ARTE RUPESTRE DO VALEDO TEJO E OUTROS ESTUDOS

DE ARTE PRÉ-HISTÓRICA

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A L J A Z O R Z

A N A B E L A B . P E R E I R A

C H R 1 S S C A R R E

F E R N A N D O C O I M B R A

G E O R G E D I M I T R I A D I S

L U I Z O O S T E R B E E K

M I L A S I M Õ E S D E A B R E U

M U N I Q U E C A V A L C A N T E

R I C A R D O S I L V A

CEIPHAR

Grupo "Quaternário e Pré-Histórica" do Centro de Geociências

(ulD73 - FCT). Projecto FCT PTDC/HAH/71361/2006

Edição apoiada pela Comissão Europeia

Programa Cultura

Tornar2008

PORTUGUESE ROCK ART IN APROTOHISTORIC CONTEXT

F E R N A N D O C O I M B R A

INTRODUCTION

The chronology of the Protohisíoric Times in Portugal hás severalregiona] differences, existing some periods that are different from eacholher, accordíng to the diverse geographic áreas. Thus, in a very simpleway, the rock art studied in this article is about engravings made betweenthe end of the II milenium BC and the end of the I millenium BC, butwhose representations "might of course have more ancient roots andfurther developments" (JORGE; JORGE, 1998: 342). In fact, some ofthe motifs presented here have its origins in earlier times, survíving inthe Middle Ages and even after.

In Portugal, protohistoric rock art appears essencially: l - Insidefortified hillforts; 2 - Outside places of habitat; 3 - On funerary steíacfrom Alentejo.

Regarding the first group, it can be said that there' s a typical rockart from the fortified hillforts that is a "world" still to discover, because,except rare cases, the archaeologists wich have been studying thesesites seldom are interested in these artistic manifestations. Indeed thereare some hillforts in the North of the Country that have rocks with cup--marks that never were published, líke Citânia de Sanfins and Monte

Mozinho, besides other exarnples from the same culture.Sometimes it seems that there' s a kind of despise regarddíng this

motif. In fact, in the first corpus about Portuguese Rock Art elaboratedby Santos Júnior in 1940, the author refers that he didn' t mention the

rocks where only cup-marks are depicted (SANTOS JÚNIOR, 1940), asit was a rninor symbol.

The rock art síudied in this article appears also outside habitatáreas, from the North to the South of the Country, in sites that can beconsidered as places for meetings of sacred character. For example, inthe Sanctuary of Panoias (Vila Real), during a tourist visit in 2005, Iidentifyed a rock with cup-marks and channels that probably is not yetpublished, making possible íhe existence of a cult place older than theRoman sanctuary (Fig. 1).

Regardding the funerary stelae frorn Alentejo they are the onlymanifestation of Portuguese Protohistoric Rock Art that hás beenresearched in a systematic way. For this reason and by the fact that theyare reíated essencially with a funerary context their study will not bedevelopeded in this article.

In what concerns the other engravings with the same chronologyeverything is almost still to be done, because although there are severalstudies dcaling with some engraved rocks it doesn' t exist yet a globalresearch about this kind of art.

On the contrary of what the title may suggest, this article is not alist of the sites with Protohistoric Rock Art in Portugal. For that itwould be necessary a long team work, from the North to the South ofthe Country, since the examples are countlcss. The author' s aim is anattcmpt of making a preliminary list of the motifs that appear in thiskind of art só that it can be better characterized and better understood.Thus, I managed to identify untill today the following figures:

Footprints , cup-marks (simple or with channels) , snakcs,pentagrams, cruciforrns, "horseshoes", scalariforms, net-patterns,tectiforms, "hooks", swastikas, weapons (spears, alabards, swords, axes,daggers, bows and arrows), human figures, zoomorphs (horses, deer,dogs), diverse geomctric figures and others with an abstract character.Regardding these engravings, some are made by harnmering (or pecking)and others by incision. The sarae type of figure can appear with peckedand incised examples, as it happens with footprints, scaiariforms.

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cruciforms, net-patterns, swastikas. certain weapons and certainzoomorphs, among others.

