NOTES Frot/\ TH E Tl NS 2 Pages 4I5-433 RESEARCH in the STOAOF ATTALOS

HESPERIA 7I (2002) NOTES FROt/\ TH E Tl NS 2 Pages 4I5-433 RESEARCH IN THE STOAOF ATTALOS

Thisseries of researchnotes was conceived as a wayto bringto lightvari- ous detailsof the archaeologicalrecord at the AthenianAgora Excava- tionsthat might otherwise be lostwithin broader publications.l As noted in the firstinstallment, the title"Notes from the Tins" refers to the feta cheeseand oil tinsused by the excavations for the storage of uninventoried potteryand other finds from specific deposits or stratifiedlevels. Study of findsin thesetins led to the discoveryof the detailspresented in these notes.Some of the piecesdiscussed had already been inventoried and so do not,sensu stricto, come from the tins. The tins, however, serve equally as a metaphorfor the study of itemslong ago inventoried, whose importance to archaeologymight rise and fall with changing scholarly interests, and whoseinterpretation might change with furtherconsiderations of con- textsor morerecent dlscoverles.. . . This is not to saythat the tins do not figurestrongly in the notes presentedhere. My studyof amphorasas paintpots combinesmaterial foundin thetins with jottings in theexcavation notebooks and one previ- ouslyinventoried example. No less importantis the absenceof similar fragmentsfrom hundreds of othertins, reminding us thatnegative evi- dencefrom the tins is sometimesuseful as well. Kathleen Lynch's study of earlyblack-glazed mastoi clarifies the importanceof rare,inventoried, butlargely overlooked Attic examples within the context of knownblack- figureexamples and representations of the formby Atticvase painters. Shealso examines the contextswithin the Agora (including the contents of the tins)in whichthe black-glaze examples were found. JohnPapadopoulos's commentary on crudelyreworked clay disks is basedon the hundredsof suchdisks found in the excavations,the many exampleskept in thetins, and the few he hasselected for inventory. These 1. The authorswould like to thank diskshave piqued the curiosityof scholarsover the years,but theyhave JohnMcK. Camp II, Directorof the AgoraExcavations, for his supportof neverreceived as broada considerationas they do here.Finally, Susan this project.We arealso grateful to Rotroff'sstudy of thecontext pottery tins brought to lighta raresignature the anonymousHesperia reviewers on a moldmadebowl. Presumably this signature was overlooked and rel- andto the membersof the Publica- egatedto the tinsinstead of the glamourof inventoriedstatus when the tionsCommittee of the American depositwas originally excavated. Schoolof ClassicalStudies at Athens fortheir helpful suggestions. M.L.L.

American School of Classical Studies at Athens is collaborating with JSTOR to digitize, preserve, and extend access to Hesperia ® www.jstor.org 4I6 MARK L. LAWALL ET AL.

AMPH O RAS AS PAINT POTS ? MARKL. LAWALL WITHA CONTRIBUTIONBYAUDREY JAWANDO Thesecondary use in antiquityof transportamphoras assmall coffins or layersfor drainage is well attested.2 Other contexts of reuseare rarely at- testedwith certainty in archaeologicalfinds. Three examples of imported amphorasreused as paint pots appeared in excavations of two deposits at theAgora related to thePersian sack of Athensin 480B.C. These paint potsare not unique among the Agora finds, but the identification of the jars,preliminary study of thepigment, and consideration of the archaeologicalcontexts ofthe jars provide new evidence for the study of Athenian history,commerce, and topography.

1 P 1334 Toeand lower part of amphora Fig. 1:A G 6:3(Rectangular Rock-Cut Shaft, upper fill at 10.9m) P.H.19.6 cm; Diam. (toe) 6.3 cm Tracesof whiteslip on exteriorwith wide horizontal brown band aroundtop of preservedfragment. Red-brown deposit on interiorwith somethicker areas of preservedpigment; pigment spills over ancient breaks. Duskypale reddish and gray-brown fabric. Wide scatter of gray glassyinclusions, dark gray/blackish stony bits, and yellowish lime chunks. Fabriccolor: 5YR 6/6 andgrayer. Pigment color: lOR 5/8. Comments:Brief mention of thispiece as "an unpublished amphora fragment"is foundin Vanderpool1946, p. 266,n. 6.This amphoratype is attributedto the areaof Klazomenai;see Doger 1986; Lawall 1995, pp.48-53; Dupont 1998, pp. 151-156. Deposit G 6:3is a deeprectan- gularpit on the KolonosAgoraios; see Shear1993, pp. 445-449; Vanderpool1938 and 1946. The upperfill of the shaftis reportedto haveincluded miltos (notebook for section A, p. 1002;Vanderpool 1946, p. 266).The upperfill alsoincluded a lekythos,broken and reused as a muchsmaller paint pot (Vanderpool1946, p.266, no. 146). Date:late 6th centuryB.C.

2 AS-P 1049 Seriesof joining lower body fragments 2. Foruse in drainageconstruc- R 12:1,tin SA 150 tions,see Mattioli1998. For the use of amphorasas coffinsor urns,see Smoothorange buff exterior; resinated interior with red pigment KerameikosJX, passim.On the reuseof thicklypreserved over the resin. Fabric with some mica; grainy break, amphoras,see, in general,Grace 1979, moderatescatter of grayglassy and bright white opaque bits, all fairly textwith fig. 10, andfor the rarityof small. reexportation,see van Doorninck 1989, Fabriccolor: 5YR 5/8. Pigmentcolor: lOR 4/8. esp.pp. 247, 256. I amgrateful to AudreyJawandofor carrying out the Comments:R 12:1is a welldeposit at the southeastcorner of the analysisof the pigmentand providing Agoraexcavations, just east of the Stoaof Attalos(Shear 1993, pp. 469- the reportpresented here. I alsothank 471).A nearbydeposit of the sameperiod is Q 12:3,the StoaGutter JulieUnruh for her generous assistance Well(Roberts 1986). The attributionand date of thesefragments andadvice in preparingthis note. NOTES FROM THE TINS 2 4I7

A -=- -

Figure1. A) Klazomenianamphora D > (P1334); B) North Aegean amphora i I (tinSA 148).Drawing M. L. Lawall - =_ _

cannotbe determinedon thebasis of the remains;neither the fabricnor theform is diagnostic. Date:context date, before 480 B.C.

