belonged probably dele 2013). to a male individual. In both the structures The archaeological environment of An- single stones with abstract carvings (topo- voia, heavily modified in historical times, graphic?), reused as part of the internal rim, showed that it was linked exclusively to were also found (Poggiani Keller 2009b). ceremonial activities. In addition to the presence of carved images, the research brought to light some peculiar facts, like The iconography: the presence of an artificial stone platform novelties and confirmations (cairn) with fragments of carved monoliths The monoliths from Cemmo, now almost all (Fig. 10d, 10e), and traces of other human accessible to the public at the Museo Preis- activity, the modification and sometime torico Nazionale della Vallecamonica (MU- purposeful destruction of the monoliths, PRE) in Capo di Ponte, show an interesting the alignment of several standing stones new combination of a sign that was known with the main side facing East, the traces of only from Ossimo-Anvoia. It is the face, in colouring materials, probably used to paint the extremely abstract form of the eyebrow part of the monoliths, in order to complete and the nose (or T-face), here usually com-

Adoranten 2014 59 Fig. 10. Ossimo-Anvoia. Fragments of monoliths recovered during the excavations. Two of them (c. and d.) were found inside the cairn (a., b., c. after Fedele 2013; d. after Fedele 2008). pleted with two couples of concentric circles able objects and thus still difficult to be (eyes and breasts?), and a hanging necklace dated precisely inside the III millennium BC, decorated with concentric lines of trian- are an important new hint toward a sort of gles (Fig. 12, 4b, 4d). The eyebrow, here at abstract anthropomorphism shown by at Cemmo, is doubled in the upper part with least some of the female monuments, while a sort of “cap”, a detail missing at Ossimo- the masculine ones seem still “containers” Anvoia. The space in between the elements for catalogues of entities (animals, weap- is frequently filled with small dots or comb- ons, human beings), filling the space be- like shapes. Five of these kind of monoliths tween the sun/face at the top and the belt are now known from Cemmo (n. 6, 10, 18, at the bottom. 21, 24), two of them (n. 6 and 10) found Visible on site just few metres north of in the same spot, along other three carved boulder n. 1, inside the National Park of the monoliths at the beginning of the excava- Massi di Cemmo (Capo di Ponte), Cemmo tion in 2000 (Poggiani Keller 2000). n. 20 shows many elements of interest (Fig. This type of monoliths, usually lacking 13a). Found during the final phases of the superimpositions or depictions of recogniz- excavations, this big fragment of a possible

60 Adoranten 2014 third boulder (beyond the famous number 1 and 2), still partly embedded in the terrain, enriches the range of subjects at Cemmo with a big instance of the “fringed” rectangle, the first case known outside Ossimo (Fig. 13b). Other notable subjects comprise an exceptional case of a human being, part of a usual line of identical companions connected by the hands, who has its elongated upside arms crawling inside a huge sun disk placed above him. To the right of this human figure, the first image of a bird (a vulture?) is to be found on a Copper Age composition in Valcamonica. A couple of halberds with leaf-shaped blades, finally connect Cemmo with the identical arrange- Fig. 11. Ossimo-Pat. One of the “mound” during the ment of the identical ceremonial weapons excavation. A stone carved with geometric elements em- well known from the Paspardo-Plas-Capi- bedded in the structure is here highlighted (after Poggiani tello dei due Pini composition (Fig. 14; Anati Keller 2009b). 1957; Casini 1994). Superimpositions appear more and Fig. 12. Cemmo 10. Example of the remarkable feminine more a distinctive feature of the mascu- combination made by the eyebrow-nose face, breasts, line monuments, both at Cemmo and the eyes and/or earrings, a sort of cap above the head and other garments (after Poggiani Keller 2009a). Ossimo-Borno sites. The line of human beings are, in particular, more frequent than was thought some years ago, especially in Cemmo, where the finding of Cemmo n. 3 in 1981 (Fig. 15) had already hinted at the specific role played by this peculiar arrangements (De Marinis 1982, 1988). Human beings in rows, commonly with dots in between, and a dented line closing above, often superimpose each other and constitute always the last carving phases of the monument (Fig. 16). They thus ideally “close” the carving cycle of the stone. The well-known association of the sun and one of the human in the upper row is confirmed by new cases from Cemmo (for example Cemmo 17) and Ossimo-Pat. Interestingly some small monoliths are carved only with this type of human beings, usually accompanied by animals (Fig. 17, 18). Rarely the decoration is reduced to a single man and the dented line above him (Cemmo 7, 13, 26).

