The Rock Art of Valcamonica: Itineraries for Visiting Parks and Archaeological Areas
Written by Tiziana Cittadini and Valeria Damioli
Valcamonica is world famous for its extraordinary complex of rock engravings, mostly dating back to prehistoric times, which have been recognized as a “World Heritage Site” by UNESCO since 1979. Although all the rock art sites known today in Valcamonica should be considered “World Heritage”, eight parks have been established in this territory, and several archaeological areas encompassing the most significant sites have been set up to promote their tourist enjoyment.
Depending on your degree of interest and the available time, an ideal itinerary to discover the rock engravings should include a visit to:
Capo di Ponte – National Prehistory and Protohistory Centre of Valcamonica (Naquane National Park, Massi di Cemmo National Park and Museum of Prehistory – “MUPRE”) and Seradina-Bedolina Municipal Archaeological Park (planned visit time: 2 days);
Nature Reserve of rock engravings of Ceto, Cimbergo and Paspardo – Museum of the Reserve, Foppe di Nadro archaeological area, archaeological areas of Campanine di Cimbergo and Paspardo (planned visit time: 1-2 days for the entire circuit; allow half a day for visiting each of the individual areas);
Recently, it has been opened and musealized a trail connecting Naquane National Park and the Foppe di Nadro archaeological area, the two main visitation areas and the two highest concentrations of rock art in the middle Valley. Having only one day to devote to rock art, we suggest choosing this route, completing it with a visit to MUPRE;
Darfo Boario Terme – Parco di Interesse Sovracomunale del Lago Moro, Luine, Crape, Simoni and Monticolo (estimated visiting time: half a day for the archaeological area of Luine, Crape, Simoni; one hour for Monticolo);
Altopiano del SolePlateau – Asinino-Anvòia Archaeological Park (Ossimo Superiore); Valzel de Undine archaeological area (Borno); Annunciata and Vigne archaeological trail (Piancogno) (estimated visiting time: half a day for the entire trail);
Sellero, Berzo Demo and Sonico – Sellero Mining Archaeological Park; Berzo Demo-Loa Multi-Tematic Route; Sonico “Coren de le Fate” Multi-Tematic Route (planned visit time: 1 day).
Having been established at different times, parks and archaeological areas have different administrative and management solutions (archaeological trail, municipal park, regional park, national park), establish their own regulations and, above all, their own policy of opening hours and admission administration, so it is important to check these matters with the managing body of each of them. Since 2021, it is possible to purchase (online only) the “Pass Incisioni”, a single ticket (valid for one year) that allows one entrance to each of the affiliated sites. For those who wish to visit only one park, it is possible to purchase access at each individual ticket office.
The parks and archaeological areas cover a fairly limited area, stretching from Darfo Boario Terme in the south to Sonico in the north. The greatest concentration of engraved sites, and consequently of areas set up for sightseeing, is in the mid-valley, around Capo di Ponte.
Public transportation is infrequent and quite inconvenient; apart from Capo di Ponte, bus and train stations are often decentralized from the villages. The best means of transportation to visit all the sites would be by car or motorcycle. Also, cabs need to be booked in advance at local agencies, since they are not a widespread service.
The areas with rock art are located in mid-mountain areas, surrounded by forests. In order to reach the sites, it is always necessary to plan walking treks. Moreover, only some parks are infrastructured for people with mobility impairments; we encourage you to check before going to the site.
If you prefer slow mobility, Valcamonica is crossed by two walking routes: “Charlemagne’s Path” and “Via Valeriana,” touching many sites with rock art, as well as churches, monuments and other areas of artistic and environmental relevance.
Bicycles could also be a viable means of transportation, as the valley is crossed by a bicycle path along its entire length. Please keep in mind, however, that we are talking about a mid-mountain area: it is therefore necessary to take into account the presence of significant elevation differences.
The best times to plan a visit are spring (April to mid-June) or fall (mid-September to October). In summer, the weather is quite hot and the light of the sun, at its peak, makes it quite difficult to read the engravings. In winter, temperatures can be very cold, and some trails may be dangerous due to the presence of ice and snow; also, some accommodation facilities may be closed.
Capo di Ponte
Ceto-Cimbergo-Paspardo
Darfo Boario Terme
Altopiano del Sole
Sellero and Valle di Saviore
Capo di Ponte
National Prehistory and Protohistory Center of Valcamonica (Naquane National Park, Massi di Cemmo National Park and Museum of Prehistory – “MUPRE”) and Seradina-Bedolina Municipal Archaeological Park
Capo di Ponte is the heart of the rock art area in Valcamonica: a visit to this area can only start from here, where the Centro Camuno di Studi Preistorici (Valcamonica’s Center for Prehistorical Studies, or CCSP) is based, and where the Regional Directorate of Museums of Lombardy has established the “Polo Nazionale della Preistoria e Protostoria della Valcamonica” (National Prehistory and Protohistory Center of Valcamonica), including the National Rock Art Park in Naquane, the Massi di Cemmo National Archaeological Park and the MUPRE (National Prehistory Museum in Valcamonica). Since 2009, several areas located on the right bank of the Oglio river, belonging to the Seradina-Bedolina Municipal Archaeological Park, have also been infrastructured and opened for tourists.
Tuesday through Saturday: 8:30 a.m. to 7 p.m. (last admission at 6:30 p.m.).
Sundays and holidays: 8:30 a.m. to 2 p.m. (last admission at 1:30 p.m.).
Closed on Mondays.
