Megalithic art studies by E.S. Twohig

• the art, geography, dating and techniques
• megalithic art (4000 Uncal BCE - 2000 Uncal BCE)
• Iberia (starting from 3000 Uncal BCE)
• Viseau group
• Other areas
There is geographical distinction between the two. They seem not to be chronologically separate.
The art is painted (pictographs) on a white background, red and sometimes black, is used for drawing.
• Brittany
• Phase 1, simple passage mounds/cairns (3700 Uncal BCE - 3000 Uncal BCE)
• Phase 2, developed passage mounds/cairns (3000 Uncal BCE - 2500 Uncal BCE)
There is no geographical distinction between the two. They are distinct from monument type and chronologically separate.
Techniques used: line picking and sometimes false relief carving (petroglyphs).
• Ireland/Britain (starting from 2500 Uncal BCE)
• Fourknocks style
The motifs are integrated to form a coherent design and are arranged to give a pleasing overall effect.
• Loughcrew style
There does not appear to have been any real attempt to achieve an overall artistic effect.
There is no geographical distinction, monument type difference or chronologically separation between the two.
Techniques used: line picking, false relief carving, area/overall pick dressing and incised lines (petroglyphs).
• Late neolithic art in France (2500 Uncal BCE - 1800 Uncal BCE)
Techniques used: false relief carvings (petroglyphs)
• Inter regional contacts
• passage art


• late Neolithic art
There seem to be some connection between Paris Basin and Breton art.
• relation with other art
• rock art
It is possible that Irish megalithic art provides a source of inspiration for rock art.
• art on miscellaneous megalithic monuments
There seems to be no close relation between the art of passage mounds/cairns and of cists/stone circles.
• mobility art (pottery, ornaments, etc.)
• Origin and function of megalithic art
In general the geometric motifs seem likely to have had a specific meaning for those who carved them and possibly for those who saw them: these motifs should therefore be regarded as symbols.
Megalithic art thus seems to have acted as a magico-religious symbolism, guarding the mounds/cairns and their contents and acting as a bond between those responsible for the monuments.

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