Somente em Acessórios para Veículos

Disney+, Star +, incluídos. Assine o meli+ por R$17,99

  • Ofertas do dia
  • Supermercado
  • Buscas relacionadas
  • painel fusca
  • painel gol g5
  • painel gol g4
  • painel gol g3
  • painel gol g2
  • painel gol quadrado

Painel De Instrumentos Gol Voyage 17/23 220km/h Original Vw

Painel De Instrumentos Gol Voyage 17/23 220km/h Original Vw

por Volkswagen

Frete grátis

Parati Gol Quadrado Gts Passat Voyage Santana Saveiro Malha Eletrica Trilha Placa Circuito Impresso Painel Instrumentos

Parati Gol Quadrado Gts Passat Voyage Santana Saveiro Malha Eletrica Trilha Placa Circuito Impresso Painel Instrumentos

Enviado pelo

Painel Radio Gol Voyage Parati Saveiro 80  81 82 83 84 85 86

Painel Radio Gol Voyage Parati Saveiro 80 81 82 83 84 85 86

por ADORO MEU CARRO

Painel De Instrumentos C/ Contagiros Vw Gol Quadrado 320 Km

Painel De Instrumentos C/ Contagiros Vw Gol Quadrado 320 Km

Difusor Saida Ar Gol Saveiro Voyage G6 2013 2014 2015 2016

Difusor Saida Ar Gol Saveiro Voyage G6 2013 2014 2015 2016

Painel De Instrumentos C/ Contagiros Vw Gol Quadrado 220 Km

Painel De Instrumentos C/ Contagiros Vw Gol Quadrado 220 Km

Painel Velocímetro Original Gol Voyage 2017/2018 - 5u092084

Painel Velocímetro Original Gol Voyage 2017/2018 - 5u092084

Nucleo Evaporador Up! Gol Saveiro Voyage Fox G5 G6 G7 Valeo

Nucleo Evaporador Up! Gol Saveiro Voyage Fox G5 G6 G7 Valeo

por Revoar Auto Parts

Moldura Painel 2din Multimidia Gol Voyage Saveiro G6 B Piano

Moldura Painel 2din Multimidia Gol Voyage Saveiro G6 B Piano

Gol Quadrado Gts Mil 1000 Passat Voyage Santana Saveiro Malha Eletrica Trilha Placa Circuito Impresso Painel Velocimetro

Gol Quadrado Gts Mil 1000 Passat Voyage Santana Saveiro Malha Eletrica Trilha Placa Circuito Impresso Painel Velocimetro

