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The Nahal Guvrin site is located on a low hill along the western fringe of the southern Shephelah, c. 150 m south of the Nahal Guvrin streambed. The excavation revealed the remains of a previously unknown Chalcolithic site of the Ghassulian-Be’er Sheva‘ Culture (Stratum II; Areas A1, A2) superposed by the remains of a Middle Bronze Age II village (Stratum I; Areas A2, B1, B2), identified in an earlier survey. The pottery from the Chalcolithic period comprises mainly storage vessels, probably attesting to the storage of agricultural products that were produced at the site. The pottery from the later stratum finds parallels in Strata P-6 through P-3 at nearby Tel Lakhish.

The burial cave is located in the modern village of Shibli, on the northeastern slope of Mount Tabor. In the cave, five burial levels were identified, dating to Early Bronze Age IIB (V), Early Bronze Age III (IV), the Intermediate Bronze Age (III), Late Bronze Age I (II) and Late Bronze Age II (I). The burial goods from the cave include various prestige items, such as an axe head from EB I; bronze, carnelian and alabaster objects, as well as imported pottery vessels and heirloom scarab seals from LB I; and imported Cypriot pottery and jewelry from LB II. The continuous use of the tomb attests that this slope functioned as the traditional burial grounds for the settlement at Horbat Zelef. Notably, there was a gap between each period of use in the tomb. This pattern of use may mirror the gap in settlement at Horbat Zelef; however, this correlation can only be supported by further study of the settlement site.

Two soundings were conducted within the limits of Tel Burga (Areas A, B). Exposed in Area A were an occupation level, consisting of several rounded shallow pits; three primary articulated adult burials; and a stone-built subterranean tomb, revealing two burial phases. The burials may be part of a cemetery within the confines of the Middle Bronze Age IIA settlement. In Area B, two architectural phases were encountered, pointing to the existence of a massive building, preceded by an earlier structure. All the pottery from the site, from both areas, was dated to MB IIA. Two scarabs, from the stone tomb in Area A, bear designs that commonly occur on late Middle Kingdom Egyptian scarabs. These soundings, although of limited scope, are an important addition to our knowledge concerning the beginning of MB II in the southern Levant.

The finds from the favissa at ‘En Hazeva represent a cultic assemblage that had been used in a temple that existed at the site at the end of the Iron Age and was intentionally buried. The objects retrieved from the favissa included anthropomorphic statues, cylindrical stands, bowls, goblets, tripod cups, pomegranate-shaped pendants, stone altars and a stone human statue. The cultic vessels are well-grounded in the religious iconography of the Ancient Near East in general and the Levant in particular. These finds resemble those from Horbat Qitmit, where they were defined as Edomite. However, no indication of the deity worshipped at the temple or any particular religious affinity could be established from the finds at ‘En Hazeva.

The remains of the aqueduct, which led water to the city of Ramla during the Umayyad period, were exposed along 150 m. The aqueduct, running generally east–west, was well preserved. A detailed description of its construction technique is rendered, as well as an account of the consequences of its destruction. A calculation of the aqueduct’s rate of flow is discussed, based on calculations of the roughness coefficient (friction) of the plaster. Finally, a reconstruction of the course of the aqueduct along ten kilometers is offered, based on other findings along its proposed route. The meager small finds included potsherds, an inscribed oil lamp and a bronze weight. The date of the aqueduct and it’s destiny within the city of Ramla are postulated as well.

The finding circumstances of the platter from Kafr Misr could not enlighten us regarding its date, artistic origins or provenance. Therefore, a detailed iconographic and stylistic analysis of the images portrayed on the platter was undertaken, in an attempt to decipher its enigma. The artistic analysis points to Christian iconography, as manifested in Byzantine art of the tenth and eleventh centuries CE. The article discusses relevant comparisons to other artistic data from the period and offers a reconstruction of the route of the platter to Kafr Misr in the Lower Galilee.