Palaeolithic Art in Isolation: The Case
of Sicily and Sardinia
The archaeological record of Italy is long and complex, suggesting continuous peopling since the Middle Pleistocene (Mussi 2001; Mussi et al. in press). The evidence of Palaeolithic art, however, is rather restricted: Early Upper Palaeolithic (EUP) art is close to nil, including just a few notched implements; the Middle Upper Palaeolithic (MUP), admittedly, is much richer, with some twenty Gravettian figurines, the largest such sample in Western Europe (Mussi et al. 2000; Mussi 2004); parietal art is also documented at Grotta Paglicci, where painted horses and positive handprints were discovered (Boscato and Palma di Cesnola 2000; Zorzi 1962); when Late Upper Palaeolithic (LUP) lithic industries were produced which belong to the Epigravettian, portable and parietal art is known at a number of sites. In the late 1980s, Zampetti (1987) reviewed twenty-one Epigravettian cave sites, and a single open-air site, all of them with zoomorphic art. Three more have been discovered since: Riparo Dalmeri, Riparo di Villabruna, and Grotta di Settecannelle.
I will examine below the artistic record of Sicily and Sardinia, both of them at the periphery of Italy, which, in turn, is secluded from Europe by the Alps. My aim is to contrast the effects of geographic isolation, with the circulation of people and ideas, if any, as documented by portable and cave art.
I am most grateful to the organizers of the Creswell Conference for inviting me to participate, and
allowing the visit to the newly discovered Palaeolithic engravings. Filiberto Scarpelli (Laboratorio di
Paletnologia del Dipartimento di Scienze dell'Antichità, Università di Roma 'La Sapienza') produced