At the start of the 3rd millennium BC the peoples of Europe were, for the most part, technologically and socially disparate: in the eastern and southern reaches of the Continent, metallurgy had begun in earnest, while in Britain and other areas of northern Europe flint was still king. By the middle of that millennium, however, the region had been swept – and largely united – by a cultural package known as the Bell Beaker Complex.

Archaeologically, this movement is defined by the presence of ‘beaker’-shaped vessels that are generally found in funerary contexts and often next to crouched human burials. Originally considered a ‘culture’, in recent years the Bell Beaker phase has instead been referred to as a ‘Complex’ or ‘Phenomenon’ due to the wide range of variations seen in the design of the artefacts it produced. While the pottery always retains its distinctive ‘beaker’ shape, the patterns with which the vessels are decorated can differ greatly.
Among these, a key group is the ‘Maritime’ beaker vessels, which are found predominantly in Iberia, but also along the Atlantic and Mediterranean shores. This style, defined by repeated patterns of horizontal bands over the entire surface of the pot, is thought to have originated early in the Beaker period. In central Europe, though, we are more likely to find ‘All-Over-Corded’ vessels, which, as the name implies, are adorned with cord-like impressions. While both types have been found in Britain, this latter style seems to have been more dominant.








Hilda Petrie (1871-1956)