Greek Pottery Research Articles

A New Apulian Krater in the World Heritage Museum

tury attitude ranged from neglect to contempt. But fortune once again is smiling on South Italian wares, with the international recognition that the bounty of unresearched Greek pottery in museum collections now lies with those Apulian, Campanian, Lucanian, Paestan, and Sicilian works bought so many years ago at bargain-basement prices.' Fortune must also be favoring the World Heritage Museum of the University of Illinois at Urbana-Champaign, for its collections are abundant in Apulian and Campanian wares. Most of these vases were created specifically for funerary use.2 Highlights of the collection include: an oinochoe of the Baltimore painter's workshop, an epichysis and dish from the Menzies Group, a kantharos and plate by the White Saccos painter, and two remarkable fish plates-one Apulian, the other Campanian.3 The most notable work and latest acquisition is a monumental volute krater, the John Needles Chester vase, which has been attributed to the Baltimore painter (see fig. 1).4 The Baltimore painter's name-piece, a volute krater in the Walters Art Gallery (48.86), displays similar decorative motives, figures, style, and compositional characteristics as the Chester vase. The rich overpainting with whites, yellows, and purples and the busy, tiered composition of posed figures and elaborate floral patterns earn the World Heritage Museum krater a place in the Ornate Style of the last quarter of the fourth century B.C. The subject matter of the Chester vase is distinctly funerary. On the ob-

Un jinéte ibérico de Cástulo

Una placa de pizarra encontrada en las excavaciones de Cástulo muestra un jinete y unos ornamentos incisos que un indígena debió imitar de los de la cerámica griega.

Greek Pottery at Veii: Another Look

The significance of Greek chevron and pendent semicircle skyphoi to the dating of I, IIA, IIB, and III at Veii, and thus the dating of the early Iron Age in Central Italy, is discussed. A survey of examples of chevron skyphoi from Greece defines and dates the various probable centres of manufacture: Athens, Corinth, Cyclades, Euboea, Crete, Rhodes, East Greece, Argolid. The Veii chevron skyphoi are assigned to their probable places of origin, and a later date argued for them (IIA 780–730, IIB 750–710). The pendent semicircle skyphoi from Veii are described. The chronology and typology of the psc skyphoi in general are discussed. It is argued that the major production centres of the psc skyphoi had shifted to the east by the late Geometric period.

Neutron-Activation Study of Figurines, Pottery, and Workshop Materials from the Athenian Agora, Greece

Ceramic specimens from the excavations of the Agora of ancient Athens, Greece, including material from factories, i.e., trial firing pieces, pottery and figurine wasters, datable to the Protogeometric, Subgeometric, and Classical Periods, and stylistically related figurines and pottery were analyzed by neutron activation. The factory material from the three distinct chronological periods separated respectively into three significantly different compositional groups, indicating either that separate sources of clay were used during each of these periods or that some other significant changes in the traditions of fabrication had occurred. Many of the figurines and sherds analyzed coincided in composition with one of these three groups and therefore were shown to be consistent with the output of Athenian workshops. Some specimens of Corinthian style formed a separate compositional group as did some other specimens that agreed in composition with a clay from Aegina.Comparison of these results with previous analyses on file in the Brookhaven Data Bank revealed a number of specimens that corresponded both in style and composition to the Agora material. Most significant was a sizable amount of Classical Greek pottery excavated in southern France, in Israel, and in Cyprus that conformed in composition to the Attic Classical Group.

A new method for preparing thin samples of pottery shards for pixe analysis

A novel method, based on the centrifugal precipitation technique, has been used for preparing thin (1 mg/cm 2) uniform and homogeneous samples of pottery shards for PIXE analysis. The reproducibility of the results has been tested on standard Perlman-Asaro samples and ancient Greek pottery shards. The abundances of more than 12 elements can be reliably measured.

Computer-Assisted Analysis of Pottery at Stobi, Yugoslavia

AbstractThe computer has not been widely used for the study and analysis of Greek and Roman pottery. Recently at Stobi in Yugoslavian Macedonia a considerable quantity of pottery has been coded according to a system devised specifically for the rather complex situation presented by the wide-reaching market for ceramics in the Greek and Roman periods. The system and coding procedures, as well as the preliminary results of the analysis, are published here in the hope that they will serve as an aid to others working with similar material.

