HELLENISTIC POTTERY – BIBLIOGRAPHY 2012 and 2013 (Edited by Z
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Franco Fontana Valerio Massimo Manfredi
FRANCO FONTANA VALERIO MASSIMO MANFREDI FRANCO photographs FONTANA VALERIO MASSIMO MANFREDI story: regina viarum regina viarum regina viarum 7 First came a route which marked the social and economical history of a complex country called the U.S.A., then a trail, laboriously trodden by European pilgrims since the year one thousand, and now a road belonging to the ancient world, one of the main commercial and cultural routes of the Roman Empire. The Appian Way is the last protagonist of a trilogy narrating the routes covered by a group of friends with a common passion for travelling. Once again the pictures of photographer Franco Fontana and the words of writer Valerio Massimo Manfredi, expert of ancient history, have succeeded in capturing the essence of a route whose fascination is rooted the very origins of our country. My personal participation in this journey and Transmec Group’s involvement in the project go further than simple sponsoring; we have, rather, taken a concept and brought it to life; developed, studied and accomplished an idea through modern forms of expression. Transmec has always been attentive to requests and proposals coming from the world of art and culture, offering our support to novel ideas and to their promoters. A commitment which rises directly from the fundamental features of a company operating worldwide: an innovative spirit and the ability to keep up with the times. This volume personifies the close relationship that exists between our work, transport, expeditions, global communication and photography: the ability to connect people and things which are far away from each other; to erase distances and spread ideas, facts and events. -
Chapter One Pottery Other Than Transport Amphorae Philip M. Kenrick
. chapter one . Pottery Other Than Transport Amphorae Philip M. Kenrick INTRODUCTION THE potterY fabrics The rescue excavations of 2000 took place alongside par- The pottery is arranged primarily by fabric, in order to dis- allel investigations at Zeugma by French and Turkish tinguish where possible the various sources from which teams. When I was first invited to participate there was Zeugma was supplied. Since there is also a high degree of also understood to be a possibility of a further long-term correlation between fabrics and the functions for which the research excavation on the site to study the pottery.1 At the vessels were intended, the following conceptual structure time, it seemed premature to embark upon a comprehen- was found useful. sive description of the pottery of Zeugma: It was there fore . Table wares. Vessels for serving and consuming food: agreed that I should concentrate on a few contexts that plates, dishes, small bowls, drinking cups, together with could be reasonably well dated and that might be used to lids intended for use with such forms; also some small characterize the major chronological phases identified in flagons and jugs intended for use at the table. These are the trenches for which Oxford Archaeology was respon- generally made in fine fabrics with smooth surfaces, sible: these were Trenches 1, 2, 4, 5, 7, 9, 10, 11, 12, 13, 15, 18, mostly with a distinctive surface finish such as a slip or and 19. glaze. The briefest of notes were made upon the entire pottery collection, and these were then used in conjunction with . -
Le Lucerne Di Età Romana Dai Contesti Di Brundisium E Gnatia