The best way of understanding these rnotifs is to make an exhaustivestudy for every case, elaborating detailed lists for each one of them.Maybe the easier way of doing this task is to start with the figures thathave less examples, leaving for another time (and with the help of ateam work) those that appear more often. For example, the inventory ofpentagrams. swastikas, snakes and even footprints is not a very longwork, although the representations of human feet had increasedconsiderably in these last years. Regarding the first two mentionedsymbols its shortage allowed already the author to make their corpusfor the Protohistoric Period (COIMBRA, 2005a; COIMBRA, 2007). Onthe contrary, "horseshoes" and cup-marks will probably be the mostdiffieuH symbols to list, due to the large quantity of rocks where theyappear. However, since the number of students that are studying inPortugal, in the Master Quaternary and Prehistory Erasmus Mundus,interested in rock art is mcreasmg, the making of several regional corpusof those motifs would be a good hypotesis of work and, at the sametime, a contribute to the knowledge and conservation of the PortugueseProtohistoric Rock Art.

Due to large quantity of different figures represcnted in this arfífimpossible to approach ali of them in this articlc, because it's necessaryto develop certain subjects like typology, interprctation and chronology.This way, I decided to choose only the following four motifs: footprints,cup-marks, pentagrams and "horseshoes". The first two appear insidehillforts and also outside habitai arcas. Regardding the others, untilltoday I only found examples that aren't associated with specificXdwellings.

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I - FOOTPRINTS

As I aiready mentioned the number of this kind of engravins hásincreased considerably in Portugal, being its major concentration on theNorth of the Tagus river and seldom to the South. Usually they seem tohave used, as a model, the real human fooí, bare or with shoes, makingfirst of ali its contour (GOMES; MONTEIRO, 1977).

There are footprints with diverse typology, as the way they aremade. Some of thern are completely pecked, presenting a lower levei inits interior, as it happcns with the example at Citânia de Briteiros nearthe ritual baths monument (Fig. 2). Others consist only in a pecking

made in order to obtain the foofs contour, like the one that's near thereconstructed houses. In certain examples there's also the representationof the heel, while in other cases footprints appear in pairs of two, likeit occurs at Fontes de Cid, municipalíty of Seia (RIBEIRO, in press),being possible to identify, side by side, the right foot and the left one.This molif is also made by incision, existing in Portugal, since Y maware of till today, one only filiform example at Panei l of Moielinhos

(CUNHA, 1991). It' s also the only footprint in Portuguese territorywich hás engravings in its interior, although they are very schemathic.

The word filiform comes from the Latin fdium and/orma, meaning thinshaped.

In the Spanish region of Lãs Hurdes, Cáceres, there are severalcases of filiform footprints, as for example at Caminomourisco, associatedwith pentagrams (SEVILLANO; BÉCARES PÉREZ, 1998) or at La

Pena dei Molde in the same Province, being one of them together withtwo alabards (BENITO dei REY; GRANDE dei BRIO, 1995). Thepresence of these examples in a region that's near the Portuguese borderleads to the idea of the existance of other engravings of the same typein National teritory but not yet found.

Footprints appear on granite rocks, made by hammering, and onschist done with the same technique and also by incision, as it happenswith the aiready mentioned example from Moleleinhos.

In order to understand this motif it's very important the contributeof an article published by the Galician authors Marco Garcia Quintelae Manuel Santos Estévez (2000). It's an intensive and deep study aboutthis symbol that uses histórica! and ethnographic data that relate footprintswith royal Celtic rituais. According to these researchers, testemoniesfrom Ireland confirm in several ways the use of footprints carved onrocks in royal Celtic rituais (GARCIA QUINTELA; SANTOS ESTÉVEZ,2000). However, this research was applied to the examples of footprintsin Galicia ( Spain) and it doesn't mean that it can be associated with alithe cases of this motif in the Portuguese territory.

Regardding the interpretation of this symbol it's necessary not toforget that it appears already in megalithic art, as for example at PetitMont Arzon, France (COIMBRA, 2004) and at Calderstones in the Isleof Man, havmg this way a possible funerary character. The same seemsto happen with some footprints in the rock art from Zurla (Capo diPonte, Valcamonica), that present in its interior some schemathic humanbusts wich have been related with the souls of the dead and withprotective Tutela (SANSONI; MARRETTA, 2001).

