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.