Al Mina and Euboea

These differing conclusions, regarding early Euboean trade at Al Mina, from leading Students of the School may seem to contain the seeds of another internecine, Lelantine War. So, since the author has a homely interest in the Plain, and counts the two contestants among his friends, he thought he might intervene, though with no pretence to the same expert knowledge of the period in question and with a strong vested interest in Euboean enterprise.The point at issue is the source of a distinctive group of sherds from Al Mina, probably the earliest Greek pottery found on that site; they belong to rather shallow skyphoi, or cups, decorated on each side with two groups of compass-drawn semicircles pendent from the lip and usually overlapping.

British Museum. A catalogue of the lamps in the British Museum 1. Greek, Hellenistic and Early Roman pottery lamps. By D. M. Bailey. London: British Museum Publications Ltd (for the Trustees). 1975. Pp. [viii] + 397, 150 plates. £45.00.

British Museum. A catalogue of the lamps in the British Museum 1. Greek, Hellenistic and Early Roman pottery lamps. By D. M. Bailey. London: British Museum Publications Ltd (<i>for</i> the Trustees). 1975. Pp. [viii] + 397, 150 plates. £45.00.

D. M. Bailey: A catalogue of the lamps in the British Museum, London, Vol. I: Greek, Hellenistic and Early Roman Pottery lamps. London: British Museum Publications, 1975. 401 pp., 150 pls. £45.00.

D. M. Bailey: A catalogue of the lamps in the British Museum, London, Vol. I: Greek, Hellenistic and Early Roman Pottery lamps. London: British Museum Publications, 1975. 401 pp., 150 pls. £45.00.

ANTECEDENTS OF FIKELLURA

Recent research, to which Ekrem Akurgal has contributed more perhaps than he himself realises, offers new evidence on some of the obscurities of the Wild Goat style of East Greek pottery. At present there seem to be three main Systems of classifying it (1). The latest, that of Walter and Walter-Karydi, attempts to distinguish intuitively several local schools, which develop more or less concurrentiy. The other two are less ambitious, making a broadly similar division between the rather stilted reserving style familiar from finds in Rhodes and a generally coarser style, often using incision and rare among the Rhodian material. The first of these styles was called by Rumpf the Kamiros, the second the Euphorbos style (from which Schiering later detached a Vlastos style) while my names for them were respectively Middle and Late Wild Goat style.

A Deposit of Archaic and Classical Greek Pottery at Ayia Irini, Keos

A Deposit of Archaic and Classical Greek Pottery at Ayia Irini, Keos

IS THE HISTORY OF AN ANCIENT POTTERY WARE CORRELATED WITH ITS MÖSSBAUER SPECTRUM ?

IS THE HISTORY OF AN ANCIENT POTTERY WARE CORRELATED WITH ITS MÖSSBAUER SPECTRUM ?

Sūkās I: The North-East Sanctuary and the First Settling of the Greeks in Syria and Palestine. By P. J. Riis. Sūkās II: The Aegean, Corinthian and Eastern Greek Pottery and Terracottas. By Gunhild Ploug.

<i>Sūkās I: The North-East Sanctuary and the First Settling of the Greeks in Syria and Palestine</i>. By P. J. Riis. <i>Sūkās II: The Aegean, Corinthian and Eastern Greek Pottery and Terracottas</i>. By Gunhild Ploug.

Clay Analyses of Archaic Greek Pottery

The study of Greek pottery of the Archaic period has reached the point at which most groups can be identified on stylistic grounds alone and confidently assigned to their place of manufacture, while in some groups works of individual studios, painters, and potters can be detected. There remain, however, both many problem pieces whose origin is disputed or unknown, and some major classes about which, for example, it is still possible to argue whether they were made in Italy or Greece. This is a field in which the techniques of clay analysis might prove beneficent, and this article presents the provisional results of the first of a series of tests designed to explore this potential.

Mössbauer Spectroscopy of Ancient Greek Pottery

THE analytical value of Mossbauer spectroscopy has been demonstrated in several studies of clay minerals1 and mineral rocks2 containing iron, and so Mossbauer spectra of pottery, which is made of baked clay, should provide useful information for the assessment of archaeological findings.

