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Fig. 12.21: The work of two potters with different skill levels can be observed on one of the stray A3 type vessels. The pedestal of the vessel is heavily worn, one of the belly knobs is broken off: The ves- sel has a slightly secondarily burnt patch in its base. Photo by Laszl6 Gucsi.

Figure 12 21: The work of two potters with different skill levels can be observed on one of the stray A3 type vessels. The pedestal of the vessel is heavily worn, one of the belly knobs is broken off: The ves- sel has a slightly secondarily burnt patch in its base. Photo by Laszl6 Gucsi.

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UNIVERSITATSFORSCHUNGEN ZUR PRAHISTORISCHEN ARCHAOLOGIE VERLAG DR. RUDOLF HABELT GMBH, BONN
UNIVERSITATSFORSCHUNGEN ZUR PRAHISTORISCHEN ARCHAOLOGIE VERLAG DR. RUDOLF HABELT GMBH, BONN
Fig. 12.1: A3 type amphora no. 89.2. The pedestal has several chipped and worn areas, the entire surface is slightly secondarily burnt. Photo by Laszlo Gucsi. (fig. 12.1—2). Several finds still feature faint patches of dirt on the surface. These factors often make the identification of the origi- nal colour and the surface treatment of the ceramics difficult. The majority of the finds had to be cleaned again in order to see their real colours instead of their seemingly uni- form greyish hue. real colours instead of their seemingly uni-
Fig. 12.1: A3 type amphora no. 89.2. The pedestal has several chipped and worn areas, the entire surface is slightly secondarily burnt. Photo by Laszlo Gucsi. (fig. 12.1—2). Several finds still feature faint patches of dirt on the surface. These factors often make the identification of the origi- nal colour and the surface treatment of the ceramics difficult. The majority of the finds had to be cleaned again in order to see their real colours instead of their seemingly uni- form greyish hue. real colours instead of their seemingly uni-
Fig. 12.2: Al type amphora no. 133.1. The exterior is reduced-fired and black. The interior surface is yellow, oxidized, with a grey patch at the height of the belly. Photo by Laszl6 Gucsi.
Fig. 12.2: Al type amphora no. 133.1. The exterior is reduced-fired and black. The interior surface is yellow, oxidized, with a grey patch at the height of the belly. Photo by Laszl6 Gucsi.
Fig. 12.3: A3 type amphora no. 166.5. Marks of sha- ping can be observed on the lower half of the body. Photo by Laszlé Gucsi.
Fig. 12.3: A3 type amphora no. 166.5. Marks of sha- ping can be observed on the lower half of the body. Photo by Laszlé Gucsi.
Fig. 12.4: Seriation table of rims and decorative styles used on amphorae and jugs.1: rim with unbroker continuous curvature. 2: the wall thickness of the rim and neck is identical; the rim connects to the neck at an angle. 3: the rim is thicker than the neck, the rim connects to the neck at an angle. C: the inside of the rim is curved. S: the inside of the rim is strongly profiled. I.1.a—b: groups of vertical or diagonal channelings 1.2: sparse channelings covering the entire shoulder surface. 1.3: dense channelings (almost as cannelures). I.a—b: fine, thin channelings in vertical or diagonal groups. II.c: fine, thin channeling covering the entire shoulder surface. III.a: vertical cannelure. HI.b: diagonal cannelure. II].c: wide cannelure. Made by Laszlcé Gucsi.
Fig. 12.4: Seriation table of rims and decorative styles used on amphorae and jugs.1: rim with unbroker continuous curvature. 2: the wall thickness of the rim and neck is identical; the rim connects to the neck at an angle. 3: the rim is thicker than the neck, the rim connects to the neck at an angle. C: the inside of the rim is curved. S: the inside of the rim is strongly profiled. I.1.a—b: groups of vertical or diagonal channelings 1.2: sparse channelings covering the entire shoulder surface. 1.3: dense channelings (almost as cannelures). I.a—b: fine, thin channelings in vertical or diagonal groups. II.c: fine, thin channeling covering the entire shoulder surface. III.a: vertical cannelure. HI.b: diagonal cannelure. II].c: wide cannelure. Made by Laszlcé Gucsi.