Winter hours might be subject to changes, please check in advance
Admission: € 6.00
Access: By car, past the Capo di Ponte train station, keep right at the railroad crossing and take the road leading to the Church of Le Sante (signs on site). There are several public parking spaces in Limit Street and near the church. The entrance to the park can be reached on foot, with an easy 10-minute walk.
Alternatively, starting from the forecourt of the Hotel Graffitipark (where ample public parking is available), follow the pedestrian signs for the path called “nel bosco degli alberi del pane” (lit., “in the forest of the bread trees”). Again, the park can be reached by an easy 10-minute walk.
Another possible route is to get there on foot in about 20 minutes from the Capo di Ponte train station (directions on site).
Some rocks in the park are also accessible to people with mobility disabilities.
Visiting time: half a day
Naquane is the area with the best-known rock art in Valcamonica and the first to be put under protection, in 1955, thanks to studies conducted by Emmanuel Süss and the attention of the then Superintendent of Lombardy Mario Mirabella Roberti. The park today houses 104 engraved rocks, which are fundamental to the reconstruction of the cultural cycle of Valcamonica. Their engravings cover a remarkable time span, from the most archaic phases to modern graffiti. Their themes have great typological variety, but also the density of the engravings is exceptional, to the point that it can be stated that the macro-area comprising Naquane and Foppe di Nadro (part of the Nature Reserve of Ceto, Cimbergo and Paspardo), must have been particularly important to the prehistoric communities of the area.
The park is organized into five visitor routes: the orange-colored one, starting at the entrance, is the basic route, from which the others branch off. It is quite difficult to rank the most significant rocks within the park; but we would point out rocks 1, 50 and 35 as “must-see”, due to their historical importance and artistic beauty.
100_0819
naquane r1
naquane r 50_guerriero
naquane r 50_cavaliere acrobata
naquane r 35_villaggio
naquane r 35_sciamano che corre
naquane r 1_telaio
naquane r 1_labirinto
naquane r 1_cervo
naquane r 1
dsc_0015
Naquane r.1
Also known as the “Great Rock of Naquane”, it is among the largest and most densely engraved surfaces in Europe: a visit to this rock alone would justify a trip to Valcamonica. It is a large, glacier-smoothed, mounded surface that forms a single engraved complex with adjacent rocks 2-3-4. To facilitate its visit, it is crossed by a large wooden walkway, which laps the most interesting panels.
The first thing to strike the visitor is the freshness of the engravings and their near-perfect legibility, thanks in part to its favorable exposure to the sun. Here, it is possible to admire engravings dating from the Neolithic to the Iron Age: simple schematic, ityphallic figures and “large-handed” prayers, loom figures, many hunting scenes, deer with well-defined antlers, warriors, horsemen with conspicuous rayed or feathered headdresses, a labyrinth, shovels, huts, and many other symbols.
Naquane r. 50
R. 50 is also considerable in size, but its exposure to sunlight is not as good as r. 1’s, making its engravings more difficult to read than the other rocks in the park. Also served by a convenient walkway, it offers visitors the opportunity to approach a beautiful composition of anthropomorphs, depicted in the praying position (this kind of figure is also called “orant”, or prayer).
The central part of the rock is occupied by engravings of large warriors carrying swords, shields and crested helmets, referring to the Etruscan phase of influence during the Middle Iron Age. In the repertoire, mostly related to a warlike and “male” sphere, the depictions of horsemen – engaged in both fighting and hunting – stand out. Among them, a horseman in a sort of “kilt” appears to be balancing on the back of his horse, engaged in a test of skill – perhaps an initiation, or some sort of ceremony?
Naquane r. 35
Located at the southern end of the park, this rock also offers exceptional legibility. On its surface stands out a long train of Iron Age huts, partially overlapping with deer hunting scenes. Among the most interesting figures are the so-called “running shaman,” skilfully and vividly drawn, and the “blacksmith’s” scene, which seems to show a craftsman at work (Iron Age).
Free admission. The site is also accessible to people with mobility disabilities.
Access: public parking space in Via Pieve di San Siro, in the hamlet of Cemmo di Capo di Ponte.
Visiting time: about one hour
The two Boulders of Cemmo (“Massi di Cemmo” in Italian), located in the small valley of Pian delle Greppe, are closely linked to the discovery of rock art in Valcamonica: reported by G. Laeng as early as 1909, they appeared in a brief note in the Italian Touring Club Guide in 1914, to later become the subject of numerous studies throughout the 20th century and also in the early 2000s.
Archaeological excavations have shown that the area has been sacralized since the Copper Age, when the two main boulders (the “Massi” mentioned in the name of the park) were engraved. Towards the end of the same period, also other stelae and engraved boulders were added, such as the stelae called “Cemmo 3” and “Cemmo 4”. Most of the recent findings are now on display at MUPRE (Museum of Prehistory in Capo di Ponte, Valcamonica).
Later, during the Bronze Age, a semicircular walled enclosure was built, monumentalizing the sacred space. In the Middle and Late Iron Age (V/IV-II/I cent. BCE), the megalithic sanctuary was also renovated with the reuse (and re-engraving) of some Copper Age statue-stelae. The sanctuary remained in use even in the Roman period: the walled enclosure was arranged with a cobblestone floor, while some fragments of Copper Age stelae were used as waste materials and other stelae were re-engraved.
