AGGELI Red-Figure Pottery of Ambracia

The Regional Production
of Red-figure Pottery:
Greece, Magna Graecia and Etruria
Edited by Stine Schierup
& Victoria Sabetai
Aarhus University Press

The Regional Production
of Red-figure Pottery:
Greece, Magna Graecia
and Etruria
© Aarhus University Press and
the authors 2014.
Gösta Enbom
Monographs
General editor:
Bodil Bundgaard Rasmussen.
Amphora attributed to the painter
Editorial board:
Syriskos, Athens 500-470 BC,
Mark L. Lawall, John Lund,
Collection of Classical and Near
Dyfri Williams
Eastern Antiquities, The National
Gösta Enbom Monographs is Museum of Denmark, i.n. Chr.
a peer reviewed series. VIII 320.
Published with support

from The Foundation of
Consul General Gösta Enbom.
Graphic design:
Nina Grut, MDD.
Printed at Narayana Press.
Typeset with Stone Serif

and Stone Sans.
ISBN 978 87 7124 393 2

ISSN 1904-6219
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Front cover:
Boeotian red-figure pyxis. Athens,
Moutoussi collection (Photo:
I. Miari. Photo courtesy: Hellenic
Ministry of Culture and Sports/
Archaeological Receipts Fund).
Back cover:
1) Boeotian krater, Thebes
Museum, inv. 42759 (Photo:
J. Fappas); 2) Siceliot lekanis,
(Photo courtesy: Museo
Archeologico Regionale
‘Paolo Orsi’, Syracuse).
Table of Contents
5 Per Kristian Madsen 191 Stine Schierup
Preface Patterns of Use in Early Metapontine Red-figure
Pottery: Distribution, Shapes and Iconography
7 Victoria Sabetai & Stine Schierup
Introduction 217 E. G. D. Robinson
The Early Phases of Apulian Red-figure
13 Victoria Sabetai
Sacrifice, Athletics, Departures and the Dionysiac 235 Sebastiano Barresi
Thiasos in the Boeotian City of Images Sicilian Red-figure Vase-painting: The Beginning,
the End
39 Kyriaki Kalliga
A New Red-figure Kantharos by the Argos Painter: 247 Marco Serino
Contextual Study of the Pottery from the Grave of The Beginnings of Sicilian Red-figured Pottery
a Young Aristocrat at Haliartos, Boeotia and its Relationship with Early South Italian
Productions: A Reappraisal Through the Case-study
67 Alexandra Zampiti of the Himera Painter Workshop
Red-figure and its Relationship to the Black-figure
Technique in Late Classical Boeotia: The Case of 269 Claude Pouzadoux & Pierre Rouillard
the Boeotian Kalathos-pyxis and the Bilingual Vases From Imported Attic Vases to the First Regional
Productions in Sicily: The Example of Megara
81 Christina Avronidaki Hyblaea in the Fifth and Fourth Centuries
An Assortment of Bridal Images on a Boeotian
Red-figure Pyxis from the Workshop of the Painter 279 Diego Elia
of the Great Athenian Kantharos Local Production of Red-figure Pottery at Locri
Epizephyrii: A Synthesis on the Last Decade of
103 Ian McPhee Studies
Corinthian Red-figure Pottery: A Brief Survey
291 Maurizio Harari
121 Kristine Gex – with an appendix by Mariachiara Franceschini
Red-figure and White-ground Pottery from Out of the Tondo: The Exterior of the Clusium Cups.
Euboean Workshops An Iconographical Reconsideration
137 Jutta Stroszeck 303 Lisa C. Pieraccini & Mario A. Del Chiaro
Laconian Red-figure Pottery: Local Production Greek in Subject Matter, Etruscan by Design: Alcestis
and Use and Admetus on an Etruscan Red-figure Krater
157 Anthi Aggeli 311 Bibliographic abbreviations

Red-figure Pottery of Ambracia in North-western
Greece 315 Bibliography
177 Nikos Akamatis 355 List of Authors

Local Red-figure Pottery from the Macedonian
Kingdom: The Pella Workshop
introduction
Red-figure Pottery of Ambracia

in North-western Greece
B y A NT H I A G G E L I
157
The Reg i o n al P r o d u c t i o n o f Re d - f i g u r e P o t t e r y: G r ee c e , M ag n a G r ae c i a a n d E t r u r i a
Red-figure Pottery of Ambracia small squat lekythoi varying in height from 9 to 15 cm,
featuring an oval body, ring foot, strap handle and funnel-
in North-western Greece shaped mouth which flares outwards rather markedly in
the late examples of the series (see e.g. Figs. 2 and 5). Their
B y A NT H I A G G E L I decoration is standard: the neck bears tongues, the main
figure zone is bordered below by an egg-band, and the body
is decorated with figures flanked by spiral tendrils. The
INTRODUCTION iconography draws on the realm of women and is probably
Ambracia lies in north-western Greece and was founded derivative of marriage imagery. Characteristic of the group
c. 625 BC by Corinthian colonists led by Gorgos, son of is a female figure rendered in added white color, usually
Kypselos.1 The area was previously occupied by a small, seated and holding an object. The earliest examples in the
ninth-century Epirotan settlement, as attested by relics series depict two or three figures, namely two females and/
of houses built with perishable materials and a distinct or Eros. Since the squat lekythoi of the Agrinion Group are
handmade pottery. In the eighth century, pottery found numerous, form a distinct group and are better known, they
during various excavations indicates that the Corinthians will be published as a group elsewhere.7 In addition, two
established a small trading base in this area. This formed unpublished pelikai from the western cemetery of Ambracia
the nucleus for the subsequent foundation of their colony and a skyphos of Corinthian type from a house,8 all dated to
at the end of the seventh century.2 the last two decades of the fifth century and possibly of local
The Corinthian settlers founded their new city near the make, will be treated in a separate study because questions
Ambracian Gulf, at a site with considerable strategic and as to their manufacture are not yet resolved. In the present
commercial advantages.3 Built on the western foothills of paper I will limit myself to all the remaining large and
the Peranthi hill, next to the banks of the navigable river medium-sized red-figure vases that form the corpus of the
Arachthos, Ambracia controlled both the only land route fabric of Ambracia.
between southern Greece and the hinterland of Epirus and
the sea route to the Adriatic sea. It was this unique position GRAVE GROUPS AND DATES
which ultimately led to the city’s growth as an important All the red-figure vases discussed here come from graves of
political, economic and naval power in the wider region. the two cemeteries of Ambracia, which extended beyond
As early as the sixth century the Ambraciotes began the city wall along its south-western and eastern outskirts.9
to produce their own pottery, mostly undecorated one- Several, but not all, are part of grave groups with various
handled cups, small phialai with a dull brown glaze, and other co-finds which offer clues for dating.10
kotylai with painted decoration imitating Corinthian.4 In Lebes gamikos 550211 (Fig. 1a-d) was deposited in the
the course of time the local fabric flourished by absorbing cist grave XXXI of the Theodorou plot in the south-western
influences from the great pottery production centres cemetery. Its co-finds are: five red-figured squat lekythoi
of Greece (mainly Attica) and also of southern Italy. By of the Agrinion Group,12 four black-glazed (a skyphos, a
the fourth century the city’s workshops were producing stemless cup, an amphoriskos and a lekanis) and three
red-figured pottery alongside black-glaze finewares. The unglazed vases (a pyxis, an alabastron and a saucer), two
repertory of shapes of the local red-figure pottery industry is
rather limited. Small squat lekythoi of the Agrinion Group
predominate, but larger vessels were also manufactured,
such as pelikai, a few lebetes gamikoi, hydriai, an amphora,
1 Hammond 1967, 425.
a skyphos, and a lekanis lid.
2 Vokotopoulou 1982, 78-86 and 97.
Twenty-eight lekythoi from Ambracia belong to the 3 Sakellariou (ed.) 1997, 48-52, 98-100.
so-called Agrinion Group, which was first distinguished 4 Pliakou 1999.
by Ian McPhee.5 Their production in Ambracia started 5 McPhee 1979.
6 Five squat lekythoi come from cist grave XXXI of the Theodorou
as early as the beginning of the fourth century,6 and plot, which is dated to the first quarter of the fourth century: see
continued until the third quarter of the century. They are discussion below.
158
R E D - FI G UR E P OTT E RY OF A M B R A CI A IN NORT H - W E S T E RN G R E E C E
Fig. 1a. Fig. 1b. Fig. 1c.
Fig. 1d.
Fig. 1a-d. Ambracia. Theodorou