Fig. 12.5: Elongated stripe handle cross-sections, categorized by shape and size. Urnfield style, faceted, canne- lured and triangle profiled handles are on the right side. The exterior of the handles point downwards, whereas the interior of the handles point upwards. Made by Laszl6 Gucsi.
Fig. 12.5: Elongated stripe handle cross-sections, categorized by shape and size. Urnfield style, faceted, canne- lured and triangle profiled handles are on the right side. The exterior of the handles point downwards, whereas the interior of the handles point upwards. Made by Laszl6 Gucsi.
Fig. 12.6: The merging of Piliny and Urnfield stylistic elements within a singular vessel type. Made by Laszlé Gucsi.
Fig. 12.6: The merging of Piliny and Urnfield stylistic elements within a singular vessel type. Made by Laszlé Gucsi.
Fig. 12.7: The positions of the handles on A1, A3 and A4 type amphorae. Made by Laszlo Gucsi
Fig. 12.7: The positions of the handles on A1, A3 and A4 type amphorae. Made by Laszlo Gucsi
Fig. 12.9: Cup no. 133.3. The rim is chipped and worn at several places. The upper curvature of the handle is damaged. The vessel is moderately se- condarily burnt. Photo by Laszlo Gucsi. Style I. Channeling: This type of decoration was usually applied to the vessels during the later phases of the leather hard state of dry- ing, which is reflected by the overall faint and shallow appearance that is sometimes only visible under specific lighting condi- tions (fig. 12.9). Occasionally, the shoulder of the vessel was first burnished with horizontal movements, then vertical lines were ‘drawn’
Fig. 12.9: Cup no. 133.3. The rim is chipped and worn at several places. The upper curvature of the handle is damaged. The vessel is moderately se- condarily burnt. Photo by Laszlo Gucsi. Style I. Channeling: This type of decoration was usually applied to the vessels during the later phases of the leather hard state of dry- ing, which is reflected by the overall faint and shallow appearance that is sometimes only visible under specific lighting condi- tions (fig. 12.9). Occasionally, the shoulder of the vessel was first burnished with horizontal movements, then vertical lines were ‘drawn’
Fig. 12.10: Details of the decorations of amphora no. 213.1. Photo by Laszlo Gucsi.
Fig. 12.10: Details of the decorations of amphora no. 213.1. Photo by Laszlo Gucsi.
Fig. 12.11: Details of the decorations of amphora no. 264.1. Photo by Laszl6 Gucsi.
Fig. 12.11: Details of the decorations of amphora no. 264.1. Photo by Laszl6 Gucsi.
Fig. 12.12: Sherds of A3 type amphora no. 268.2. The vessel is moderately secondarily burnt. The fracture surfaces of the lower body are also oxidized. The fracture surfaces of the upper half of the body developed after the vessel was exposed to fire. Photo by Laszl6 Gucsi. drawn to the general orderliness/disorderli- Style HI. Cannelures: Cannelures were created in the initial phases of drying, when the clay still retains a larger degree of plasticity. This is often reflected by the deformations found on the insides of the vessels (fig. 12.12, low- er-left). Cannelures are made with several movements, the process has to be carried out at least three times per groove, often at two separate occasions while drying to achieve the best look. When creating the most beautiful cannelures, special care needs to be taken on the orderliness of the edges where two can- nelures meet (fig. 12.13). In essence, this is a visual cue, as the eyes of the observer will be drawn to the general orderliness/disorderli-
Fig. 12.12: Sherds of A3 type amphora no. 268.2. The vessel is moderately secondarily burnt. The fracture surfaces of the lower body are also oxidized. The fracture surfaces of the upper half of the body developed after the vessel was exposed to fire. Photo by Laszl6 Gucsi. drawn to the general orderliness/disorderli- Style HI. Cannelures: Cannelures were created in the initial phases of drying, when the clay still retains a larger degree of plasticity. This is often reflected by the deformations found on the insides of the vessels (fig. 12.12, low- er-left). Cannelures are made with several movements, the process has to be carried out at least three times per groove, often at two separate occasions while drying to achieve the best look. When creating the most beautiful cannelures, special care needs to be taken on the orderliness of the edges where two can- nelures meet (fig. 12.13). In essence, this is a visual cue, as the eyes of the observer will be drawn to the general orderliness/disorderli-
Fig. 12.13 Amphora no. 265.2 with cannelures and graphite burnishing. Top: damaged tip of one of the knobs on the rim. Photo by Laszl6 Gucsi.
