The arts of the ancient Veneti

•   The Situlas
•   The Human Being
•   The Warrior
•   The Animals
•   The Flowers
  
The Vace situla (Slovenia), 5th century BC.

They were the bearers of the Early Iron Age culture in Europe

The arts of the ancient Veneti
The Veneti were not Celts

Dr. Jožko Šavli, (September 12, 2008)

The people of the Veneti or Vends were formed in the Lusatian culture (ca. 1500 – 1100 BC). Lausitz, - Lužice is a province south of Berlin, where the very ancient Lusatian language is still alive, which pertains to the group of Slav languages. Around 1200 BC, from the area of this culture, various waves of migration brought the so-called Urnfield culture to other parts of Europe (ca. 1200 – 800 BC).

Many place names of provinces and country sides bear witness that they were founded by the ancient Vends, Veneti, Sloveneti, etc. Archaeologists consider, that the reason of their migration was not to conquer and subjugate others, but rather to spread the belief in the salvation of the soul.


After the migration waves in 1200 BC, the Urnfield culture appeared in several parts of Europe.
The above map is not precise enough. Migratory currents arrived also
in Scandinavia, Sicily and other provinces.

The Vends (Veneti) were the bearers of the Early Iron Age (ca. 800 – 400 BC), which had its centre in Central Europe. They were not Celts. Named after an important finding place in present-day Austria, their culture is called Hallstatt culture. This name passed onto the entire Early Iron Age in Europe, which is called the Hallstatt era.

There are numerous objects of clearly authentic Venetic (Vendic) date, bequeathed to us many centuries ago, which can be admired in several museums. Undoubtedly, among them, the famous situla is the most important of them all.

During the Hallstatt era, around 600 – 500 BC, situlas were produced in present-day Northern Italy and in the Eastern Alps, in particular in the lower Po Valley, in Venetia, Southern Tyrol, and in Lower Carniola (Slovenia). This is, east of the Este culture (not denoted on the above map).

Outside of this area, examples of situlas were unearthed in Kuffern (Lower Austria) and in Visace - Nesazio (Istria). It is about beautiful vessels, actually buckets with friezes which portray a wide variety of scenes of the then-living Veneti, elaborated in toreutic techniques.



The Hallstatt culture (800 – 400 BC).
In a narrow sense, the Hallstatt culture is divided into West and East zone.
The situlas were produced in the southern part of the East zone (southern Carniola)
during the Este culture (Este, Padova) and during the Villanova culture (Bologna).
This annotation is missing in the above map.

The archaeological site La Tène (Switzerland) gave the name to the Late Early Iron Age, called the La Tène culture (ca. 400 – 15 BC), its bearers were the Celts. It is true that they conquered Central Europe, but the Vends continued to survive as a substrate until the arrival of the Romans and onwards. With the arrival of the Celts the art of situla-making fell into neglect.  

The cultures of the territory, of what is now Italy, show an autonomous development, even though they were part of the Hallstatt civilization. These are the cultures of Este, Villanova (Bologna), Golasecca (upper Po Valley) and Melaun (south Tyrol). Their beautiful art pieces, kept in the museums of Este, Padova, Bologna, Treviso, Oderzo and elsewhere, are outstanding in workmanship.

Each piece is uniquely individual in its design. The variety of forms express not only a creative force but also a great spiritual pathos. It is, as if each single piece of art would carry a special message, which cannot be expressed in words. Only the sensible soul of an artists can perceive the message. Opposite to this, in the very beautiful Greek and Roman arts, beauty and aesthetics take priority. The forms as such repeat themselves.
  
The Situlas
The elaboration of situlas was concentrated in the present-day area of Lower Carniola (Dolenjsko, Slovenia). Some beautiful examples have been unearthed in the culture areas of Este, Villanova and Melaun, i.e. in today's Italy (Po Valley and Southern Tirol). I think, some winged animals, found on Italian situlas, must be ascribed to the influence of Etruscan mythology. Winged beings do not appear in the belief of the Vends.