The depiction of human feet hás a revival in the Roman Period, onsome ritual stelae, like the exampíes from Itálica (Santiponce, Seviiha),Baelo Claudia (Cádiz) and Rosino de Vidriales (Zamora). Through theinscriptions presented on some of them, one becomes aware that, forexample, the representation of two pairs of feet in two different directionsare a good iuck charm for having a good trip and a safe way back home.Since footprints are carved on rocks, besides other possibie meanings.they seem to have been made for testifying the presence or passage ofccrtain characters. Thus, popular mind hás many times atributed a sacredsignificance to thcse marks, like it happens with Pegada de Jesus (Jesus'Fooíprint) at Cabeceiras de Basto, Pegadinhas de S. Gonçalo (SaintGonçalo's Footprints) at Perozelo, Penafiel and Pegadas de SantaEufemia (Saint Eufémia's Footprints) at Covide, Terras de Bouro, amongseveral other examples. Curiously, already in the 16th century thePortuguese poet Luís de Camões mentioned a footprint carved on a rock

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at Sri Lanka that the local people interpreted as the mark of Buddha's

foot (COIMBRA, 2005c).But sometimes these motifs are also seen by the popular mind as

the marks of evil or non triendly characters, as it happcns, respectivelly,with Pegada do Diabo (DeviFs Footprint) at Urros, Mogadouro, Pegada

do Mouro (Moor's Footprint) at Póvoa and Pegada do Castelhano

(Spaniard's Footprint) at Aldeia Nova (ALVES, 1934), these last two in

the muni c i pai Í ty of Miranda do Douro.

II - CUP-MARKS

In Portugal and in other European countries there are countless

examples of rocks where only cup-marks appear, made by hammeringon granite or on schist, existing in some cases a later abrasion done with

"polissoir" technique.

This symbol was already studied by the author in previous articles

(COIMBRA, 2001; 2004; 2005b), focussing sometimes in the

interpretation (2001) and others in the difficult subject of its chronology(2005b). It called the atention of several researchers, speciaíly in the

North of Italy, where four Conferences about it were already organized

between 2001 (Verbania) and 2005 (Saviore deli' Adamello). In the last

one l proposed the compilation of an European Database about rocks

with cupmarks that can have a chronoJogical context, being decided thatthis project woiild be coordinated by Fábio Cavulli, from the University

of Trento.

Cup-marks present a very wide chronology, since the Palaeolithicuntill Modern Times, being very difficuít to date specially if there isn't

any context available. However, there are some cases where dating is

possible, for example when the motif appears associated with figures

like footprints or on Iron age monuments like Pedra Formosa U from

the Hillfort of Briteiros and a on a kind of altar found at the Hillfort of

Guifões, Matosinhos (COIMBRA, 2005b), among other examples.

Besides the difficulties of dating and interpreting, some cases of mo ti f sidentified as cup-marks may have a natural origin. This subject isdeveloped by the Jtalian geologist António Valdisturlo (2001), whomentions íhe existance of three factors of natural charactcr thaí mayelaborate holes liable to be mistaken with real cup-marks madc byhumans. However. for the Portuguese terriíory, due to the type of rockswhere these engravings appear, only two of those natural factors realiymatter: the action of the roots of some plants and differentialed erosion.Reggarding the first one, the roots of some bushes, specially.

Ruscus aculeatus (Butcher's broom), create subcircular holes onthe rock surfaces that are very similar with cup-marks in an advancederosion situation. In what concerns the second factor, if a rock hás adiffcrent levei of hardening and thus a diverse levei of resistance, theerosive agents may create holes almost equal to the motif studied here(VALDISTURLO, 2001). This way it's crucial to have an extra care inanalysing rocks where only cup-marks appear, because it*s possible thatit may be only a natural phenomenon.

Some auíhors argue that they deciphered the meaning of this sign,presenting it as the representation of astral maps, receptacle for gifts tothe gods, sign of courses of water and symbol of the female sex, amongother theories. Though some of these ideas aren't compleíely dcspicableit's íncoherent to accept them, in a general way, ío every cup-markdispersed in the world (COIMBRA, 2001). Indeed, the problem aboutsymbolic interpretation lays specially on hasty generalization, that someresearchers unfortunatelly still continue to do.

In spite of being very difficult to interpret, there are some caseswhere cup-marks seem to have a relígious character. That's what happenswith a stone of rectangular shape found at the Hilifort of Guífões havingfourtcen cup-marks on one surface (SANTOS, 1962), being similar toa Roman altar with the cupules in the place of the inscription. Probablythis stone was a Preroman religious monument.

