Abstract
Birth was one of the most magical, miraculous, and blessed events of post-paleolithic spirituality. The Mesolithic - Early Neolithic rock art paintings of the Ranaldi Shelter (Southern Italy) give distinct visual evidence to a universal subject: the woman during childbirth and the wild animal which, given the context data, is the adult male red deer. The pivotal personage of the drama, Mother Ranaldi, shares her iconographic canon with the Goddess of Childbirth in prehistoric art. She is a majestic, naked, corpulent and fertile anthropomorph who is delivering a new life between her generous thighs. The depiction of the newborn’s head emerging from the vagina emphasizes her female power to procreate. Mother Ranaldi is birthing flanked by two adult stags which she touches with her sacred hands. They are not ordinary animals. Their supernatural nature is described by three features: exaggerated unnatural antlers, clear epiphanic seasonal nature, and bicephalism. They were symbol of worship to the Goddess of Generation, acting as her paredri (supporting, assisting partners). Ranaldi Shelter was used during the seasonal relocation of cervids, which in spring moved from the plains to the summer mountainous ranges. Then, the red paintings had not only a sacred value. Having totemic nature, they carried out a territorial function by contributing to organize and mark the territory, possibly associated with appropriate rituals.