3 Toeand lower part of amphora Fig.1:B R 12:1,tin SA 148 P.H.22.5cm; Diam. (toe) 5.3 cm Resinatedwith reddish brown discoloration and a fewthicker depositsof redpigment. Smooth, hard, micaceous orange-brown surface,fine-grained break; moderate sized, poorly sorted mix of dark grayopaque, very small white, and a fewlarger red-brown inclusions. Fabriccolor: 5YR 5/8. Pigmentcolor: lOR to 2.5YR4/6. Comments:The amphorais fromthe North Aegean; see Lawall 1997,especially pp. 116-117; Lawall 1995, pp. 116-175. Date:context date, before 480 B.C.

The amphorasdescribed above were not initiallyintended as jars of redpaint. Fragments 2 and 3 preserveresinous lining, which is mostoften associatedwith sealing the interiorsof amphorasfor shipments of wine.3 3.Koehler 1986, pp. 50-52. Thered pigment covers these linings, so it musthave been added after the 4Fe3+(aq) + 3K4Fe(CN)6(aq) Fe4(Fe(CN)6)3(s) + 12K+(aq)

4I8 MARK L. LAWALL ET AL. jarswere emptied of wine.Furthermore, the redpigment on 1 coversthe ancientbreak around the upperedge of the fragment.Only the bottom partof the amphorawas used for the paint pot. AudreyJawando studied the pigmentsfound on the amphorafrag- mentsand supplied the following report: "The test for an iron base in the redpigment was based on thefact that an iron (III)-containing compound combinedwith hydrochloric acid produces iron ions (Fe3+).

Pigment+ HC1(3M) o Fe3+(aq) "Ironions combined with potassium ferrocyanide (K4Fe(CN)6) creates solid ferricferrocyanide (Fe4(Fe(CN)6)3), or Prussian blue.

"If a blue precipitateforms when an unknowncompound is acidified andcombined with potassium ferrocyanide, then the testfor iron is posi- tive.4The reactionof the pigmentwith HC1and K4Fe(CN)6 was tested againsttwo control samples: yellow ocher, which is knownto containFe3+; andwhite lead pigment, which contains no Fe3+.Both the yellowocher sampleand the red pigment turned blue-green, while the color of thewhite leadpigment did not change. This indicates that the red pigment contains

. ,, lron. The ancientterm for red,iron-based pigment, ,uXTogX5 can refer to pigmentsfrom a widerange of sources,including perhaps Attica,6 most 4. Odegaard,Carroll, and Zimmt commonlyKea and Lemnos, and also Cappadocia, Carthage, and Egypt. 2000,pp.62-63. Indeed,iron oxides suitable for red pigment are quite common.7 Relatively 5. Foran overview,with discussion recentefforts to characterizemiltos from different sources preclude as- of ancientreferences, see RE XVa, suminga particularsource for the redpigment found in theseamphoras 1932,cols. 1851-1854, s.v. Minium fromthe Agora.8 (W. Kroll). 6. Caley(1945, p. 155)notes the Nevertheless,the examples of miltosfound in Athensraise important presenceof ochersin Attica,but historicalquestions. If the miltoscould be connectedto Kea,then these withoutfurther references. amphoraswould document Athenian use of Keanresources well before a 7. Photos-Joneset al.1997, Keaninscription attests to theresumption of Atheniancontrol of thatis- pp.359-360. land'smiltos exports sometime before 350 B.C.9 A Cappadocianprovenance 8. Photoslones et al. 1997,passim. forthe miltos in theseamphoras would provide early and rare archaeologi- 9. IG II21128; Tod 1948,no. 162, pp.181-185; and Bockh 1886, pp.312- calevidence of importsfrom the Black Sea; according to Strabo,this miltos 317. wasexported through Sinope.10 Evidence for late-6th-century Athenian 10. On Sinope'srole in Cappa- importsfrom either Egypt or Carthageis alsoquite rare.1l docianexports, see Strab.12.2.10. The threepaint pots from pre-Persian contexts in theAgora excava- Forsecurely identifiable Black Sea tionsalso reflect changing activities in the area.No suchresidues appear amphorasin 4th-centurycontexts in the Agora,see Grace1985, p.21, amongroughly 150 otherAgora deposits closed between ca. 525 and n.52. 86 B.C. Therefore,sometime before 480 B.C., differentactivities seem to 11. Habermann1986; Lawall 2001. havetaken place in the Agora,with the resultthat miltos pots were no 12. Papadopoulos1996, p. 112. longerleft behind.John Papadopoulos has suggestedthat the develop- 13. Foruses of miltos,see Photos- mentof theAgora area as a civiccenter may have begun as late as ca. 490, Joneset al. 1997,pp.359,369. Foruse with a concurrentdecline in the use of the areaas a potter'squarter.12 of miltosin Athenianpottery production,see Richter1923, pp.53-59, 96- Althoughdecoration of potteryis onlyone of manyuses for miltos,l3 the 98;Vanderpool 1946, p.266; Noble apparentdisappearance of miltospots after480 maybe relatedto the 1988,pp. 125-127;and Schreiber declinein the use of the areafor craftproduction. A full surveyof the 1999,pp. 48-52. NOTES FROM THE TINS 2 4I9

Agoraexcavation notebooks for references to miltoshas not been under- taken;nevertheless, scattered finds from the late 5th century B.C. appear to involveeither very small vessels or the useof miltoswith other materials (suchas tiles).l4The reuseof amphorasas paintpots mayhave been an elementof late-6th-centurypottery production in the areaof the Agora, whilelater traces of miltosmay be associatedwith different activities. Mostdirectly, these remains of paintpots illustrate the reuse of emp- tiedimported amphoras. The fragmentsalso highlight problems encoun- teredin studyingpoorly preserved imported goods. Future provenance stud- iesof miltosresidues might clarifywhich, if any, ofthe sourcesnoted above is thecorrect one. The fact that these samples come from fully documented archaeologicalcontexts will then allow any evidence for provenance to be consideredin an appropriatesocial and historical setting.