Another interesting example, although much more recent, can beseen at Moníedor, Viana do Castelo, on a rock with a large pentagram

having a cup-mark bctween each two arms (COIMBRA, 2005a), whatmakes five of them. This engraving rnay be alrcady post-medieval,existing contemporary charms made by a five pointed star where betweenthe arms there are preciselly five small holes that represent the fivewounds of Christ. Since this pentagram is placcd near a typical fortfrom the 17th century, one can think that it was made by its inhabitants,having thus a similar function to the mentioned charms - protectionagainst evil (COIMBRA, 2001; 2004). This way, cup-marks appear oncemore with apotropaic characterístics, combinning christian f ai th (thefive wounds of Christ) with the magicai and protective power of thefive pointed star.

Some authors admit the possibility that cup-marks could have beenreceptacles for liquids during prehistoric religious rituais. Curiously,there's a small rock with cup-marks near the chappel from Ca'Bianchidi Torre Santa Maria (Valrnalenco, Lower Valcamónica), whose holcsare used still today for holy water during the mass (SANSON1 et alli,2001). It:s an extraordinary revival that can clarify beíter the functionof some cup-marks. Indeed, the existance of this motif associatcd withchannels leads imediatly to think on liquids slidding down.

In the popular mJnd some cup-marks are considered sacrcd, speciallyif they are associated with footprints and legends. For exampie, in theRock of Saint Eufemia (Covide, Terras de Bouro, Braga), wich hásthese two motifs, the footprints are interpreted as the mark of SaintEufemia' s feet when she walkcd over the rock and the cup-marks areseen as the mark of her knees, when she kneeled to pray. As a result ofthis legend, in recent times a stone cross was put in the middle of therock and in the second half of the 20lh century an altar for religiousservice was erected near the engravings. If this rock was a protohistorícsanctuary it became a christian one.

As I mentioned in the beginning of this article there are somehilforts with cup-marked rocks that were never published. For example,during a recent visit to the Hillfort of Sanfins I identifyed a rock withthis symbol, near the door where the warrior's statue was discovered

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(COIMBRA, 2007). The same thing happened duríng a visit with my

family to the Hillfort of Saínt Lourenço, near Esposende. L m sure thatmany more hillforts in the North of the country have this kind of rockcarvings but they were not yet discovered.

III - PENTAGRAM

The pentagrarn or five pointed star is a symbol that dates back tothe IV millenium BC, having called already my attcntion in other studies(COIMBRA, 2005a; COIMBRA, in press), but whose research still needsa lot of work, because it appears ín rock art in countries like Portugal,Spain, Andorra, France and Italy.

In Portuguese Rock Art there are pentagrams made by hammering,usualiy on granite, and made by incision, usually on schist, being thesecalled filiform. However, the examples on the first kind of rock seemto be much more recent, probably medieval.

In what concerns the Portuguese cases wiíh a protohistoricchronology, they appear only at three sites: Rock 2 from Ribeira dePiscos (Côa Valley), Pannel l from Molelinhos (Tondela) and Laje daFechadura (Rock of the Keyhole), in the rnunicipality of Sertã (Fig. 3).

However. on this last rock there are two different types ofpentagrams: some of them are large and made with the "polissoir"technique; others are very small, almost not perceptible, with vcry thinlines. The first mentioned may be more recent than the others, but,nevertheless, they present patine and the grooves have an U section,what gives them some antiquity on the contrary of the V section thatcorresponds to rnore recent engravings (BATATA, COIMBRA, GASPAR,2004). The smaller pentagrams, with their size and very thin lines, havesome parallels in Rock 24 from Foppe di Nadro, Valcamóníca, among

other cases.Talking with some archaeologists we've been noticcing that they

consider ali the pentagrams in rock art as medieval representations. But

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that's surely a mistake, because, for example, in Piancogno (Valcarnonica,Italy), there are pentagrams with more recent engravings superimposedsuch as weappons, zoomorphic figures, vessels, among others, that canbe dated with a certain precision, being these five pointed stars certainlyprotohistoric. Furíhermore, in the Iberian Península there are pentagramsassociated with Bronze Age alabards that show a similar patine, seemingthis way to belong to the same period (COIMBRA, in press).