Estabilizador Voltagem Painel Do Gol Voyage Parati Original

Estabilizador Voltagem Painel Do Gol Voyage Parati Original

Par Forração Porta Gol Voyage Parati 87/94 Saveiro 87/97

Par Forração Porta Gol Voyage Parati 87/94 Saveiro 87/97

por Lojas Nova Joia

Tampa Suporte Apoio Painel Celular Vw Gol G7 Voyage Polo

Tampa Suporte Apoio Painel Celular Vw Gol G7 Voyage Polo

Painel Instrumento Original Saveiro G7 Gol Voyage G7 G8 17/

Painel Instrumento Original Saveiro G7 Gol Voyage G7 G8 17/

Kit Forração Porta Gol Voyage Parati 87/94 Saveiro 87/97

Kit Forração Porta Gol Voyage Parati 87/94 Saveiro 87/97

Acrílico Do Painel De Instrumentos Vw Gol Saveiro Voyage G7

Acrílico Do Painel De Instrumentos Vw Gol Saveiro Voyage G7

Painel De Instrumento Gol Voyage G7 G8 5u0920845

Painel De Instrumento Gol Voyage G7 G8 5u0920845

10% OFF Volkswagem

Comando Painel Controle Ar Condicionado Gol Voyage G7 G8

Comando Painel Controle Ar Condicionado Gol Voyage G7 G8

Comando Ar Condicionado Vw Gol Saveiro Voyage G6 2011 A 2018

Comando Ar Condicionado Vw Gol Saveiro Voyage G6 2011 A 2018

Mp3 Player Pioneer Mvh-x7000br Bt 1 Din

Mp3 Player Pioneer Mvh-x7000br Bt 1 Din

Forro De Portas Gol/voyage 4 Portas 2008 A 2022 G5 G6 G7 G8

Forro De Portas Gol/voyage 4 Portas 2008 A 2022 G5 G6 G7 G8

Painel De Instrumento Gol Voyage G7 G8 5u0920845 Original Vw

Painel De Instrumento Gol Voyage G7 G8 5u0920845 Original Vw

Kit Forraçao Porta Gol Voyage Parati 87/94 Saveiro 87/97

Kit Forraçao Porta Gol Voyage Parati 87/94 Saveiro 87/97

Painel De Instrumentos Gol Voyage G7 G8 Original Vw

Painel De Instrumentos Gol Voyage G7 G8 Original Vw

Moldura Painel 2 Din 9 Polegadas Gol Saveiro Voyage G7 G8

Moldura Painel 2 Din 9 Polegadas Gol Saveiro Voyage G7 G8

Capa Painel Coluna Direção Gol Saveiro Parati Voyag Cl 88/94

Capa Painel Coluna Direção Gol Saveiro Parati Voyag Cl 88/94

Moldura Painel Cl Gol 88 89 90 91 92 93 94 Parati Voyage Sav

Moldura Painel Cl Gol 88 89 90 91 92 93 94 Parati Voyage Sav

Painel Comando Ar Condicionado Gol Voyage Saveiro G5

Painel Comando Ar Condicionado Gol Voyage Saveiro G5

Voyage Cl Gl Gls Malha Eletrica Painel Circuito Impresso

Voyage Cl Gl Gls Malha Eletrica Painel Circuito Impresso

Saida De Ar Tela Grade Painel Vw Gol Voyage Saveiro G4 G5 G6

Saida De Ar Tela Grade Painel Vw Gol Voyage Saveiro G4 G5 G6

por Volauto

Botão Farol Painel Satelite Gol Gti Gts Gls Gl Parati Voyage

Botão Farol Painel Satelite Gol Gti Gts Gls Gl Parati Voyage

por Poison Car

Painel Instrumento Gol Voyage G7 G8 1.0 2018 2021 5u0920845

Painel Instrumento Gol Voyage G7 G8 1.0 2018 2021 5u0920845

Revestimento Painel Gol/voyage 86/ Semi-montado Expositor Or

Revestimento Painel Gol/voyage 86/ Semi-montado Expositor Or

Lente Acrílico Painel Instrumentos Fox Gol Saveiro Voyage G7

Lente Acrílico Painel Instrumentos Fox Gol Saveiro Voyage G7

Moldura Painel Dvd 9 Polegadas Gol Saveiro Voyage G5 Black P

Moldura Painel Dvd 9 Polegadas Gol Saveiro Voyage G5 Black P

Painel Instrumento Voyage Saveiro G6 12/16 5u0920830

Painel Instrumento Voyage Saveiro G6 12/16 5u0920830

Tampa Cega Botão Falso Centro Painel Gol Voyage Saveiro G5

Tampa Cega Botão Falso Centro Painel Gol Voyage Saveiro G5

Moldura Painel Gol Parati Voyage 1988 A 1995 Quadrado Preto

Moldura Painel Gol Parati Voyage 1988 A 1995 Quadrado Preto

Painel Velocímetro Original Gol Voyage 2017/2018 - 5u0920845

Painel Velocímetro Original Gol Voyage 2017/2018 - 5u0920845

Reparo Painel (flat) Fox Gol Golf Kombi Saveiro Voyage 27v

Reparo Painel (flat) Fox Gol Golf Kombi Saveiro Voyage 27v

Capa Painel Tabelier Gol/voyage/saveiro G5

Capa Painel Tabelier Gol/voyage/saveiro G5

Marcador Gol Temperatura Voyage Parati 88 95 Cl Painel Vw Cs

Marcador Gol Temperatura Voyage Parati 88 95 Cl Painel Vw Cs

Painel Dianteiro Mini Frente Gol Voyage G6 G7 2013/2017

Painel Dianteiro Mini Frente Gol Voyage G6 G7 2013/2017

Moldura 2din Vw G5 Gol Voyage Saveiro Sup 4 Botões Prata

Moldura 2din Vw G5 Gol Voyage Saveiro Sup 4 Botões Prata

Painel Instrumento Gol Voyage G7 G8 1.0 2017 2022 5u0920845

Painel Instrumento Gol Voyage G7 G8 1.0 2017 2022 5u0920845

Botão Vidro Elétrico Traseiro Painel Gol Voyage G6 13/16 Esq

Botão Vidro Elétrico Traseiro Painel Gol Voyage G6 13/16 Esq

Plug 32 Pinos Painel Celta Corsa Gol Saveiro Voyage Caminhao

Plug 32 Pinos Painel Celta Corsa Gol Saveiro Voyage Caminhao

Revestimento Forro Gol Voyage Parati 87/94 Saveiro 87/97

Revestimento Forro Gol Voyage Parati 87/94 Saveiro 87/97

Voyage Gl 93 A 95 Malha Eletrica Circuito Painel 890505031

Voyage Gl 93 A 95 Malha Eletrica Circuito Painel 890505031

Painel Dianteiro Mini Frente Gol Voyage G6 G7 13/17 + Alma

Painel Dianteiro Mini Frente Gol Voyage G6 G7 13/17 + Alma

Par Forro De Porta Gol Voyage Parati Saveiro Gls G1 Quadrado

Par Forro De Porta Gol Voyage Parati Saveiro Gls G1 Quadrado

Tampa Apoio Celular Painel Gol Voyage Saveiro G7 G8 Polo Up!

Tampa Apoio Celular Painel Gol Voyage Saveiro G7 G8 Polo Up!

Programação De Chaves Gol/saveiro/voyage G6 Painel Marelli

Programação De Chaves Gol/saveiro/voyage G6 Painel Marelli

O frete grátis está sujeito ao peso, preço e distância do envio.

Mais informações

  • Mercado Livre
  • Investor relations
  • Sustentabilidade

Outros sites

  • Desenvolvedores
  • Mercado Pago
  • Mercado Shops
  • Mercado Ads
  • Solução de problemas

Redes sociais

Minha conta, assinaturas.

  • Deezer Premium

Usamos cookies para melhorar sua experiência no Mercado Livre. Consulte mais informações na nossa Central de privacidade.

  • Photographers

Post Pravda logo

Urban Soundtracks: Rostov-on-Don According to Motorama

' src=

For reasons unknown to me, Russian music has never broken into the Western consciousness, beyond that brief t.A T.u phase in the 2000’s. Americans just never caught on to the wonder that is Philipp Kirkorov, I suppose. Nonetheless,  Motorama has carved out a small niche for themselves as an underground hit. Maybe this is down to their lyrics being in English, or perhaps it’s the fact that they have a near-perfect capacity to summarize our twisted emotional landscape with their own brand of Post Punk.

Hailing from Rostov, Russia, they were formed outside the Moscow and Saint Petersburg cultural centers, which produce the bulk of the nation’s cultural exports. Known for being a far more rough city, Rostov appears to be the ideal backdrop for Motorama’s amazing capacity to engender emotions, like disappointment and anxiety. However, little writing is produced about the city and it attracts few tourists from outside Russia. As such, we spoke to  Vladislav Parshin from the band, and he kindly put together a bit of a mix to understand the place a bit more.

For most people anything outside of Russia, the country is a complete mystery. How did being from Rostov shape your musical tastes and you guys as artists?

For me the main influence was my father who showed me tons of great music from the Soviet Union and abroad and all these songs formed my tastes. Rostov-on-Don is also an important part of shaping the taste, as I knew personally the members of the New Wave/Post-Punk 90’s bands like Elen  and Matrosskaya Tishina , they influenced me in the beginning of the 2000’s.

It is interesting looking at musical scenes that are outside the centers of arts like Manchester, Seattle, and Louisville. It is as if being removed from the mainstream conversation allows you to produce something completely unique and personal. To a certain degree, do you think that your band was almost blessed to be outside the major cities of mainstream culture?

I won’t say that it was a blessing, but it was fine for us as a band. I think that living outside the big cultural spots is a good chance for creating something by yourself, you have more free time, instead of visiting never ending exhibitions, concerts and parties. But at the same time it’s harder to meet people who share the same ideas and who can help you in what you are doing. In general I feel comfortable living in Rostov-on-Don, we are flying to Moscow and St. Petersburg from time to time only because of the concerts.

The mix is fantastic. It is very Post Punk/synth-inspired. However, it is hardly the most ‘sunshine and rainbows’ mix. You’ve said in other interviews that there is nothing exciting about your home city of Rostov. Does that contribute to the sound of the mix?

I like such music and I think it suits our city.

In many articles, your work has been compared to British post-punk bands but I think it is fair to say that you’re part of a broader Soviet/post-Soviet tradition of bands like Kino. What is it about this darker style of music that continues to attract people across different generations in the former USSR?

I think that there’s a specific side in Russian character that is connected with such dark or sorrowful music. For example, lots of traditional folk songs from different parts of Russia are based on metaphysical stories connected with faith and death. All these existential problems are reflected in different art genres here, not only with music, but also literature.

Innvictis

  • Innvictis Seed Solutions
  • Innvictis Crop Care
  • Innvictis BioScience
  • Innvictis Products

VOYAGER® 90/10

painel voyage 90

VOYAGER 90/10 | An excellent quality nonionic surfactant, and meets most pesticide manufacturers for a 90/10 surfactant

East Coast: 954-287-1561 West Coast: 949-751-1891

The all new offshore 54' pilothouse is available ask us for more details..

We collect your information when you visit this site. For more information, view our privacy page.

90 Voyager Liberty Running Shot

80’ / 85’ / 90’ Voyager

As the flagship of our model line the Voyager is the culmination of our dedication to quality and innovation. William Crealock's design emphasizes unparalleled sea kindliness, structural strength, and safety. A multitude of unique and functional features distinguish the Voyagers from all other yachts in their class. The use of only the finest materials, hundreds of intricate details and unparalleled craftsmanship will be immediately apparent. See first hand why sixty years of boat building experience is so important.

Download brochure:

painel voyage 90

  • Specifications

Photo Gallery

Virtual tour.

  • 80’ Voyager
  • 85’ Voyager
  • 90’ Voyager
  • 80' Voyager Grand Salon

80' Profile Yacht

Interested in Offshore Yachts?

offshore team group photo

Our team is here to assist.

Please fill out the form and someone will reach out to assist very soon.

First Name *

Last Name *

Your Location

Email Address *

Phone Number *

Sign up for our newsletter

Submit form

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Click through the PLOS taxonomy to find articles in your field.

For more information about PLOS Subject Areas, click here .

Loading metrics

Open Access

Peer-reviewed

Research Article

Solar-Aligned Pictographs at the Paleoindian Site of Painel do Pilão along the Lower Amazon River at Monte Alegre, Brazil

* E-mail: [email protected]

Affiliation Anthropology Department, Northern Illinois University, Dekalb, Illinois, United States of America

ORCID logo

  • Christopher Sean Davis

PLOS

  • Published: December 20, 2016
  • https://doi.org/10.1371/journal.pone.0167692
  • Reader Comments

Following publication, the author informed the journal office that there are errors in the data reported in the article [ 1 ]. Specifically, the compass measurements used in Figs 9, 11, 12, and 13 are inaccurate due to magnetic distortion in the study area. When the compass measurements are corrected, the following results are no longer supported:

  • The red alcove circle in Fig 13 faces 300°, not 270° and therefore it does not mark a spot where the sun would shine through the crevice directly beneath the circle on the day of the equinox. Instead, the circle may mark a position where sun would shine through the crevice at sunrise on the day of the winter solstice at ~114 ° (compass readings of 113°, 109°, 121° on different devices, averaged to 114.3°).
  • The six vertical lines do not face 114°, and therefore do not mark the position of sunrise on the winter solstice.

The PLOS ONE Editors have considered the amendments to the data and have consulted with an external peer reviewer and a member of the Editorial Board. Following evaluation, there are concerns about the reliability of the results and conclusions, and some results are no longer supported, as follows:

  • Compass measurements require independent validation; concerns remain regarding the accuracy of the data.
  • Original key conclusions related to the intention behind the placement of the paintings are not fully supported.
  • An astronomical alignment with sunrise on the true equinox was reported for the original compass measurements, and it is unclear what steps were taken to avoid a potential bias in the interpretation of the new measurements towards possible alternative astronomical alignments or explanations.

