It is a rock shelter in the locality of Ferentillo, formed by two niches with good coverage, about 14 m long. and depth 5 m. It faces south and is located at an altitude of 375 m. Evidence of historical attendance is limited to some traces of carbon black. Along the back wall, spaced apart from each other, seven black paintings have been identified, a light incision of an arboriform motif, superimposed on the painted depiction of a black horse. Some of these paintings were made on a vertical rocky surface that had been previously prepared by uniformly spreading a veil of red dye, probably ocher, a very rare practice in the European rock repertoire, attested instead in the Spanish sites of Lorca, in the province of Murcia.

As regards the chronological setting of the representations, in this case it is problematic. As Tommaso Mattioli explains, among the representations the one of a horse rendered with a "silhouette" motif is interesting, the head seen from three quarters with the indication of the eye, with the front part of the body that seems to be pierced by similar elongated objects with rods, subjected to a light incision of an arboriform motif and made on a concave surface made up of a thick flow of concretion; moreover, the choice of a convex shaped support on which to make the representation could be due to the desire to vary the proportions of the animal according to the point of view of the observer, giving the figure an illusory idea of ​​movement and confirming the skills of those populations.

In the shelter there is also a schematic anthropomorphic Greek phi, in this case triangular, with vertex facing upwards and indication of the legs. These figures are defined by the anthropomorphic Spanish scholars "brazos en asa".

The specimens executed in cave painting are exclusively attested in the iconographic repertoire of the schematic art of the Iberian peninsula, Italy and southern France and can be dated between the Neolithic and the early Bronze Age; the specimens performed with deep incisions are present in the French, Iberian and Irish megalithic repertoire, e.g. to the dolmens of Soto (Huelva), Barranc (Gerona) and Cluain Fioun Loch (Ireland); the specimens made with light incisions are mainly present in the linear schematic rock art repertoire, datable from the Iron Age to historical times.

In particular, in the case of the shelter of the Mummies, the figure can be defined as schematic anthropomorphic in Greek phi composed of a rounded circular or sub-quadrangular motif cut in the center by a vertical line. With regard to the execution techniques, as also in the case of the paintings of the Shelter of Pale, the Shelter of the Schioppo, And Shelter of Red Ants, it has been highlighted that the black paintings are characterized by a discontinuous stretch, due to the irregularity of the rocky surface; while all of the red paintings are executed in a more accurate way and with a uniform color, probably through a sort of brush and the use of a fluid dye.

Historical notes

From a geographical point of view, these localities have, with the rest of the sites identified so far in central Italy, some common characteristics in which the factors of choice of the places are probably recognisable. In fact, these are always sites located in internal Apennine mountainous areas, mostly at the confluence of small valleys and important river courses (Nera River, Menotre, etc). In general, therefore, it can be noted that these representations are common to the whole territory, above all in sites located in specific geographical positions, such as transit or control points of the territories, on rocky walls or in small shelters with difficult access but located in positions that dominate heights, transit routes or mountain passes, and present the same recurring symbols, present among other things in vast areas throughout Europe.