plot, cist grave XXXI. Lebes
gamikos 5502 (Photo: S.
Stournaras (Fig. 1a-c). Photo
courtesy: LG EPKA (ΛΓ΄ ΕΠΚΑ), Fig. 2. Ambracia. Theodorou plot, cist grave XXXI (Photo courtesy: LG EPKA (ΛΓ΄ ΕΠΚΑ), Ministry of
Ministry of Culture and Sports Culture and Sports). 1:4
(Fig. 1d). 1:2
7 Aggeli forthcoming. excavated in Arta in 1957, but no other data is available about
8 Andreou 1984, pl. 72.α, β; Andreou 1978, pl. 65.στ. Oakley 1988, it; lebes gamikos 3941 and hydria 10337 were recomposed from
174, n. 40 thinks that the skyphos is of local make. If these three scattered sherds; pelikai 2751a, 5493 and 5494 were placed in the
vases are local and imitating the Attic, then the production of the graves as single offerings. From all the vases discussed here, pelike
Ambracian fabric must have begun as early as the last quarter of the 5493 is the earliest, dated on grounds of style to the very end of
fifth century. the fifth century, while the other vases are of fourth century date.
9 Aggeli 2013, 179-180. 11 All inv. nos. are of the Archaeological Museum of Arta.
10 Lebes gamikos 1540 is of unknown provenience; pelike 496 was 12 Inv. nos. 4768, 4769, 4771, 4772 and 5242.
159
Fig. 3a-c.
Ambracia.
Theodorou plot,
cist grave VII.
Pelike 4787
(Photo: S.
Stournaras). 1:5.
a. b. c.
miniature lekanides and a bronze mirror (Fig. 2). The Pelike 7025 (Fig. 6a-b) was found in pit-grave XI of the
stemless cup is Attic and dates to the first quarter of the Charitou plot in the eastern cemetery, together with a
fourth century.13 Of the same date is the small saucer, partially preserved black-glazed stemless cup20 (Fig. 7).
which is similar to one from the Athenian Agora.14 The two The latter is similar to the one from the above-mentioned
miniature lekanides are Corinthian and can be compared to tomb VII, thus pointing to a date for this grave group in
a lekanis from Corinth which dates to the end of the fifth the second quarter and towards the middle of the fourth
century;15 their narrower foot, however, suggests a slightly century.
later date. The skyphos is of Attic type but of local make Skyphos 7333 (Fig. 8a-b) and the lekanis lid 7332 (Fig.
and imitative. It has a heavy torus foot, with walls tapering 9) were found together with three squat lekythoi of the
towards the base and triangular handles attached a little Agrinion Group21 in a burnt layer which contained many
below the lip. Parallels in the Athenian Agora suggest a date coals and sherds. All these ceramics were deposited on the
of 400-375 BC.16 On the basis of the above, grave XXXI and cover slab of cist grave XX of the Theodorou plot in the
its lebes gamikos 5502 can be dated to the first quarter of south-western cemetery after the funerary ceremony. The
the fourth century. ashes of this grave’s dead occupant were put in a bronze
Pelike 4787 (Fig. 3a-c) was found in the cist grave VII hydria, which was placed together with the small red-
of the Theodorou plot in the south-western cemetery. It figure amphora 5689 (Fig. 10a-b) in the tomb’s interior.
was used as a funerary urn, as were all the other red-figured The bronze hydria, which dates to the end of the fifth
pelikai presented here. Its co-finds are: the red-figure hydria century,22 must have been a valuable item of the household
9427 (Fig. 4), two squat lekythoi of the Agrinion Group,17 and possibly an heirloom before ending up as a funerary
and a partially preserved black-glazed stemless cup18 (Fig. urn. Thus the date of this grave group relies mainly on the
5). The latter, locally made, can be compared to the above- red-figure vases and falls in the third quarter of the fourth
mentioned Attic stemless from grave XXXI dating to 400- century.
375 BC.19 Its shallower body, rudimentary base and very
elevated, thin handles, however, point to a later date in SHAPES AND FORMS
the second quarter and towards the middle of the fourth The dates provided for the red-figure vessels by the
century. external evidence of their co-finds can be confirmed by
160
Fig. 4. Ambracia. Theodorou plot, cist grave VII. Hydria 9427 (Photo courtesy: LG EPKA (ΛΓ΄ ΕΠΚΑ), Ministry of Culture and Sports). 1:4.
the morphological analysis of their shape or form and by