A DD E N D U M Whilethis note was being revised for publication, Julie Unruh, a conser- vatorat the Agora Excavations, informed me that a CorinthianB ampho- rabottom with toe, found in 2000in wellJ2:14, contains a largemass of redand yellow pigment. Analyses of thisvery well preserved fragment are expectedto shedfurther light on the reuse of amphorasas paint pots around theAgora.

THREE MASTOI FROM THE ATHENIAN AGORA

KATHLEENM. LYNCH Mastoi,as theirname implies, are cups shaped like a femalebreast.l5 The shapeis relativelyrarel6 and is decoratedin eitherblack-figure or black- glazewith black-figure subsidiary decoration. Although no mastoiin fig- uralblack-figure are known from the excavationsof theAthenian Agora, threelargely black-glazed Attic examples have come to light(Figs. 2-4), two of whichhave not beenpreviously published.l7 The threeexamples fromthe Agoraare representative of developmentsin the formof the mastos.The purposeof this noteis to introducethese vessels and place themin a chronologicaland typological context. The formof the mastosis conicalor slightlybulging, and ends with anarticulated nipple.l8 The Attic examples may originally have had either

14.Apart from G 6:3 andR 12:1, notebook,p. 769).Caley (1945, p. 153) col.2175, s.v. Mastos (H. Nachod). two otherdeposits included remains of liststhree fragments of a black-glaze Thereis alsoa mastoidcup that has a miltos.An unusedsection of the foun- skyphos(P 3448)with miltosresidue flatbottom. dationtrench for the New Bouleu- foundin mid-5th-centuryfill in sec- 16.There are approximately twenty terion,filled late in the 5th century, tion K, nearthe RectangularPeribolos truemastoi listed in the Beazley includeda smallbowl with tracesof andthe SouthwestFountain House. ArchiveDatabase. miltos(section B notebook,pp. 1882- 15. On the nameof the shape, 17. All threeare mentioned in 1883),and a tile fragmentwith miltos includingancient references, see Rich- Mertens1979, p. 23, n. 16. remainswas found in the late-5th- ter andMilne 1935,p. 30; Kanowski 18. See Schreiber1999, pp. 194-195 centurydeposit F 6:2 (sectionKK 1983,pp. 105-106; REXIVb, 1930, on pottingtechnique. 4Zo MARK L. LAWALL ET AL.

twohorizontal cup handles or one horizontal and one vertical strap handle.l9 Thestrap handle allowed the drinker to holdthe cup. The horizontal handle presumablyallowed the cupto be hungon a wallso thatthe viewwas "anatomicallycorrect." The formis thoughtto originateat Corinth,for there are Corinthian mastoidating to thefirst half of the 6thcentury s.c.20 Although there are no survivingAttic mastoi from this date, mastoi appear in scenesof sym- posiaon cupsby the AtticKX Painter dated to ca.580-570 s.c.2lAttic mastoiwith black-figure decoration appear after 550 and continue in black- figureuntil ca. 500 s.c.22 The shapeof the Attic mastosshows some variation, and parallels betweenthe black-glaze examples and the black-figure forms provide some indicationof chronology.23Examples earlier in the serieshave delicate thinwalls, straighter sides, and smaller nipples, resulting in anoverall con- icalappearance. The finepotting and delicacy of subsidiarydecoration of 1 (Fig.2) arecomparable to featuresof anunattributed black-figure mastos in the BritishMuseum, dated to ca.525 B.C. on thebasis of its figural style.24Later versions have thicker walls, a morebulging, hemispherical profile,and larger, acorn-shaped nipples.25 Mastos 2 (Fig.3) is a transi- tionalform with heavier walls, but a conicalnipple. Mastos 3 (Fig.4) is a fragmentof a latemastos with thicker walls and less careful application of ornament.Its profileis similarto thatof Munich2003, which is dated 510-500B.C.

l9.Beazleyl928,p.4,n.2,on carrieswhat looks like a footedmastos; drawings,making studies of the potters handles.In the Corinthianexamples see CVAAthens 4 [Greece4], pl. 3.2 difficult.For other published black- the handlesare horizontal skyphos andcommentary, pp. 15-16 (= Papa- glazemastoi, see Dohan1934, p. 530 handles. spyridi-Karusu1937, pl. 58.1).Both (Philadelphia,University Museum, 20. Payne[1931] 1971, p. 312, n. 2, of thesecups have previously been MS 4869);CVA Adria 2 [Italy65], nos.999, 1000,catalogued as Middle attributedto Sophilos. pl. 28 [2941]:9,pl. 29 [2942]:1(Adria, Corinthian(600-575 B.C.) butpossibly 22. Greifenhagen(1977, pp. 135- IG 2291,inv. Bocchi A32); CVA Adria later;Amyx (1988, p. 503) suggestsa 137)lists twelve Attic black-figure 2 [Italy65], pl. 29 [2942]:2(Adria, LateCorinthian I date(570-550 B.C.). examplesin roughchronological order; inv.Civico A256). Two fragments Bothmer(1975, p. 123)states incor- Mertens(1979, p. 23, n. 16) addssev- preservingonly nipples with surround- rectlythat the earliest-knownmastos is eralothers. The latestblack-figured ing decorativebands may or maynot a black-glazedexample with black- mastosis probablythe white-ground be figural:Samos K 6891 (SamosXXII, figuresubsidiary decoration at Corinth. Munich2003, dated by Mertens(1977, no. 181,pl. 35);and Heidelberg S23, NancyBookidis and Ann Brownlee p. 87, pl. 12.3)to 510-500 B.C. on the CVAHeidelberg 4 [Germany31], (pers.comm., Oct. 2000) concurthat basisof its black-figurestyle. Flat- pl. 165 [1504]:4. no earlyblack-glazed mastoi exist in bottomedmastoid cups continue the 24. BritishMuseum B377, the collectionin Corinth. formto ca.475 B.C. The Sotades Greifenhagen1977, pl. 38.1-2. 21. Greifenhagen1977, p. 135. workshoprevives the formin the 25. The threeblack-figure mastoi Threemastoi appear hanging behind mid-5thcentury B.C. (BritishMu- by Psiaxhave hollow nipples with symposiastson a cupby the KX seumD9, D10). beadswithin to createa rattlingeffect Painter,Samos 1280 (575-570 B.C.), 23. Greifenhagen1977, pp. 134- whenlifted; see Mertens1979, p. 23. ABV26,no. 27; SamosXXII, 135;Mertens 1979, p. 23. It is likely Mertensdoes not givea firmdate for no.200, pls.37-38 (= Papaspyridi- thatthe samepotters made mastoi for these,but links them with Psiax's Karusu1937, pl. 57.1).Also on a sky- decorationin black-figureand black- associationwith Nikosthenes(ca. 525- phosby the KXPainter in Athens, glaze.Unfortunately, most of the 500 B.C.). NM 640 (585-580 B.C.), a figure mastoiare published without profile NOTES FROM THE TINS 2 42I

