Neolithic Age

History of Finland between 4000 BC - 1501 BC

Around 5300 BCE, - probably - pottery was present in Finland. The earliest samples belong to the Comb Ceramic Cultures, known for their distinctive decorating patterns. This marks the beginning of the neolithic period for Finland, although the subsistence was still based on hunting and fishing. Extensive networks of exchange existed across Finland and Northeastern Europe during the 5th millennium BCE. For example, flint from Scandinavia and Valdai Hills, amber from Scandinavia and the Baltic region and slate from Scandinavia and Lake Onega found their ways into the Finnish archeological sites undes excavatons today and asbestos and soap stone from e.g. the area of Saimaa spread outside of Finland. Rock paintings - apparently related to shamanistic and totemistic belief systems - have been found, especially in Eastern Finland, e.g. Astuvansalmi.

From 3200 BCE onwards, either immigrants or a strong cultural influence from south of the Gulf of Finland settled in Southwestern Finland. This culture was a part of the European Battle Axe cultures, which have often been associated with the movement of the Indo-European speakers. The Battle-Axe - or Cord Ceramic - culture seems to have practiced agriculture and animal husbandry outside of Finland, but the earliest confirmed traces of agriculture in Finland date later, approximately to the 2nd millennium BCE. Further inland, the societies retained their hunting-gathering lifestyles for the time being. The Battle axe and the Comb Ceramic cultures merged, giving rise to the Kiukainen culture which existed between 2300 BCE and 1500 BCE, featuring fundamentally a comb ceramic tradition with cord ceramic characteristics.

Reference: Wikipedia

Popular sites founded between 4000 BC and 1501 BC in Finland

Astuvansalmi Rock Paintings

The 65 rock paintings of Astuvansalmi are the largest found in the whole of Scandinavia. The oldest paintings are made 3000 - 2500 BC. They are located at the highest level (about 11 metres). The water level changed very fast about 2,5 metres with the landslide of Vuoksi. Later on the level slowly went down 8 metres to its present level. All the later paintings have been made from boats during the different historical wat ...
Founded: 3000 - 2500 BC | Location: Ristiina, Finland

Stone Age Ruin of Kastelli

So-called Jätinkirkko (“the giant’s church”) of Kastelli is a rectangular stone rampart measuring 36 x 62 meters. It dates back to the Stone Age and is one of the most significant ancient structures in Finland. The fort was probably built between 2700-2200 B.C like most of the stone constructions in northern Botnia.The structure is located at top of the hill. The rampart, which is two meters high in ...
Founded: 2700-2200 B.C. | Location: Raahe, Finland

Värikallio Rock Paintings

The Hossa Värikallio rock paintings are amongst the largest prehistoric rock paintings in Finland. The pictures on the rock wall rising from Lake Somerjärvi were painted in the Stone Age, i.e. about 3,500 - 4,500 years ago.Paintings were painted from a boat or when standing on the ice of the lake. On the surface of the rock wall there are 61 separate figures depicting scenes of hunting and shamanic rituals. The ...
Founded: 3000-100 B.C | Location: Suomussalmi, Finland

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Royal Palace of Aranjuez

Palacio Real de Aranjuez is a former Spanish royal residence. It was established around the time Philip II of Spain moved the capital from Toledo to Madrid. Aranjuez became one of four seasonal seats of government, occupied during the springtime (from about holy week). Thereafter, the court moved successively to Rascafría, El Escorial and wintered in Madrid. Aranjuez Cultural Landscape is an UNESCO World Heritage Site.

After the Christian conquest, Aranjuez was owned by the Order of Santiago and a palace was built for its Grand Masters where the Royal Palace stands today. When the Catholic Monarchs assumed the office of Grand Master of the Order of Santiago, Aranjuez became part of the Royal estate. This fertile land, located between the Tajo and Jarama Rivers, was converted into the Spanish monarchy's most lavish country retreat: during Spain's Golden Age, Aranjuez became a symbol for the perfection of nature by mortal hands, as El Escorial was for art.

Such excellence was based on strong Renaissance foundations, as Charles V envisaged this inherited estate as a large Italian-inspired villa, a desire continued by Philip II who appointed Juan Bautista de Toledo to design leafy avenues that ran through the gardens and farming land. A series of dams was constructed in the 16th century to control the course of the Tajo River and create a network of irrigation canals.

The splendour of the estate was only enhanced by the Bourbon monarchs, who would spend the whole spring, from Easter to July, at the Palace. Phillip V added new gardens and Ferdinand VI designed a new system of tree-lined streets and created a small village within the estate, which was further developed by Charles III and Charles IV. As Ferdinand VII and Isabella II continued to visit Aranjuez during the spring, the splendour of this site was maintained until 1870.

The Royal Palace, built by Phillip II on the site of the old palace of the Grand Masters of Santiago, was designed by the architect Juan Bautista de Toledo –under whom construction began in 1564– and later Juan Herrera, who only managed to finish half the project. Although glimpses of the original layout still remain, the building itself is more characteristic of the classicism favoured by the Hapsburg monarchs, with alternating white stone and brick. The original design was continued by Phillip V in 1715 but not finished until 1752 under Ferdinand VI. The rectangular layout that Juan Bautista de Toledo had planned, and that took two centuries to complete, was only maintained for 20 years, since in 1775 Charles III added two wings onto the Palace.

Real Casa del Labrador

As the Prince of Asturias, Charles IV was a frequent visitor to the pier pavilions built by Ferdinand VI and grew up playing in the Prince’s Garden. When he became King, he decided to build a new country house at the far end of these gardens, known as the Casa del Labrador (the labourer's house) due to its modest exterior that was designed to heavily contrast the magnificent internal decor. It was built by chief architect Juan de Villanueva and his pupil Isidro González Velázquez, who designed some of the interior spaces. These rooms, developed in various stages until 1808, are the greatest example of the lavish interior decor favoured by this monarch in his palaces and country retreats. Highlights at this Site include the combination of different types of art and the luxurious textiles, in particular the silks from Lyon, as well as wealth of original works on the main floor, where Ferdinand VII added various paintings and landscapes by Brambilla.

King's Garden, the Island Garden, Parterre Garden and the Prince's Garden

Phillip II, a great lover of gardens, paid special attention to this feature of the Aranjuez Palace: during his reign, he maintained both the Island Garden, designed by the architect Juan Bautista de Toledo, and the King's Garden, immediately adjacent to the Palace and whose current layout was designed by Philip IV. The majority of the fountains on this island were commissioned by Phillip IV, while the Bourbons added other features such as the Charles III benches.

Phillip V made two French-style additions to the existing gardens: the Parterre Garden in front of the palace and the extension at the far end of the Island Garden, known as the Little Island, where he installed the Tritons Fountain that was later moved to the Campo del Moro park by Isabella II.

The Prince's Garden owes its name and creation to the son and heir of Charles III who, in the 1770s, began to use Ferdinand VI's old pier for his own enjoyment. He also created a landscaped garden in the Anglo-French style that was in fashion at the time and which was directly influenced by Marie Antoinette's gardens at the Petit Trianon. Both Juan de Villanueva and Pablo Boutelou collaborated in the design of this garden.