Characteristic mythological beings of the Vends are the horned animals. I think, they are emanation of the prehistoric Great spirit, the later God of Day, as the story of Goldenhorn from much posterior times bears witness. On some situlas the frieze depicts only one band, on others perhaps four. The Vace situla (Slovenia) is probably one of the most beautiful examples of situlas. Another similar example originated very likely in the Alp area (Italy) and is now kept as the Situla of Providence in the Museum of Arts in Providence, Rhode Island (near New York, USA).

The Vace situla (pron. vatche) is a bronze pail, 23.8 cm high, which was uncovered in an Iron Age burial mound at Vace in 1882 by a local native, and was later included in the collections of the National Museum of Slovenia in Ljubljana. Such pails were popular metal vessels in the Early Iron Age (Hallstatt), and were also excellent media for art and narrative. The Vace situla is particularly distinctive because of the decoration in three bands on its panels, showing a prehistoric feast.

The Vace situla (Slovenia), 5th century  BC.


The frieze of the Vace situla


The basic narrative is centralized on the upper bands. The first band shows a festive procession of riders and chariots (military social class). The central band shows banquets and war games with dumb-bells (administrative class). In some scenes appears the offering of the sacred drink. It is like the saoma in India. Animals are featured on the third and lowest band (mythology). The scenes were hammered in shallow relief on the sheet metal of the situla in a repoussé technique.

The situla was created in what is now Slovenia, in a workshop somewhere in Lower Carniola. It was made by a craftsman - storyteller in the 5th century BC, who was a master of the favoured manner of relief in bronze sheet metal, i.e. situla art, in the region between the Po and Danube rivers. The scenes on the situla from Vace include all the distinctive features of this artistic style, which places it among the masterpieces of European prehistory.

In the area of modern Italy, two beautiful examples of situlas from Bologna have been preserved. They pertain to the Villanova culture (6th century BC). The ancient pre-Vendic substrate played a significant role in the development of this culture.  

The Arnoaldi situla (Bologna), 6th century BC.

The Arnoaldi situla (Bologna), 6th century BC.It shows a typical scene of a conquering people. The frieze depicts three bands. The middle band does not present princes but marching warriors. In the first band appears a row of war chariots going into battle, while sacred animals are seen in the lower band.

The Certosa situla (Bologna), ca. 6th century BC

The Certosa situla (Bologna), ca. 6th century BC, clearly shows the Etruscan influence. The frieze depicts four bands, the figures are somewhat different than on other situlas. It presents also winged animals, which do not appear in the original mythology of the Veneti (Vends).



The Benvenuti situla (Este). It shows also some Etruscan influences. Figures of winged animals appear here and there. They are characteristic in the mythologies of the Mediterranean area.


A fragment of the situla Visace (Nesaticum), Istria.

The friezes of the situlas depict, among other things, scenes of various rites referring to the life of the ancient Veneti. Many situlas, like those of Vace, Arnoaldi, Providence, Este... show in three segments scenes, which I think represent also the three spheres in the life of Venetic people: in one of those strings, which is usually found above, we see the dignity of the Venetic princes (called Hallstattian princes by the archaeologists); the second string, which sometimes is the first, shows the military class, represented by marching warriors; then, usually below, we see figures of animals. Mostly it is about horned animals, which I consider symbols of Venetic mythology. The horned animals, like Goldenhorn (Zlatorog) for example, appear in several legends, which have been preserved until this very day.

The frieze part that depicts the rites, shows also an image of the same situla. It is used as a festive vessel, in which, I suppose, the ritual drink was offered to the prince. Here I would like to draw attention to the spiritual drink in India. It is called saoma and has the same role, this is, a toast of health (to the Grand Father). In fact, a migration wave of the Veneti arrived in India in around 1000 BC, where they launched the well-known religious and spiritual impetus, which has been preserved until today.


An East Alpine cavalrist of the Social Elite, after archaeological  findings
from excavated trenches around 650 BC (reconstruction).


  

Wealthy lady and gentleman, after archaeological findings from the well-known
burial chamber of the Princes of Hochdorf around 550 BC (reconstruction).

