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John Dixon’s petrological analyses of the ground and polished stone is more effective but, even here, the results are rather general, with the only divisions made between local and non-local rocks.It is striking that the peak of non-local axe discard is in Phase III – the phase with the highest absolute numbers of honey flint.

She cross-correlates raw materials, tool usage and morphology in a revealing way. Bulgaria and mistakes the Hungarian Zemplén source of obsidian for the Bükk (as did Gordon Childe before her! Tringham also confuses readers with diachronic changes in the percentages of honey flint, which reaches a peak in Phase II and declines consistently till Phase V.

However, Tringham confuses the Bulgarian lithic sources – the Sredna Gora is not in N. But the report on lithic raw material sourcing is very disappointing, with not even a correlation between the thin-section groupings and the samples analysed!

Since the volume is profusely illustrated, the reader can gain an extremely good impression of the findings.

If there are questions not answered in the commentary, readers can often find out the answer for themselves.

Elizabeth Gardner contributes a short report on pottery technology and firing temperature, unfortunately unrevised from 25 years ago.

She discovers a cumulative pattern in firing temperature, with few wares fired at higher than 1000o C in Phases I – III, but almost all analysed wares in Phases IV and V fired above that temperature.

The title of the series under whose imprint Sitagroi volume 2 appears sums up the volume – this excavation report is indeed a monument to the monument (the tell), to the investigators and, most importantly, to Greek and Balkan prehistory.

For Sitagroi faces both North and South – that is one of the two reasons why Colin Renfrew and Maria Gimbutas decided to excavate there in the first place.

The Phase III exceptions were incised and white incrusted wares, black burnished wares and graphite painted wares.

No convincing link, however, could be made between pottery and metallurgical technologies.

While, in absolute numbers, the tools are made mostly from the bones of domesticated species, there is a proportional emphasis on tools made on wild animal bones, since the bone is stronger and the capture of the specimen can be more heroic.

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