Conclusion One of the most remarkable feature that can be deduced from the excavation data now available is that every single monolith seems to show a sort of biography that can

Adoranten 2014 61 Fig. 13. a. Cemmo 20 (after Casini et al. 2014); b. Ossimo 5 (after Casini 1994). Among other novelties, the Cemmo fragment shows the first occurrence of the “fringed” rectangle outside the Ossimo sites.

Fig, 14. Paspardo-Plas. The famous composition known also as “Roccia dei Cinque Pugnali” at Capitello dei Due Pini. The two halberds have a leaf-shaped blade similar to the ones recently found on Cemmo 20 (after Casini 1994). be linked to ritual gestures taking place around it. Whether they were activities connected to the celebration and rein- forcement of ancestors memory, or ritual moments devoted to “divine” stones, it is interesting to note that the passing of time affected differently each monument, as some of them were heavily manipulated while others apparently where left un- touched for longer periods (Fedele 2001; Fedele et al. 2001). Strong evidence of this comes especially from the analysis of as- sociations and superimpositions of images among the monuments using Principal Component Analysis (Marretta & Barbieri 2004), where the most interesting result is the clear recurrence of the lines of human beings only on the masculine monoliths (and their notable absence in Valtellina), a strong hint on the possible existence of different rituality and manipulations based on gender and/or geographical location. Though still speculative, and in need of specific testing against a possible correla- tion with the stratigraphic data, this idea suggests that the various layers of superimposing images on monoliths can represent not just single carvings phases all synchro- nized through every monument – like in De Marinis’ idea of two/three strictly divided

62 Adoranten 2014 Fig. 15. Cemmo 3. Found in 1981, it bears one of the most remarkable sequence of superimpositions of the entire Valcamonica Copper Age period (photo by Alberto Marretta).

periods with their specific images – but different “states” of a single monument connectible to other gestures that, at least in some cases, left archaeological traces around it (offerings, building or destruction of other stone arrangements, etc.). In other words, the line of human beings, known to be always the last added layers of images, could mark an “ending” state of a biographical process, for example, in the first Remedello phase too, and not necessar- ily belong in block to the Final Copper Age/ Early Bronze Age as stated by De Marinis (1994a). The other important fact recently emerged is the long duration of the Copper Age sites with standing monoliths. We now know, especially from Cemmo and Ossimo-

Fig. 16. Ossimo M14. A chromatic/contrast effect is exploited emphasizing the different colour of the surface (lighter) against the inner, darker part of the stone (after Fedele et al. 2001).

Adoranten 2014 63 Fig. 17. Campolungo 2 (Grevo, Cedegolo). Lines of human beings superimposing each other and animals (after Mar- retta 2004).

Pat, that they were still in place during the Iron Age, some of them lasting erected until Fig. 18. Cemmo 8. Human beings with stretched arms surmounted by a dented line. Deer with big “solar” antler the Roman time (Poggiani Keller 2009a), close the composition below (after Poggiani Keller et al. and that they were the focus of specific at- 2007). tentions, with the lighting of fires around them during the whole I millennium BC, planned willingness to link themselves to for example at Ossimo-Pat (Poggiani Keller the prestige of the nearby ancient sanctu- 2002b). The fact that the Iron Age rock art ary, strategically placed at the “entrance” – with the notable exception of the Ossimo- of the rock art area. The well-known, and Borno plateau – flourished exactly around quite exceptional abundance of, plough- these sites must not be overlooked. In the ing scenes on Seradina I rock n. 12 (Fossati specific case of Cemmo, and the adjoining & Arcà 2013; Marretta 2011) thus could rock art site of Seradina, for example, we point to a deliberate relationship with the can push forward and imagine that at least ploughing scenes still visible on some of some of the main themes characterizing the the Cemmo monoliths, while the deer with Iron Age rocks here show a conscious and “solar” antler – a feature quite distinctive

