Within this tradition of wall sculpture, two groups may be distinguished. One group extends from Vienne to the Charente. The sculptures are rather shallow, with very little removal of material. Ibex take pride of place. The figures are highly detailed, and the main organs, bones and muscle masses are carefully depicted. They are also very dynamic, portrayed in classic poses. This group includes the friezes at Roc-aux-Sorciers and Chaire-à-Calvin.
Cap Blanc is distinguished by deep sculptures with very pronounced modelling obtained by extensive clearing away of the surrounding rock. The in situ sculptures at Reverdit share this technique, perhaps only because of the homogeneous medium that made such clearing possible. The figures at Cap Blanc are somewhat more schematic. They are linear, often incomplete and less detailed (hoof, bone and muscular outlines); in particular, stylised rendering of muscle is replaced by modelling work. The stiffness of the silhouettes is in line with this static treatment.
The chronological relationship between these two groups remains unclear: were they contemporaries? The chrono-cultural contexts of the friezes at Cap Blanc and Reverdit are too unclear to resolve this issue.