Fig. 12.13 Amphora no. 265.2 with cannelures and graphite burnishing. Top: damaged tip of one of the knobs on the rim. Photo by Laszl6 Gucsi.
Fig. 12.14: Decorative styles based on channelings and cannelures. Made by Laszlo Gucsi.
Fig. 12.14: Decorative styles based on channelings and cannelures. Made by Laszlo Gucsi.
Fig. 12.15: Knob framed with channeling, located on the neck of amphora no. 85.1. Photo by Laszlo Gucsi.
Fig. 12.15: Knob framed with channeling, located on the neck of amphora no. 85.1. Photo by Laszlo Gucsi.
Fig. 12.16: Unique shoulder channeling of amphora no. 85.1. Photo by Laszl6 Gucsi.
Fig. 12.16: Unique shoulder channeling of amphora no. 85.1. Photo by Laszl6 Gucsi.
Fig. 12.17: Mutual influences of Urnfield and Piliny ceramic styles on eachother. Made by Laszlo Gucsi.
Fig. 12.17: Mutual influences of Urnfield and Piliny ceramic styles on eachother. Made by Laszlo Gucsi.
Fig. 12.18: Vessels made by potters of various skill levels. Made by Laszl6 Gucsi.
Fig. 12.18: Vessels made by potters of various skill levels. Made by Laszl6 Gucsi.
Fig. 12.19: Distribution of vessels made by potters of various skill levels within certain vessel types and the entire assemblage. Made by Laszl6 Gucsi.
Fig. 12.19: Distribution of vessels made by potters of various skill levels within certain vessel types and the entire assemblage. Made by Laszl6 Gucsi.
Fig. 12.20: A3 type amphora no. 170.4 shows signs that it was worked on by two potters with different skill levels. Made by Laszl6 Gucsi.
Fig. 12.20: A3 type amphora no. 170.4 shows signs that it was worked on by two potters with different skill levels. Made by Laszl6 Gucsi.
Fig. 12.22: Bottom sherd of bowl no. 166.3. The inner surface is burnished with graphite. The outer surface has slight secondary burn marks in the form of flame-patterned patch. Photo by Laszl6 Gucsi.
Fig. 12.22: Bottom sherd of bowl no. 166.3. The inner surface is burnished with graphite. The outer surface has slight secondary burn marks in the form of flame-patterned patch. Photo by Laszl6 Gucsi.
Fig. 12.23: Cup no. 269.2. The inner surface is bur- nished with graphite. The outer surface has patches where it was slightly secondarily burnt. Photo by Laszlo Gucsi.
Fig. 12.23: Cup no. 269.2. The inner surface is bur- nished with graphite. The outer surface has patches where it was slightly secondarily burnt. Photo by Laszlo Gucsi.
Fig. 12.24: The distribution of vessels with and without graphite burnished surfaces within certain vessel types and the entire assemblage. Made by Laszlo Gucsi. Evaluation was heavily influenced by the extent of the disturbance caused by plough- ing. Amphorae were usually burnished with graphite only above the belly, on the outside, of which parts were often destroyed in burials that were located at higher levels. The distor- tive effect of this is clearly visible on the chart, in the ‘A fragmented’ column of fragmentary finds (fig. 12.24).?* Analysis was also hindered by the presence of ceramics with second- ary burn marks, as experiments have clearly proven that graphite burns off the ceramic surface into the oxidization atmosphere with- Archaeometric research states that vessels with graphite burnishing cannot be discerned from black, burnished and reduction-fired ceramics by the naked eye in all cases. Mac- roscopic identification can be especially dif- ficult in instances where the surface of the vessels is eroded or abraded from use and/or post-depositional effects. Electron microscope (SEM-EDS) analysis shows that the coverage of mineral graphite plates on the surface of the ceramics is 19-22 %, which can decrease below five or even two percent in the case of worn vessels (Laciak et al. 2019: 458). In order to identify such vessels in the Gelej assem- blage, the following method was used on a 0.5 by 1-centimetre large area: the area was moist- ened, then the blade of a medical scalpel was laid and pressed sideways against the surface of the ceramic and smoothing motions were car- ried out with its flat side. This method allowed the microscopic graphite plates on the surface of the ceramic to be smeared, regardless of the overall low quantity. Most finds were easily identifiable (fig. 12.13, 22-23), this process was only used in the case of uncertainty.