The contextsof thethree mastoi from the Agora agree with this pro- posedtypological development. Mastos 1 is fromthe use fill of a well deposit,G 15:2,closed around 525 s.c.26Mastos 2 comesfrom deposit Q12:3, knownas the StoaGutter Well, closed in associationwith the Persiandestruction of Athensin 480.27Material from this deposit ranges from525 to 480 B.C.; thus,2 couldcomfortably date after 1. Mastos3 comesfrom a deposit,R 12:3,closed ca. 500.28Each of thesedeposits containedexamples of domesticpottery, and it is likelythat the mastoi representedan exoticelement of a privatesympotic set.

Figure2. Mastos 1 (P 1217). Scale 2:5. CourtesyAgora Excavations,drawing K. M. Lynch.

1 P1217 Mastos Fig.2 G 15:2 H. 8.4 cm;est. Diam. 5.2 cm Completeprofile preserved. Missing much of wall,one vertical strap handlepreserved. Very thin walled and light, with lustrous black glaze. Slightlyconvex profile; biconical nipple separated from body by a raised fillet.Concave strap handle attached below rim to mid-body. Nipplereserved with three lines of blackglaze: below tip, at carina- tion,and below fillet. On lowerwall, a reservedband with a friezeof alternatingblack and red tongues. Above and below the tongues,three veryfine, equally spaced lines. Tongues separated by thin relief lines. Tinyadded red dots at tipsof scallopedupper edge of tonguefrieze. 26. Unpublished.See Shear1933, Addedred lines: single line in theblack-glazed band above the nipple; p. 465;Agora XlI, p. 391;Agora XXI, p.98. singlebelow reserved band; double above the reserved band; double at 27. Roberts1986, p. 30. On Persian baseof straphandle; single at thetop attachmentof straphandle destructiondeposits, see Shear1993. (fugitive).Added red on sidesof handle.Interior black glaze. 28. Thompson1956, p. 61. Date:period of use,550-525 B.C. \ fl !gED41XE_ drawing FigureFigure 3.K. 4. MastosM.Mastos Lynch.2 3 (P(P 24556).25277).

422 MARK L. LAWALL ET AL.

s r Scale2:5.CounesyAgoraExcavations, _ drawingK. M. Lynch.

2 P 24556 Mastos Fig.3 Q12:3 (StoaGutter Well) P.H.5.0 cm;P. Diam. 7.25 cm Missinghandles and much of upperwall. Dull andstreaky black glaze.Bulging conical profile; flat, conical nipple. Heavy wall, especially at nipple.Nipple with black-glazed top, reserved below. Bottom of wall reservedwith bands of decoration:frieze of irregularblack-glazed tonguesseparated by vertical relief lines between two dilute horizontal lines;row of dicingdots between two thin, dilute lines; darker dilute line;wide streaky black-glazed band; uneven dilute line. No traceof addedred lines. Interior black glaze. Date:before 480 B.C. Published:Roberts 1986, p. 30, no.63, fig.20 (profile).

A_s

__ __ _t

__ rSE

3 P 25277 Mastos Fig.4 R 12:3 P.H.6.5 cm;P. Diam. 10.8 cm Missinghandles and much of upperwall. Good black glaze. Trace of reservedhandle panel indicates at leastone horizontal cup handle. Bulgingconical profile; acorn-shaped nipple. Nipple and very bottom of wallreserved. No traceof addedred lines. Interior black glaze. Date:last quarter of the 6th centuryB.C. Wellin StoaShop II; see discussion in Thompson1956, p. 61, pl. l9:c-g. NOTES FROM THE TINS 2 423 Ha4a) N Xr4X? A CONTEXTUAL APPROACH TO PESSOI (GAMING PIECES, COUNTERS, OR CONVENIENT WIPES?)

