To be or not to be an engraving: testing photogrammetry and DEM for identifying or disproving fine prehistoric engravings

Abstract

Final Palaeolithic art is often defined by extremely fine engravings, barely visible to the naked eye, posing persistent challenges for accurate identification and interpretation. These challenges are especially critical for assemblages like that of Cova Matutano (Vilafamés, Castelló), a key archaeological site in the Iberian Mediterranean region long used as a reference for the relative dating of Final Palaeolithic rock art lacking direct chronological markers. The reliability of such frameworks depends not only on stratigraphic integrity but also on the accuracy and objectivity of documentation.

This study applies a refined high-precision recording protocol—integrating close-range photogrammetry and GIS-based analysis of Digital Elevation Models (DEMs)—to three representative pieces from the Matutano collection. This workflow enables submillimetric detection and quantification of very fine engravings, revealing detailed morphological features, variations in groove depth, width, and cross-sectional profiles, as well as intentional artistic choices and technical adaptation to material constraints.

Our analysis shows that several motifs previously described in the literature—including an anthropomorphic figure—were either misidentified or result from natural surface features rather than deliberate engravings with creative or representational intent. These findings lead to a revision of the site’s iconographic record, bringing it more closely in line with the broader Final Palaeolithic artistic canon.

Beyond the reinterpretation of Cova Matutano, this study highlights the value of microtopographic analysis for improving the reliability of stylistic comparisons used in relative dating. The proposed method offers a replicable framework for reassessing other engraved assemblages and contributes to more accurate interpretations of prehistoric artistic and technological behaviour.