The advent of Christianity brought the end of the ceremonial site and of the pagan worship practiced here: the stelae were intentionally torn down and partly thrown into large open pits along the walled enclosure or leaned against the outer body of the wall and carefully sealed with river pebbles. This last deconsecration intervention, marking the final abandonment of the sanctuary, happened between late Roman times and the early Middle Ages and could be related to the struggle waged by the Church against the idolatry of stones. This condemnation may have ended with the Christianization of the area, which was expressed in a determined and radical way on the site itself: the general reorganization of the entire Cemmo basin, the construction of a road and terracing, and the foundation, near the ancient pagan place of worship, of the parish church dedicated to St. Syrus (“Pieve di San Siro” in Italian) – the saint who, according to the legend, brought Christianity to this Valley.
cemmo 1
cemmo 1_dettaglio
cemmo 2_carro e aratro
cemmo 2_pugnali
frammento murato
pian delle greppe
MUPRE – National Museum of Prehistory in Valcamonica
Free admission. The museum is accessible to people with mobility impairments.
Access: public parking on San Martino Street, in the historic center of Capo di Ponte.
Visiting time: two and a half hours
Located in the historic building of Villa Agostani (built in the 1500s), in the center of Capo di Ponte, the museum offers an interesting insight into the material cultureof prehistoric Valcamonica.
The ground floor is devoted to the Copper Age megalithic sanctuaries: this display houses over 50 stelae and engraved boulder-menhirs from the megalithic sanctuaries of Cemmo, Bagnolo, Ossimo-Anvòia, Ossimo-Pat, and other areas. These are particularly impressive finds and, in some cases, of imposing dimensions (such as the majestic Cemmo 9 and Pat 4 stelae), making Valcamonica an important participant in the extensive phenomenon of Alpine and European megalithism.
The upper floor houses numerous artifacts of material culture: from Mesolithic shelters to Neolithic settlements to the Metal Ages, the artifacts “tell the story” of the ancient ways of living and inhabiting the Alps, making optimal use of their environmental resources.
The archaeological findings related to the funerary world, although not numerous, offer significant data for reconstructing the complex conception of death in the Copper Age, with rock shelters (“Riparo 2” of Foppe di Nadro) and shrines with stelae, where mounds and votive circles with deposition of offerings (Ossimo-Pat) and remains of human bones (Ossimo-Anvòia, Cemmo) hint at aspects of ancestor worship.
Closed on Thursdays. The ticket office is located at the entrance to the Seradina area.
Admission: € 4.00
Access:
to Seradina: From Capo di Ponte, follow the road signs to Cemmo; park at the free, public parking space by the cemetery (via Pieve di San Siro). The park entrance is a few minutes’ walk away (directions on site).
to Bedolina: follow the road signs to Pescarzo and park in the small, marked parking lot. The rocks can be reached in a few minutes on foot (signs on site).
Visiting time: 3-4 hours
The Municipal Archaeological Park of Seradina-Bedolina (Capo di Ponte), opened to the public in 2005, includes the rich areas with rock engravings of Seradina and Bedolina, in which over 160 engraved surfaces have been identified to date, now organized in various visiting routes identified with different colors. The Park occupies a wide area between the hamlets of Cemmo and Pescarzo, 400-600 m above sea level. The area at the lowest elevation, Seradina, with the respective sub-areas of Seradina I, II and III, is distinguished by the widespread presence of Bronze Age and early Iron Age (late II – early I millennium BCE) engravings. The rocks, small in size, bear many scenes of duels/ritual fights, while in one specific sector (Seradina I, or “Corno di Seradina”) there are many plowing scenes. The engraved portions are generally small, except for the large rock 12 in Seradina I.
In contrast, numerous rocks with “topographic compositions” are located in the Bedolina plateau, including the famous “Map Rock”.
bedolina r 1_mappa1
bedolina r 1_mappa2
bedolina r 1_mappa3
Seradina II r 12_aratura
Seradina II r 12_caccia
Seradina II r 12_cavalieri
Seradina II r 12_scena mitologica
seradina
Seradina I r.12
An undisputed leading rock in the area, it bears a series of engravings of ideological or mythological character. A large deer hunting scene, with horsemen and dogs, occupies its central part. Slightly off to the side, six plowing scenes feature equids harnessed and led by a figure with a hoe, followed by mating scenes.
These subjects are joined by isolated depictions evoking probable mythological epics, as is the case with a famous scene in which one of the figures, armed with a square-bladed axe, grasps a large snake with one hand.
Bedolina r. 1
Overlooking the valley in a panoramic position, this rock exemplifies even to the least attentive visitor the closeconnection between rock art and the land. The rock is almost completely covered with complex figures, with rectangular elements – sometimes fielded or filled with neat rows of cup marks and often joined by lines, to form extensive geometries. The whole has always been described as a representation of the territory, to which sporadic figures of armed men (central part), the large Camunian rose (upper left side), and representations of huts (lower register) were added in later times.
Ceto-Cimbergo-Paspardo
Nature Reserve of the rock engravings of Ceto, Cimbergo and Paspardo
Summer (April 1 to October 31): 9:00 a.m. – 5:30 p.m.
Winter (November 1 to March 31): weekdays 10:00 a.m. – 2:00 p.m.; Saturdays and Sundays 9:00 a.m. – 4:00 p.m.
Closed on Tuesdays.
Admission: € 5.00
The ticket office is located at the Museum in Nadro, which also serves as a visitor center, offering reception, guided tours, educational workshops and lectures.