UNIVERSITÀ DEGLI STUDI DI NAPOLI ‘FEDERICO II’ DOTTORATO DI RICERCA IN SCIENZE ARCHEOLOGICHE E STORICO-ARTISTICHE XXII CICLO CURRICULUM DI ‘ARCHEOLOGIA DELLA MAGNA GRECIA’ ______________________________________________________________________ TESI DI DOTTORATO LE LUCERNE DI ETÀ ROMANA DAI CONTESTI DI BRUNDISIUM E GNATIA Coordinatore Chiar.mo Prof. Carlo GASPARRI Tutor Dottoranda Chiar.ma Prof.ssa Raffaella CASSANO Rosa CONTE ___________________________________________________________________ ANNO ACCADEMICO 2008-2009 INDICE INTRODUZIONE p. 1 I. BRUNDISIUM E GNATIA: IL QUADRO POLITICO E ISTITUZIONALE 7 II. BRUNDISIUM. I CONTESTI FUNERARI 18 II.1. Necropoli nord-occidentale 19 II.2. Necropoli occidentale 24 II.3. Composizione dei corredi funerari 35 II.3.1 Le lucerne 44 III. CATALOGO 58 III.1. Le lucerne dai corredi funerari 59 A. Lucerne di età repubblicana 61 B. Lucerne di età imperiale 87 III.2. Le lucerne dagli ‘scarichi’ della necropoli 123 A. lucerne di età repubblicana 124 B. lucerne di età imperiale 150 IV. GNATIA. I CONTESTI FUNERARI 160 IV.1 Necropoli occidentale 161 IV.2 Necropoli meridionale 173 IV.3 Composizione dei corredi funerari 179 IV.3.1. Le lucerne 191 V. CATALOGO 198 V.1. Le lucerne dai corredi funerari della necropoli occidentale 199 A. lucerne di età repubblicana 200 B. lucerne di età imperiale 230 V.2. Le lucerne dai corredi funerari della necropoli meridionale 246 A. lucerne di età repubblicana 247 B. lucerne di età imperiale 260 VI. GNATIA. I CONTESTI DI ABITATO 267 VI. 1. L’area della basilica episcopale 268 VI. 2. Il quartiere a Sud della via Traiana. 277 . VII. CATALOGO 285 VII.1. Le lucerne dall’area della basilica episcopale 286 A. -
POUILLES DU SUD Des « Trulli » D’Alberobello À La Mer 7Jours / 6 Nuits / 5 Jours De Randonnée Et De Visites
POUILLES DU SUD Des « trulli » d’Alberobello à la mer 7jours / 6 nuits / 5 jours de randonnée et de visites GROUPE MARTIN CLUB ALPIN DE NICE Du diamnche 19/09 au samedi 25/09/2021 « La Puglia » : une terre aux mille facettes, on emploie encore parfois le pluriel «Le Puglie» en italien, pour évoquer les multiples microcosmes qui se juxtaposent et qui confèrent à cette région une identité complexe. Des paysages tourmentés faits de pierre calcaire, de terre rouge, d’arbres majestueux, de lits d’anciens torrents asséchés et de vastes plaines cultivés. L’Apulie des romains est, depuis l’antiquité, à l’opposé de ses voisins du Mezzogiorno, une région riche et prospère. Elle s’étend tout au sud de l’Italie, dans le « talon de la botte », le long des mers Ionienne et Adriatique. A partir de Bari, où se juxtaposent influences byzantine, arabe, gothique ou baroque de ses monuments, vous partirez à la découverte de ce pays aux paysages variés, des villages baroques du Val d’Itria et des fameux « trulli » d’Alberobello, ces curieuses petites maisons blanchies à la chaux et aux toits coniques jusqu’aux plages de sable fin d’Ostuni « la blanche », résolument tournée vers l’Orient, Lecce la « Florence baroque du Sud et Otranto face à la mer. 1 PROGRAMME INDICATIF : 12/09/2021 : Vol Paris - Bari. Accueil à l’aéroport, découverte du centre historique, Basilique de San Nicola, Duomo de San Sabino, Castello. Nuit en hôtel*** à deux pas de la vieille ville en B&B. 13/09/2021 : Randonnée en bord de mer. -
AT 11.1 Basket: 21 Description of Basket: Roman Mortared Stone Wall at the Foundation from the Column of NE Anta Wall
Basket Information Trench: AT 11.1 Basket: 21 Description of Basket: Roman mortared stone wall at the foundation from the column of NE anta wall. Summary of Material: Total weight in kg: Latest Datable Material: Tentative Period: Notes: Basket coord.: W111.1-W111.9/S1225.4-S1228.4; elev.: *99.96-*99.84 Read By: LDR Date: July 17 2012 END 1 2 Undatable AT 11.1 Bas. 21 Ware-Shape-Decoration Wt Rim Base Hdl Body Other Notes Certainty Mends Utility Ware, Red ### 1 Undiagnostic, flat base for closed vessel. [shape] [shape] Utility Ware, Gray [shape] Cooking Ware Storage/Transport Amphora ### 1 Undiagnostic body sherd Fine Ware Other END Use this form in mixed baskets, where there are diagnostic sherds of different periods, and the dates of the coarseware cannot be estimated. 