JOHNK. PAPADOPOULOS Muchhas been written about small disks or roundelsof clayfashioned fromsherds of potteryby chippingand smoothing around the edges.29 Theyare common occurrences in varioustypes of depositsin the areaof theClassical Agora, and especially common in manyofthe LateGeomet- ric andEarly Archaic wells. Among numerous such contexts, I illustrate hereonly a selectednumber of disksfrom well I 13:4(Fig. 5), a welldeep belowthe MiddleStoa excavated in 1996 thatwas abandonedca. 700 s.c.30In discussingthe possible filnction of the disks,Eva Brann writes:

Whatthey were used for, whether for counters, pucks, covers or plugs,is uncertain.Those with holes . . . mayhave had a stringto serveas the handleof a lid. Remainsof plugshave actually been foundin Mycenaeanstirrup jars . . . butthe 7th centuryhas no commonround-mouthed, narrow-necked shape. Some, most likely,were game-counters. Several games requiring sherd disks wereplayed in the streetsand public places of Athens(c£ Pauly- Wissowa,R.E., "Spiele")and the Agora even possesses a die of the period(Agora MC 84).31

Amongthese various filnctions, that of gamingpieces (tessoi) hasbeen singledout by philologists, most recently by Leslie Kurke, who has written muchon Greekboard games and how to play or notplay them.32The examplesmost commonly illustrated from the areaof the ClassicalAgora arethose from the so-called Protoattic "votive deposit" published by Dor- othyBurr.33 Not all of these,however, were "ornamented bits of old pottery,"as Kurkemaintains.34 In addition to terracottadisks includingone 29. See,among others, Burr 1933, of Corinthianfabric and several cut fromcoarse undecorated pottery pp.546,603-604;Young 1939, pp. 86, the deposityielded a numberof relatedstone disks, some marked with 191-192,figs.57, 142,nos. XVIl 23 crosses.35It is exactlysmall stones such as theseand smoothed circular andC 163-173;Brann 1961, p.342, underno. F 62;Lalonde 1968, p.131. disksof claythat were used for various board games, including that in the 30. Camp1999, pp.260-262. celebratedscene of Ajaxand Achilles on theVatican amphora (Fig. 6). 31. Brann1961, p.342, no. F 62; The purposeof thisnote is to returnto a multifilnctionalinterpreta- withfurther reference to CorinthXII, tionfor the disks,to suggesta possiblefilrther interpretation not noted in pp.217-222. previousscholarship, to emphasizethe evidenceof context whichis of- 32. Kurkel999a; l999b, esp. tenoverlooked andto drawattention to thefact that a wessogin Greek pp.254-274.The fullestoverview of boardgames (lusoria tabula) re- doesnot referonly to an oval-shapedstone for playing board games.36 mainsthat in REXIII.2,1927, The greatvariety in the sizeof the disksand the typeof vesselfrom cols.1900-2029(H. Lamer). whichthey were fashioned highlights the fact that not all served the same 33. Burr1933; Kurke l999b, filnction.Of the examplesassembled in Figure5, the smallesthave a di- p.274, fig. 9. ameterof 0.030m anda thicknessof 0.006m, whereas the largest measure 34. Kurkel999b, p.273. 35. Burr1933, p. 603, fig. 71, 0.098-0.105m in diameter,with a thicknessof 0.017-0.022m. Many are nos.275-276. cut fromearlier decorated pots rangingin date fromProtogeometric 36. LSJs.v. wrosog. throughLate Geometric. Others are fragments from various coarseware 424 MARK L. LAWALL ET AL.

P 32704 P 32692 P 32709 P 32708 P 32711 P 32705

P 32707 P 32706 P 32710 P 32715 P 32701 P 32698

P 32713 P 32712 P 32714 P 32697 P 32716 P 32717

P 32720 P 32718 P 32703

Figure5. Claydisks fashioned from vessels,including massive pithoi. Although many of the disksillustrated Protogeometricand Geometric in Figure5 mayhave been used as gaming pieces, others, such as the three potsherdsfrom well I 13:4. examplesshown on thebottom row, are far less likely to haveserved such CourtesyAgora Excavations a function. In anydiscussion of theuses for such disks, the evidence of contextis paramount.A few of thedisks, such as those first published by Burr, clearly derivefrom a contextwith cultic overtones. In discussingthe twelveclay disksfrom the 5th-centurytriangular hieron, Gerald Lalonde noted that althoughtheir provenience may tempt some scholars to identifythem as "cultobjects, their appearance suggests nothing so muchas simplejar- identifiedas pessoi by their ex- 37. Lalonde1968, p. 131. stoppers."37Occasionally, disks, specifically 38. EretriaMuseum, inv. 16588- cavators,are found in tombs,such as the group of Archaicdisks recovered 16595.The majorityare fashioned from fromtomb 11 at Eretria.38Such contexts, however, are the exceptions, not coarsewareor cookingvessels; only one therule. is actuallyfrom a decoratedpot. NOTES FROM THE TINS 2 425

Figure6. Detail, Athenianblack- figurebelly amphora by Exekias, ca. 540-530 B.C. VaticanMuseum, inv.344. CourtesyHirmer Verlag GmbH

In Athens,the vast majority of diskswere found in abandonedwells, filledwith either domestic refuse or the debrisfrom potters' workshops.39 The fill of the averagewell consistsof the period-of-usefill at the bottom oftencomprising plain or bandedpots inadvertentlydropped by theirowners in theprocess of extractingwaterbelow a dumpedfill. Apart fromthe sometimes copious quantities of potters'debris found in someof the wells,the dumpedfill, which usually contained the mostinteresting potteryand other small finds, was normally deposited all at the same time whenthe well was abandoned in orderto preventpeople from falling in.40 Brannwrote that the dumpedfill "was very probably carted from near-by rubbishheaps or swepttogether from local debris. It contains,therefore, the disiectamembra of the furnishingsof the neighborhoodpantries, kitchens,courtyards, burial plots, and sanctuaries, but from the latter two thereare only the mostfragmentary remains.''4l Some wells contained onlya handfulof claydisks, while others produced numerous examples- occasionallytwenty or moredisks amonga fill thatyielded, on average, anywherebetween a fewhundred sherds to severalthousand. The quan- tityand varying sizes of claydisks in suchcontexts not onlyunderscore a multifunctionalpurpose, but also suggest that they were used as common, everydayitems, as was stated by Brann. A furtherfunction is plausiblysuggested both by the evidence of con- textas well as by the meaningof pessos.The word GI£C7C705 in Greekhas a varietyof meanings.In additionto referringto a stonefor playing board games,it canalso mean a "medicatedplug of woolor lint to be introduced

intothe vagina, anus, etc., pessary."42 It is frompessos that the English word pessaryderives, and it is this meaning,in bothGreek and English, that 39. SeeAgora VIII, pp. 107-108; complicatesthe issue. In thesame way that we cannotbe surewhether the Papadopoulos1996; Papadopoulos, gamingpieces on Exekias'samphora were of stoneor clay,we cannotbe forthcoming. 40.Agora VIII, p. 108. sureof the materialthat is usedby the manon the cupinterior, now in 41.Agora VIII, p. 108. Boston(Fig. 7). In attributingthe cup fragment to theAmbrosios Painter, 42. LSJs.v. Z£aO05. John Beazleylaconically described the scene as "manaGlO+X£V05" 426 MARK L. LAWALL ET AL.

