Religion decays, the icon remains; a narrative is forgotten, yet its representation still magnetizes (the ignorant eye triumphs-how galling for the informed eye)." (J. Barnes, A History of the World in 10 1/2 Chapters, p. 133. Vintage, 2016 [1989].) 1. Changing times, changing images 1 2 Within this context of rapid and intense change, the iconographic production of southern Portuguese communities also underwent a clear and rather drastic transformation. The Late Bronze Age iconographic output, in fact, had been very Early Iron Age Terracottas from Southern Portugal: Towards the Definition of ... Les Carnets de l'ACoSt, 19 | 2019 17 or even ivory. 18 Southern Portugal, however, constitutes a clear exception to this situation. Coroplasty is, in fact, the most frequent medium for local iconographic production, especially among the communities of the interior of the Lower Alentejo region 19 (Fig. 1; Table 1). This trend is further emphasized if we set aside the possible production of Phoenician