Established in 1988 by the Region of Lombardy, at the urging of the CCSP and municipal administrations, the Nature Reserve of rock engravings of Ceto, Cimbergo and Paspardo, with its 300 hectares of land and over 500 engraved rocks, is the largest archaeological park in UNESCO Site No. 94, “Rock Art of Valcamonica.” The Reserve is managed by the Public Law Entity Reserve of the rock engravings of Ceto, Cimbergo and Paspardo (www.arterupestre.it), while its scientific direction is entrusted to the Centro Camuno di Studi Preistorici, or CCSP (www.ccsp.it). The Reserve is a complex mosaic of archaeological, historical, ethnographic and environmental evidence, showing us the evolution of the alpine environment over the millennia.
The Reserve is equipped with well-marked and maintained visitor trails. Each visitor can choose whether to devote a few hours or several days to the visit, to grasp the extent and variety of the entire site. The visit begins at the Museum in Nadro and continues on one of several rock art visitor routes, with access from Nadro di Ceto (for Foppe), from Cimbergo (for Campanine), and from Paspardo (for the areas of Plas – Capitello, In Vall, ‘Al de Plaha, and Sottolaiolo).
The ancient transit and communication routes, agricultural terraces, and historic settlements (the old towns, castle, farmsteads, and shelters) are important to get to know the life in Alpine communities through the centuries. The current vegetation pattern is also the result of human intervention: the natural landscape has been altered, to adapt it to the living and livelihood needs of local communities, with the introduction of tree species (such as vines and chestnut trees) and water management.
Archaeological area in Foppe di Nadro
Access: from Nadro di Ceto, free parking at the cemetery, via Piana. It is mandatory to pick up the ticket at the museum.
Visiting time: 2-3 hours
After a visit to the Museum of the Reserve, leaving the charming old town of Nadro, a cobbled lane leads to the archaeological area in Foppe, consisting of a succession of densely engraved surfaces, organized in a pleasant loop trail. The first section of the path, called “road of the Aquane”, is bordered by high walls, supporting cultivated terracing since ancient times. Going at a good pace, after a quarter of an hour’s walk you will reach the educational area, housing the archaeological reconstructions of a Neolithic hut and an Iron Age Rhaetian cottage: this is the starting point of the visit trail to the engraved rocks.
The engraving activity in the area covers a long period of time, from the 5th mill. BCE to the 19th century CE; especially noteworthy are the carvings from the Copper Age (5th mill. BCE), the rich variety of Bronze Age (2nd mill. BCE) weapons, and the graceful warriors carved during the phase of Etruscan influence (Middle Iron Age, 2nd-1st mill. BCE).
foppe di nadro r 1
foppe di nadro r 4
foppe di nadro r 6
foppe di nadro r 21
foppe di nadro r 22
foppe di nadro r 23
foppe di nadro r 24
foppe di nadro r 27
Foppe di Nadro r. 6
In the main sites with rock art in Valcamonica it is possible to identify what experts call “leading rocks”—densely engraved surfaces around which revolve minor rocks partially echoing their iconography. Rock 6, one of the richest and most famous surfaces in the entire valley, is a good example of a leading rock.
Its numerous engravings were made between the Middle and Late Iron Age and testify to the artistic apex reached by the Camunian people in this period. They are arranged over almost the entire surface of the rock and involve most of the known themes of the Camunian cycle, as well as several representations and scenes that can be defined as unique. In addition to warriors, many other characteristic themes are widely represented here, including a great number of hut figures and, above all, hundreds of footprints. There are also many bird figures (a recurring theme in the Foppe di Nadro area), while in the lower part of the rock there are some exceptional depictions—including five-pointed stars, inscriptions in the Camunian alphabet (a variant of the North-Etruscan alphabet) and two fight scenes (armed duel and boxing) in a naturalistic style.
Foppe di Nadro r. 24
R. 24 alone is worth the trip to Valcamonica: shaped by the glacier into elegant forms, it is home to many iconic and famous engravings, such as the famous “Rosa Camuna,” one of the most iconic symbols of Valcamonica rock art and official symbol of the Region of Lombardy. The rock is crossed by a wooden walkway to facilitate its fruition, allowing visitors to get close to the magnificent engravings on its surface.
Near the walkway there is a large fire fracture, created by the lighting of bonfires in prehistoric times, surrounded by engravings from the Late Neolithic-Copper Age period: topographic maps, bucrania (“cow skulls”), a dagger, and schematic orants. Particularly interesting is the so-called “village”: 32 huts, all different from each other, concentrated in a single panel.
Below the walkway there are some of the most iconic scenes of Foppe di Nadro: armed warriors in various guises—isolated, dueling, on horseback; the beautiful Camunian rose, accompanied by two warriors armed with shield, short sword and crested helmet; a character wearing a long robe and carrying a musical instrument, called “the flute player”; the famous nine-legged “mythological animal”, which seems to have a long horn on its forehead. Finally, this sector preserves a rare phase of Iron Age threadlike figures: an armed man, a series of alphabetaria, two Introbio-type knives (1st cent. BCE), five-pointed stars and footprints. Below there are a hunting scene with two male deer being chased by dogs (middle Iron Age), a horseman, a five-pointed star, more armed men, a second small “village,” a deer being ridden by an armed human figure, and some footprints.
Tucked under the footbridge, a glacial eave hosts a train of hammer and graffiti marks, almost all engraved in historic age. This kind of graffito carvings is also present on other surfaces in Foppe di Nadro and especially at Campanine di Cimbergo, constituting one of the characteristic features of the slope.
Foppe di Nadro r. 26-27
The rock art complex called r. 26-27 constitutes one of the highest concentrations of rock art in the area and, with its over 3,000 signs, is to date the studied rock with the largest number of engravings in the entire Valcamonica.