Figure7. Athenianred-figure kylix tondo fragment,with edges trimmed,by the AmbrosiosPainter, ca. 510-500 B.C. Boston, Museumof Fine Arts, Res. 08.31 b (from Orvieto).Courtesy Museum

(asoWax meaning"wipeoff,""wipe oneself").43 It is ironicthat the edges of the fragmentitself are trimmed to definea diskresembling apessos. A beardedman wearing a cloakloosely over his shoulderssquats, leaning againsta staf£According to EmilyVermeule, following Edward Perry Warren,he is usingone of the proverbialthree stones, Tt0£65 £LOLVLxavoL ZvOCt)XTOVasoZaE,at A0o."44 Vermeule goes on to citePaul Hartwig's sug- gestionthat this representation illustrates the passage in Aristophanes' Peace in whichTrygaios, taking a corseletfrom the armsdealer, notes:

£vasowax£tvyato £aT £st8£605 wavv- Look,this will make a handycrapper- concluding:

Ct)8t, Zatoa0£vTt Tt0£65 L0OV5. OV 8£iLO5; thisway, if I propit upwith three stones. Neat, eh?4s

In Scharnians,Aristophanes clearly states that a stonewas one means- evidentlythe mostcommon forwiping oneself: 43.ARV2 174, no. 22. Forthe iconographyof defecationin Athe- . . . O 8£ L0OV Xa£LV nianvase painting, see, most recently, ,BovXo,uswogsv oxo Baot Cohenand Shapiro 2002, pp. 88-89, pl. 22:d-e,with references. TrlXstv°t wsAsOov atotcoc, xsxsoyswov 44. Vermeule1969, p. 14, no. 14, ssaE,Csv 8' sXcov pl. 11.2. Tov yatoyatoov, xass0' ayato- 45. Ar.Pax 1228,1230,J. Hender- v aBot Ktoavov. son,trans., Cambridge, Mass., 1998. NOTES FROM THE TINS 2 427

>> v h- i sesS

I \ L= P 32544 P 32903 P 32525 P 32573 Figure8. Selectedostraka from the . . . andwhen he wantsto graba stone areaof the ClassicalAgora. Left to I hopein the darkness right:Themistokles, Aristeides, he grabsin his handa fresh-shatturd, Xanthippos,Xanthippos. Scale 1:2. CourtesyAgora Excavations, drawing andholding that glittering missile A. Hooton. let himcharge at his foe,then miss him andhit Kratinos!46

Thesame was true in 19th-centuryEngland, if thestatement attributed to AlfredLord Tennyson is correct:"I wipes me ass[arse] on a pieceof grass or sometimeson a stone."47 Sucha meaningis usuallylimited to stones.But in the sameway that Kurkesuggests that clay disks were used as gaming pieces, I wonderwhether theyalso served for wiping oneself? Their context commonneighbor- hoodrubbish or debrisfrom potters' establishments dumped into abandonedwells in LateGeometric and Archaic Athens is certainlysugges- tive.Many of the claydisks were found in wellsthat also contained stone disksor convenientlyshaped pebbles. And it is usefulto rememberthat publiclatrines, with running water, were a luxurynot knownin Athens untilRoman Imperial times.48 In what context other than common house- holddebris would we expectto finddiscarded wipes in the LateGeomet- ricor Archaic period? If someof the numerousclay disks recovered from early Athenian wellswere used in themanner illustrated in Figure7, thentheir context if not theirquantity is remarkablysimilar to anotherclass of Athenian sherds:ostraka (Fig. 8). At aboutthe sametime when the Agoraexcava- 46.Ar.Ach.1168-1173,J.Hender- son, trans.,Cambridge, Mass., 1998. torsuncovered the wellwith thepessoi (Fig.5), theyalso came across a 47. Quoted by Vermeule1969, "collectionof about144 ostrakafound scattered throughout a layer of fill p. 14.The rhymeworks as well in in the areabehind a Classicalcommercial building."49 Although it is clear English and American pronunciations thatmany ostraka are simply too largeand cumbersome to haveserved as . . _ . uslng arse or ass. qora perceptlve convenientwipes, others seem ideally shaped. Again, it is theircontext treatmentof the fate of human waste, thatis suggestive,particularly that of the numerousexamples thus far re- see Laporte 2000. 48.Agora XIV, p. 197. coveredfrom the Agoraand Kerameikos excavations. Indeed, it is clear 49. Camp 1999,p. 268. For the thatmanyofthe latter, especiallythose from the Kerameikos, were dumped contexts of other ostraka,see Agora a longway from their intended place of usein anyostracism.50 Epigraphers AXV. andphilologists have been reluctant to considerthe contextand, more 50. Although the eAklesiaregularly particularly,the afterlifeof ostraka.And it is to themthat I posethe fol- met at the Pnyx, the one occasion when the Demos convergedon the Agora lovfingquestion: is it possiblethat some Athenians used some ofthe ostraka, was when an ostracismtook place;see appropriatelyinscribed with the nameof a worthypolitical figure and AgoraXIV, pp. 50-51. pessoi in a mannernot unlike that illustrated in Figure7? 428 MARK L. LAWALL ET AL.