In the works of archaeologists and historians, the Veneti of the Hallstatt era are primarily presented as “early Celts”, which is incorrect. An interdisciplinary research clearly indicated, that the continental Celts, who spoke nearly the same language as the Veneti, were a different people. Their social organization was based on clans, whereas the Veneti lived in village communities.

Furthermore, the Veneti, in comparison to the Celts, had a deep spiritual inner life, of which the scenes on friezes of situlas strongly bear witness. After 400 BC (La Téne), with the Celtic invasion of Central Europe, the art of situla-making vanished altogether. The reason was not technical incapability, but rather their spiritual disposition.

One of the most visible characteristics in the religious life of the Veneti is the way how parts of their stylization complement one another. In spite of diversity of forms, Venetic art depicts a common characteristic of their religious experience, that give it a particular style. Evidently, they were devoted not to themselves, but to the spiritual message, which was more important to the Veneti than artistic preciseness and beauty.

What did the message mean? I think, the characteristics of the figures reveal through stylization the world beyond. They are part of the Venetic mythology. The figures of animals and plants express a spiritual message and the beauty and harmony of nature, while leaving it up to the mind to interpret the message. These figures accompany scenes from the social life of the Veneti. The scenes are also presented in stylized forms.

Some years ago, in Treviso (Italy), a stitch-book was published about Venetic arts, which presented artifacts of the Este culture (Storia e leggenda dei Veneti dalle origini alla romanizzazione, 1987). It contained many pictures of the artifacts that were found, which Gianni Anselmi coloured in a felicitous manner.
  
The Human Being

The pictures on situlas and other objects show figures of princes, warriors and peasants (workers), relating to the three main classes of the Venetic social organization. Why is there no mentioning of the priest class? Because princes were at the same time priests, and they carried out the religious rites and sacrifices. These three classes probably existed already in the beginning of the Venetic era (after 1200 BC).

Divinities appear very seldom in human shape. In this case the images of goddess Reitia and god Belin (Belenus) are an exception. On a picture we see a winged horse, holding a human leg between its teeth. As one can imagine, the winged horse, a divine being, ate a sinful soul.


A female figure, probably the goddess Reitia, from a bronze disc,
4th/3rd century BC, Museo Civico Treviso.



A ploughman from a situla, 5th century BC,
Museo Civico Treviso.



Very probably the Goddess Reitia, passing a (sun)discus
and a pitcher with a (sacred) drink to the man.



A prince with calyx (sacred drink?), from the Benvenuti situla,
7th century BC, Museo Nazionale Atestino (Este).



A seller of vessels, from situla Benvenuti, 7th century BC,
Museo Nazionale Atestino (Este).



A duel between young men, from the Benvenuti situla,
7th century BC, Museo Nazionale Atestino (Este).

  
The Warrior

Archaeologists of an interdisciplinary research come to the conclusion, that the bearers of the Urnfield culture, i.e., the Veneti, did not conquer territories in order to dominate but rather to deliver the doctrine of the salvation of the soul, which was the base of their religion. This component has been preserved in the religions of India until today. In spite of this, the Veneti disposed of a strong military power, on which their existence was founded.


A horseman, from a votive bronze lamina,
Museo Nazionale Atestino (Este).



Two votive laminas of the Este culture
(Este, Padova).



A warrior, from Benvenuti situla, 7th century BC,
Museo nazionale Atestino (Este).



A warrior, from vase Alfonsi, 5th century BC,
Museo Nazionale Atestino.



Prisoners, from Benvenuti situla, 7th century BC,
Museo Nazionale Atestino (Este).

Warrior with dagger, protected by sacred animal and dove (spirit),
from Benvenuti situla, 7th century BC, Museo Nazionale Atestino (Este).

  
The Animals

They are not represented in their natural forms, but rather as magical animals, that convey a message from the unseen Master of the universe. On some of them appears a sign very similar to a heart shape. The most characteristic figure is the horned animal, followed by a row of marching animals, comprised of deer, ram, chamois and their female counterparts. There are also many antelopes with long horns. Anyway, the antelope does not appear in Europe. Its figure could only have been adopted from the Mediterranean world, very probably through intervention of the Etruscans. The same applies to the winged animal, the figure of which appears on situlas in northern Italy.