64 Adoranten 2014 of the Seradina area – can easily remind the Anati, E., 2004, La civiltà delle pietre: Valca- typical shape of the deer antler in use dur- monica, una storia per l’Europa. Edizioni del ing the Copper Age, and again well repre- Centro. Capo di Ponte. sented at Cemmo (Fig. 18). Arcà, A., 2007, Valcamonica, Dos Cüi, le fasi In conclusion, we can fairly say that neolitiche e calcolitiche: cronologia, temi e the Valcamonica Copper Age “ceremonial interpretazioni. Notizie Archeologiche Ber- centres” deeply changed the perception gomensi Vol. 12, p. 279-300. and the relationship of the communities Arcà, A., 2009, Monte Bego e Valcamonica, with the surrounding landscape, creating a confronto fra le più antiche le fasi istoria- unique blend between the memory of the tive. Dal Neolitico al Bronzo Antico, paral- past, the symbols of social and cosmic pow- lelismi e differenze tra marvegie e pitoti dei ers, and, finally, the complex interaction due poli dell’arte rupestre alpina. Rivista di between the living humans and the inhu- Scienze Preistoriche Vol. LIX, p. 265-306. man durability of the stone. The outstand- Casini, S. (ed.), 1994, Le pietre degli dei. ing richness of the imagery, a sort of canon Menhir e stele dell’Età del Rame in Valca- surviving the abyss of time, undoubtedly monica e Valtellina. Bergamo. gave roots to ideas and graphic possibilities, Casini, S., 2008, I monoliti istoriati con laying the foundations of the subsequent, simbologia femminile della Valcamonica e explosive Iron Age creativity, which not by della Valtellina. Riflessioni e nuovi spunti di chance spread in its grandiose magnitude ricerca. Notizie Archeologiche Bergomensi around these solemn pillars of the past. Vol. 16, p. 5-20. Casini, S. & Fossati, A. E., 2005, Due nuovi monumenti dello stile III A in loc. La Bolp Aknowledgements (Paspardo, Valcamonica). Notizie Archeolog- I am very grateful to Matteo Rizzardi for iche Bergomensi Vol. 13, p. 157-168. the revision of the English text and to Ger- Casini, S., Fossati, A. E. & Simonelli, M., hard Milstreu for the kindly invitation to 2007, Nuovi monoliti istoriati dello stile III A contribute on this subject. in Valtellina. Notizie Archeologiche Bergo- mensi Vol. 12, p. 195-218. Alberto Marretta Casini, S., De Marinis, R. C. & Fossati, A. E., [email protected] 2014, Aspetti simbolici dello stile III A in Valcamonica e Valtellina: ipotesi interpretative. In Le manifestazioni del sacro e l’età del Rame nella regione alpina e nella pianura padana. Studi in memoria di Angelo Reference Rampinelli Rota. Atti del Convegno, Brescia, Anati, E., 1957, Nuove incisioni preistoriche Palazzo Broletto, 23-24 maggio 2014, edited nella zona di Paspardo in Valcamonica. Bul- by R. C. De Marinis. Edizioni Euroteam, p. lettino di Paletnologia Italiana Vol. 66, p. 147-166. 189-220. De Marinis, R. C., 1982, Cemmo di Capo di Anati, E., 1967, I Massi di Cemmo. Edizioni Ponte (BS). Scoperta di una nuova statua- del Centro. Capo di Ponte. stele. Notiziario della Soprintendenza Ar- Anati, E., 1975, Evoluzione e stile nell’arte cheologica della Lombardia Vol. 1981, p. rupestre camuna. Edizioni del Centro. Capo 14-15. di Ponte. De Marinis, R. C., 1988, Due nuovi fram- Anati, E., 1977, Origini e significato storico- menti istoriati da Cemmo (Capo di Ponte, religioso delle statue-stele. Bollettino del Valcamonica). In Il Parco delle Incisioni Rup- Centro Camuno di Studi Preistorici Vol. 16, estri di Grosio e la preistoria valtellinese. 1° p. 45-56. Convegno archeologico provinciale, Grosio Anati, E., 1982, Luine collina sacra. Edizioni 25-27 ottobre 1985, edited by R. Poggiani del Centro. Capo di Ponte. Keller. Parco delle Incisioni di Grosio, p. 117- 150.

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