In order to understand the meanning of the pentagram in rock artit's also necessary to consider its presence on other remains, both ofearlier and more recent dating. Indeed it appears on artefacts andmonuments só diverse such as pottery (Sumerian, Etruscan, Greek andRoman), coins (Greek, Roman, Gaulish, medieval Islamic and medievalPortuguese), rings, good-luck charms, shicíds, belt buckles, churchesand medieval funerary stelae, among other examples (COIMBRA, 2005a).This symbol is still used by some Portuguese paesants as a charm againsíthen "Evil-eye" on the houses and cattle pens. This revival along severalmillenia leads ío think that it should have been important in its origin,because only symbols that generate great impact on people's minds can"survive" many centuries.

However, the iníerpretation of the pentagram in rock art issometimes difficult, specially when it appears isolated. But, when it'sdepicted with other motifs, having a context, it's easier to understand.ailowing to get nearer its meaning. Indeed continuous research showsthat this symbol in rock art may have several meanings: sometimes itappears together with the depction of divinities, having this way anapotropaic character; in other cases it comes associated with therepresentation of warriors and weapons, having certainly a proíectiverole. In the Middle Ages it appears on some rocks probably as a charmagainst evil.

IV - "HORSESHOES"

In Portugal there are several carved rocks known as Rocha dasFerraduras (Rock of the Horseshoes) in the granite and schist rocks ofthe inner North. Indeed the represented motifs are very similar tohorseshoes, being mentioned by some authors as engravings from the2nd / l s l centuries BC, depicting real horseshoes, according to the originof these artefacts in the Celtic world.

However, the matter is not that easy. First of ali, this kind ofengravings appears already in íhe Upper Palaeolithic, in France, duringa period whcre the horse was not yet domesticated and many milleniabefore Man discovered iron. Second, there are countlcss "horseshoes"in the schematic art from rockshelters dated from Copper Age / EarlyBronze Age, in íhe Spanish region of Castilla y Leon, like Barranco deIa Mata and Canada dei Monte (both in the province of Soria), and alsoin the caves known as Cueva de Ias Herraduras I and II (Caves of theHorseshoes I and II) in the sarne province, among several other examples(COIMBRA, 2005c).

This way one can easily see that the general interprctation of thesemotifs as the depiction of real horseshoes can no longer be maintained.In 1916, Hugo Obermaier meníioned that these symbols, ín a extremeschematic phase could represcnt women's legs (quoted by GOMEZBARRERA, 1992), being this idea followed in 1941 by the Spanisharchaeologist Juan Cabré. Indeed there are some cases where this theoryseems to be right, as it happens at Barranco de Ia Mata, where a maleanthropomorph is associated with two "horseshoes" that may representvery schematic women. Another example can be seen at Lãs Ereáis,Cáceres, where a male figure is surrounded by ''horseshoes" (BENITOdei REY; GRANDE dei BRIO, 1995: Fig, 10).

Furthermore, in the Rocha das Ferraduras (Bemfeitas, Oliveira deFrades, Viseu), there are more than eighty cases of this motif, havingsome of them an inner iine, ambiguously vulvar, according to Sansoniet alli (2001). Indeed these lines may either atribute to "horseshoes" the

idea of female figures extremely schematic, depicting imagcs of vulvas(Fíg. 5 C), or may give lhe image of male antropomorphs representedonly by the legs and genitais (Fig. 5 D). This conclusion comes from theobservatiotl of the silmutaneous existance, at Bcmfeitas, of "horseshoes"with an inner cup-mark - depicting probably the female sex - andothers with the mentioned line, representing maybe the male sex.

Curiously, for the Aborigines in Austrália, that continue the traditionof the rock art of their ancestors, the motifs with the shape of a horseshoerepresent a group of seated people, through the legs' marks on the sand(ABREU, 2005).

Returnmng to the chronology of these symbols, the difficulties aresimilar to the one refered about the cup-marks, since they also spreadfrom íhe Palaeolithic untill the Middle Ages or even after. This way, therocks that have only "horseshoes" are very difficult to date, specially ifthere isn't any other archaeological context with wich íhey can be related.

However, there are cases of "horseshoes" that may be protohistoric, likefor examplc the ones from Fraga das Ferraduras (Alfândega da Fé,Bragança), where footprints also appear, besides a possible snake.