3 NUM/CAT NUM NUM 4 Lydian AT 11.1 Bas. 21 Ware-Shape-Decoration Wt Rim Base Hdl Body Other Notes Certainty Mends Cooking Ware Globular cooking pot Gold-dust ware Cooking stand Lid Breadtray Other Utility Ware, Red “Yogurt Bowl” Pithos Other coarse Table Ware Hydria/Amphora Waveline Hydria/Amphora Myrina Amphora Other Oinochoe SG, pendant petals Dipped Pendant Hooks/Semicircles Other Other Closed Shapes Misc Column krater Streaky, thick-walled Other Skyphos krater Lebes (dinos) Skyphos Streaky Glaze, no white bands SG, White Bands Other Stemmed Dish/Dish/Plate Black-on-Red Bichrome Plate Other Pitcher Omphalos phiale Pyxis 5 Lid Large Painted (early types) Jar Unguent Vessels Lydion Lekythos Vertical marbled Other Ring askos Miscellaneous Decorations ### Various Shapes (specify) Marbled Pendant Hooks Bichrome Earlier B/R “Phrygianizing” Streaky Glaze 1 Waveline Micaceous Wash Other Grayware ### 1 Hydria/Amphora Jar Plate/Dish/Stemmed Dish Mug Black-Polished Other Lamps Lydian lamp Other lamp Corinthian [shape] Attic [shape] East Greek misc. -
The Natural History of a Caeretan Hydria
BABESCH 91 (2016), 69-85. doi: 10.2143/BAB.91.0.3175644 The Natural History of a Caeretan Hydria John K. Papadopoulos Abstract One of the most extraordinary renderings of various sea creatures is the well-known and often-published Caere- tan hydria now in the Niarchos Collection. In contrast to the accurately rendered seal, which is rare in Greek art of all periods, octopus, and dolphins, the central creature that dominates the scene is usually considered as an imaginary sea monster, a ketos. The purpose of this paper is to suggest that the central creature is no sea monster, but a fairly accurate representation of one of the most elusive creatures of the sea: an oarfish, of the family Regalecidae. For Jaap Hemelrijk One of the most remarkable illustrations from as Boardman notes, for all its charm, the Phokaia- Classical antiquity of sea creatures on a single mermaid story has no authority.7 object prior to the Roman period is the celebrated Despite these disparate labels, there was con- Caeretan hydria now in the Stavros S. Niarchos sensus in the fact that the threatening creature Collection (fig. 1a-b).1 Often published, the vessel that dominates the scene, and which calls for a is attributed to the Eagle Painter, at least the pri- hero of the likes of Herakles or Perseus to deal mary figures.2 The hydria has been given many with, if not dispatch, was a sea monster: a ketos in names, in accordance with its iconography: Hans Greek.8 The terrifying nature of this monster is Peter Isler referred to it as the ‘Perseushydria’, in well related by Hemelrijk: ‘The painter has tried his belief that the primary scene depicted Perseus his utmost to make the monster truly horrible; and the sea monster. -
Catalogue 8 Autumn 2020
catalogue 8 14-16 Davies Street london W1K 3DR telephone +44 (0)20 7493 0806 e-mail [email protected] WWW.KalloSgalleRy.com 1 | A EUROPEAN BRONZE DIRK BLADE miDDle BRonze age, ciRca 1500–1100 Bc length: 13.9 cm e short sword is thought to be of english origin. e still sharp blade is ogival in form and of rib and groove section. in its complete state the blade would have been completed by a grip, and secured to it by bronze rivets. is example still preserves one of the original rivets at the butt. is is a rare form, with wide channels and the midrib extending virtually to the tip. PRoVenance Reputedly english With H.a. cahn (1915–2002) Basel, 1970s–90s With gallery cahn, prior to 2010 Private collection, Switzerland liteRatuRe Dirks are short swords, designed to be wielded easily with one hand as a stabbing weapon. For a related but slightly earlier in date dagger or dirk with the hilt still preserved, see British museum: acc. no. 1882,0518.6, which was found in the River ames. For further discussion of the type, cf. J. evans, e Ancient Bronze Implements, Weapons and Ornaments of Great Britain and Ireland, london, 1881; S. gerloff and c.B. Burgess, e Dirks and Rapiers of Great Britain and Ireland, abteilung iV: Band 7, munich, Beck, 1981. 