In light of the concerns raised about the accuracy of the data and the strength of support for the original conclusions, the PLOS ONE Editors retract this article.

CSD did not agree with retraction.

4 Apr 2019: The PLOS ONE Editors (2019) Retraction: Solar-Aligned Pictographs at the Paleoindian Site of Painel do Pilão along the Lower Amazon River at Monte Alegre, Brazil. PLOS ONE 14(4): e0215119. https://doi.org/10.1371/journal.pone.0215119 View retraction

Fig 1

The archaeological sites near Monte Alegre, along Brazil's lower Amazon River, provide new information on the little-known activities and symbolism of South American Paleoindians toward the end of the Ice Age. While paleoindian sites like Monte Verde in Chile, or Guitarrero Cave in Peru, are located near the pacific coast, Monte Alegre lies much further inland, 680 km upriver from the mouth of the Amazon River and the Atlantic Coast. With excavated wood charcoal radiocarbon dated as early as 13,200 calibrated years ago, the hill—as a source of sandstone and quartz lithics—supplied early pioneers with adequate tools needed for colonizing the interior of the continent. Once there, they painted rock art on the landscape, which bears a record of the sun's horizon positions throughout the year. At just 2° south of the equator, Monte Alegre shows no overt seasonal changes beyond fluctuating rainfall amounts, unlike at higher latitudes where temperature, amount of daylight, foliage, and forms of precipitation markedly change. Near the equator, solar and stellar horizon sightings most visibly track the passage of time and seasonal cycles. However, horizons are often hidden behind high forest canopy throughout much of the Amazon Rainforest; but in the Monte Alegre hill ridges looming above the river, paleoindians could hike above the canopy to peer at the horizon, more effectively synchronizing their activities to ecological cycles. This research suggests that Monte Alegre paleoindians delimited the azimuthal range of the sun in a solar year with notational pictographs aligned to horizon sightings at Painel do Pilão, and leaving a painted grid of tally marks that might have served as a rudimentary early calendar. The broad-reaching implication for early Americans is that through the strategic placement of rock art, these ancient artists fostered predictive archaeorecording from which resources could be optimally extracted, ceremonial activities could be consistently scheduled, and gatherings for social and economic exchange could be more efficiently coordinated.

Citation: Davis CS (2016) Solar-Aligned Pictographs at the Paleoindian Site of Painel do Pilão along the Lower Amazon River at Monte Alegre, Brazil. PLoS ONE 11(12): e0167692. https://doi.org/10.1371/journal.pone.0167692

Editor: Roberto Macchiarelli, Université de Poitiers, FRANCE

Received: October 17, 2016; Accepted: November 18, 2016; Published: December 20, 2016

Copyright: © 2016 Christopher Sean Davis. This is an open access article distributed under the terms of the Creative Commons Attribution License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Data Availability: All relevant data are within the paper and its Supporting Information files.

Funding: U.S. Student Fulbright Commission with Fulbright Brasilia ( www.fulbright.org.br ) partially supported (cost of living and transportation, research permits) funding for the research of CSD. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. All remaining research was unfunded.

Competing interests: The author has declared that no competing interests exist.

Introduction

Approximately fifteen kilometers southwest of the city of Monte Alegre, in the Brazilian state of Pará, ancient rock art sites dot the caves and rock faces of three hilly sandstone ridges that are adjacent to the northern bank of the Amazon River [see 1 ]. Nearly all of the 600+ images are pictographs painted in red to yellow earth tones and unevenly distributed among fourteen different sites. Four of the fourteen sites are open-air vertical rock walls or outcrops while the remaining ten are in small caves or shallow rock shelters. All the outdoor sites contain individual pictographs as well as panels of grouped paintings. Most of the cave and shelter sites have individual pictographs, except for the outer entryway pictographs at Caverna da Pedra Pintada, which are clustered like panels.

Anna Roosevelt and her team (1996) excavated at Caverna da Pedra Pintada, the largest and closest painted cave to the Amazon River, on a hill called Serra da Paituna. There they unearthed evidence of a Late Pleistocene paleoindian occupation period associated with numerous paint drops and lumps of pigment, artifacts, black soil, and other food remains radiocarbon dated to 11,280 to 10,170 uncalibrated years before present (13,630–11,705 cal yr BP—OxCal 4.2) [ 2 – 4 ].

This research corroborates Roosevelt's work by unearthing further evidence of a paleoindian rock painting tradition at Painel do Pilão , a nearby open-air outcrop approximately 400 meters from Caverna da Pedra Pintada. Evidence consists of an excavated ochre manuport and a buried painted stone among lithic flakes and boulders quarried from a sandstone schist wall, and deposited in the lowest stratigraphic levels of a small shelter. The wall from which rocks were removed serves as a platform for an observer to stand atop to view red and yellow painted pictographs, some of which depict probable sun and sky-themed representations due to their solstice alignments, and a grid pattern with filled-in tally marks. The solar alignment of these paintings, and the dated antiquity of contextual artifacts and features from the excavation, suggest a tradition of naked-eye ethnoastronomy and rock art took place here, and the grid may have served as one of the earliest solar "calendars" in the Americas.

Painel do Pilão Rock Shelter at Monte Alegre

Monte Alegre is a town on the eastern edge of a geologic dome of Paleozoic bedrock, which is interrupted by Tertiary graben-like sediment in horizontal layers of schist, clayey schist, and very fine-grained quartzite, along with dyke intrusions of diorite. The dome partly redirects the Amazon River, which bends north around the dome's eastern edge, and floods into Lago Grande lake just south of the dome during the rainy season. This makes the Monte Alegre dome a rare location in the Lower Amazon Basin because the hill ridges appear like gently sloping rocky plateaus ( Fig 1 ) from the river.

thumbnail

  • PPT PowerPoint slide
  • PNG larger image
  • TIFF original image

To ancient navigators on the Lower Amazon River, this hill would be a place to replenish silicified sandstone lithic tools. Photo taken by Chris Davis on May 2, 2011.

https://doi.org/10.1371/journal.pone.0167692.g001

For a Paleoindian culture, the hills offered a lithic source for making sandstone, quartz, and chalcedony stone tools. Its microclimate zones would also have offered hunting grounds for diverse land and aquatic game, like turtle, brocket deer, and macaws; its seasonal marshes allowed for relative ease of mobility by canoe navigation; the caves offered shelter; and the peaks offered a vantage point above the rainforest canopy to monitor fluctuating river levels and make horizon sightings to coordinate seasonal subsistence strategies. The rock art and archaeological excavations appear to support this scenario of land use.

The excavation At Painel do Pilão was carried out in late April and May of 2011 with the field permit granted by CNPQ and IPHAN- Belém, PA under the supervision of Dra. Denise Schaan at the institute: Universidade Federal do Pará, Belém, Brazil and Universidade Federal do Oeste do Pará, Santarém, Brazil". The entire width of the shelter floor, covering approximately 1.6 x 1.8 meters, was excavated to bedrock at a depth of ~2.6 meters by the author, who was assisted by two local residents, and a Brazilian archaeology student. Excavation levels were determined by natural levels evaluated from changes in sediment grain-size, sorting, and munsell soil colors. The total number of specimens excavated were 1,688 stored in a permanent repository at the Universidade Federal do Oeste de Pará in Santarém, Brazil.

Photographs and Brunton compass readings of the pictographs were taken in 2007 and 2008, and additional photos and enhanced photogrammetric techniques were taken in 2010 using a handheld GPS unit and a gigapan panoramic robot, which preserves visual and angular ratios as seen from the platform stage. In 2011, before and during the excavation season, twenty prominent pictographs, and 280 points on the outcrop surface were laser distance measured from the platform stage, and cardinal directions as well as inclination (altitude) readings were verified with a Leica disto 8 laser distance measure and a TopCom theodolite station.

Previous compass readings in 2007–2008 had to be corrected to true north, which for Monte Alegre's magnetic declination in 2008, was a correction of + 18°01’±19’ [verified using 5]. All electronic devices (GPS and Theodolite) were set to automatically correct for true north at the time of reading, however, a variance of 0–5° intermittently reoccurred among the different devices. This variance may have been due to human error, inclination of the units, and local electronic or magnetic interference.