comparison with the series of Attic vessels which develop
from stout to slender.
Predominant among the large and medium-sized red-
figure vases of Ambracia are the pelikai. The evolution of
this shape is known from the Attic series: the mouth, rather
narrow before 450 BC, gradually becomes wider and in
the fourth century ends up wider than the foot and often
with an overhang.23 From the mid-fourth century onwards
the vessel’s vertical axis is emphasised, the neck becomes
taller, and the diameter of the foot and the belly gradually
narrows to make the vases look slenderer. By the end of the Fig. 5. Ambracia. Theodorou plot, cist grave VII (Photo courtesy: LG EPKA
century the foot diameter is rather small. The majority of (ΛΓ΄ ΕΠΚΑ), Ministry of Culture and Sports). 1:2.
the Ambracian pelikai display features that align them with
examples dating to the first half of the fourth century. Their
mouth is wider than their foot, while the diameter of their
belly remains rather big. Pelikai 5493 (Fig. 11a-b) and 496 13 Inv. no. 4766. Cf. Sparkes & Talcott 1970, 271, pl. 23, no. 514.
(Fig. 12a-b), with a short, broad neck and handles that do 14 Inv. no. 5325. Cf. Sparkes & Talcott 1970, 347, pl. 69, no. 1575.
not reach the mouth, may count as the earliest in the series, 15 Inv. nos. 4762 and 5237. Cf. Blegen, Palmer & Young 1964, 146-
147, fig. 17, pl. 67, no. 427-15.
with pelike 5493 being slightly earlier, on grounds of style,
16 Inv. no. 4767. Cf. Sparkes & Talcott 1970, 260, pl. 16, no. 349.
and dated to the end of the fifth century. Pelikai 2751a (Fig. 17 Inv. nos. 4757 and 4758.
13a-b), 4787 (Fig. 3a-c) and 5494 (Fig. 14a-b) look more 18 Inv. no. 9426.
slender, as their neck is taller. They are equipped with a 19 See n. 13, above.
20 Inv. no. 10485.
vertical overhang which in pelike 4787 is slightly bevelled, 21 Inv. nos. 9293, 9295 and 9425.
suggesting a date around the middle of the fourth century. 22 For the shape see Diehl 1964, 29-30, pl. 7.4, no. Β100.
The latest is pelike 7025 (Fig. 6a-b), which is even slenderer, 23 Moore 1997, 12.
with narrow belly and foot and bevelled overhang, all
features pointing to a date right after the middle of the
fourth century.
The small amphora 5689 (Fig. 10a-b) has its maximum
diameter at the shoulder, while its body tapers strongly
161
towards the base. Its neck is tall and wide, its broad is replete with nuptial meaning as it is associated with the
horizontal rim is notched to accommodate a lid, its foot is anakalypteria, the ritual unveiling of the bride.29 A woman
two-stepped and its handles are twisted. Similar vessel forms in peplos rushing towards the bride with outstretched arms
are known in the red-figured pottery of Sicily and Campania may be an attendant. The nuptial character of the scene is
and are dated to the third quarter of the fourth century.24 enhanced by a small Eros flying in front of the bride. On the
The two hydriai 9427 (Fig. 4) and 10337 (Fig. 15a-c) reverse (Fig. 16c), the bride looks at herself in a mirror.30 A
have a continuous contour from rim to foot and a body woman in peplos before her brings in a sash31 and a round
that tapers strongly towards an elaborate two-stepped foot. object, possibly a fruit,32 while an attendant rushes off,
Similar Attic hydriai are dated to the middle of the fourth looking back and bearing a casket.33 Winged females, one
century.25 carrying a casket and a sash, decorate the handle areas,
The three lebetes gamikoi 1540 (Fig. 16a-d), 3941 thus linking spatially the scenes of the vase’s two sides, as is
(Fig. 17a-b) and 5502 (Fig. 1a-d) are of Type 2, without the norm in Attic red-figure (Figs. 16b, 16d). These ‘Nikai’
stand. They feature a tall rim, narrow shoulder, oval body, have been variously interpreted as figures with apotropaic
elaborate foot, and small knobs on the shoulder and on character, as divine messengers who bless the marriage,
the top of the handles. The form of the Ambracian lebetes or as nuptial symbols of good omen.34 Sabetai interprets
gamikoi combines Attic and South Italian elements, as seen them as benevolent marriage demons, or legendary bridal
on examples from the early fourth century. In particular, attendants, figures who imply the bride’s smooth ‘flight’
their globular body and elaborate foot recalls Attic pieces to a new state of being.35 During the fourth century
of the early fourth century, whereas the shoulder-knobs is a nuptial scenes are often transferred to an outdoor setting
characteristic of South Italian examples from as early as the rather than the domestic space of the earlier imagery, as
beginning of the century.26 is suggested by the tendrils and branches sprouting from
The Corinthian-type skyphos 7333 (Fig. 8a-b) has a the ground. Still, lebes gamikos 1540 depicts also elements
deep body with curved walls and a tall conical base, while which occur often associated with women’s scenes, such as
the handle-roots are set very close together. By comparison the sakkos hanging in the background.
with Attic black-glaze parallels, it can be dated to the third Lebes gamikos 5502 depicts two women facing each
quarter of the fourth century.27 other and Eros on both sides. On the obverse (Fig. 1a),
Lekanis lid 7332 (Fig. 9) has slightly curved walls, rim two women, one seated and one crouching, extend their
at a right angle to its walls and a flat knob with a small
depression at the centre, elements which suggest a date in
the late fourth century.28
24 LCS Suppl. 3, 110, no. 143; LCS, pls. 99.1,4, 115.7-8, 115.9.
ICONOGRAPHY 25 CVA Thebes 1, pls. 79-80 (350-340 BC); 81-82 (350-340 BC).
The iconography of the red-figure pottery of Ambracia is 26 Sgourou 1994, 216; Cassimatis 1993, 25-26. As Cassimatis observes
for the Attic lebetes gamikoi of Type 2 ‘on ne remarque pas de
typical of the late classical period. Most scenes are inspired
décor plastique, ni sur l’épaule... ni sur les anses,’ Cassimatis 1993,
by the realm of women and marriage; there exist also 36.
Dionysiac images as well as depictions of animals on the 27 Sparkes & Talcott 1970, 258, pl. 15, nos. 326-327. For Attic red-
vase lids. figured skyphoi of Corinthian type see Oakley 1988. For locally
made black-glaze skyphoi of Corinthian type, particularly popular in
Marriage scenes decorate all three lebetes gamikoi Ambracia, see Andreou & Andreou 1997, 86, pl. 67.α.
presented here. On both sides of lebes gamikos 1540 are 28 For the development of the lekanis lid see Sparkes & Talcott 1970,
depicted nuptial scenes, a popular theme which derives 167-168.
29 For the ceremony of anakalypteria see Reeder (ed.) 1995, 125;
from the Attic red-figure iconographic repertory. On both
Sutton 1989, 357-358; Αvronidaki 2007, 119, n. 728 with
sides the bride is represented seated at the centre of the bibliography.
scene and distinguished from the other figures by the use 30 Mirrors occur often in scenes of wedding preparation; they are held
by the bride, the attendants and/or Eros: CVA Benaki 1, pls. 12-15,
of added white, which has been applied directly on the clay
17, 34-35; Moore 1997, pl. 104, no. 1084; pl. 105, no. 1104; pl.
ground. On the obverse (Fig. 16a), the bride, seated on a 106, no. 1106.
tendril, lifts her garment in the gesture of anakalypsis, which 31 The fillets, with which the bride fastened her hair or which she used
162
a. b.
Fig. 6a-b. Ambracia. Charitou plot, pit-grave XI. Pelike 7025 (Photo: S. Stournaras). 1:3.
Fig. 7. Ambracia.
Charitou plot, pit-grave
XI (Photo courtesy:
as a belt, have a special role in the wedding imagery. Belts were a LG EPKA (ΛΓ΄ ΕΠΚΑ),
symbol both of virginity and of erotic encounter and occur in the Ministry of Culture and
hands of Eros or bridal attendants. They may be offered to the bride Sports). 1:2.
or hang in the background, thus emphasizing the festive character
of the wedding scene. They may also be associated with baskets,
lekythoi, or may adorn the loutrophoroi, containers of the nuptial
bath-water. For the role of fillets in wedding imagery see Reilly 1989,
418-419; Sabetai 1993, l, 122; Sabetai 1997, 328. For types of fillets
see Krug 1968. For the bridal belt see Avronidaki 2007, 120, n. 740.
32 Fruits were offered to the bride as symbols of fertility and prosperity,
although the theme is rather rare in iconography: Sutton 1989,
355; Vérilhac & Vial 1998, 337-348. 2007, 138, n. 932. For their role in Attic and South Italian nuptial
33 The caskets, offered to the brides by their attendants in marriage iconography see Brümmer 1985, 134-151; Reilly 1989, 421.
scenes, contained items related to their embellishment, such as 34 For discussion regarding winged figures in nuptial imagery see
jewellery, mirrors, fabrics, or precious objects, such as coins. For the Kavvadias 2000, 124.
caskets and their contents see Brümmer 1985, 94-104; Avronidaki 35 CVA Benaki 1, text to pls. 20-23 [V. Sabetai]; Sabetai 2008a, 296.
163
a. b.
Fig. 8a-b. Ambracia. Theodorou plot, cist grave XX. Skyphos 7333 (Photo: S. Stournaras). 1:2.
Fig. 9. Ambracia. Theodorou plot,