Fig. 12.24: The distribution of vessels with and without graphite burnished surfaces within certain vessel types and the entire assemblage. Made by Laszlo Gucsi. Evaluation was heavily influenced by the extent of the disturbance caused by plough- ing. Amphorae were usually burnished with graphite only above the belly, on the outside, of which parts were often destroyed in burials that were located at higher levels. The distor- tive effect of this is clearly visible on the chart, in the ‘A fragmented’ column of fragmentary finds (fig. 12.24).?* Analysis was also hindered by the presence of ceramics with second- ary burn marks, as experiments have clearly proven that graphite burns off the ceramic surface into the oxidization atmosphere with- Archaeometric research states that vessels with graphite burnishing cannot be discerned from black, burnished and reduction-fired ceramics by the naked eye in all cases. Mac- roscopic identification can be especially dif- ficult in instances where the surface of the vessels is eroded or abraded from use and/or post-depositional effects. Electron microscope (SEM-EDS) analysis shows that the coverage of mineral graphite plates on the surface of the ceramics is 19-22 %, which can decrease below five or even two percent in the case of worn vessels (Laciak et al. 2019: 458). In order to identify such vessels in the Gelej assem- blage, the following method was used on a 0.5 by 1-centimetre large area: the area was moist- ened, then the blade of a medical scalpel was laid and pressed sideways against the surface of the ceramic and smoothing motions were car- ried out with its flat side. This method allowed the microscopic graphite plates on the surface of the ceramic to be smeared, regardless of the overall low quantity. Most finds were easily identifiable (fig. 12.13, 22-23), this process was only used in the case of uncertainty.
Fig. 12.25: Distribution of vessels with graphite bur- nishing made by potters of various skill levels. Made by Laszl6 Gucsi.
Fig. 12.25: Distribution of vessels with graphite bur- nishing made by potters of various skill levels. Made by Laszl6 Gucsi.
Fig. 12.26: Cross-section of the vessel body showca- sing the oxidation of the inner surface of Al type amphora no. 213.1. Photo by Laszlé Gucsi.
Fig. 12.26: Cross-section of the vessel body showca- sing the oxidation of the inner surface of Al type amphora no. 213.1. Photo by Laszlé Gucsi.
Fig. 12.27: Bottom sherd of bowl no. 203.2. The edge of the base is heavily worn. The vessel is slightly secondarily burnt on a patch on its side. Photo by Laszl6 Gucsi. Worn surfaces on raised parts, particularly at the edge of the bottom, or throughout the entire bottom surface (fig.12.27) (Fiilop/Vaczi 2016: fig. 4; Tank6/Gucsi 2018: fig. 299). In the case of single handle dippers, mugs and cups, the rim opposite to the handle are the most commonly affected (Kalicz-Schreiber et
Fig. 12.27: Bottom sherd of bowl no. 203.2. The edge of the base is heavily worn. The vessel is slightly secondarily burnt on a patch on its side. Photo by Laszl6 Gucsi. Worn surfaces on raised parts, particularly at the edge of the bottom, or throughout the entire bottom surface (fig.12.27) (Fiilop/Vaczi 2016: fig. 4; Tank6/Gucsi 2018: fig. 299). In the case of single handle dippers, mugs and cups, the rim opposite to the handle are the most commonly affected (Kalicz-Schreiber et
Fig. 12.28: Damage on the knob of bowl no. 264.1. Photo by Laszlo Gucsi. al. 2010: burial no. 92.3). This is mostly due to ergonomics and right-handed use. These marks also show how the vessel was used, the process of scooping can be reconstructed in this case. The rims of such vessels often scraped against the inner surface of a larger storage vessel while the user was scooping out its contents. Signs of wear can also be noticed on the raised parts of the handles and knobs as well. This can be observed on a Middle Bronze Age sherd of the settlement assem- blage (fig. 3.1.5).
Fig. 12.28: Damage on the knob of bowl no. 264.1. Photo by Laszlo Gucsi. al. 2010: burial no. 92.3). This is mostly due to ergonomics and right-handed use. These marks also show how the vessel was used, the process of scooping can be reconstructed in this case. The rims of such vessels often scraped against the inner surface of a larger storage vessel while the user was scooping out its contents. Signs of wear can also be noticed on the raised parts of the handles and knobs as well. This can be observed on a Middle Bronze Age sherd of the settlement assem- blage (fig. 3.1.5).