Radiocarbon dating of gymnosperm wood charcoal was performed by accelerated mass spectrometry at the University of Arizona NSF-Arizona AMS Laboratory in late 2012 and early 2013. Sample masses varied between 0.4 to 1.97 mg. Calibration curves were calculated with OxCal version 4.2.3 (IntCal 09) in 2013 and recalibrated (IntCal 13) in 2016.

The excavtion yielded a predominance of lithics, with no significant organic ecofacts (other than charcoal) beyond the first level. The second excavation level was mostly sterile. Levels 3 to 5 saw increases in lithic flakes, charcoal stains (but few solid pieces) and groundstone nodules; and despite some yellowish-hued lithics, there were no significant traces of pigment. The base of level 5 marked a significant boundary where large boulders began to be uncovered. One boulders from level 7 was too large to be fully removed from the excavation pit, so it was propped on one end and shifted to one side as excavation continued. The frequency of lithic flakes increased as well in the lowest levels, including lithic clusters confined to distinct regions, microlith debitage clusters, and several individual and clustered lithics that had pigment stains and relatively smooth textures, suggetive that some may have been given surface treatments or polished in their time ( Fig 2 ).

thumbnail

Discovered separate from each other in level 7, the left piece is well-polished on the dorsal side, including its part of the hole. The top edge of the left piece is also sharp, suggesting functional reuse after breakage.

https://doi.org/10.1371/journal.pone.0167692.g002

Overall, the lithic industry contains few formal tools, instead favoring convenience and expediency with little evidence of retouch. To this degree the lithics share similarity to those recovered by Roosevelt [ 2 ] at Caverna da Pedra Pintada. Exceptions were found in the lowest three levels, however, where surface textures displayed some aesthetic qualities. Rare recognizeable tool forms include some unifacial and rare bifacial axes or adzes with trace evidence suggestive of lashing. A few borers and scrapers were also identified, some of which show possible marginal heat-treatments for hardened edges. In form, at least, these share similarity to Roosevelt's bifaces and "limaces" [ 2 ]. However, unlike at Caverna da Pedra Pintada, virtually no recognizeable projectile points were recovered, except perhaps among microliths. No bone, shell, or food artifacts were recovered either, and only a single thin layer of ash in level 6 alludes to campfire use in the pit. Due to the lack of significant retouch and finished formal tools—especially projectile points—the concluding impression is that the shelter served as a small quarry, having no signs of long-term or periodic habitation. A substantial amount of lithic fragments are probably due to surface reduction resulting in the flattening of the platform wall during the period of deposition for levels 6–8.

At Painel do Pilão , pictographs are positioned in two orientations on a ~15-meter-high sandstone schist outcrop; a lower panel of pictographs at about 1.5 meters off the platform ground, and an upper panel near the floor of a narrow ledge (just above the first panel, about 2 meters above the platform ground) that angles upward along the rise of the rock to the northwest ( Fig 3 ). Beneath this northwest rise, a natural rock shelter cuts deeper into the outcrop and is partially protected from natural erosion and rapid sedimentary deposition by the overhanging structure. The floor of this shelter reaches the natural ground about 1.4 meters below the level of the platform ground ( Fig 4 ).

thumbnail

The sun intersects this "window" in the early afternoon, about two weeks before and after the winter solstice.

https://doi.org/10.1371/journal.pone.0167692.g003

thumbnail

The left (northeast) wall forms the base of a platform stage from which one can view the rock art. This wall was made straight and flat throughout the depth of the excavation unit, leaving evidence of wall flakes and large boulders in only the lowest stratigraphic levels. The right side wall and overhanging rocks show the unmodified, angular smooth surface of the natural rock.

https://doi.org/10.1371/journal.pone.0167692.g004

The northeast wall of the excavation unit forms the base of a horizontal platform on which one can view the rock art above. Peculiar gouged marks on this platform wall were buried under ancient soil strata at a depth of 70 centimeters, the top of excavation level 6. The marks consist of at least 7 deep cuts diagonally angled from top left to lower right when facing the wall, with some cuts being deeper than others, and the cross-section of the cuts being somewhat rectangular ( Fig 5 ). Additionally, the entire platform wall seemed to have been made straight and flat, forming a roughly 90° angle to the platform's top surface. The flattening of the wall makes it a mostly 180° planar surface, but closer inspection reveals the surface is covered with somewhat consistent 1–3 cm—chips and indentations, like crumpled paper. This is in contrast to the very rounded and smooth natural boulder surfaces of the two other shelter walls. The inference, therefore, is that the wall of the platform—and initial painting of the panels viewed while standing atop it—may have been created around the same time, coinciding with the radiocarbon dates of the soil covering the peculiar gouges unearthed at excavation level 6. Further support for this hypothesis is evidenced by large boulders uncovered in the excavation unit beginning from level 6 to bedrock at the bottom of level 8, and that radiocarbon dates from these lowest levels fall within a 500 year range of time.

thumbnail

This wall forms the base of the platform from which one can observe the rock paintings above ( Fig 3 ). The slanted grooves gouged into the middle lower portion of the wall were buried to a depth of 70 cm from the original surface (the top of excavation level 6). The photo was taken by Davis in May 2011.

https://doi.org/10.1371/journal.pone.0167692.g005

Level seven of the excavation yielded an artifact bearing more direct context to the painting period—a large circular stone with clearly discernible red and yellow smears on its surface ( Fig 6 ), buried at a depth of ~90 to 102 cm. Correlation D-stretch software enhances its now faded features to show a circular yellow smear in between two yellowish-red arch-shaped smears, and a thick horizontal red band beneath them. Burned wood was found in-situ, next to the top edge of the stone, and was radiocarbon dated to between 10,993±62 years before present (13,014–12,725 cal yr BP—OxCal 4.2).

thumbnail

The photo, taken by Davis (May 2011), is enhanced by correlation D-stretch-lab to make the red and yellow half circles and red smears more discernible. These red and yellow colors are not part of the natural rock, but instead were added to the surface before the rock was buried. Red and yellow pigment are the two colors used in the rock art panels above the rock shelter where this was excavated.

https://doi.org/10.1371/journal.pone.0167692.g006

Another artifact supporting an ancient painting tradition was unearthed in level eight; a chunk of raw ochre with roughly 3 x 4 x 5 centimeter dimensions was buried at a depth of 96 cm. It is the largest ochre sample found in the excavation unit, and it must have been transported to the site since nowhere in the immediate vicinity can ochre be found naturally. A wood charcoal sample from slightly north of the ochre, and a few centimeters above the stratum (a depth of 85–90 cm), was radiocarbon dated to 11,148 ±71 years before present (13,135–12,810 cal yr BP—OxCal 4.2).

A total of four 14 C samples from two adjacent excavation levels ( Fig 7 ) were dated and all found to be consistent and contemporary to Roosevelt's paleoindian dates from Caverna da Pedra Pintada, 400 meters north of Painel do Pilão ( Table 1 ). A fifth carbon sample taken from bedrock at the base of level 8 was much older, dating over 30,300 years before present.

thumbnail

The size and irregularity of boulders in the lower stratigraphic levels belies the depositional sequence of features. However, the resting base of the three artifacts (red ochre manuport, painted boulder, and the oldest fragment of the two-piece polished bore-hole fragments) lie underneath all the relevant charcoal dates.

https://doi.org/10.1371/journal.pone.0167692.g007

thumbnail

https://doi.org/10.1371/journal.pone.0167692.t001

Archaeoastronomy Pictographs at Painel do Pilão

The context of the excavation data gives the impression that the northern wall of the excavation unit is part of a platform stage from which an observer can view the rock art from a specific location at Painel do Pilão . When doing so, the painting most central to the observer's field of view is a grid image that has individual boxes marked with mostly repetitive (but some varying) tallies ( Fig 8 ). Roosevelt was the first scholar to consider its potential function as a calendar. Although alternative theories not related to astronomy can not be ruled out, this author tested several calendar theories (solar, lunar, planetary, stellar) and revealed one possible, though not exact, pattern emerging with the intersection of the setting sun to a rocky perch in the near distance above and to the right of the painted outcrop ( Fig 9 ).

thumbnail

The grid contains 49 visible contiguous boxes in columns of 5, 6, and 7 rows. An additional fish-net lattice grid continues on the right-hand side. The true color photo shows that the painting is in mostly red ink, although D-stretch image enhancement reveals that yellow pigment traces over red lines, especially in the four columns seen to the left-hand side. The yellow paint, has faded significantly. D-stretch also enhances faded X-shaped tally marks in some of the central columns that currently appear as vertical lines. This suggests that the current image was retouched sometime in antiquity, perhaps to preserve or restore the original grid image. There is no indication that the grid overlays an entirely different image.