4 5 2 | TWO GREEK BRONZE PENDANT BIRD)HEAD PYXIDES PRoVenance christie’s, london, 14 may 2002, lot 153 american private collection geometRic PeRioD, ciRca 10tH–8tH centuRy Bc Heights: 9.5 cm; 8 cm liteRatuRe From northern greece, these geometric lidded pendant pyxides are called a ‘sickle’ type, one with a broad tapering globular body set on a narrow foot that flares at the base; the other and were most likely used to hold perfumed oils or precious objects. -
The University of Sydney
THE UNIVERSITY OF SYDNEY Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author -subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright A Comparative Study of West Slope Pottery Productions in the Hellenistic World Elizabeth A. Bollen Volume 1.2 Thesis submitted for the degree of Doctor of Philosophy University of Sydney 2004 Contents Volume 1.1 Acknowledgements ........ ix Abstract ......... xi Ch. 1 An Introduction to West Slope Pottery .... 1 1.1 Historical Setting ....... 1 1.2 Definition of West Slope Pottery. .... 4 1.2.1 The name ..... -
Ceramic Production in Roman-Age Apulia: Lychnological Contexts
Ceramic production in Roman-age Apulia: lychnological contexts Abstract: Archaeological research in Apulia have given solid grounds for a historical characteristic of the region, specifying the nature of settlements and their socio-economic environment in the Roman age. But production centers, primarily pottery workshops, as well as commonly traded shapes, trade routes and consumer centers still are in need of comprehensive study. For this purpose a targeted examination of Apulia et Calabria has been launched, identifying places and modalities of pottery production from the 3rd century BC to the 3rd century AD on the grounds of both permanent installations and mobile finds. This contribution, which takes advantage of the documentation collected within the frame of this research, seeks to identify and contextualize sites where clay oil lamps were being produced, through the scopes of production continuity/discontinuity and the modalities of settlement, craft, economy and commerce. Keywords: Apulia et Calabria, urban and landscape archaeology, Roman archaeology, clay oil lamps, Roman pottery, material culture The results of 30 years of rural and urban landscape archaeology research in the region of Apulia et Calabria, coinciding more or less with modern Puglia [Fig. 1], have given a solid base for reconstructing an articu- lated framework of settlement history and related so- cio-economic issues (Grelle and Volpe 1994; Silvestrini Custode Silvio Fioriello 2005; De Mitri 2010; Mangiatordi 2011; Volpe 2011; Small 2014b; Fioriello 2017). Numerous studies and contri- University of Bari Aldo Moro Polish Archaeology in the Mediterranean 28/1 PAM 28/1 (2019) Fioriello 2019: 181–215 DOI: 10.5604/01.3001.0013.7042 Acknowledgments The research was funded from the PRIN 2015 (2015PX7BEY_002) "Luce crea Luce" (Light creates Light) project. -
Black-Glazed, Red-Figure, and Grey Ware Pottery
30448_panskoye_pc_.qxd 06-10-02 14:05 Side 127 BLACK-GLAZED, RED-FIGURE, AND GREY WARE POTTERY Lise Hannestad, Vladimir F. Stolba, Helene Blinkenberg Hastrup This chapter deals with the black-glazed (B 4-219) and grey ware pottery (B 220-242) from U6, and also includes three red-figure fragments found in the complex (B 1-3). RED-FIGURE POTTERY (B 1-3) Three pieces of Attic red-figure pottery were found in U6 (Pls. 68 and 70). B 1 is a small sherd, probably of a stemless cup, with the head and shoulders of a satyr. The style is early 4th century, and this piece undoubtedly derives from the period prior to the construction of U6, where it probably came to rest when already broken. B 3 is the upper part of an askos