From a belt hook 5th century BC,
Museo Nazionale Atestino (Este).



From a bronze cover 6th century BC,
Museo Nazionale Atestino (Este).



From a belt, 6th – 5th century BC,
Museo Nazionale Atestino (Este).



From a bronze cover, 6th century BC,
Museo Nazionale Atestino (Este).



From a situla, 5th century BC,
Museo Civio Treviso.



From a bronze disc, 4th – 3rd century BC,
Museo Nazionale Atestino (Este).



From a situla, 5th century BC,
Museo Civico Treviso.



From a belt hook 5th century BC,
Museo Nazionale Atestino (Este).



From the situla Benvenuti, 7th century BC,
Museo Nazionale Atestino (Este).
  
The Flowers

Like other figures, one peculiarity of the situla are the pictures of stylized flowers, symbolizing the world beyond. The forms are sometimes very simple. I think, the flowers had also another function, they must have been of miraculous properties of highly healing effects. When Goldenhorn (Zlatorog), the steinbock with the golden horns, ate the flower, he was healed instantly. A similar event concerning a steinbock in Creta, has been reported by Aristotle (384 – 322 BC). Therefore, as several animals are shown eating flowers or plants, one must conclude, that they represented the healing power of this miraculous flower. This floral mythology pertained to the goddess Mother Earth.


From the situla Boldu Dolfin, 6th - 5th century BC,
Museo Nazionale Atestino (Este).


From the situla Boldu Dolfin, 6th - 5th century BC,
Museo Nazionale Atestino (Este).

  
The Venetic Horse

The figure of the horse is the most typical among Venetic animals. Already Homer (9th century BC) reports in his poem Iliad (II, 852), that the Veneti were very skilled in horse breeding. This was later confirmed by the poet Alcman (Sparta, 654 – 611 BC), and thereafter by the poet Euripides (Athens, ca. 485 - 406 BC). The well-known Greek historian and geographer Strabon (Amaseia in Pontus, ca. 63 BC – 21 AD) says, that Dionysios, the tyrant of Syracus (ca. 432 – 367 BC), imported a great number of Venetic horses to Sicily, in order to revive his stud farm. Venetic horses were in particularly high demand in Rome, given the name »veneta factio« (Venetic faction). The same Strabon narrates (V, 9), that: at the outburst of the Timavus River, east of Aquileia, the Veneti used to sacrifice a white horse to Diomed. But the latter was a Thracian deity, and it is quite possible, that Strabon mistook him for a Venetic god, probably for Belin (Belenus).



From the situla Benvenuti, 7th century BC,
Museo Nazionale Atestino (Este).



From the situla Benvenuti, 7th century BC,
Museo Nazionale Atestino (Este).



 From a bronze helmet found in Oppeano (Verona),
 6th century BC, Museo Archeologico Firenze.



From the situla Boldu Dolfin 6th – 5th century BC,
Museo Nazionale Atestino (Este).



From the situla Boldu Dolfin 6th – 5th century BC,
Museo Nazionale Atestino (Este).

In the life of the Veneti the horse has become a quasi-sacred animal. Its image appears everywhere on situla friezes or on laminas. It is always depicted in a stylized form, walking in its characteristic step. Its pictures are preserved in numerous ex-votos, on amulets, in many scenes of peaceful work such as ploughing, or in war. It was the closest animal friend of man.

In the upper basin of Piave River, at the site of Lagole di Calalzo, where salubrious waters rise from a spring, many votive inscriptions were found. One of them is dedicated to a horse (see below).


In the inscription (Ca 14), reproduced in the picture, we see the words of the well-known venetoligist Matejh Bor in a somewhat different way: KELLO SPITTAMNIKOS TOLER TRUMUSKATEI DONOM. On base of Slovenian and Slav languages he deciphered the inscription with the following meaning: When you break him in, then go to the Trimuziat with a donation.

Related articles:
National and Cultural Treasures of Slovenia Part I, The Situla, The Triglav rose.
Slovenska Znamenja, The Venetian horse (Venetski Konj)