https://doi.org/10.1371/journal.pone.0167692.g008

thumbnail

Also depicted is the sun capture window, which was laser measured from the viewing platform at a distance of 45 meters. It visibly "captures" the sun ~18–20 days before and after the winter solstice if an observer stands on the (12-meter long) platform at least 9 meters away from, while facing, the grid image.

https://doi.org/10.1371/journal.pone.0167692.g009

The annual movement of the sun relative to the rocky perch allows for the intersection of the setting sun through the center of the perch approximately 18–20 days before and after the winter solstice (which currently occurs on December 21) about the beginning of the rainy period for Monte Alegre. If each box of the painted grid image represents one day of observing the setting of the sun relative to the rocky perch, 49 days after the day of the winter solstice, the sun sets too far to the north of the rocky perch, entirely missing the structure. The grid painting has 49 total boxes and the center boxes have tally marks that are simply vertical lines. Most other tally marks are crisscrosses. The rocky perch and the grid image might, therefore, have been a way for paleoindians to foretell the winter solstice and the passage of a new year, along with the rainy season, stream and river flooding, and all the ecological renewal cycles that come with them. The fewest number of boxes are empty boxes with no tally mark inside. These boxes might have been left empty on overcast days that were too cloudy for visual observation of the sun.

In close proximity on the wall further south (to the left-hand side when viewing the grid) are pictographs in the shape of circles connected by vertical and diagonal lines ( Fig 10 ). Among the Monte Alegre sites, these lollipop-shaped designs only occur at Painel do Pilão , and only near the grid, possibly to further represent contextual imagery of the sun or other sky objects in the cardinal direction they face on the eastern horizon. A cluster of connected "lollipop" images (eight form a matrix) align to 66° azimuth. According to StarryNight ™ software (Pro Plus version 6.3), the sun rises at that cardinal direction on the day of the summer (northern) solstice (which has only changed ~1° on the horizon from 13,000 years ago due to obliquity, but would have occured on September 10, 11,200 B.C due to precession instead of June 21 today).

thumbnail

Sixty six degrees is the furthest north that the sun rises on the eastern horizon, which, by definition, occurs on the day of the June 21st (northern/summer) solstice.

https://doi.org/10.1371/journal.pone.0167692.g010

Naked-eye sky-watchers could determine solstice positions on the horizon using simple methods because the northern solstice is defined by the furthest northeast (summer for the northern hemisphere) that the sun will rise on the horizon for the entire year, regardless of which year in history and regardless of how far earth's axis is tilted (24° or 23.5°). On that day, the sun also sets the furthest northwest on the horizon in the evenings. Each day afterwards, the sun rises and sets further south until it reaches the southern (winter) solstice position; for Monte Alegre this is at 113.5° azimuth on the horizon (~114°) today. The platform does not wrap around this far southwest (making the area difficult to access) and the walls here have no rock art except for 6 vertical lines grouped together under a honeycomb-like cluster of small circular alcoves assumed to have been naturally formed in the wall ( Fig 11 ). These red-painted lines face approximately 112–114° (difficult to pinpoint due to the terrain).

thumbnail

These lines face ~114°, which is the position that the sun rises on the day of the southern (winter) solstice. Presently, trees and vegetative overgrowth block view of the horizon.

https://doi.org/10.1371/journal.pone.0167692.g011

However, it is near this same time of year that the setting sun begins to intersect the rocky perch in the distance as seen from the platform stage (see Figs 3 and 9 ). If the main grid image represents a tally of these sunset intersections near the southern solstice, and the lollipop images are positioned to track sun rises on the northern solstice, the rock art context implies that the artists tracked the daily movement of the sun across the sky—delineating a solar year ( Fig 12 ).

thumbnail

Not drawn to scale, the grey rectangle represents the cardinal orientation and position of the excavation and the hypothesized sky-themed rock art and tallies The yellow lines represent the path of the sun on the days of the winter and summer solstice, and the equinoxes.

https://doi.org/10.1371/journal.pone.0167692.g012

A third astronomy alignment occurs with a single red pictograph discovered above the excavation unit on a vertical ledge on the underside of the painted outcrop. The ledge may have been intentionally altered, but further investigation is needed for certainty. The painted circle itself faces 270°, but the shelter walls block all views of the western horizon or sky from this location. However, just beneath the circle and ledge is an opening that allows one to see through to the other side of the outcrop and the horizon beyond ( Fig 13 ). This vantage point beneath the painted circle aligns to ~90°, the position of the rising sun on the equinox, which occurs on March 20 and September 23 currently.

thumbnail

The circle faces 270° but the shelter prevents view of the western sky. However, beneath the red circle is a crevice that allows view of the eastern sky. The red circle marks a spot where the sun would shine through the crevice directly beneath the circle on the day of the equinox.

https://doi.org/10.1371/journal.pone.0167692.g013

A few rock art sites from the terminal Pleistocene to early Holocene periods have been recently discovered in Brazil [ 4 , 6 – 9 ]. Other sites, presumed to be more recent, have been investigated for their potential archaeoastronomy alignments as well [ 10 ], like the megaliths near Calçoene, Amapa [ 11 ], or the prolific grooves and cupules at Pedra da Inga in Paraiba [ 12 ].

Yet, the most interesting similarities to Painel do Pilão rock art can be found among the São Francisco art tradition from site: BA-RC-28, located in Coribe, Bahia—Brazil. There, pictographs depict numerous long vertical lines and rectangular grids that similarly may reflect a tally system of sky observations [ 13 – 15 ]. Even as far south as Santa Catarina Island in Florianopolis, Brazil, some rock art petroglyphs may depict tallies and diamond lattice patterns—theorized [ 16 ] to represent fishing nets—do share compositional similarities to the right-side portion of the Painel do Pilão grid.

Another stylistic and motif-themed similarity is found among the Agreste tradition from Pedra do Velho, Samuel in Paraiba, Brazil, where 3-digit stick figures of probable turtles and lizards are depicted crowding around a concentric circle [ 13 , 14 ]. These drawings are similar to some of the zoomorphic pictographs at Painel do Pilão and throughout Monte Alegre rock art sites, especially at the other open-air site named Mirante.

A number of other pictograph motifs throughout Monte Alegre share some similarities to rock art sites throughout Pará, Brazil [ 17 ] but many of those similarites can be seen in the posture of the humanoid stick figures. There seem to be less sky-themed images at other Pará sites, and several sites have petroglyphs instead of pictographs. Regardless, although specific dates remain elusive, the dispersal of sites suggest a widespread practice of shared knowledge and artistic influences [ 6 , 17 ].

In no way can or should all the images at Painel do Pilão be considered to have preserved since the paleoindian period 13,000 years ago. Image enhancements of the grid shows evidence of earlier designs, but currently there is no way to determine how much time elapsed between overlapping paint strokes. The excavation recovered lithic deposits in nearly all levels but the few reliable charcoal samples from higher levels have not yet been analyzed. Charcoal from wall fall, that almost certainly fell from close to the surface, was dated to 2,112 ± 40 yr BP (2251–1989 cal yr BP OxCal 4.2 IntCal09). Therefore it is likely that some painted images (possibly the 12 yellow handprints overlaying the red pictographs on the lower panel) were produced recently. However, the data presented here lays a case for initial painting to have begun around the time that the area was first inhabited 13,000 years ago, and that those earliest images, which were probably retouched or traced more recently, were position in the most prominent wall locations and height visible from the stage. These images have, and are somewhat bound by, the horizon azimuthal markings of sunrises and possibly sunsets between solstices in a solar year.

While a matrix of lollipop images, and a few others that are paired, align to 66° azimuth, a few single isolated lollipop images (5 out of 18 total) do not, therefore, the motif might not represent the sun. They could represent certain stars along the ecliptic, planets, the moon, or constellations; all these theories (especially Mercury and Venus) the author explored with the StarryNight sky simulator but found little correlation.