From the walkway, one can comfortably admire numerous figures from the Middle and Late Iron Age: some “open-bodied” horses; a large horse with rider and squire; the scene known as the “butterfly idol,” in which a winged orant appears to hover above a second orant; an orant surrounded by seven dogs; as well as many other engravings.
On the vast mounded surface there are also some symbols that are more difficult to locate, such as the so-called “Nadro temple”—a complex depiction of a construction with numerous symbols—and an erotic scene. Scattered here and there it is possible to find groups of other specific figures and themes—including birds, a graffitied Solomon’s knot, many square-bladed axes, shovels, footprints, North Etruscan lettering, and other hammer marks and graffiti.
Archaeological area of Campanine di Cimbergo
Access: from Cimbergo, free parking in via G. Marconi – party area.
Visiting time: one hour and a half
The access point to the Campanine area is well-marked along State Road 88, which, from Ceto, climbs to the village of Cimbergo. The footpath descends steeply and, after an about 10-minute walk, visitors will reach a small votive shrine (“Capitèl de le Campanine” in local dialect) and the first engraved rocks.
Following the main path, it is possible to visit the rocks open to the public and choose whether to continue the descent toward the area of Figna and Foppe di Nadro, or to return by the same road.
The Campanine area has been fully studied and published by the CCSP. The prehistoric engravings range from the late Neolithic period to the Iron Age, but the most particular and curious features of this area are the engravings from the historical period (referable mainly to the 14th and 16th-17th centuries AD), probably connected to the mule track known locally as “mulattiera delle Scarazze” that climbed from Capo di Ponte to the fortress of Cimbergo.
campanine r 1
campanine r 5
campanine r 6
campanine r 7
campanine r 8
campanine r 20
campanine r 21
campanine r 25
Campanine r. 5-6-7
Rocks 5, 6 and 7 appear today as one large, uninterrupted outcrop downstream of the trail.
R.5 is characterized by the presence of both prehistoric and historic figures. Another noteworthy feature is the presence of a “fertility rock,” a smooth section of the rock used as a sort of “slide” by women wishing for a child—a prehistoric fertility ritual that survived well into Christianity. In the upper portion, it is possible to decipher quite clearly many hut figures, a deer hunting scene (very rare in Campanine), a graffitied labyrinth, and many Iron Age warriors. The middle and lower sectors, on the other hand, are difficult to read because of numerous overlaps; however, inscriptions in North-Etruscan and Latin characters (such as “IOVIS”) and more recent Christian crosses can be distinguished. A particularly important engraving, located in the right sector, is an anthropomorphic figure with three keys, for years identified with St. Peter. However, recent iconographic studies approximate it to the figure of the castellan, the keeper of the keys to the fortress and village of Cimbergo.
The main feature of R. 6 is the lower panel, close to the floor level, which is characterized by the presence of engravings from the historical period (late 15th to late 16th century). A true forest of graffitied images: geometric motifs (e.g., five-pointed stars, reticles, stairs-shaped figures); dates, both hammered and in filiform shape (e.g., 1319, 1330, 1342); Solomon knots; gallows, both empty or with the condemned struck by the executioner or assisted by the comforter; dice (a symbol of blind fate); a small figure with a scythe; some filiform crosses; a Calvary scene. Other engravings from R. 6 are crossbows, heraldic symbols (such as the eagle and fleur-de-lis that are part of the coat of arms of the Ducco family, chief magistrates of Valcamonica in the late 15th century), and the peculiar figure of a little devil flanked by a tuber—interpreted by some as a mandrake, but presenting the features of a turnip.
The engravings on R. 7 belong to a much broader time span: from the Late Neolithic, through the Bronze and Iron Ages, to the Modern Age. The earliest engravings are anthropomorphs (particularly, a female orant with “big hands”), circles, and cup-marks. In the Bronze Age, a large double wheel was engraved just above one of the schematic orants. A massive Iron Age axe-armed figure, carrying a sword at his belt and a rectangular shield, pivots a rich composition of 33 axe figures, closely associated with small cup-marks, footprints, huts, and other anthropomorphic and zoomorphic figures. The historic phase is characterized by a massive presence of keys and a bird’s eye view representation of a fortified system. Many – often coarse – crosses flank or, in some cases, overlap the historical figures. Just below, executed with the filiform technique, there are three horses (one of which is ridden by an armed man), dating to approximately the 14th century, and some reticles.
An interesting – and so far, unique – scenic composition is engraved on a separate sector: it depicts an exceptionally large housing structure (about one meter high) that houses within it a “daughter hut,” some human figures and seven footprints of various types. In the lower part of the hut there is the depiction of two figures, seated against a wall and probably conversating: one is seated on a shelf protruding from the wall, in a deferential attitude, while the second is depicted on a seat that resembles the ones from the friezes of the Reto-Venetian situlae, or to the “thrones” of Etruscan princes. This is a unique scene, a testimony to the private life of the ruling aristocratic class during the Iron Age.
Engraved areas of Paspardo
The rock art of Paspardo, due to its considerable extent and uneven distribution over the territory, is divided into many sub-areas, each characterized by unique subjects or distinctive styles. Many of the engraved surfaces are still being researched by the Archaeological Cooperative “The Footsteps of Man”; only a small part has been made accessible to the public and equipped with signs and tourist panels.
All the visitor areas in the territory of Paspardo are within easy walking distance from the village; moreover, they are well marked on site and have free public parking. The area of Sottolaiolo houses an “open-air museum,” whose facilities enable the visit by people with motor, visual, and sensory impairments.