cist grave XX. Lid of lekanis 7332
(Photo: S. Stournaras). 1:2.
hands towards one another. The bride should probably
be identified with the left-hand one, who wears a dotted
chiton and himation and to whom Eros offers a bird. The
right-hand woman wearing a chiton may be her attendant.
On the reverse (Fig. 1c), both women are seated and wear
a chiton and a dotted himation. The bride is probably the
left-hand figure, who receives an Eros with outstretched
arm. The handle areas depict a nude youth facing to right
and standing in front of an altar or a rectangular column
(Fig. 1b).36 The association of this figure with the vessel’s
two sides is not easily explained, but since the content
of the image is nuptial, he may stand for the future a woman holding a ball (?) sits on a spiral, regarded by
bridegroom. In the background of both sides are depicted a female attendant. A flying Eros touches the standing
branches and wreaths made of myrtle, the sacred plant of woman’s chin between the two, and a dove flies behind
Aphrodite.37 the seated one. On the reverse (Fig. 10b), a woman sits on
The scenes of lebes gamikos 3941 are preserved an imaginary seat and leans on a tympanon while looking
fragmentarily. On the obverse (Fig. 17a), the woman on back at a standing attendant, who offers her a half-open
her chair must be the bride, who is attended by a woman casket.39 Between them flies a dove and on the ground there
performing the anakalypsis gesture. Between the two flies is a thymiaterion. Such depictions are usually called ‘mistress
Eros. The reverse depicts a seated bride and her standing and maid,’ a term coined by Beazley,40 but Reilly proposed
attendant, while between the two there is a bird.38 that this type of scene is associated with the iconography of
Both sides of amphora 5689 bear a scene with both a marriage and refers to the preparation of the bride.41
seated and a standing woman. On the obverse (Fig. 10a), Wedding scenes are also depicted on both sides of pelike
164
a. b.
Fig. 10a-b. Ambracia. Theodorou plot, cist grave XX. Amphora 5689 (Photo: S. Stournaras). 1:2.
36 For youths near low stelai or altars, especially popular in South 39 For the type of the seated bride looking back at her attendant see,
Italian iconography and related by some to the palaestra see e.g., CVA Benaki 1, pl. 34.3; CVA Leiden 4, pl. 119; pl. 16.2. For the
Cassimatis 1991. caskets in marriage scenes see n. 33, above.
37 For wedding wreaths made of myrtle see Sutton 1981, 208-209. 40 For the use of the term by Beazley and a catalogue of such scenes
For ointments and perfumes made of myrtle which were used in see Webster 1972, 226-243.
the wedding ceremony see Reeder (ed.) 1995, 174. 41 Reilly 1989.
38 Birds, symbols of feminine grace and tenderness, occur in scenes
related to the gynaikonitis, or the wedding ritual. They may be gifts
offered by men to women: see Sutton 1981, 329-331; Böhr 1997;
Kauffmann-Samaras 2003; Lewis 2002, 159-166.
165
Fig. 11a-b. Ambracia. Pelike 5493