Another alternative theory difficult to test is that the lollipop images represent the maracas of individuals who may have pilgrimaged to the site. Maracas are sited as being symbolically and spiritually vital to contact period Brazilian cultures [ 18 , 19 ], utilized by shaman [ 20 ], but also by layman during dances and ceremonies [ 21 , 22 ]. However, if they represent maracas—symbolic of personal identities—we might expect them to be adjacent to similar personal identifiers, like the twenty-in-all red and yellow painted handprints; yet, they are not. Also, this alternative theory does not address why 13 of the 18 lollipops align near the solstice sunrise. Of the other 5 lollipops, two on the upper ledge face the sun as it rises higher in the sky during the days around the same solstice, and a third one, located north of the grid on the lower panel, is not a "true" lollipop" because it is "animated" by the addition of horns and legs. Therefore, the horizon sun assignments provide the strongest evidence, further strengthened by the painted red equinox circle.

The painted circle underneath the outcrop above the excavation unit is oriented to ~90°, and under initial considerations it is difficult to understand how the equinox would have been determined by naked-eye astronomers unless they had counted the total number of days between solstices to compute the half-way mark.

Ethnographic accounts of Amazonian indians suggest that more importance was given to the day of the year when the sun cast no shadow from a gnomon at midday [ 23 , 24 ]. Such an event only occurs for just one day of the year near midday when the sun passes through the exact zenith of the sky for a given location that must lie near the equator at lattitudes between the tropics. Monte Alegre, at 2°3' south, meets this criterion. However, the day this occurs there is not on the day of the equinox. Presently, this day of virtually no shadow occurs on March 15 and September 28, about seven days away from the equinox. On these days at about 12:28 PM, the sun reaches the exact zenith at 89.9° altitude [calculated for the year AD 2010 from the 25 ], casting virtually no shadows. On those days, however, the sun rises on the horizon at ~92°, not 90°. Even 13,000 years ago, according to StarryNight software's reconstructed ancient sky, the sun would have rose in the morning at 91.48° local azimuth on the day it passed exactly through the zenith, thereby casting no shadows (accounting for obliquity and precession). Neither ancient nor modern dates for the shadow phenomenon occur on the equinox, and neither coincide with a horizon alignment of 90°. That alignment occurs on the day of the true equinox, so the painted circle must truly have been placed to mark sunrise on the day of the true equinox, however and whenever the artists painted it there.

Recognizing the passage of the seasons is perhaps something taken for granted in the northern or far southern latitudes because there are so many obvious signs. However, tropical environments—like at Monte Alegre just 2° south of the equator—do not have any of those telltale higher lattitude signs. There are no major changes in temperature, no changes of precipitation from rain to snow, no significantly shorter or longer days and nights, and no widespread coordinated shedding or color change of tree foliage. Therefore, the passage of the seasons—i.e. a solar year—is perhaps most recognizable by tracking the migration of the sun between southern and northern solstices. To do this, however, one needs a clear view of the horizon—which is usually difficult in a rainforest environment—but Monte Alegre provides the necessary elevation above the forest canopy to view the horizons.

For paleoindian cultures, the river would have been the most efficient mode of travel, the hills at Monte Alegre offered lithic tools and horizon sightings, and once there, tracking the sun through rock art pictographs and tally marks allowed for them to mark the cyclic passage of time in a rudimentary calendar. Armed with this visual aide, the ancient Amazonians could better predict and schedule subsistence and social activities, like resource acquisition and ritual ceremonies.

The results of this research have implications on the development of traditional astronomy knowledge systems extending to the terminal Pleistocene. This was a critical moment in history when our human ancestors were faced with rapid changes to the global climate. We do not know the extent to which paleoindians recognized these changes, but it is during this time period that Monte Alegre first shows evidence for paleoindians using rock paintings. I've argued here that the context of the rock paintings indicate a method of recording seasonal sky observations in pictographs with enough precision that it could have helped them predict cyclic patterns of resource availability in the local environment.

Archaeoastronomy sites like at Painel do Pilão are pushing further back in antiquity the evidence for human use of astronomy observations to marke the passage of time. And even though specific rock drawings can not be pinpointed to over 13,000 years ago, this research helps establish that tropical cultures engaged and utilized sophisticated knowledge of astronomy maintained through rock art and possibly shared or reimagined by more recent cultures who either inherited or rediscovered the ancient paintings as they traveled far afield throughout eastern South America.

Beyond the art and archaeoasronomy, the recovery of lithics and the reduction of a platform wall during the paleoindian period shows that the interior of the South American continent was being inhabited as early or earlier than many coastal sites. And the preence of rock art during that initial period suggests that rock art as a form of archaeorecording may have been an adaptive strategy consistent with pioneers who sought to familiarize themselves to a new landscape.

Similar astronomy lore [ 26 – 28 ] is found among more recent cultures for village orientation and construction in Amazonia [ 24 , 29 – 32 ] and the Andean regions of South America [ 33 – 36 ], for the layout of many platform plaza constructions in Mesoamerica [ 26 , 37 – 39 ], and for the medicine wheels, gnomons, and sun dagger rock art of Sun-watcher chiefs in North America's southwest and plains cultures [ 40 – 43 ].

Supporting Information

S1 file. supporting data ser..

A compilation of individual data sets, including excavation catalog, AMS carbon sample reports, and Sun alignment data tables.

https://doi.org/10.1371/journal.pone.0167692.s001

Acknowledgments

Special thanks to Carmen Davis, Anna Roosevelt, Laura Junker, Joel Palka, Vincent LaMotta, Virginia Miller, Waud Kracke, Robert Hall, and Denise Schaan, as well as the many Brazilian scholars and families that assisted my research: Marcio Amaral, Leonard Grala, Tiba, Nelci, and especially to Ozias and his extended family Creusa, Nildo, and Obede to name a few.

