The grotta Pagliacci is internationally famed for the stratigraphy of the atrium which covers the entire Upper Paleolithic (from circa 35,000 to 11,000 years ago), for the presence of the only Paleolithic rock art known to date in Italy and for the external stratigraphy attesting occupation in the Lower to Middle Paleolithic between circa 250,000 to 125,000 years ago.

Due to the instability of the cliff side, which requires further consolidation not only to safeguard the researchers but also the deposit itself, excavations were limited to checking, survey, cleaning of the archaeological area and surrounding zones. Methods for resolving the problems on the site are at present being studied and it is hoped to resolve the situation in the spring of 2010.

A detailed photographic survey was made of the entire cave by the Unicity company of Roma. This was undertaken as part of a project for the creation of a “virtual” visit to the cave, as the latter is not open for reasons both of public safety and for the safety of the wall paintings themselves. On the basis of experiences in France and Spain it has also been seen that in order to safeguard and preserve the wall paintings, it is inadvisable to open the site to large numbers of people. Technicians from the Opificio delle Pietre Dure di Firenze continued their research regarding appropriate monitoring equipment for the analysis of the micro-climate in the hall of the paintings. Due to the inherent difficulties caused by the particular humidity in the cave and the lack of electricity on the site, all the equipment tried to date has proved to be not completely reliable.

Finally, the CNR/INOA from Lecce and Pisa continued with the analysis of the paint colours which will be monitored over time in order to keep a check any occurring alterations. A further check is foreseen for Spring 2010. At the same time the same technicians made a survey of the two walls with the prehistoric paintings in order to create a 3D model which will be used not only to “freeze” the situation at that moment, but also, and above all, to undertake a highly detailed analysis of the traces of colour present, with the aim of attempting to detect other paintings that may have faded over time.