a. b.
496. On the obverse (Fig. 12a), a woman offers a casket to bride must be the woman on the right side of the frieze, to
another, centrally placed and seated on a chair in a posture whom Eros offers a myrtle wreath.
that recalls the cult statue of Aphrodite in the Gardens.42 The obverse of skyphos 7333 (Fig. 8a) features a woman,
This posture is also used by painters as the standard type probably a bride, sitting on a spiral and performing the
that denotes the bride in Attic red-figure iconography.43 anakalypsis gesture, while a bird is depicted with open
Behind her a standing woman wearing peplos and sakkos wings perching on her outstretched palm. She is bejewelled
lifts her garment in a gesture related to the unveiling of the with diadem, necklace and bracelet. On the reverse, a
bride: she is therefore a nuptial attendant. woman who leans forward with one arm raised in greeting
A seated woman in a similar posture is depicted at the while her leg rests on an imaginary rock (Fig. 8b) may be
centre of the pelike’s reverse (Fig. 12b). A young man is identified as her attendant.
bowing towards her with outstretched arms, while between The scenes on the above-mentioned vessels are generic
the two there is a Maltese dog, a pet of the house.44 Behind with wedding overtones and are related to nuptiality and
him stands a woman, performing the anakalypsis gesture. marriage. The single figures are excerpted from larger
If the scene has a nuptial character, as suggested by the scenes which were popular in Attic fifth century wedding
posture of the seated woman and the gesture of unveiling, iconography.48 Although Attic scenes of nuptial preparation
then the male figure is no other than the groom himself. are multi-figured and usually depict the offering of toiletries
The female realm is reflected also in the scenes of pelike and gifts,49 our Ambracian images tend to be generic, and
5494, which are almost identical: a woman in chiton sits rather than a specific moment of the wedding ritual, they
on a large chest and holds a mirror on the obverse (Fig. depict an idealised image of the marriageable maiden,
14a) and a thyrsos on the reverse (Fig. 14b).45 The women’s whose virtues (such as grace, beauty and eroticism) are
chitons feature a neckline of a thick horizontal black line, highlighted.50 This kind of female iconography derives from
below which small vertical ones are attached to form a kind Attic art and in the course of time becomes progressively
of tongue motif.46 standardised. It has a long afterlife in the fourth-century
Of presumably nuptial character is also the scene on Ambracian production centres and elsewhere. Characteristic
the fragmentary hydria 9427 (Fig. 4). On its shoulder are of the regional painters is their fondness for situating their
preserved the heads of two women and a small Eros. The bridal figures in an idyllic natural environment.51
166
c.
Fig. 12a-c. Ambracia. Pelike 496

a. b. (Photo: S. Stournaras). 1:5.
Besides themes from the world of women, the pelikai of 1993, 28-30 and 44-47; Sabetai 1993, l, 32-33.
44 For similar dogs on Attic red-figure choes see Moore 1997, pl. 77,
Ambracia also bear other scenes that occur commonly in
n. 735; pl. 81, n. 782.
the Attic late classical iconographic repertory. Three pelikai 45 Mirrors occur often in gynaikonitis scenes, while the thyrsos belongs to
depict scenes related to the Dionysiac cycle. On the obverse the realm of Dionysos and his female followers, the Maenads. For the
of pelike 7025 (Fig. 6a), Dionysos, holding a thyrsos, sits latter see LIMC VIII, Suppl. (1997), s.v. Mainades [I. Krauskopf- E. Simon].
46 Similar borders occur commonly on Attic vases of the Telos Group,
at the centre among members of his thiasos. The god is c. 380-350 BC. They also occur on vases from Lucania: LCS, pls.
beardless, as usual in fourth-century imagery, and wears 61.2, 62.4, 63.3-4, 63.5-6 and from Campania: LCS, 195, e.g. pls.
a long, patterned chiton. Before him stands a Maenad in 78.4, 80.1, 83.2-3, 85.5.
47 For wedding wreaths made of myrtle see n. 37.
patterned peplos carrying a fillet and a tray with offerings
48 For the morphology and meaning of scenes with women at their
(?).52 Behind him another Maenad in short chiton holds wedding preparation see bibliography in CVA Benaki 1, text to pl.
a tympanon adorned with a star,53 and on the ground lies 10 [V. Sabetai].
49 For the iconography of the wedding and related problems of
a horn, a common element of Dionysiac scenes. On the
interpretation see bibliography in CVA Marathon 1, text to pl. 32 [P.
pelike’s reverse (Fig. 6b), a dancing satyr plays a double-flute Valavanis]; Avronidaki 2007, 138, n. 931.
while a Maenad in patterned peplos and tympanon rushes 50 Sgourou 1997, 76; Kavvadias 2000, 124 with bibliography; Sabetai
off while looking back at him. Between the two grows an 2008a, 296.
51 Sabetai 2006b, 20.
elaborate vine laden with grapes and on the ground lies, 52 For scenes with Maenads holding a phiale or a dish with offerings
again, a horn.54 Some of the spheres overseen by Dionysos (usually fruits or sweets) see CVA Wien 1, pl. 9, fig. 1; CVA Wien 3,
are associated with death, the underworld, immortality and pl. 127, fig.1; pl. 132, fig. 3.
53 For Maenads with tympana in red-figure see e.g. LIMC VIII, Suppl.
(1997), s.v. Mainades [I. Krauskopf - E. Simon], nos. 13-14, 33, 38,
40, 44, 103. For the role of the tympanon in the Dionysiac cult see
Avronidaki 2007, 115, n. 683, with bibliography. Maenads in short
chitons and tympanon appear in South Italian Dionysiac scenes:
42 For this seated figure-type as a reflection of Aphrodite in the e.g. LCS, pl. 58; RVAp, pl. 33.3.
Gardens see LIMC II (1984), 90, s.v. Aphrodite [A. Delivorrias]. 54 The vine is a symbol of continuity beyond death from the archaic
43 For brides in this posture see Sutton 1981, 164-189; Oakley & Sinos period onwards: Isler-Kerényi 2004, 63-82.
167
Fig. 13a-b. Ambracia. Pelike

2751α (Photo courtesy: LG EPKA
(ΛΓ΄ ΕΠΚΑ), Ministry of Culture
and Sports). 1:4.
a. b.
a happy afterlife.55 If so, the Dionysiac theme is appropriate Ariadne became a very popular theme from the late fifth
for pelikai such as this one, which was used as a grave century onwards and particularly during the fourth century,
gift. It should be noted that Dionysiac themes expressing when the Cretan princess is depicted as the god’s bride,
notions of bliss became quite popular during the fourth often minus Dionysos himself. Ariadne gained immortality
century and may have had a special meaning in funerary through her union with the god. The hierogamia scenes
contexts.56 which became so popular in the vase-painting of this period
Members of the Dionysiac thiasos appear as sole figures, may allude to notions of the eternal union of the mortal
as is the case with the satyr of pelike 2751a (Fig. 13a). He and immortal components of the soul, as well as a mystical
stands with one leg relaxed, holding a thyrsos, and is naked vision of the bliss to be enjoyed in the afterlife.58
and bearded. In front of him there is a low altar on a base The reverse of this same pelike (Fig. 11b) depicts a
which situates the scene in a sacred precinct of Dionysos.57 victorious youth. He is naked, wears a wreath on his hair,
A scene from the Dionysiac realm is also depicted and holds branches in his right hand. His nudity suggests
on the obverse of pelike 5493 (Fig. 11a). Here, a woman that he was a victor in athletic games. Two Nikai carrying
wearing patterned chiton and jewellery (diadem, earrings, branches fly to greet him with raised hands. Scenes
necklace and bracelet) sits on an imaginary seat in the depicting the throwing of fillets, leaves, branches and
relaxed posture typical of the brides and performs the wreaths to victorious athletes appear in Attic iconography
anakalypsis gesture. An attendant in patterned chiton offers from 540 BC onwards, and continue until the first decades
her a necklace, while behind her stands a thyrsos-bearing of the fourth century.59 The presence of the Nikai ascribes a
woman. The woman at the centre is identified by posture, symbolic and heroic character to the athletic scenes.60 It has
gesture and adornment as the bride. Still, as the thyrsos- been suggested that vases featuring such scenes with Nikai
bearer places the scene in the realm of Dionysos, the bridal allude also to a victorious existence in the afterlife.61 If so,
figure may be identified as Ariadne. The depiction of trees the theme is appropriate for pelikai such as ours which were
and plants places the scene outdoors, where the Dionysiac used as grave-offerings.
cult took place. The sacred marriage of Dionysos and A stock scene which is typical for the reverse of pelikai
168
Fig. 14a-b. Ambracia. Pelike 5494

