 religious rituals in the Basilica of Augusta, in Galicia, the pottery deposit. We present the deposit of jars that represents a unique discovery of medieval pottery in the northeastern Iberian peninsula. All of the evidence points towards this is a votive context. Our aim is to briefly present the evidence in order to contrast these hypotheses. And there will be to confirm a type of religious activity from the period. As there is no writing documentation on the pottery from the region, we have to base ourselves on the archaeological and archaeological information that is available. In this project, we studied all of the jars that were found. 122 jars are preserved. And we made a selection of 16 jars, representative pieces to analyze through different archaeological techniques, mineralogical, elemental and tomographic analysis made in jars. This makes it possible to obtain new data that could be applied to the items. Well, we based our work in the concept of operatois, widely used in pottery studies in general. In Galicia, this approach has been applied to prehistoric pottery but is new in the study of medieval ceramic, which has only been subject to typological studies in medieval ceramic. In the site, we were lacking important information from certain aspects. And so, we have to combine all of the available information in the site, which include incorporating the British and French methodological tradition. We hope to be able to achieve our aims and propose new working hypotheses for future. Due to time constraints, we cannot enter into these aspects in detail. And instead, we'll focus on explaining the deposit through an inverse process as if we were carrying out an excavation. This is an archived photo. This collection of pottery is exceptional for several reasons. There are a number of vessels that were discovered, a total of 128, but six are currently lost and we couldn't study them. The fact that it only contains jars, we have only jars, their excellent state of preservation of the jars, and they are the result of a standardized production process in formal technical and decorative terms. The majority of the jars are decorated, which is quite uncommon in the medieval pottery found to date in the region. The jars were discovered in 1962 during work to clean out a fountain. There are no contextual data about this process. Also, the jars do have a series of whitish marks to them indicating that there were deposits in a damp environment and that most of them were lying in an horizontal position as if they had been stacked in an orderly manner. The white residue consists of a secondary carbonate as confirmed by the physical and chemical analysis that were carried out. Some of the jars contain quite a high level of phosphorus, and these values are correlated with the carbon and nitrogen levels indicating contamination of organic matter. This pollution is probably due to a manual used in agricultural work that has been carried out in the area around the charts since ancient times. One of the moments of pollution may be from between the 16th and 17th centuries, a dating obtained from the sediment in a jar, consisting with renovation work carried out in the chart that has been confirmed by thermoluminescence dating for the walls of the chart. The jars were found in the crypt of the basilica of Aoga Santas in this part, in the province of Orense. The area has an abundant artistic and archaeological heritage and a rich oral tradition. The charge is in a small valley on a man-made terrace, close to the hillfort of Armea, delimited to the west by another man-made terrace. Thanks to studies carried out in the recent years, it has been found that the building was constructed in at least five stages since the Iron Age, when a sauna was built through the contemporary period. It is currently an unfinished building and it is important to note that a large part of the structure is building underground. We are interested in the face when the crypt was built between the 13th and 14th centuries through which the water channel runs that leads out of the Iron Age sauna into which the jars were placed. We found for morphological types that are classified according to their most differentiating features and these types are standardized in terms of the proportions between the mouth and the head and between the waist and capacity. A predominant group of jars with a conical neck, cap jars, pot jars and jars with three lower rims. All of the jars were made using a simple wheel and seemed to be homogeneous. However, thanks to tomography we have been able to find imperfections that are not visible in surface. The handles are not always vertical and are less dense than the body. We find the gaps are frequently found at the points where the handle connects at the body. The jars have a profile of barring sickness, etc. We have different imperfections in the profile. It is not evident visually. The collection of jars were given a uniform treatment and have a carefully finished appearance. The gray glaze are predominant and the potter-achieved uniform surface finishes to thanks to using a wheel. The tempers apparently made a mica and barely visible due to their small size and are uniformly distributed. I have a short video. The tomography helped to support the evidence of their uniformity as a whole. These jars were made with less care than it would appear. Their pores are irregular in terms of morphology, orientation, distribution. There is abundant subangular temper and the majority of the jars are predominated by three temper sizes, always less than one