in a very late Kertch style. It remains an open question whether it was complete and in use in the initial phase of U6, or whether, by that time, only the upper part was kept for the sake of the painted decoration with the four heads. BLACK-GLAZED WARE (B 4-219) A number of the pieces of black-glazed ware are undoubtedly of Attic origin, whereas this is uncertain for others, and some are definitely from other, not yet localised centres, as indi- cated by the types of clay, and in particular the inclusion of minerals, which can be identi- fied in many of the black-glazed vessels from U6, but are, according to Rotroff, not visible in Attic pottery of the Hellenistic period.1 The Black Sea area was certainly the most impor- tant export area for Attic pottery in the 4th century and the early Hellenistic period,2 and no other similarly important source of black-glazed pottery found in that region has yet been suggested. -
192 Introduction
192 Introduction Antiquities are easily described in just a few simple words: ‘objects, buildings or works of art from ancient times’. This perhaps rather stark definition, although true, fails to capture the elusive magic that one can experience in the presence of something thousands of years old. Often whilst examining an antiquity, turning it about in our hands, it is not unusual to encounter a moment of illumination that brings it to life. This sudden revelation may be caused by a dribble of paint (the result of a too-full brush), the short parallel marks of the sculptor’s chisel on stone, or the thumbprint the potter left when the clay was still wet. At such instances something remarkable happens: the centuries roll away and we are next to the ancient artist or craftsman, someone just like ourselves in many respects but living in an utterly different world. This is a strangely moving experience, unnerving, direct and personal; more immediate than walking through archaeological sites, temples or tombs. Time contracts and we become part of a great continuum. It is akin to listening to music or seeing a great painting and one of the thrills of civilisation. Used as we are to seeing antiquities locked inside glass cabinets in museums, it is easy to forget that, whether part of the paraphernalia of funerary rites, votive offerings or luxury goods for a wealthy elite, they were familiar elements of daily life in the ancient world. It is naturally a privilege to possess these objects which have, through accident or good fortune, survived the ravages of age. -
Corpus Vasorum Antiquorum, Fascicule 5
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 29 The J. Paul Getty Museum, Malibu, Fascicule 5 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Mycenaean, Faience, East Greek, Proto-Corinthian, Corinthian, Laconian, Euboean, Chalcidian, Attic geometric, Attic black-figure, Attic network, Attic black body, Attic black glaze, Apulian, Gnathia, Daunian, Lucanian, Campanian, Sicilian, Lead glaze, and Arretine MARIT R. JENTOFT-NILSEN in collaboration with A. D. TRENDALL THE J. PAUL GETTY MUSEUM FASCICULE 5 • [U.S.A. FASCICULE 29] 1994 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23, 29) At head of title : Union académique internationale. Includes bibliographical references and indexes. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes / Andrew J. Clark—[etc.]— fasc. 5. Molly and Walter Bareiss Collection: Mycenaean, Faience, East Greek, Proto-Corinthian, Corinthian, Laconian, Euboean, Chalcidian, Attic geometric, Attic black-figure, Attic network, Attic black body, Attic black glaze, Apulian, Gnathia, Daunian, Lucanian, Campanian, Sicilian, Lead glaze and Arretine/ Marit R. Jentoft-Nilsen in collaboration with A. D. Trendall. 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu— Catalogs. I.J. Paul Getty Museum—Catalogs. II. Clark, Andrew J., 1949- III. Jentoft-Nilsen, Marit R., 1938- . IV.