Alba Regia. Annales Musei Stephani Regis. – Alba Regia. Az István Király Múzeum Évkönyve. 16. 1975 – Szent István Király Múzeum közleményei: C sorozat (1978)

Tanulmányok – Abhandlungen - Makkay János: Excavations at Bicske. I, 1960. The Early Neolithic – The Earliest Linear Band Ceramic. p. 9–60.

from house 1. 1971 occurs a single sherd with incised decoration, which seems to be similar to that type of Transdanubian Linear Pottery which had been termed in the earlier Hungarian literature Early Transdanubian Linear Pottery (Cat. No. 79). One other fragment, found also in house 1. 1971, is decorated by a very thin incised line (Cat. No. 71) which resembles the early Notenkopf lineation technique. The right side of this sherd is damaged on the surface, therefore any possible dots in the manner of the Notenkopf pottery could not be seen. Incised lines on the carinated bowls have been mentioned already. These lines in essence, are cut-in rather than incised. On bowl Cat. No. 2 the deep and wide lines are filled with an unknown black possibly organic substance, now burnt. It most resembles pitch (bitumen). This organic (?) material was probably used to fill in the lines. Most lines are cut-in or heavily impressed on matt or slipped surfaces. The channels of lines are semicircular, quadrangular or trinagular in cross section. Some incised lines are very near to the impressed, channel-like linear motifs (Cat. Nos 20, 33, 34, 34a, 72-79, 87, 92-94. Definitely incised thin lines (without Notenkopf impressed dots) can be seen on three sherds found in pit 1. trench III. 1976 (Cat. Nos. 89-91). These sherds very much resemble earliest Notenkopf incised sherds both in their incision technique and the paste of the vessel. The motifs are mostly straight lines and frequently monolinear. Meandric ornaments occur rarely (Cat. No. 59 : sharp cut-in lines, triangular in cross section, and Cat. No. 87 : probably impressed lines semicircular in cross section). As mentioned above, among the few sherds, found in pit „a" in trenches I —II. 1974 there were relatively many sherds with typical Notenkopf-ornamentation (Cat. Nos. 246 — 257). Thus pit „a" may be dated to a transitional period between the earliest Transdanubian Linear Band Pottery phase and the Early Notenkopf pottery. 7. Among other elements of decoration, round impressed dots can be seen on the fine ware (Cat. Nos. 1 and 3 : above knobs on the carination, Cat. Nos. 12, 60, 133), and elongated horizontal knobs attached at the point of carination on bowls (Cat. Nos. 1 — 4, 12, 111, 129, 130, 133, 135), and in one case a small thin curved rib-shape, set obliquely on the belly of a fine vessel (Cat. No. 107). There is only a single piece of the fine ware with a handle on the belly of the vessel (Cat. No. 158). Decorations of the coarse ware Painted, polished, impressed, stroke burnished and pattern burnished decorations do not occur on the coarse ware. The blackening of the inner walls of globular form jars was probably intentional but can not be considered as painting. 1. Barbotine decoration. Barbotine can be found in three different forms. Among these the true barbotine, well known from the material of the Körös — Starcevo culture (small, irregular knobs attached at the finished or unfinished surface) is represented by a single sherd from the whole of the excavated material (Cat. No. 204). Fluted and sprinkled barbotine are more frequently found in both features (i. e. house 1. 1971 and pit 1. in trench III. 1976). In both types a thick red slip (which differs in its colour from the paste of the vessel) was applied to the surface of the pot. In the case of fluted barbotine straight or curved broad channels were produced by passing fingers or a blunt wide instrument over the damp clay. There are channels running in various directions, mostly oblique. Sometimes carefully executed desings were produced (as seen on vessels Cat. Nos. 22, 102, 132, all of them from pit 1. trench III. 1976), and similar to designs seen on carinated bowls (Cat. Nos. 3 — 4). Most fragments belong to this barbotine category (Cat. Nos. 65, 66, 163-165, 172, 174, 183, 216, 234, 235, 238 and many other sherds). Sprinkled barbotine decorated fragments are more infrequent. Here the damp slip-cover was spreaded over the entire surface irregularly, or it was simply poured over the wall (Cat. Nos. 206, 212, 215, 220, 299). It frequently occurs, that the slipped surface was finished by a lumpy, streaked or hand-smoothened treatment creating the appearance of crude, positive relief. Straw rubbing, or the evening out of the soft clay with bunches of straw, twigs or grass seems also to have been used to produce this effect. Streaks or striations are generally oblique, but occasionally run horizontally, sometimes on the same vessel. These streaks may be crossed with slash incisions (Cat. Nos. 103, 104, 182, 184, 217 and many other sherds). 2. Definite linear incised motifs (in the sense of the Linear Band Pottery decoration) rarely occur on the coarse ware. They can usually be seen on vessels of indeterminate form and are generally parallel and more deeply cut-in or impressed/incised straight or curved lines (Cat. Nos. 80-86, 99, 283). One can sometimes see long or short sharp strokes, which can be confused with a normal incised line if the sherd is only a small broken fragment (Cat. Nos. 95 — 98, 239, 282). Incised lines occur on the inside of a vessel only in the case of a single piece from a small bowl (Cat. No. 94). Oblique rows of narrow dashes, sometimes producing a design may cover the entire surface of the vessel (Cat. Nos. 61, 62, 100, 101, 184, 185, 239). 3. Finger pinched decoration is very rare. Typical finger pinched decoration occurs only on the globular jar, mentioned above (Cat. No. 17). A row of finger pinches can be seen on a small fragment from an indeterminate vessel form (Cat. No. 233), and there is a sherd with an appliqué band with finger pinches (Cat. No. 238). Finger pinched ear-motifs occur in only one case (Cat. No. 288). Finger nail impressions are also very rare (Cat. Nos. 136 and 291) but when they 25