millimeter. This reveals that the sieving process was controlled while processing the clay. This is the stage of production when greatest care was taken to make it easier to work on the potter as well. The data is not important now. The tomography allowed us to characterize the raw materials in detail. The mineralogy of the jars mainly consists of quartz, potassium, ferrous power and plagioclase with a small amount of mica and halosite. This type of composition led us to consider a single group of granitic clays. Geochemical and mineralogical differences were only seen in some jars caused by the enrichment of biophilic elements as a result of the positional processes. Everything will seem to suggest that the raw material came from the same source area and that the only processing we have detected was sieving to remove any large inclusions. We have ruled out the idea that the raw material was crushed due to the absence of angular tempers. This absence was confirmed by the tomographic analysis. The tomography also provides information about the clays based on analysis of the radio density histograms. The radio density is a summary variable that characterizes the clay combining the composition and porosity. Visually we can see that there are three types of radio density histograms. The statistical analysis confirms that there are three groups basically. A low-radio density group there are the most porous vessels with a greater abundance of minerals that attenuate x-ray less such as clays in five jars. A high-radio density group only one jar is in this group with a greater abundance of minerals and a medium-radio density group in between them. In summary for this part the clays are homogeneous and both coefficients of variation are low in general. Density and radio density are quite similar to jars. For this reason we can spoke about homogeneity in this group of jars. In this stage it is important to highlight the fact that the vast majority of vessels are decorated. A total of 111 jars are decorated. Their main decorative features are a simple design, a uniform type of decoration predominated by short incisions in the belly at the height of the bottom part of the handle predominantly on the left hand side. These incisions vary between one and five per jar. Some of the vessels also have groups in their bellies normally at the widest part and below the short incisions and the neck song features fast-wheel marks that seems to have been used for a decorative purpose as they have only applied in this way in this part of the vessel. These decorations are typical of medieval pottery but despite using simple designs there are and there are not identical decorations in the interior collection. We have not repeated decoration. For this reason we suggest that these are owners marks something that has already been documented in other sites in the bright British islands. We think the potter had a good control over fire and process because there are no variation in colour in its jar and the firing temperature is quite uniform between 600 and 900 degrees centigrade. The rocks found in situ around the site are two mica granites standing over a radius of 3 to 5 kilometers. Around the perimeter there is a smaller presence of granite diorites and different types of sediments and there are also a schist percent but further away two or 30 kilometers. The minerals that have been identified in the pottery are characteristic of alteration mineral material from granitic rocks which are precisely what form the lithological basis of augassantas. However we have not found any clay outcrops in the vicinity and so we don't have any geological samples we can use for comparison. Nevertheless it is important to note that this site is located in an area with a long history with traditional pottery that has lasted up until the present day. With pottery workshops in a radius of 20 kilometers we have been able to compare our analysis with those of contemporary pottery from these workshops finding them to be very similar which would suggest that their raw materials have a common source in the same village in Ninodagia in the north of the map. Finally we have pointed out that the only red jar is slightly different in composition but we cannot sure a different source because its higher levels of chrome and barium could be associated with clays or iron oxides from a vein that's not preserved in present. In concluding we think that the jars was a communal votive deposit may have been commissioned by several owners from the same community to the same potter or workshop except for two or three jars different jars may be made in in another workshops or at another time. We have arrived in this conclusion based on the results obtained from the study both in terms of their fabrication or in terms of their deposition of jars. We don't know the reason why this unique deposit exists perhaps it was due to inauguration of the new crypt in relation with the another communications maybe it is inauguration of a new renovation of the building or perhaps because of a change of dedication from the Mary to Santa Maria who is still its patron saint to this day. Unfortunately we don't have any writing records of this change until the modern period in the 16th century. We have not found any other sites for the purpose of comparison in other parts of Europe and so our interest in this session is to present this site with the hope of finding clues for for another similar examples in other regions and to perhaps to be able to obtain a deeper and more accurate understanding of it and I finish.