Curiuously, in some villages from Valcamonica there are popularlegends about Saint Martin and Saint Cario Borromeo envolvingengravings with the shape of horseshoes, being these motifs interpretedas the mark of the saint's horses. In the local popular mind, these twocharacters established the thresholds between the world of the livingand the woríd of the dead (SANSONI et alli, 2001).

Some "horseshoes" from Valcamonica appear associated withcrosses and may have the meaning of a landmark, being probablymedieval. In fact, in this Italian region of high mountain there are legendsabout the appearance of souls of íhe dead who, sometimes, have theshape of an horse (COMILNELLI, et alli, 2002). Thus, there's the ncedof marking carefully the villages1 territories resorting to horseshoes andtheir association with protective saints to avoid the entry of evil.

During the Middle Ages popular mind faced, sometimes, rockcarvings as the manifestation of demons or witches, existing several

examples of that in the icountries (COIMBRA. 20medieval crosses and penta

in a way of getting the "e:i n what concerns some "cautious when datting thi;depicted with no other as.

CONCLUSION

As I mentioned abo

cxamples of lhat in the names by some rocks are known in severalcountries (COIMBRA, 20()5c). That's probably the reason why somemedieval crosses and pcntagrams appear on rocks with earlier engravingsin a way of getting the "exorcism" of evil, happenning maybe the samein what concerns some "horsesbocs". This way ifs necessary to becautious when datting this kind of motifs, specially when they appeardepicted with no other association.

CONCLUSION

As I rnentioned above, the besí way of understanding the motifsthat may be considered of protohistoric context in Portuga] is to makeíts exhaustíve study, elaborating detailed mveníories. Indeed it becomesindispensable to make the most possible complete corpus of this kindof art with the aim of dating it more precisely. Maybe the easier wayof doing that it's to start the research with the motifs that have lessexamples, leavmg for another time those whích appear more frequently.Another possibility that could function in terms of work would be theelaboration of diffcrent corpora for filiform engravings and for those

made by hammering, in spite of the existance of rocks with motifs donewiíh the two techniques, as it happens, for examplc, in Rock 23 fromVale da Casa (Côa Valley), among other cases.

In whaí concerns the four selected symbols analysed in this articleit's possible to make already the following conclusions:

Footprints date back to megalithic art or even earlier, having thisway a possible funerary character as it seems to happen also with theexamples from Zurla. On the other hand, they are in some cases relatedto situations of presence, passage or posessing, as one can understandfrom Celtic royal ceremonies.

Rocks where only cnp-marks appear should also be síudied in a

systematic way, specially those placed inside Iron Age hillforts, sincethey can contribute to a better knowledge of these cultures. In spite of

the chronological and interprctive problems envolving this symbol, thereare some cases where it's possible a relative dating and/ or to get nearits probable meaning or vaiue.

The iack of pentagrams in the Portuguese Protohistoric Rock Artand the context where they appear doesn't contribute with muchmformation about its significance. However, the research that the authorhás been making about this motive in the last seven years, through otherexamples from Spain, Andorra, France and Italy allows to conclude thatsometimes it hás an apotropaic character and that in other examples it'sa protective symbol (COIMBRA, in press).

Regardding "horseshoes", there are countless cases that present aninner line or an inner cup-mark, a fact that can be a "clue" to folio w inwhat concerns its interpretation. This one should also have in mind alithe motifs that are usually associated with "horseshoes", rejecting theidea of the simple depíction of real horseshoes for engravings datingearlier than the use of these artefacts.

In this article I only outlined some interpretive possibilities aboutthe selected symbols, not making a detailcd interpretation, because itwould be necessary to apply a methodology which development wouldneed much more pages than the available now for publication. Anyway,I think that a survey about rock art should not be only descriptive,because, after ali, one of the aims of the rock art researcher, as anarchaeologist, ifs to interpret the past.

In fact, a merely descriptive study about engravings would bealways incomplete, because archaeology hás an anthropologicaldimension - it studies the human individuais and not only the materialremai ns left by them.

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FIG. l - Cup-marks and channeís on arock from Panóias Sancluary.

FIG. 2 - Footprint from Briteiro's Hillfort.

FIG. 3 - Pentagrams and crosses with equal arms.

FIG.4 - Small pcntagrara about lhe size of l Euro.

A B C D

FIG. 5 - Siinplifyed lypology of "horseshoes": A - Simple;B - wilh cup-mark; C - with inner line;

D - with inner line conncctino; thc "horscshoc".

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