Author Contributions

  • Conceptualization: CSD.
  • Formal analysis: CSD.
  • Funding acquisition: CSD.
  • Investigation: CSD.
  • Methodology: CSD.
  • Validation: CSD.
  • Visualization: CSD.
  • Writing – original draft: CSD.
  • Writing – review & editing: CSD.
  • 1. Pereira E. A Arte Rupestre de Monte Alegre, Pará, Amazônia, Brasil. Belém: Museu Paraense Emílio Goeldi; 2012.
  • View Article
  • Google Scholar
  • 4. Roosevelt AC, Douglas J, Brown L. The Migrations and Adaptations of the First Americans: Clovis and PreClovis Viewed from South America. In: Jablonski NG, editor. The First Americans: The Pleistocene Colonization of the New World. 27. Berkeley: Memoirs of the California Academy of Sciences; 2002. p. 159–236.
  • 5. NCEI NCfEI. Magnetic Field Calculators Boulder, Colorado: National Oceanic and Atmospheric Administration (NOAA) Satellite and Information Service (NESDIS); 2016 [updated September 1 2016 14:29:26 UTC; cited 2016 October 15].
  • PubMed/NCBI
  • 7. Jorge M, Prous A, Ribeiro L. Brasil Rupestre: Arte Pre-historica brasileira. Curitiba, Brazil: Zencrane Livros; 2007.
  • 8. Guidon N. Arqueologia da região do Parque Nacional Serra da Capivara—Sudeste do Piauí. São Raimundo Nonato, PI. 2003.
  • 13. Martin G. Pré-história do Nordeste do Brasil: Editora Universitária UFPE; 1997.
  • 15. Prous A. Arqueologia Brasileira. Brasília: Universidade de Brasília; 1992.
  • 17. Pereira E. Arte Rupestre Na Amazonia Para. UNESP, editor. Belem: Museu Paraense Emilio Goeldi; 2002.
  • 18. Southey R. History of Brazil: Part the First. London: Longman, Hurst, Rees, and Deme, Paternoster row; 1810.
  • 19. Jd Léry. History of a Voyage to the Land of Brazil, Otherwise Called America. Berkeley, CA: University of California Press; 1992.
  • 20. Roth WE. An Inquiry into the Animism and Folk-Lore of the Guiana Indians. Washington D.C: Buereau of American Ethnology; 1915. 103–386 p.
  • 21. Wallace AR. A Narrative of Travels: Amazon and Rio Negro, with an account of the native tribes. 2nd edition ed. London: Ward, Lock and Co; 1889.
  • 22. Whiffen T. The North-west Amazons: Notes of Some Months Spent Among Cannibal Tribes. London: Constable and Company, Ltd; 1915.
  • 23. Fabian SM. Patterns in the Sky: An Introduction to Ethnoastronomy. Prospect Heights, Illinois: Waveland Press, Inc; 2001.
  • 24. Reichel-Dolmatoff G. Astronomical Models of Social Behavior Among Some Indians of Colombia. In: Aveni AF, Urton G, editors. Archaeoastronomy in the New World: American Primitive Astronomy. United Kingdom: Cambridge University Press 1982. p. 165–81.
  • 25. Astronomical Applications Department. Sun or Moon Altitude/Azimuth Table Washington, DC 20392–5420: U.S. Naval Observatory [updated 24 July 2015 13:0; cited 2016 October 15]. Form B—Locations Worldwide: [ http://aa.usno.navy.mil/data/docs/AltAz.php .
  • 26. Aveni AF. Empires of Time: calendars, clocks, and cultures. New York: Basic Books; 1989.
  • 27. Aveni AF. Circling the Square: how the conquest altered the shape of time in Mesoamerica. Philadelphia, PA: American Philosophical Society; 2012.
  • 28. Zuidema RT. Anthropology and Archaeoastronomy. In: Williamson RA, editor. Archaeoastronomy in the Americas. College Park, MD: Ballena Press Center for Archaeoastronomy; 1981. p. 29–31.
  • 29. Fabian SM. Space-Time of the Bororo of Brazil. Gainesville: University Presses of Florida; 1992.
  • 30. Urton G. At the Crossroads of Earth and Sky: An Andean Cosmology. Austin: University of Texas Press; 1981.
  • 31. Wilbert J. Warao Cosmology and Yekuana Roundhouse Symbolism. In: Magaña E, Mason P, editors. Myth and the Imaginary in the New World. CEDLA Latin American Studies. Amsterdam: CEDLA Latin American Studies; 1986. p. 427–58.
  • 32. Magaña E, Mason P, editors. Myth and the Imaginary in the New World. Amsterdam: CEDLA; 1986.
  • 33. Kelley D, Milone E. Exploring Ancient Skies: A Survey of Ancient and Cultural Astronomy. 2 ed. New York: Springer; 2011.
  • 34. Truel LR. Canto Grande y su Relación con los Centros Ceremoniales de Planta en “U”. Arqueología de la Costa Central. Talleres de Mundo Gráfico SA, Ind. Lima, Peru: Santa Rosa; 1997.
  • 35. Aveni AF. The Lines of Nazca. Philadelphia, PA: American Philosophical Society; 1990.
  • 37. Evans ST. Ancient Mexico and Central America: archaeology and culture history: Thames & hudson; 2013.
  • 38. Aveni AF. Skywatchers of Ancient Mexico. Austin: University of Texas Press; 1980. 356 p.
  • 40. Sofaer A, Sinclair RM. Astronomical Markings at Three Sites on Fajada Butte. In: Carlson JB, Judge WJ, editors. Astronomy and Ceremony in the Prehistoric Southwest. Maxwell Museum of Anthropology Anthropological Papers. Albuquerque, NM: University of New Mexico; 1983.
  • 41. Krupp EC. Archaeoastronomy unplugged: eliminating the fuzz tone from rock art astronomy. In: Hamann D, editor. International Rock Art Congress 1994. American Indian Rock Art 3. 21 ed. Phoenix: American Rock Art Research Association; 2006. p. 353–70.
  • 42. Brace GI. Boulder monuments of Saskatchewan. Saskatoon: Saskatchewan Archaeological Society; 2005.
  • 43. Titiev M. Old Oraibi, a study of the Hopi Indians of third mesa. Cambridge, Mass: Harvard University Museum; 1944. xi, 277 p. p.

Download GPX file for this article

Understand [ edit ]

This area where the East European Plain touches the Black Sea has seen habitation by civilizations stretching back to Scythian, Roman, Greek, and Ottoman times. In the 18th century, the Russian Empire started to lay a foothold by establishing outposts on this frontier, but then eventually with expansion of the empire it became more of a commerce center due to its premier trade location where the Black Sea meets the Don River. And it saw industrialization, too, causing it to draw people and become one of the largest Russian cities for a time. But it was not without adversity that it passed through the ages, as it saw incursions from the Russian Civil War, cholera epidemics, and occupation by the Germans during the Great World Wars. One of its darker moments was the execution of 30,000 Russian Jews by occupying Nazi forces at Zmievskaya Balka.

But today it is a peaceful metropolis full of green esplanades and theaters and cafes.

Do [ edit ]

  • 47.20931 39.73804 1 Rostov Arena ( 2 km from the centre on the north bank, walkable via Voroshilovskiy Bridge, or take bus S1 ), ☏ +7 863 333 28 64 . Watch football at Rostov Arena, opened in 2018 to host games of the FIFA World Cup. It's home to FC Rostov, who play in the Russian Premier League (ie top tier of Russian football). The Arena, capacity 42,000, is just south of the River Don and is intended to act as the focus for south-bank city development. The football team formerly played at Olimp-2 (capacity 15,800) north-east of the centre: its future use has not been announced. ( updated Feb 2021 )
  • 47.26289 39.72045 4 H2O , Prospekt Mikhaila Nagibina, 34 , ☏ +7 800 100-99-93 . daily 10:00-22:00 . This might constitute a fun waterpark because a lot of it's inside so you don't have to worry about turning purple in the inclement weather. ( updated Feb 2021 )

Eat [ edit ]

  • 47.22379 39.72602 1 Shaurma Kikchak , Bol'shaya Sadovaya Ulitsa, 114 . Some tasty shawarma sandwiches here. ( updated Feb 2021 )
  • 47.22733 39.71358 2 Cow Bar & Restaurant , Gazetnyy Pereulok, 84 . Bar and steakhouse, probably perfect for the carnivore. ( updated Feb 2021 )

Drink [ edit ]

  • 47.22131 39.7163 1 Svoy Bar , Ulitsa Shaumyana, 73 , ☏ +7 863 279 79 02 . An eccentric little bar with neon and decorations, and next door is Baba Lyuba, Rock-n-Roll Club at 71 Ulitsa Shaumyana with live performances. ( updated Feb 2021 )

Cope [ edit ]

Consulates [ edit ], visa centers [ edit ], go next [ edit ].

  • Archaeological museum-reserve "Tanais" [1]
  • Krasnodar Krai
  • Mariupol in Ukraine

painel voyage 90

  • Has custom banner
  • Has map markers
  • Airport listing
  • Listing with Wikipedia link but not Wikidata link
  • Outline cities
  • Outline articles
  • City articles
  • Has Geo parameter
  • Rostov Oblast
  • All destination articles
  • Pages with maps

Navigation menu

Five-star Bayern roll over Rostov

Tuesday, September 13, 2016

Article summary

Robert Lewandowski's penalty was added to by Thomas Müller, Juan Bernat and two Joshua Kimmich strikes as Bayern won 5-0 to give Russian newcomers Rostov a harsh introduction.

Article top media content

Article body.

Bayern München produced a five-star display to dispatch group stage debutants FC Rostov, setting a new UEFA Champions League record with a 13th successive home win.

  • Barcelona and Bayern begin in style
  • Also in Group D: PSV 0-1 Atlético

Rostov did not help their own cause by giving away two soft goals in the first half, the first a Robert Lewandowski penalty and the second on the stroke of half-time to Thomas Müller, on his 27th birthday.

Bayern had hardly broken sweat in the first 45 minutes, but began to press harder in the second. The impressive Joshua Kimmich scored twice in quick succession before Juan Bernat added a fifth in stoppage time.

Key Player: Joshua Kimmich (Bayern) When Ancelotti announced that Joshua Kimmich would be in the starting XI, many assumed he would replace Philipp Lahm at right-back. Instead, the Italian put him in the heart of his midfield and the 21-year-old didn't disappoint. Not disheartened by two failed attempts on goal in the first half, the Bayern youngster continued to push forward to exploit the space afforded him and was rewarded with his first UEFA Champions League goals.

Bayern celebrate their victory

Bayern's depth Being able to rest key players like Philipp Lahm, Franck Ribéry and Xabi Alonso for a UEFA Champions League match is not a luxury many teams enjoy, but Bayern have quality in abundance. Kimmich has clearly given Carlo Ancelotti something to think about, while the Italian still has to fit Jérôme Boateng into a defence that is yet to concede this season. Kingsley Coman and Arjen Robben are also yet to return to bolster an already devastating attack. 