A MOLDMADE BOWL OF 'ADOYZ6OS

SUSANI. ROTROFF Examinationof the contextpottery from the buildingfill of the Middle Stoabrought to lighta rareinstance of an Atticmoldmade bowl with a signature.5l

- . l -

''J< _Zs_ vi bo33JoJvrJ vaoovovSoa \ \ <@9W \ \fif J Figure9. Moldmadebowl of \ 1 'ApyeLos(P 31702). Scale1:2. Courtesy / / AgoraExcavations, drawing A. Hooton.

P 31702 Moldmadebowl Fig. 9 H-K 12-14 (MiddleStoa Building Fill) P.H.6.6 cm;est. Diam. 14.5 cm Singlefragment preserving part of wallfrom tip of calyxto rim. Calyx:diamond-shaped tip of fernpreserved, with tips of twopetals of rosetteto left.Wall (left to right):large bird flying left (tailand right wingpreserved); Eros flying right, his armsupraised in frontof him; signatureAPrEIOT, retrograde and vertical, reading from bottom to top; frontalNike (right wing, right lower arm, top of head,trace of top of left wing[not shown in drawing]preserved), small bird flying left aboveher. Rim:simplified guilloche, beading, double spirals crowned by leaves. Scrapedgroove with miltos below slightly outturned rim. Metallic black gloss,partly missing outside; fine reddish yellow fabric (5YR 6/6) with tinysparkling inclusions.

The dateof the fragmentcan be establishedwith some assurance. lSlold- madebowls were first made in Athensin the secondhalf of the 3rdcen- 51. Includingthis newpiece, only seventeensigned bowls are known tury,probablybeginning in 224.52 A lowerterminus of ca.175 for this new fromthe Agora,six of whichdate fragmentis indicatedby bothstratigraphic and stylistic criteria. Its con- beforethe middleof the 2nd century. text,the building fill of the MiddleStoa, contained about 1,500 stamped Forsignatures on bowlsfrom the amphorahandles. With five exceptionsthat maybe dismissedas Late Agora,see Agora XXII, pp.40-41. 52. Fora detailedexplanation of Hellenisticintrusions, the latest date to 183or 182B.C., orperhaps fifteen yearslater,53 providing a date in thefirst quarter of the2nd century or ear- thissurprisingly precise date, see AgoraXXII, pp.6-13. lierfor the fragment in question.The motifson thefragment point to the 53. VirginiaGrace dates the latest sameconclusion, for they are amply paralleled on bowlsof theWorkshop Rhodianand Knidian amphoras to 183 of Bion,which was active between ca. 224 and175 s.c.54Good examples or 182 (Grace1985). On the basisof of the relevantmotifs, at precisely the samesize, can be foundon thefol- his reappraisalof the Rhodianchro- lowingpublished Athenian bowls: nology,Gerald Finkielsztejn puts the closingdate of the fill at ca. 169/167 (Finkielsztejn2001, p. 177). Calyx P 7001,P 20190:Agora XXII, pp.62, 64, nos.154, 54. Forthe Workshop of Bion,see 168,pls. 28, 31, 78, 95 (bothsigned Bvo5) AgoraXXlI, pp.26-27. NOTES FROM THE TINS 2 429

FrontalNike P 401:Agora XXlI, p. 62, no. 152, pls. 28, 78 Smallbird flying left P 401,P 7001:Agora XXII, p. 62, nos.152, 154,pls. 28, 78 (thelatter signed B6(v°S) Rimpattern P 18654,P 18646:Agora I, p. 59, nos.125, 130, pls. 24, 25

Theflying Eros on the new fragment is notparalleled within the Work- shopof Bion,but precisely the samefigure, at a smallerscale, appears on bowlsof Class1.55 Contexts suggest that bowls of Class1 arelater than thoseof theWorkshop of Bion,dating in the secondquarter of the 2nd century.They shareseveral motifs with the earlierworkshop, but in all casesat a smallersize, showing that Class 1 is derivativefrom the Work- shopof Bion.56Thediscovery ofthe Erosmotifat larger size in theoeuvre of theWorkshop of Bionprovides another example of the relationship. Moreimportantly, however, the newbowl is signed.The makerin- scribedhis namelightly in the mold,so thatit appearsin verylow and delicaterelief on the bowl,barely visible except in rakinglight. This ex- plainshow the fragmentescaped inventory at the timeof discovery.As is normalon moldmadebowls, the nameis givenin the genitive:'Apy£ov. The handappears to be differentfrom the one thatsigned two bowls of thisworkshop with the name Bion,s7 demonstrating that at least two crafts- menworked there, probably at aboutthe sametime. Severalindividuals named Apy£oS are knownfrom Hellenistic Athens.58The namecould also, however, be anethnic, and in thisconnec- tion it is worthnoting that there is an Argiveworkshop that produced bowlswith marked similarities to thoseproduced by the Attic Workshop of Bion.Gerard Siebert has described the outputof anArgive shop that signsits workwith a complexmonogram (henceforth, the Argive Mono- gramWorkshop).59 Byhis estimation, it is theearliest of theArgive workshops,commencing production around 220, and therefore about contem- porarywith the Workshop of Bion.60It employssome motifs that are so closelysimilar to thoseused by the Athenianshop that they can only be explainedby mechanicalcopying or sharedstamping devices. The bird

