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In terms of better understanding Schematic engravings and paintings, there are a number of conundrums that needs to be addressed; one of these is chronology. When we tend to compartmentalise the material culture into the various prehistoric periods, one can clearly reference, say, the rock art of the Upper Palaeolithic or the engraved motifs associated with megalithic monuments. But, what about the vast time span between these two periods? It is within the Epipalaeolithic (for want of a better term) that a number of artistic styles are being applied to the walls of caves, overhangs, rock shelters, and open-air rock outcrops throughout much of the Iberian Peninsula. Much of this engraved and painted art can be broadly slotted into various timescales. Prior to accurate chronometric and geochemical techniques, rock art from this period – extending over six millennia was usually tied into nearby archaeological stratigraphic sequencing that included ceramics. Lithics and datable environmental evidence. Over the past 15–20 years, a greater understanding of these sometimes-lost artistic traditions has been re-examined using up-to-date scientific techniques that not only date the painted imagery but also identify the organic and inorganic constituents within various pigments sampled. In this chapter, we highlight a number of sites in central and southern Portugal that have been examined (and re-examined) using these and photogrammetric techniques to say something meaningful about this complex rock art tradition. This chapter is complemented by Chapters 6 and 9 .
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