Rostov's rude awakening Rostov discovered just how big the gulf in class is in the UEFA Champions League, as they were outplayed in Munich. Naivety as much as anything cost the Russian side as they gave away an unnecessary penalty, which was converted by the prolific Robert Lewandowski, but the sucker punch was to come on the stroke of half time when poor defending presented Thomas Müller with a simple finish to effectively end the contest.

UEFA.com team reporters' views

Jordan Maciel, Bayern ( @UEFAcomJordanM ) A good start to the campaign for Bayern, who never really had to get out of first gear. Rostov gave a good account of themselves in the first half and will rue conceding the opener from a penalty and then again so close to half-time. Ancelotti will have no complaints as his side claimed all three points and a healthy goal difference ahead of another meeting with Atlético.

Richard van Poortvliet, Rostov ( @UEFAcomRichVP ) Rostov offered little in attack, which is understandable given the size of the task of playing against one of the best sides in Europe. However, it's imperative the side from the south of Russia become more streetwise in their remaining games if they are to have any hope of qualifying.

Match reaction

Carlo Ancelotti, Bayern coach It was a good start to our Champions League campaign. It was difficult to score early on, we didn't have many chances. We got there. At the moment the team is in good condition, both physically and mentally.

Ivan Danilyants, Rostov coach We have never played against a team that played like Bayern today. We tried hard to hold them off and stay organised then the first goal came from an unfortunate penalty. The rest from quick counters. This side is different to the one under Pep Guardiola: they are much more direct.

painel voyage 90

IMAGES

  1. Painel Completo

    painel voyage 90

  2. Painel Completo

    painel voyage 90

  3. Painel Dianteiro Gol Parati Saveiro Voyage 87 a 90,87,88,89,90,1987

    painel voyage 90

  4. Painel Completo

    painel voyage 90

  5. Painel Frontal Gol Voyage Saveiro Parati 87 88 89 90

    painel voyage 90

  6. Painel Completo

    painel voyage 90

VIDEO

  1. PAINEL HEADTRICK ANDROID/ IOS ANTIBAN 🤣✌🏽 MOBILE XIT CALVOTRICK

  2. Painel Ripado da Gelius

COMMENTS

  1. Painel Voyage 90

    Frete grátis no dia Compre Painel Voyage 90 parcelado sem juros! Saiba mais sobre nossas incríveis ofertas e promoções em milhões de produtos. Pular para o conteúdo Comentar sobre acessibilidade Mercado Livre Brasil - Onde comprar e vender de Tudo. Digite o que você quer encontrar.

  2. Como desmontar o painel do voyage 90

    Opa primeiro vídeo do canal espero que ajude a todos, o meu problema foi resolvido apenas limpando e lubrificando, faça sua crítica construtiva para melhorar...

  3. Painel Voyage 90 Completo

    Frete grátis no dia Compre Painel Voyage 90 Completo parcelado sem juros! Saiba mais sobre nossas incríveis ofertas e promoções em milhões de produtos. Pular para o conteúdo Comentar sobre acessibilidade Mercado Livre Brasil - Onde comprar e vender de Tudo.

  4. Peças Volkswagen Voyage 1990

    Promoções imperdíveis em até 10x sem juros de: Peças Volkswagen Voyage 1990 - busca: painel instrumento. Jocar, a loja do SEU carro. Venda on-line de autopeças e acessórios automotivos.

  5. Painel Voyage

    Painel Velocímetro Original Gol Voyage 2017/2018 - 5u092084. R$ 328 88. R$ 289 41 12% OFF. em. 9x. R$ 32 16. sem juros. Frete grátis. Enviado pelo.

  6. Trocamos o Painel Traseiro do Voyage Quadrado (A Saga do Voyage

    Trocamos o Painel Traseiro do Voyage LS e peças novas pro voyageSigam nas redes sociais:Instagran: https://www.instagram.com/juninho921/Facebook: https://www...

  7. #8

    Manual caixa de fusíveis gol saveiro voyage parati (quadrado). Assista também o "Manual do Proprietário VW Gol GTS 1988" ️ https://www.youtube.com/watch?v=V...

  8. Volkswagen Voyage

    O Voyage é um sedan compacto da Volkswagen baseado no Gol.Foi lançado em 1981 e saiu de linha em 1995, já como modelo 1996, sendo substituído pelo Polo Classic somente em 1997.Eleito pela Revista Autoesporte o Carro do Ano de 1982. [3]Em 12 de setembro de 2008 a Volkswagen anunciou o lançamento da segunda geração do Voyage. [4] Atualmente, Não é mais produzido na fábrica de Taubaté ().

  9. Manual Do Voyage 2010

    Manual Do Voyage 2010 - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. Scribd is the world's largest social reading and publishing site.

  10. Ship BBC ROSTOV (General Cargo) Registered in Antigua Barbuda

    Get the details of the current Voyage of BBC ROSTOV including Position, Port Calls, Destination, ETA and Distance travelled - IMO 9964443, MMSI 305093000, Call sign V2HP8. Vessel BBC ROSTOV is a General Cargo, Registered in Antigua Barbuda. Discover the vessel's particulars, including capacity, machinery, photos and ownership. Get the details ...

  11. Urban Soundtracks: Rostov-on-Don According to Motorama

    Rostov-on-Don is also an important part of shaping the taste, as I knew personally the members of the New Wave/Post-Punk 90's bands like Elen and Matrosskaya Tishina, they influenced me in the beginning of the 2000's. It is interesting looking at musical scenes that are outside the centers of arts like Manchester, Seattle, and Louisville.

  12. VAMOS TROCAR O PAINEL ORIGINAL DO VOYAGE E COLOCAR O PAINEL ...

    Clique no Link e garanta o seu Ingresso para o nosso evento!!!:https://www.ticket360.com.br/evento/25451/ingressos-para-amantes-dos-baixos..Quer começar no Y...

  13. Two 26m AvA Voyage90 motor yachts in-build

    By Type. Explorer. Sport Fishermen. Flybridge. Trawler. Sport. SuperYacht Times is the authority in yachting. News, yachts for sale & charter and superyacht intelligence.

  14. Voyager® 90/10

    VOYAGER® 90/10. VOYAGER 90/10 | An excellent quality nonionic surfactant, and meets most pesticide manufacturers for a 90/10 surfactant.

  15. 80' / 85' / 90' Voyager

    80' / 85' / 90' Voyager. As the flagship of our model line the Voyager is the culmination of our dedication to quality and innovation. William Crealock's design emphasizes unparalleled sea kindliness, structural strength, and safety. A multitude of unique and functional features distinguish the Voyagers from all other yachts in their class.

  16. Solar-Aligned Pictographs at the Paleoindian Site of Painel do Pilão

    The archaeological sites near Monte Alegre, along Brazil's lower Amazon River, provide new information on the little-known activities and symbolism of South American Paleoindians toward the end of the Ice Age. While paleoindian sites like Monte Verde in Chile, or Guitarrero Cave in Peru, are located near the pacific coast, Monte Alegre lies much further inland, 680 km upriver from the mouth of ...

  17. Instalando fita de led painel Voyage 1990

    Fita de led 12v branca no painel do meu Voyage 1990instalação muito simples e barata.Qualquer duvida use os comentários que tentarei ajudar Se foi útil deixe...

  18. Rostov-on-Don

    47.20931 39.73804. 1 Rostov Arena ( 2 km from the centre on the north bank, walkable via Voroshilovskiy Bridge, or take bus S1 ), ☏ +7 863 333 28 64. Watch football at Rostov Arena, opened in 2018 to host games of the FIFA World Cup.

  19. Offshore Yachts 90 Voyager boats for sale

    2024 Offshore Yachts 80/85/90 Voyager. Request price. Olson Yacht Group | Taiwan. Request Info < 1 > * Price displayed is based on today's currency conversion rate of the listed sales price. Boats Group does not guarantee the accuracy of conversion rates and rates may differ than those provided by financial institutions at the time of transaction.

  20. Montagem do painel satélite do voyage quadrado GL

    Aqui mostro a montagem do painel satélite da linha quadrada. Aos quadradeiros de plantão que desejam realizar esse tipo de serviço, sucesso no projeto de vocês.

  21. Five-star Bayern roll over Rostov

    Robert Lewandowski's penalty was added to by Thomas Müller, Juan Bernat and two Joshua Kimmich strikes as Bayern won 5-0 to give Russian newcomers Rostov a harsh introduction.