Fig. 12.29: Signs of usage found on the ceramics of the entire assemblage. Made by Laszl6 Gucsi. Out of bowls, the half-broken state of the knob-like handle of vessel no. 153.2 sug- gests that it was damaged on purpose. Due to the fracture structure, the force causing the breakage had to be applied from the inner surface of the handle. This means that there was either string woven through the handle, which was then pulled from the direction of the bottom, or that some kind of pointed tool was shoved into the handle, with which it was pried off sideways. There is another known handle knob with a similar fracture on a bowl from the site of Balatonendréd (Gucsi 2020: fig. 13). One of the facetted rim bowls from the cemetery at Csorva also features a broken off handle knob (Trogmayer 1963: pl. 7.2). Additionally, there is another, not wholly broken knob handle on bowl no. 171.2, with a fan-like fracture surface on the right side, which was the result of a similar prying motion. However, it is uncertain whether these damages were sustained from use or during the burial ritual. When discussing missing handles, the
Fig. 12.29: Signs of usage found on the ceramics of the entire assemblage. Made by Laszl6 Gucsi. Out of bowls, the half-broken state of the knob-like handle of vessel no. 153.2 sug- gests that it was damaged on purpose. Due to the fracture structure, the force causing the breakage had to be applied from the inner surface of the handle. This means that there was either string woven through the handle, which was then pulled from the direction of the bottom, or that some kind of pointed tool was shoved into the handle, with which it was pried off sideways. There is another known handle knob with a similar fracture on a bowl from the site of Balatonendréd (Gucsi 2020: fig. 13). One of the facetted rim bowls from the cemetery at Csorva also features a broken off handle knob (Trogmayer 1963: pl. 7.2). Additionally, there is another, not wholly broken knob handle on bowl no. 171.2, with a fan-like fracture surface on the right side, which was the result of a similar prying motion. However, it is uncertain whether these damages were sustained from use or during the burial ritual. When discussing missing handles, the
Fig. 12.30: Completely broken off belly knob of am- phora no. 10.1. Photo by Laszlo Gucsi.
Fig. 12.30: Completely broken off belly knob of am- phora no. 10.1. Photo by Laszlo Gucsi.
Fig. 12.31: Damaged belly knob of amphora no. 205.1. The impact came from below. Photo by Lasz- 16 Gucsi. Broken off knobs are also present on smaller A3 type amphorae. Usually, the shoul- der knobs situated perpendicular to the axis of the handles were affected (vessels no. 240.1, 262.2, 264.3). The intentionality of the dam- age is only strongly hypothesized, since these knobs were placed at the carination of the vessel, which is a slightly concave surface that is less likely to be damaged by use. Both shoulder knobs being broken off on vessels no. 240.1 and 262.2 also suggest intentional damaging. The fracture structure of vessel no. 240.1 shows that the knob could not have been broken off by a simple, accidental hit. Vessel no. 42.4 also featured a broken off belly
Fig. 12.31: Damaged belly knob of amphora no. 205.1. The impact came from below. Photo by Lasz- 16 Gucsi. Broken off knobs are also present on smaller A3 type amphorae. Usually, the shoul- der knobs situated perpendicular to the axis of the handles were affected (vessels no. 240.1, 262.2, 264.3). The intentionality of the dam- age is only strongly hypothesized, since these knobs were placed at the carination of the vessel, which is a slightly concave surface that is less likely to be damaged by use. Both shoulder knobs being broken off on vessels no. 240.1 and 262.2 also suggest intentional damaging. The fracture structure of vessel no. 240.1 shows that the knob could not have been broken off by a simple, accidental hit. Vessel no. 42.4 also featured a broken off belly
Fig. 12.33: Sherd of bowl no. 4.8, moderately se- condarily burnt on all fracture surfaces. The entire surface, including its breakage lines was worn prior to its exposure to fire. Photo by Laszl6 Gucsi.
Fig. 12.33: Sherd of bowl no. 4.8, moderately se- condarily burnt on all fracture surfaces. The entire surface, including its breakage lines was worn prior to its exposure to fire. Photo by Laszl6 Gucsi.