Each area presents rock art with distinctive iconographic themes: in Dos Sottolaiolo and In Vall, we find engraved rocks referable mostly to the Iron Age; Plas and Capitello dei Due Pini present rare examples of Copper Age monumental compositions; the engravings in the areas of Vite and ‘Al de Plaha include important topographical compositions and assemblages attributable to the late Neolithic and early Bronze Age.
The environmental setting is also very enjoyable: the hamlet has a lovely old town, embraced by forests and chestnut groves; in addition, the large pine tree in Plas and some of the ancient chestnut trees have been declared natural monuments.
al de plaha r 11
al de plaha r 13
in vall r 4__guerrieri
in vall r 4_cervi dettaglio
in vall r 4_cervi
Plas - capitello dei due pini
Plas - capitello e roccia del sole
sottolaiolo r 1
sottolaiolo r 2
sottolaiolo R 5
Darfo Boario Terme
DARFO BOARIO TERME – Parco di interesse sovracomunale del Lago Moro, Luine e Monticolo
The “Parco di interesse sovracomunale del Lago Moro, Luine e Monticolo” (lit., “Lake Moro, Luine and Monticolo multi-municipal interest area”) embraces a vast area of archaeological and naturalistic interest, falling within the territories of Darfo Boario Terme and Angolo Terme. The preferred areas for visiting the rock engravings are the hills of Luine, Crape, Simoni and the Monticolo – Corni Freschi. Also the small Lake Moro is worth a visit for its scenic panorama.
crape r 6
crape r 6_
luine r 14
luine r 30
luine r 34_1
luine r 34_2
luine r 34_3
corni freschi
Hill of Luine, Crape and Simoni (formerly Luine Park)
Access: from the hamlet of Gorzone (Darfo B.T.), public and free parking at the church of San Rocco, via Coppelle.
Visiting time: 2-3 hours
On the rocks of this area, which until the 1990s was simply called “Luine Park,” there are over 100 engraved panels, covered by geometric figures, sets of weapons (axes, daggers, halberds…), Camunian roses, large warriors, symbols and alphabetical inscriptions. Many engravings are unique to Luine, such as the most ancient rock engravings in Valcamonica, dating back to the Mesolithic period: they were made by the semi-nomadic hunters who used the Valley as hunting territory at the end of the Great Ice Ages. In addition to the numerous rock carvings, archaeological excavations have also returned hut bottoms and dry-stone wall structures, which may testify to the presence of a“sanctuary” used by one or more prehistoric communities.
Visits can start from the ticket office/visitor center, where a small exhibition is also set up, and continue along the three marked visitors’ routes. The main rocks have educational panels.
The rocks Luine r. 34 and Crape r. 6 have the most ancient evidence of engraved figures, attributable to the last Mesolithic hunters and tentatively dated to the 9th-10th millennium BC.
Luine r. 34
Undoubtedly, the leading rock in Luine is the majestic r. 34, an expansive surface that at a single glance allows the viewer to traversethe entire Camunian historic cycle, from the great Mesolithic cervid (a deer-like figure) to the final stages of the Iron Age.
The upper portion of the rock, observable from the path running along its eastern side, houses the engraving of a cervid looking backwards, possibly struck by thrown weapons (arrows? spears?), attributed by Emmanuel Anati to the Protocamunian period (before the 7th millennium BC). Its unusually large size (about 1 m in length), body position, and compositional choices seem to confirm its attribution to the Mesolithic hunters. The most recent investigations, conducted by Angelo E. Fossati and Dario Sigari, seem to confirm the attribution of the figure to the final stages of the Upper Paleolithic. Slightly lower down, it is possible to distinguish some square-bodied, armed figures, of almost one meter in height—most likely belonging to the middle stages of the Iron Age.
Further down, some lattice figures, decorated rectangles, sets of cup marks, lines, etc., could generically fall into the typology of geometric compositions of the “topographic” type. Next to them we can see many scenes of warriors and duelists, which the researcher could attribute to the late Iron Age thanks to the study of grave goods and weapons.
The left side portion is occupied by some enigmatic meandering figures and a remarkable depiction of a Cretan-type labyrinth (engraved upside down, with the entrance on the top). Quite close to these symbols, it is possible to see the depiction of swastika-shaped Camunian rose.
On the other hand, the right sector is occupied by a large Bronze Age composition: a series of spears, axes with elongated blades and expanded cut, some halberds, a dagger (or maybe a short sword?), rectangles and serpentiform figures, according to a compositional pattern that was very common during the Early Bronze Age.
Crape r. 6
This surface, overlooking the town of Darfo Boario Terme, is the second leading rock in the area, with its 50 square meters covered by engravings. Unfortunately, the general state of preservation is not optimal, but the recent construction of a walkway enables visitors to get closer to the main engravings. Several rectangles with internal parallel-line decorations are in the lower sector, while the central portion gathers numerous depictions of weapons. Among these, it is possible to recognize various types of axes, halberds (comparable in some cases to the “Villafranca” type, some examples of which are also found in the not-so-distant monumental composition of the Corni Freschi, Monticolo, and generally on the boulders and statue-stelae engraved in the late Copper Age), daggers, decorated rectangles, and numerous cupmarks. There are also some depictions of simple circles, with internal radii or with a central cup-mark.