AT THE FAR FRINGES OF THE ANTIQUE WORLD — THE HYPERBOREANS OF CENTRAL EUROPE

AT THE FAR FRINGES OF THE ANTIQUE WORLD — THE HYPERBOREANS OF CENTRAL EUROPE

Greek Pottery in the Bronze Age

Greek Pottery in the Bronze Age

The Taste of A Boeotian Pig

Already by Pindar's day the term ‘Boeotian pig’ was an old reproach, and indeed Boeotia was ‘a slow canton, as the nimble Attics would say, a glorious climate for eels, but a bad air for brains.’ My choice of title does not, however, stop there. Anyone brought up in Scotland or in the north of England will know the word ‘pig’ in another meaning than the usual, will know it as a pot, a jar, a crock, and the use of this meaning in the phrase ‘Pig and Whistle’ is perhaps more widely known. Porcelain also establishes a connexion between pigs and pottery.Boeotian pottery is the Cinderella of the local schools, offering few of the usual attractive groups and classes of work which distinguish most other centres, and much of the potting and painting done in Boeotia is indeed poor or mediocre. It has, however, an interest of its own which makes it worth looking at—the interest one can take in seeing first-rate work copied and adapted for local use and in noting the influence of more brilliant craftsmen on their less well-endowed neighbours. Part of the trouble with looking at Boeotia is that we see Greek pottery through the eyes of Athens; we have come to judge Greek work by the standard of Athens and to consider that a different approach means necessarily an incompetent attempt at mimicking Athenian work. In many cases this is so, for the influence of Attic work on the less original centres was widespread and rarely good. Occasionally a Boeotian artist produced work which rivals Attic, but this is uncommon, and it is more likely that such an artist was an immigrant Athenian. We may also run into the danger of regarding ‘Boeotian’ as having the same range in meaning as ‘Athenian’, whereas we are really dealing with different local centres, e.g. Thebes, Tanagra, Coroneia, Thespiai. Thus we must not expect a continuous tradition of development along a single line, and this makes dating hazardous. Boeotian artists did produce local work which is distinctive, and they used the basic techniques of black-figure and red-figure in ways and combinations different from their neighbours; they also had their own variations with added white and purple. For shapes too they preferred a slightly different range and their own local variations.

Greek, Etruscan and Roman Pottery and Small Terracottas. A Brief Guide for the Small Collector, with a Note on Greek Dress

Greek, Etruscan and Roman Pottery and Small Terracottas. A Brief Guide for the Small Collector, with a Note on Greek Dress

Tarsus, Al Mina and Greek Chronology

‘The most interesting excavated site, after Al Mina—Posideion, is Tarsus. This area may yet hold the key to many important problems, and provide firm associations between East and West which will give fixed points for early Greek history and chronology’ (Dunbabin,The Greeks and their Eastern Neighbours33).The publication ofTarsusiii (reviewed later in this volume) offers scholars the opportunity to judge how far the high hopes entertained for the absolute dating of Greek pottery found in the town destroyed by Sennacherib in 696 B.C. have been fulfilled. Hanfmann, who publishes the pottery, had already given some indication of the results inThe Aegean and the Near East, 165 ff., a volume dedicated to Hetty Goldman, excavator of Tarsus. Some of the results seemed a little disturbing, like the appearance of East Greek bird bowls with rays before 696 B.C. With the publication we can see that the dating for Protocorinthian pottery of the end of the eighth century is moved back at least a quarter century (pp. 115, 129, 308), while the disturbance to the bird bowl series suggests even more radical changes, leaving something of a vacuum in the first half of the seventh century, so far as the usually accepted dates of Protocorinthian and East Greek pottery are concerned. Hanfmann does not pursue all the implications of this, nor was it his task to in this book. Fortunately the quality of the publication makes it possible to study these problems in some detail, to evaluate the evidence of the pottery and stratigraphy, and even to suggest possible accounts, different from those of the publishers, for the years around 696 B.C. In what follows I have taken Payne's chronology for Protocorinthian as the standard since none of the detailed attempts to upset it seem to me to have been at all successful, while much new evidence has appeared to confirm it. Dunbabin's.remarks on the possible margins of error have also to be remembered (inAE1953–54 247 ff.).