a. b.
and other vessel-types in Attic and South Italian vase-

painting of the late fifth and fourth century appears on the 55 See recently Κefalidou 2005-2006. For Dionysos generally see LIMC
III (1986), s.v. Dionysos [C. Gasparri].
reverse of pelike 4787 (Fig. 3b), namely two mantled youths 56 CVA Benaki 1, text to pls. 45-46 [V. Sabetai].
facing one another.62 Here they are standing still without 57 For altars in similar scenes see e.g., CVA Benaki 1, pls. 47, 48, 51.
any attributes, but elsewhere they are associated with some 58 CVA Benaki 1, text to pls. 41-42, 45-46, 47, 48, 51-52 with
bibliography [V. Sabetai].
object such as a strigil, a discus or an aryballos, marking the
59 Κ efalidou 1996, 54-60; 73-76.
scene in general as ‘athletic’.63 60 Κefalidou 1996, 159.
A mantled figure is also depicted on the reverse of 61 Valavanis 1989, 296.
62 For the typology of mantled males in Attic red-figure vase-painting
pelike 2751a (Fig. 13b), but this is a mature man, for he
see Hollein 1988, 17-69 and in the early Apulian vase-painting,
is bearded and holds a stick. The depiction of only one RVAp, pl. 97. For an interpretation of the mantle-figures in the late
mantled male on a pelike is unusual, as the norm is for two Classical imagery see Langner 2012a.
or three figures; single ones occur on smaller vases, such as 63 For the origin of the mantled youths from palaestra scenes see
Schefold 1934, 146.
skyphoi. A discus behind the figure situates the scene in the 64 A similar youth protome with a conical pilos appears on the neck of
palaestra. an amphora from Campania, LCS, 267, pl. 107.5 and on a krater
The obverse of pelike 4787 (Fig. 3a) depicts the protomes from Apulia, RVAp ll, pl. 257.7. Men with conical piloi appear on
vases from Lucania, LCS, pl. 19 and Campania, LCS, pls. 129.5-8,
of a facing male-female couple. The woman, richly
157.3, 169.1. The conical pilos is also attested on a Boeotian grave
adorned with an elaborate diadem and earrings in the stele that depicts the dead in heroised manner: Sabetai 2012a, 95-
shape of an inverted pyramid, performs the anakalypsis 96, fig. 17.
65 Sgouropoulou 2000, 213-229.
gesture. The beardless male wears a conical pilos, fastened
66 LIMC II, 1984, s.v. Aphrodite, 108-113 [A. Delivorrias]; Pingiatoglou
with a strap under his chin.64 Female head-protomes appear 2004.
quite often on Attic and South Italian red-figure vases.65 67 See CVA Benaki 1, text to pl. 50, with bibliography [V. Sabetai].
In some cases they are combined with the imagery of
Aphrodite and are interpreted as depicting the anodos
of the goddess,66 while in other contexts they are seen
as protomes of deities (Persephone, Artemis, Athena,
Ariadne or Selene).67 According to another interpretation,
the isolated head is just an abbreviation for the entire
169
human figure, and therefore does not carry any specific

mythological meaning.68 The pair of male-female protome
on pelike 4787 is rare and is known only from a few
vases from Campania.69 The anakalypsis gesture and the
adornment with jewellery make the female protome a bride
and, consequently, the male facing her a bridegroom.
A female bust occurs also on the shoulder zone of hydria
10337 (Fig. 15c). This is combined with three male-female
couples in erotic embrace (Figs. 15a-b) decorating the
vessels’ body. The central couple features a woman sitting
on her consort’s lap, while the other pairs are standing. All
three men are half-naked, while all women wear chitons,
himatia and sakkoi on their head. Under one of the handles
is depicted a semi-nude dancing woman whose chiton
covers only her lower body (Fig. 15b).70 A similar figure
would have been depicted under the hydria’s other handle,
but only a small part of her has survived. The presence
of the erotically embracing couples in the hydria’s main
decoration probably enhances the interpretation of the
female bust on its shoulder as depicting the anodos of a.
Aphrodite. This is flanked by two panthers, and a siren
facing a panther and a sphinx facing a goose are also
depicted in the same frieze (Fig. 15c).71 Both these demonic
creatures are associated with the world of the dead, the long neck. The animal with the strong body, small ears and
sphinx as a symbol of death and passage to another small triangular snout in front of the swan may be a dog,
world, the siren as mourning attendant. As such they are who is about to chase a hare with long hind legs and ears.
appropriate on a vase which was used as a grave gift. The latter flees towards a stylised flower (?) which denotes a
Two female protomes appear on lekanis lid 7332 (Fig. landscape.76
9). The women wear sakkoi with rows of dots and their
flesh is rendered in added white. Behind the heads appear SECONDARY DECORATION
two water-birds with short beak, open wings and two The arrangement of the secondary decoration on the pelikai
rows of dots on their feathers.72 Similar birds with dotted is typical, in that palmettes decorate the handle areas.
body, long neck and open wings appear on the lid of lebes These are usually combined with tendrils, from which other
gamikos 3941 between flowers and tendrils which allude palmettes occasionally sprout (see e.g. Figs. 3c, 14a-b).
to the natural environment (Fig. 18). The short triangular Above the figure zone is a band with different patterns for
beak of the birds leads us to interpret them as geese rather each side of the vase, which stops at the handles; the lower
than swans.73 On the other hand, the two birds with long band encircles the entire vase. The overhang of the rim is
neck and beak which appear on the lid of lebes gamikos also decorated. Similar decoration is featured on amphora
5502 (Fig. 1d) must be swans. These are under attack by 5689, whose neck is covered in bands of running spiral,
two panthers with chunky dotted body, triangular ears egg-and-dot and palmettes (Fig. 10a-b).
and small nose.74 The combination of swan and panther Palmettes on the handle areas occur also on hydriai 9427
is especially common in Attic red-figure vase-painting, and 10337, skyphos 7333 and lebes gamikos 3941 (Fig. 17b).
particularly on askoi, but also on lekanis lids.75 On the other two lebetes gamikoi, 1540 and 5502, the figure
Four animals appear on the lid of pelike 496 (Fig. 12c). zone continues under the handles (Figs. 1b, 16b and 16d), as
The feline with the dotted body and the triangular ears is the norm in Attic red-figure vase-painting.
must be a panther. In front of him there is a swan with a The most commonly found pattern of the secondary
170
c.
Fig. 15a-c. Ambracia. Hydria 10337 (Photo courtesy: LG EPKA (ΛΓ’ ΕΠΚΑ),
b. Ministry of Culture and Sports). 1:2
decoration is the egg-and-dot, which appears on almost