In contrast, the upper area is characterized by a rich concentration of inscriptions in the Camunian alphabet. A closer look reveals how the inscriptions overlap with a much older panel, in which an elk figure—attributed by Emmanuel Anati to the Protocamunian period (before the 7th millennium BCE)—stands out. Under special lighting conditions, it is possible to glimpse seven other animals (moose and possibly roes), depicted in the same style. On the very same panel there are also figures of circles (either simple or with a central cup-mark), especially in the concentric, graffitied compass form.
Località Monticolo – Corni Freschi Archaeological Area
Access: From the Archeopark parking lot, in Gattaro, or from the picnic area in Monticolo. The rock called Corni Freschi can be reached on foot following the bike path.
Visiting time: about one hour
The Corni Freschi Boulder, also known as the “Rock of Halberds”, is part of the large complex of Copper Age megalithic sites in Valcamonica. Two weapon compositions are engraved on one side of the boulder: at the top, nine halberds (parade or representative weapons) are arranged in two groups, facing each other; at the bottom, fifteen daggers with a sub-triangular blade and oval pommel are depicted in two groups of 6 and 9, once again facing each other. The shape of the weapons allowed a date to the Copper Age (late 3rd millennium BC).
Altopiano del Sole
ALTOPIANO DEL SOLE – Asinino-Anvòia Archaeological Park (Ossimo Superiore), Valzel de Undine Archaeological Area (Borno); Annunciata and Vigne Archaeological Trail (Piancogno)
The Altopiano del Sole (lit., “Plateau of the Sun”)—which includes the municipalities of Piancogno, Malegno, Ossimo and Borno—preserves some of the most important sites of Valcamonica’s prehistory and, more generally, of the entire Alpine arc. These are the so-called “ceremonial centers” or “megalithic sanctuaries” of the Copper Age (3rd millennium BCE), where the erection of large, often decorated stones and the remains of ceremonial activities testify to the presence of cults that continued over time, sometimes for thousands of years.
stelediborno1
stelediborno4
anvoia
Archaeological Park of Asinino-Anvòia (Ossimo Superiore)
Open from April to October (checking weather forecast first) during daylight hours. It is advisable not to take this trail in case of ice and snow.
Free admission.
Access: Drive about 2 km along the road from Ossimo Inferiore to Villa di Lozio, past the locality of Creelone to the footpath descending to the locality of Asinino.
Visiting time: about one hour
The archaeological area of Pat, Asinino and Anvòia encompasses a large area, consisting of a system of sites characterized by rows of stones erected during the Copper Age (3rd millennium BCE) and many artificial elements, placed with the intention of structuring in ceremonial form a portion of the mountainside. Man’s intervention involved the careful selection of the site, the creation of clearings by removing trees, and the permanent alteration of the environment by inserting stone elements; the latter were often not found on site, but sometimes the ancient people brought them to the sacred place from considerable distances, to be engraved with highly symbolic compositions (showing both male and female themes and symbols). All these elements lead to define the whole as a monumental complex with architectural features: this is the first intervention of this kind documented in Valcamonica, a new attitude compared to rock engraving. The duration of the frequentation of each site appears diversified and, in some cases, certainly lasted until the late Iron Age. In the area of Asinino, a life-size model with resin reproductions of the stelae shows the reconstruction of the site as it must have looked 4,500 years ago; the originals are now preserved at MUPRE Museum in Capo di Ponte.
Valzel de Undine archaeological area in Borno
Opening hours: Open from April to October (checking weather forecast first) during daylight hours. It is advisable not to take this trail in case of ice and snow.
Free admission.
Access: Although the site falls within the territory of the municipality of Borno, the most convenient access is from the municipality of Ossimo Inferiore. After crossing the village, take the road that leads to the sanctuary of SS. Annunciata; before the bridge, a sign indicates the dirt road that allows you to reach the archaeological area in a few minutes.
Visiting time: about half an hour
The archaeological area of Valzel de Undine has been rich of interesting discoveries since 1953 (when Borno Boulder 1 was disovered), although the stelae were found out of their archaeological context, in random places (one was even recovered from a building materials’ dump). The iconography of the first-discovered six stelae in Borno has been documented and published by CCSP, only to be resumed and further explored in 1994 for the exhibition Le pietre degli Dei (lit., “The Stones of the Gods.)” The archaeological investigations carried out by the Archaeological Superintendency of Lombardy in 2009-2010 showed that the site, which must have had a layout similar to the one in Pat-Asinino-Anvoia, was affected by landslides and frequent floodings caused by the nearby stream. Since 2013, the exceptional collection of Copper Age statue-stelae of this small archaeological area has been set up as an open-air exhibition.
Archaeological trail of the Annunciata and Vigne, Piancogno
Opening hours: Open from April to October (checking weather forecast first) during daylight hours. It is advisable not to take this trail in case of ice and snow.
Free admission.
Access: Although the site falls within the territory of the municipality of Piancogno, the most convenient access is from the municipality of Ossimo Inferiore. After crossing the village, take the road leading to the sanctuary of SS. Annunciata; for the view to the vineyards you can start from the farm La Sognata.
Visiting time: about an hour
This route enhances aboutten engraved panels distributed on a fairly impervious hillside (600-800 m above sea level), between the Annunciata locality and the villages of Piamborno and Cogno. Known and documented since the 1990s, these engravings stand out in the context of Valcamonica rock art both for the execution technique (almost exclusively graffito and polissoir) and for the nature of their subjects, which can be ascribed to the late Iron Age (2nd-1st centuries BC) and to the Romanization phase (1st-2nd centuries AD).
