Fitz Jenő (szerk.): Die aktuellen Fragen der Bandkeramik - István Király Múzeum közelményei. A. sorozat 18. A Pannon konferenciák aktái 1. (Székesfehérvár, 1972)
R. R. Newell: A hollandiai vonaldíszes kerámia korakő-eszközeinek rokonsága a közéső kőkori kőeszköziparral
In short, it appears impossible to look to the Bandkeramik culture in the east for the origin of the Limburg industry. The breadth of the original industry was insufficient to produce such an expansion. Because of the presence of Oldesloe and Younger Oldesloe settlements on the sand and the loam adjoining the loess of northern Germany, Mesolithic influences along the northerly route of Bandkeramik migration must be considered possible. The flake axe from Eitzum, in fact, demonstrates this contact. However, such influence is demonstrably very limited. H. Quitt a<32) reports that expanded industries with geometric points are rare and when they do occur, it is always in a Younger Linearbandkeramik or Stichbandkeramik context. Therefore, it can be stated with a fair degree of certainty that the origins of the Limburg industry are not to he found in Central Europe. More detailed typological studies ; Buttle r(s3), C 1 a r k<34), E 1 о y<35), Anke l(:e) have demonstrated the exceptional nature of the western industries but exact morphological equivalents from Mesolithic contexts were unknown. Waterbol k32 33 34 35 36 (37) 38 indicated the correct direction of investigation by observing that „an essential precondition of the explosive expansion of the Bandkeramik must have been the culture’s adaptation to the forest environment”. The presence of a pic, burins, and discoid scrapers at Miiddersheim(s8) and the occurrence of a tranchet axe at Eitzum point in the direction of a northern core and flake axe tradition as the possible origin. However, the Bandkeramik point industry is not in primary agreement with that of the classic Oldesloe and Younger Oldesloe cultures. In the latter, broad asymmetric C points with exaggerated concave and hollowed bases are absent. Symmetrical triangles, leaf-shaped points and heart-shaped points are absent. Furthermore, the very prevalent Bandkeramik technique of surface retouch is lacking. These traits are more characteristic of the Western Microlithic Tradition, or so-called „Tardenoisian”. But again the parallel was not complete for exactly those defining features were all but missing in France and Germany. It is then clear that the origins of the Bandkeramik flint industry could only be in the west and secondly must be related to one or another core and flake axe Kreis culture. Thirdly, some degree of relationship had to be found with the cultural elements of the former Rhine Basin Kreis Late Mesolithic, which (32) H. QUITTA, о. с. (33) W. BUTTLER, о. г. (34) J. G. CLARK, Blade and Trapeze Industries oj the European Stone Age. Proceedings of the Prehistoric Society 24, 1958. (35) L. ELOY, o. c. (36) C. ANKEL, Eine linearbandkeramische Pfeilspitzen- Forrn. Studien aus Alteuropa I. Köln 1964. (37) H. WATERBOLK The Louier Rhine Basin. Courses Toward Urban Life. Chicago 1962. (38) K. SCHIETZEL, o. c. displayed all the above traits in its point industry. North and east of the Rhine, none of the indigenous cultures could fill the above requirements. Secondly, the Bandkeramik industry of that area displays a closer relation to the original culture in the middle Danube than to the industry of the local Mesolithic or that of the Bandkeramik of Dutch Limburg. North and west of the middle Rhine, the picture changes somewhat. The points become more frequent, borers and scrapers occur in a greater variety, and the sickle-blades and knives continue unchanged. This industry is typologically poorer than that of Dutch Limburg and, more importantly, largely chronologically later. Griedel, Rodgen, Duderstadt, Herkheim, Köln — Müngersdorf, Müddersheim and the other early west German sites with a broaderbased industry are chronologically later than the earliest phase in Limburg, where the industry is already formed. Secondly, the industries of the Rhineland and western Germany are copies of the Limburg industry, in part made on Limburg flint (Müddersheim). Clearly, the nuclear area of primary development must be sought where the industry is the richest, the earliest, and where the preconditions of a nearby core and flake axe culture, with a continuation of typical Rhine Basin Kreis elements, can be met. For the first time in the course of the Bandkeramik migration to the west, the above preconditions were fulfilled in the Maas valley. There the agriculturalists were forced, by natural circumstances, to live immediately adjacent to successfully adapted Forest-culture peoples. Secondly, this indigenous Younger Oldesloe culture possessed nearly all of the technological, morphological, and typological elements present in the primary industry of the Dutch Older Linearbandkeramik. Thirdly, these elements cannot be found preceding the Bandkeramik and in the necessary combination in any other part of Western Europe. The remaining elements, not found in the Limburg Younger Oldesloe, are those ubiquitous to all the Bandkeramik groups from the Maas to the central area on the middle Danube. Having considered the elements of the Dutch Bandkeramik flint industry in general terms, we will now demonstrate that that industry originated as the direct result of functional contact and acculturation by the indigenous Mesolithic population. The comparison of the flint industries will be presented in three interrelated parts: technology, morphology, and qualitative composition, based upon the three most complete Mesolithic sites; Zuid Hijkerzand, Drenthe, and Kesseleik I and Sweykhuizen II in Limburg. For further parallels and comparisons, the reader is respectfully referred to the original publication. Unfortunately quantitative comparisons are not possible as the Mesolithic collections are not sufficiently closed or complete to be statistically reliable. In any discussion of the technology of a flint industry, the raw material always plays a formative role. It has been stated above that the Bandkeramik 3 Alba Regia 33