Fig. 12.34: Sherd of vessel no. 58.12 with slight se- condary burn marks. The sherd was broken in two pieces and its surface was worn prior to its exposure to fire. Photo by Laszl6 Gucsi.
Fig. 12.34: Sherd of vessel no. 58.12 with slight se- condary burn marks. The sherd was broken in two pieces and its surface was worn prior to its exposure to fire. Photo by Laszl6 Gucsi.
Fig. 12.35: The exterior of the entire lower body of bowl no. 181.2 is slightly secondarily burnt, up to the edge of the rim (the handle is supplemented). Photo by Laszlo Gucsi.
Fig. 12.35: The exterior of the entire lower body of bowl no. 181.2 is slightly secondarily burnt, up to the edge of the rim (the handle is supplemented). Photo by Laszlo Gucsi.
Fig. 12.36: Distribution of secondarily burnt ceramics based on vessel types and burial rituals. Made by Laszl Gucsi.
Fig. 12.36: Distribution of secondarily burnt ceramics based on vessel types and burial rituals. Made by Laszl Gucsi.
Fig. 12.37: Distribution of secondarily burnt cera- mics within the entire assemblage. Made by Laszlo Gucsi.
Fig. 12.37: Distribution of secondarily burnt cera- mics within the entire assemblage. Made by Laszlo Gucsi.
Fig. 12.38: Heavily secondarily burnt sherd of mug no. 152.7. There is a crack and slight split deforma- tion on the outside of the vessel, at the shoulder. Photo by Laszlo Gucsi.
Fig. 12.38: Heavily secondarily burnt sherd of mug no. 152.7. There is a crack and slight split deforma- tion on the outside of the vessel, at the shoulder. Photo by Laszlo Gucsi.
Fig. 12.39: Sherds of A3 type amphora no. 10.4, he- avily secondarily burnt. Photo taken from its interi- or. Photo by Laszl6 Gucsi.
Fig. 12.39: Sherds of A3 type amphora no. 10.4, he- avily secondarily burnt. Photo taken from its interi- or. Photo by Laszl6 Gucsi.
Fig. 12.40: A3 type amphora no. 239.1. The vessel is moderately secondarily burnt. The edge of the base has several small worn areas with rounded surfaces. Photo by Laszl6 Gucsi. the fact that this vessel was supplemented, based on its uniform coloration and overall deformed shape, its fragmentation occurred after the secondary burning and not on the funeral pyre. This was the only vessel from the cemetery to have bubbles developed on its surface, which means this vessel received the most intensive thermal stress out of the entire assemblage. The other two vessels also have heavy secondary burn marks (vessels no. 10.4, 37.2) (fig. 12.39). These six vessels gen- erally had similar shapes and proportions, and were also characterized by having cannelures or decorations very similar to cannelures on the shoulder, most of them were categorized as A3d subtypes. Consequently, these were from the same culturally characteristic group and phase. Out of the remaining vessels of the A3 type (37 pieces), only two finds had
Fig. 12.40: A3 type amphora no. 239.1. The vessel is moderately secondarily burnt. The edge of the base has several small worn areas with rounded surfaces. Photo by Laszl6 Gucsi. the fact that this vessel was supplemented, based on its uniform coloration and overall deformed shape, its fragmentation occurred after the secondary burning and not on the funeral pyre. This was the only vessel from the cemetery to have bubbles developed on its surface, which means this vessel received the most intensive thermal stress out of the entire assemblage. The other two vessels also have heavy secondary burn marks (vessels no. 10.4, 37.2) (fig. 12.39). These six vessels gen- erally had similar shapes and proportions, and were also characterized by having cannelures or decorations very similar to cannelures on the shoulder, most of them were categorized as A3d subtypes. Consequently, these were from the same culturally characteristic group and phase. Out of the remaining vessels of the A3 type (37 pieces), only two finds had
Fig. 12.41: A3 type amphora no. 264.3. The pedestal is chipped and worn. Photo by Laszl6 Gucsi.
Fig. 12.41: A3 type amphora no. 264.3. The pedestal is chipped and worn. Photo by Laszl6 Gucsi.
Related topics:
Ceramic TechnologyCeramic Analysis (Archaeology)Death and Burial (Archaeology)Late Bronze Age archaeologyCeramics (Archaeology)Burial Practices (Archaeology)Urnfield CultureCemetery Studies
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