55. P 589, P 9849,P 25444: pp.59,62, nos.124,152,pls.24,28, Bionwith P 23606 [p.63, no. 157, Thompson1934, pp. 378-379, D 34, 78] fromthe Workshop of Bionwith pls.29, 79] of Class1); Eros on a goat fig. 65;Agora XXlI, p. 61, no. 143, P 13684[p. 61, no.144, pl.27] of (cf.P 8101 [AgoraXX1I, p. 64, no.169, pl. 26 (atfar left andright in the pho- Class1); Athena Parthenos medal- pl. 31] of theWorkshop of Bionwith tograph),and no. 145,pl. 27 Gustright lion (cf.P 18662[Agora XXlI, p. 56, P 12062,P 23606 [pp.62-63, nos.156, of centerin the photograph).The Eros no.104, pls.18,98] of theWorkshop 157,pls. 29, 78] of Class1). on bowlsof Class1 measures2.5 cm of Bionwith P 12068[p. 68, no.208, 57. P 7001,P 20190:Agora XXII, fromtoe to head,as opposedto 2.8 cm pl.41] of Class1); frontal Nike (cf. pp.62, 64, nos.154, 168,pls.28,31, 78. on the fragmentunder consideration P 401 [AgoraXX1I, p. 62, no.152, 58. Osborneand Byrne 1994, s.v. here. pls.28, 78] andthe fragmentpub- 'A y o 56. ForClass 1, seeAgora XXII, lishedhere, both of theWorkshop of 59. Siebert1978, pp.50-63. The p. 30.The othermatching motifs of Bion,with P 9849 [p.61, no. 143, monogramcannot be readwith certain- differentsizes that support the rela- pl.26] of Class1); Eros on a panther ty,but it cannotrepresent either of the tionshipare the gorgoneionmedallion (c£ P 16208[Agora XXlI, p. 63, namesin questionhere (Argeios, Bion). (c£ P 11426,P 401 [AgoraXXlI, no. 163,pl.30] of theWorkshop of 60. Siebert1978, p.170. 43o MARK L. LAWALL ET AL.

flyingleft that occurs on thefragment published here and on manyother bowlsfrom the sameshop is veryclose to a birdfound on bowlsof the ArgiveMonogram Workshop (but not on otherArgive bowls).61 The ram- pantgoats common within the Workshop of Bionare also closely similar to thoseon Argivebowls.62 Charles Edwards, who examinedand mea- suredAttic and Argive fragments with the birdmotif, reported that the Argivemotif was smaller than, and thus derivative from, the Atticone.63 Thereare also compositionalsimilarities between the Argiveand the Atticbowls: unlike other Argive workshops, but similarlyto the Work- shopof Bion,bowls of theArgive Monogram Workshop display a single rowof figuresabove a leafycalyx and, also like bowls of Bion'sworkshop, the pointsof the guillocheof the rimpattern are almost always oriented to theright. It is clear,then, that there was a closerelationship of somesort be- 61. Siebert1978, pp.53,354-356, tweenthe Argive Monogram Workshop and the Attic Workshop of Bion. 359, nos.M 45, M 50, M 55, M 87, The reducedsize of thebird motif in theArgive repertoire shows that the pls.27,28,30. Argiveshop borrowed motifs from the Attic one. The Apy£cossignature, 62. Cf. P 18666(Agora XXII, p. 56, however,invites filrther speculation. What lies behindthe nameis diffi- no. 105,pls. 18,75, Athens,Workshop cultto say-an Argivemetic, perhaps, or a familywith ties in the Pelo- of Bion)and Siebert 1978, pp.57,357, nos.M 67, M 68, pl.29 (Argos,Mono- ponnesiancity. Such a person,having established his businesswith some gramWorkshop). successin Athens,may then have used familial connections in Argosto set 63. Edwards1986, p.397, fig.1. upanother there. Whoever owned the Workshop of Bion,he was remark- 64. Massa1992, passim, with ablyentrepreneurial. A workshop on the islandof Lesbosalso manufac- commentson pp.243-244;Rotroff turedbowls closely similar to thoseof theAttic shop, of whichit is likely 1994,pp.578-579. to havebeen a branch.64This degree of enterprise,unusual for the middle 65. Forexample, the establishment of subsidiaryworkshops at Pisa,Lyon, yearsof theHellenistic period, anticipates by over a centuryand a halfthe andEphesos by manufacturersof internationalmanufacturing networks that were to be establishedby Ro- Arretinepottery (Zabehlicly- manpotters in the earlyyears of the Romanempire.65 Scheffenegger1995). NOTES FROM THE TINS 2 43I

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. 1946."TheRectangular Rock- la ceramiquebyzantine (BCH Suppl. Zabehlicky-Scheffenegger,S. Cut Shaft:The UpperFill," 18),V. Deroche and N.-M. Spieser, 1995."Subsidiary Factories of Hesperia15, pp.265-336. eds.,Paris, pp. 247-257. ItalianSigillata Potters: The vanDoorninck, F. H. 1989."TheCar- Vermeule,E. 1969."SomeErotica in EphesianEvidence,' in Ephesos: go Amphorason the 7th-Century Boston,"AntK 12, pp. 9-15. Metropolisof Asia, H. Koester, YassiAda andllth-Century SerSe Young,R. S. 1939.Late Geometric ed. (HarvardTheological LimaniShipwrecks: Two Examples Gravesand a SeventhCentury Well Studies41), ValleyForge, of a Reuseof ByzantineAmphoras in theAgora(Hesperia Suppl. 2), pp.217-228. asTransport Jars," in Recherchessur Princeton.

MarkL. Laivall UNIVERSITYOF MANITOBA DEPARTMENTOF CLASSICS WINNIPEG,MANITOBA R3T 2M8 CANADA [email protected]

AudreyJawando FREDERICKLAW OLMSTED NATIONAL HISTORIC SITE 99 WARRENSTREET BROOKLINE,MASSACHUSETTS 02445 [email protected]

KathleenM. Lynch UNIVERSITYOF CINCINNATI DEPARTMENTOF CLASSICS P. O. BO X 2 I O2 2 6 CINCINNATI,OHIO 4522I kathleen.lynch@uc. edu

John K. Papadopoulos UNIVERSITY0F CALIFORNIA,LOS ANGELES DEPARTMENTOF CLASSICSAND THE COTSENINSTITUTE OF ARCHAEOLOGY A2IO FOWLER LOSANGELES, CALIFORNIA 90095-I5IO [email protected]

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