Greek Pottery from c. 1000 to c.

400 BCE provides not only some of the most distinctive vase shapes from
antiquity but also some of the oldest and most diverse representations of the cultural beliefs and practices of the
ancient Greeks. Further, pottery, with its durability (even when broken) and lack of appeal to treasure hunters, is
one of the great archaeological survivors and is, therefore, an important tool for archaeologists and historians in
determining the chronology of ancient Greece. Whatever their artistic and historical value though, the vast
majority of Greek vases, despite now being dusty museum pieces, were actually meant for everyday use and, to
paraphrase Arthur Lane, it is perhaps worth remembering that standing on a stone pavement and drenched with
water, they would have once gleamed in the Mediterranean sun.

MATERIALS & PRODUCTION

The clay (keramos) to produce pottery (kerameikos) was readily available throughout Greece, although the finest
was Attic clay, with its high iron content giving an orange-red colour with a slight sheen when fired and the pale
buff of Corinth. Clay was generally prepared and refined in settling tanks so that different consistencies of
material could be achieved depending on the vessel types to be made with it.

Greek pottery was invariably made on the potters wheel and usually made in separate horizontal sections: the
foot, the lower and upper body, the neck, and finally the handles, if necessary. These sections were then joined
together with a clay slip after drying and it is possible in many cases to see the prints of the potter impressed
on the inside of the vessel. The piece was then put back on the wheel to smooth the join marks and add the final
shaping. Therefore, all vases were unique and the small variations in dimensions reveal that the use of simple
tools and not cut-out templates was the norm.

Next, the pot was decorated. This process depended on the decorative style in vogue at the time, but popular
methods included painting the whole or parts of the vase with a thin black adhesive paint which was added with
a brush, the marks of which remain visible in many cases. This black paint was a mix of alkali potash or soda,

clay with silicon content, and black ferrous oxide of iron. The paint was affixed to the pot by using a fixative of
urine or vinegar which burned away in the heat of the kiln, binding the paint to the clay. Another technique, used
more rarely, was to cover the vessel with a white clay paint. Alternatively, only lines or figures were added in
black using a thicker version of the black paint mentioned above and applied with a stiff brush or feather; in
consequence, a slight relief effect was achieved. Minor details were often added with a thinned black paint giving
a yellow-brown colour, a white pipe-clay, and a dark red of ochre and manganese. The latter two colours tended
to flake off over time.