68 Sgouropoulou 2000, 222-229.
every vase under consideration. The tongue-band is also 69 LCS, pls. 142.3, 161.6-7, 168.7.
common, while less frequent are the running spiral, the 70 Half-naked dancers in a short chiton on an Attic lebes gamikos have
stopped meanders and the bands with leaves (laurel, myrtle been identified by Metzger as courtesans (hetairai) for Aphrodite,
while Vivliodetis interprets the scene as a wedding dance: Vivliodetis
and olive).
2008, with bibliography.
71 For a sphinx together with a female protome see Moore 1997, 285,
PAINTERS pl. 107, no. 1119 and for a sphinx together with a siren see CVA
Despite the limited number of vases under consideration Benaki 1, pls. 29-30. On sphinxes and sirens and their meaning see
LIMC VIII, Suppl. (1997), s.v. sphinx, 1149-1165 [N. Kourou et al.];
here, and the difficulty in discerning the particular stylistic LIMC VIII, Suppl. (1997), s.v. Seirenes, 1093-1104 [E. Hofstetter].
characteristics of each craftsman, an attempt may be made 72 The combination of female protomes and water-birds appears on
to assign the Ambracian vases to specific hands. Three two pyxis lids from Athens: Moore 1997, pl. 98, no. 1021; pl. 100,
no. 1044.
main painters may be distinguished, and these are given 73 Geese, as swans, were sacred birds of Aphrodite, LIMC II (1984),
conventional names associated with the mythology and s.v. Aphrodite, 4 [A. Delivorrias]. For geese between tendrils see a
history of Ambracia and its natural landmarks. They are the lekanis lid from Corinth, Herbert 1977, pl. 25, no. 150.
74 For panthers in Attic red-figure vase-painting see CVA Marathon,
Ambracia Painter, who is named after a mythic figure and
text to pls. 37.3-4 [P. Valavanis].
name-giver to the city, namely the daughter of the local 75 See, e.g. Moore 1997, pl. 107, nos. 1125 and 1126.
king Melaneus; the Melaneus Painter; and the Arachthos 76 For a dog attacking a hare on an askos from Athens see Moore
Painter, from the historically important river which flows in 1997, 289, pl. 109, no. 1154 with bibliography.
the area.
Three of the earliest vases, lebes gamikos 5502 (Fig. 1a-c)
171
a. b.
and pelikai 496 (Fig. 12a-b) and 5493 (Fig. 11a-b), are To the Melaneus Painter are assigned hydria 10337 (Fig.
ascribed to the Ambracia Painter for they feature an 15a-c) and skyphos 7333 (Fig. 8a-b), both with identical
identical rendering of drapery folds with fine and very drapery folds. Characteristic is the similarity between the
dense pleat-lines. The women’s facial characteristics on woman’s chiton on the right side of the hydria’s frieze and
these vases also display similarities in that the nose forms a the woman’s peplos on the reverse of the skyphos.
straight line with the forehead, the chin is rounded and the
eye is rendered as an angle with protruding upper eyelid, VASES OUTSIDE AMBRACIA
while its iris is a line at the open end of the angle. A red-figure oinochoe from a grave in Vitsa Zagoriou,
To the Arachthos Painter are assigned pelikai 2751a now at the Ioannina Museum,77 is probably Ambracian,
(Fig. 13a-b), 4787 (Fig. 3a-c), 5494 (Fig. 14a-b) and lekanis although this vessel-type is not known in Ambracia itself.
lid 7332 (Fig. 9). The scenes on the reverse of pelikai 2751a The oinochoe depicts a woman seated on a tendril and
and 4787 feature identical renderings in the men’s drapery flanked by floral tendrils, as is the norm in the squat
folds. Characteristic is also their handle decoration, which lekythoi of the Agrinion Group. Ian McPhee assigns to
consists of a cone-shaped flower with horizontal black lines the same hand a second oinochoe in Ferrara that Beazley
throughout its length. The women’s drapery folds on pelike attributed to the Worst Painter,78 and McPhee claims that
5494 are rendered with brown lines of diluted glaze, as is both vases were made in north-western Greece in the first
also the case with pelikai 2751a and 4787. The faces of the quarter of the fourth century and should therefore count
female head-protomes on pelike 4787 and lekanis lid 7332 as precursors of the Agrinion Group.79 The rendering of the
display further similarities with the female figures on pelike folds of the women’s drapery on these two oinochoai is
5494. Their eye is rendered as an angle with a black dot for quite distinct and recalls similar renderings in the garments
the iris; a curved line denotes the eye’s chime and a second of lebes gamikos 1540 from Ambracia (Fig. 16a-d), which
one above it the brow. The mouth is slightly open with also depicts seated woman on a tendril.
fleshy lips and the chin is rounded and accentuated. It is highly possible that three pelikai which were
172
Fig. 16a-d.
Ambracia.
Lebes gamikos
1540 (Photo: S.
Stournaras). 1:2.
c. d.
found in the wider region of Epirus also come from the figure pottery of Sicily and also of Campania from the third
workshop of Ambracia. The first, from Michalitsi, district quarter of the fourth century.84
of Preveza, features a draped woman (?) holding a strigil Regarding shared stylistic and iconographic elements,
on the obverse and a draped woman with a tympanon on the pattern at the edges of the women’s chitons on pelike
the reverse.80 Another pelike from Kerassonas, in the same 5494 (Fig. 14a-b) is characteristic of the earlier painters
district, depicts on its obverse a woman, flanked by tendrils, of the red-figure pottery of Campania, appearing also in
running to the right.81 On the obverse of the third pelike, figures of Lucanian vases.85 Another element in common
from Dourouti, district of Ioannina, a standing woman with Campanian red-figure is the appearance of the male–
offers a triangular object to a seated one, while between female head-protomes facing each other (Fig. 3a), while
the two is an Eros. Its reverse depicts two dancing women, similar protomes of a youth with a conical pilos appear on
possibly Maenads, while both sides of the vase’s neck bear an amphora from Campania and on a krater from Apulia.86
the common Ambracian motif of the seated woman flanked Attic influences in the red-figure pottery of Ambracia are
by tendrils.82
INFLUENCES FROM SOUTHERN ITALY AND ATTICA

