Hallstatt [häl′stät΄, häl′shtät΄; hôl′stät΄]
from archaeological findings at Hallstatt, Austria
designating or of an Iron Age culture (c. 700-400 B.C. ) in central Europe, characterized by swords of bronze or iron with winged metal terminals and by the domestication of horses

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Hall·statt (hôlʹstăt', hälʹshtät') adj.
Of or relating to a dominant Iron Age culture of central and western Europe, probably chiefly Celtic, that flourished from the ninth to the fifth century B.C.
  [After the type site at Hallstatt, a village of northern Austria.]

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Site in upper Austria where objects characteristic of the Early Iron Age (from с 1100 BC) were first identified.

More than 2,000 graves were near a salt mine that preserved implements, parts of clothing, and bodies of miners. The remains are divided into four phases (A, B, C, D), differing according to burial practices, presence of low grave mound or tumulus, relative quantity of bronze and iron, and style of pottery, weapons, jewelry, and clothing. Decoration in general is geometric and symmetrical, with a tendency toward the extravagant.

Bronze bucket found at Early Iron Age cemetery at Hallstatt, Austria, about 6th century BC.

Courtesy of the trustees of the British Museum

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▪ archaeological site, Austria
 site in the Upper Austrian Salzkammergut region where objects characteristic of the late Bronze Age and early Iron Age (from c. 1100 BC) were first identified; the term Hallstatt now refers generally to late Bronze and early Iron Age culture in central and western Europe. During excavation between 1846 and 1899, more than 2,000 graves were found at Hallstatt. The majority fall into two groups, an earlier (c. 1100/1000 to c. 800/700 BC) and a later (c. 800/700 to 450 BC). Near the cemetery was a prehistoric salt mine; because of the preservative nature of the salt, implements, parts of clothing, and even the bodies of the miners themselves have been discovered.

      Hallstatt remains are generally divided into four phases (A, B, C, and D), although there is some disagreement among scholars as to how these phases should be dated. In Phase A iron was rare, but Villanovan (Villanovan culture) (q.v.) influences are apparent. Cremation was practiced in cemeteries of flat graves (or under very low mounds). The pottery in southwest Germany was thin walled, some of it betraying strong metallic influence, while farther east the Silesian influence (Lusatian B) is noticeable.

      Phase B, confined to the western regions, was marked by the reassertion of the Old Bronze Age population of southwest Germany over the comparatively new Urnfield peoples. The tumulus (barrow) again became common in burial, and cremation is predominant. The pottery (sometimes polychrome) is extremely well made.

      In Phase C iron came into general use. Both cremation and inhumation (interment) were used, and the pottery was both polychrome and unpainted. Among the many metal types were: long, heavy iron and bronze swords with scrolled chapes (the metal mounting at the upper end); the winged Hallstatt axe; and long, bronze girdle mounts.

      Phase D is not represented in the area around eastern Austria, but it lasted until the appearance of the La Tène (q.v.) period in other areas. The burial rite was mostly inhumation; the pottery, which is not common, degenerates in style and technique. Among the metal objects represented were: the dagger sword with “horseshoe” or antennae hilt; a variety of brooches and ring ornaments; and girdle mounts, sometimes in pierced work. Early archaic Greek vessels appear in the west.

      Hallstatt art in general is severely geometric in style; the advances made were on technical rather than aesthetic lines. There is a general tendency toward the extravagant and the Baroque, and the Greek Orientalizing influence is hardly felt. The typical bird motif, probably derived from Italy, may perhaps be traced back to late Helladic times in Greece. Plant patterns are very rare, although contrasts in colour and the breaking up of smooth surfaces were often used. The arrangement of figures in pairs is very characteristic; the designs, however, seem to be more concerned with a rigid symmetry, rather than treating the arrangement as an organic whole.

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Universalium. 2010.

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