Sellero and Valle di Saviore
Municipal archaeological and mining park (Sellero), Loa multi-thematic trail (Berzo Demo), Coren delle Fate multi-thematic trail (Sonico)
Opening hours: Open year-round (checking weather forecast first) during daylight hours. It is advisable not to take this trail in case of ice and snow.
Free admission.
Access: From the center of Sellero, we recommend parking the car near the village cemetery (via Desiderio). The area with rock art of Carpene can be reached only on foot, walking along a steep country road, on which it is forbidden for unauthorized vehicles to go.
Visiting time: 1 hour for the engraved rocks alone; the access path is 1.5 km for 150 meters of elevation gain (about 30 minutes on foot)
The Sellero Archaeological and Mining Municipal Park encompasses as many as four different rock art sites (Carpene, Isù, Barnil and Berco) and the mining area of Carona. The Park is crossed by many trails connecting the different rock sites, but only the Carpene site is infrastructured for sightseeing.
This area is characterized by the outcrop of quartzite-veined schist, a hard, rough metamorphic rock that is difficult to engrave and partially compromises the possibility to decipher the engravings. We recommend visiting in late fall or winter (if there is no snow), or early spring, when the sun, being low on the horizon, generates the phenomenon of grazing light. Despite the difficulties given by the lithic support, Carpene’s rock art offers quite unique iconographic themes, with a chronological excursus from the Neolithic to the modern age (with a hiatus corresponding to the Copper Age and Early Bronze Age). The tour route starts from the beautiful historic center of Sellero, then takes the path that leads, between flat stretches and a few steep climbs, to the Carpéne area (30-40 minutes). Along the way, the direction is frequently indicated by appropriate signs; the effort of the climb will be amply repaid by a visit to r. 2-3.
stelediborno1
stelediborno4
anvoia
Carpene r. 2-3
This is the Great Rock of Carpene: an imposing rock mass, heavily shaped by the action of the glacier, which on its 1,100 square meters of surface offers well over 700 engraved depictions. Its engraving began in the late 4th-early 3rd millennium BC, with a large geometric composition (rectangles, circles, and lines), interpreted in the 1960s by Emmanuel Anati as a “female idol” and today reinterpreted as a “topographic composition.”
In the middle and late Iron Age (6th-1st centuries BC), the surface attracts again the interest of engravers in a very special way. This period is characterized by several interesting subjects showing dimensional “gigantism”: a monumental human figure with axe and basket (?), known as “the Wayfarer,” interpreted as a possible depiction of the Celtic god Esus (3rd-1st cent. BCE); a large warrior armed with a curved-bladed sword and concave shield, surrounded by smaller armed figures; a geometrically perfect swastika-shaped camunian rose.
Opening hours: Open year-round, during daylight hours with free admission (checking weather forecast first). It is advisable not to take this trail in case of ice and snow.
Access: Park near the town hall of Sonico, take via della Monega and follow the signs on site.
Visiting time: about one hour and a half
The rock art is quite close to the modern town, on a rocky ridge within the Adamello Regional Park dominating much of Upper Valcamonica.
Here, like in Sellero, it is difficult to read the engravings because of the rock they were made on: a rough shale, more difficult to carve than the smooth sandstones of the Middle Valley. Among the Valcamonica rock art areas, Sonico stands out for its extremely limited range of subjects: geometric figures (various types of circles, cup-marks, lines, etc.) and the so-called shovels, accompanied only by a few human figures (without weapons) and animals as corollaries.
Main access: From the Curva delle Bore area, which is the departure and arrival point of the loop trail to the engraved rocks. This trail is included in the Sentiero della Memoria (“Remembrance Path”), a hiking route starting from the state road near the Bettolino-Lorengo parking area and climbing the slope to Poggio della Croce or Doss de l’Ora, near Loa.
The Berzo Demo-Loa multi-thematic trail, within the Adamello Regional Park, runs along a WW1 military road and crosses an area that, in addition to engraved rocks, includes many structures and remains of World War Ifortified areas and places of great environmental value.
The engraved area in Loa (localities called Curva delle Bore and Poggio della Croce) is located at about 1,200 m a.s.l., on a ridge overlooking the village of Berzo Demo and offering a unique vantage point over the Middle and Upper Valcamonica and two side valleys (Val Saviore and Val di Paisco). The area is rich in extensively investigated archaeological evidence, including the site of Cevo – Dos Curù, a high-altitude Iron Age mining village.
To date, four engraved surfaces have been identified in Loa, dating back to the Late Iron Age. Rocks 1 and 2 are characterized by an almost exclusively polissoir and graffito production, an unusual wealth of inscriptions in pre-Roman characters and spear cusps, as well as an exceptional graffiti group of warriors armed with helmets, shields, and spears, and, finally, by the depiction of a “construction” flanked by two minor structures. Other subjects, some of them subtly graffitied, are added to this remarkable complex, including at least three outlined spearheads, a scabbard figure of an Introbio-type knife, a few “compass” circles and a few hammered anthropomorphic figures, including two in a duel/fight attitude.
There are also traditions and superstitions concerning the frequentation of this place by witches and devils: not far from R. 2 there is a large erratic boulder, characterized by a natural hollow known as Pe’ del Diaol (lit., “Devil’s Foot”), which seems to be a fulcrum of local folklore. More recently, R. 3 (in a precarious state of preservation at the time of its discovery and now restored) and R. 4 have been identified, which are also characterized by the notable presence of pre-Roman inscriptions, a few other graffiti marks, and hammered anthropomorphs.