Influences from both southern Italy and Attica may 77 Vokotopoulou 1986, B΄, pl. 7.α-β.
be observed in many cases in the red-figure pottery of 78 ARV2 1353.3.
79 McPhee 1979, 161-162, pl. 20.b-c.
Ambracia. Regarding the shape of the vases, the small knobs
80 Vokotopoulou 1970, 310, pl. 269.α.
at the height of the shoulder and on the handles of the 81 Daux 1960, 744, fig.1.
lebetes gamikoi (Figs. 1a-c, 16a-d and 17a-b) are a common 82 Andreou 2004, 563, pl. 275.β.
83 See n. 26, above.
feature of South Italian examples from the beginning of the
84 See n. 24, above.
fourth century.83 Similarly, the shape of the small amphora 85 See n. 46, above.
5689 (Fig. 10a-b) with twisted handles occurs in the red- 86 See n. 64, above.
173
a. b.
Fig. 17a-b. Ambracia. Lebes gamikos 3941 (Photo: S. Stournaras). 1:2.
attested by the form of the vases, in the stepped foot and Polystratos from Ambracia, who lived in the sixth century,
globular body of the lebetes gamikoi, the globular body and made a statue of the tyrant Phalaris of Agrigento.88 We may
vertical overhang of the pelikai, and the slightly sloping here recall that one of the reasons why Corinth chose the
walls and small cavity on the knob of the lekanis lid. area of Ambracia for the establishment of a colony was that
There are also influences with regard to the iconography, its strategic location would be appropriate for trading to
such as the figure zone that runs all around the body on the west via the sea route of the Adriatic. The relations of
lebetes gamikoi 1540 (Fig. 16a-d) and 5502 (Fig. 1a-c), the Epirus with the west are further reflected in the campaign
Nikai under the handles of lebes gamikos 1540, and the of the Molossian king Alexander against Italy in 334 BC,
compositional scheme of the nuptial scenes. after the invitation of Taranto, which was suffering under
The influences from Attica are, of course, to be expected, the attacks of Italic tribes. It is to be remembered also that
in view of the fact that imports from the Attic Kerameikos when Pyrrhos campaigned against Italy in 280 BC, he set
are known in Ambracia from the sixth century87 onwards. out from Ambracia, the capital of his state.89 With regard
Numerous finds from excavations in the city document to pottery, the impact of Gnathia ware in the Ambracian
a continuous presence of Attic vessels throughout the and other Epirotan production centres during the early
duration of the red-figure style in this period, in which Hellenistic period has already been dealt with.90 Finally, it
Attic pottery production is omnipresent and dominant in should be noted that simultaneous influences, stemming
the markets of the Greek world. Artistic relations with the from both Attica and southern Italy, are evident also on
west must have also started at an early period, as shown other regional workshops producing red-figure in the late
by literary testimonia which mention that the sculptor fifth and fourth century.91
174
Fig. 18. Ambracia. Lid of lebes

gamikos 3941 (Photo: S.
Stournaras). 1:2.
To conclude, in Ambracia one or more workshops produced

red-figured pottery under the influence of Attic and
South Italian vase-painting. The workshop had a limited
production and a lifetime from the end of the fifth century
or a little earlier to the third or the beginning of the last
quarter of the fourth century. The vessel-types are few,
and the iconographic repertory centres on specific themes
from the female and the Dionysiac realm. The Ambracian
workshops catered to local clients, while some of its
products were diffused in the wider region of Epirus.
87 See e.g. Aggeli 1997, 11-25.

88 RE XXI, 2 (1954), s.v. Polystratos, 1833-1834 [G. Lippold].
89 For the relationships of Epirus with Italy in general and especially
with Taranto see Gravani 1988/1989, 128-130, with bibliography.
90 Αggeli 2004, 556; Αndreou 2004, 568; Alexandropoulou 2004,
671-672.
91 For example in the workshop of Chalcidice: Giouri 1972.
ACKNOWLEDGMENTS
This article is based on my M.A. thesis, ‘Red-figure pottery of
Ambracia’, University of Athens, 2013. I am deeply thankful
to P. Valavanis, E. Kefalidou and V. Sabetai for their valuable
guidance and constructive criticism and especially to V. Sabetai
for reading and improving my English text. I also wish to thank
the anonymous reviewer for his/her useful comments. Any
remaining weaknesses are, of course, my own. For publication
permits I thank E. Andreou (pelike 2751a); V. Karatzeni and G.
Pliakou (lebes gamikos 3941). The LG EPKA has the copyright
of all photographs published here.
175
Transport in Ancient Cyprus
Bibliographic abbreviations
311
T h e R e g i o n a l P r o d u c t i o n o f R e d - f i g u r e P o tt e r y: G r e e c e , M a g n a G r a e c i a a n d Et r u r i a
Bibliographic Abbreviations
ArchReps Archaeological Reports
AA Archäologischer Anzeiger ArchStorSir Archivio Storico Siracusano
AAA Αρχαιολογικά Ανάλεκτα εξ Αθηνών Beazley, J. D. 1963. Attic Red-Figure

ARV2
Vase-Painters (2nd edition), Oxford
Beazley, J. D. 1956, Attic Black-figure
ABV
Vase-Painters, Oxford ASAtene Annuario della Scuola archeologica di
Atene e delle missioni italione in Oriente
AccordiaResP Accordia Research Papers
Athenaeum Athenaeum. Studi di letteratura e storia
ActaArch Acta Archaeologica dell’antichità
ActaHyp Acta Hyperborea AttiMemMagnaGr Atti e Memorie della Società Magna Grecia
Add arpenter, T. H., with Mannack, T. and

C AttiTaranto Atti del Convegno di Studi sulla Magna
Mendonca, M. 1989, Beazley Addenda, Grecia
2nd edition, Oxford
AW Antike Welt
ADelt Aρχαιoλoγικόν Δελτίον
BABesch Bulletin Antieke Beschaving
AJA American Journal of Archaeology
BAPD The Beazley Archive pottery database
AM Mitteilungen des Deutschen (www.beazley.ox.ac.uk)
Archölogischen Instituts, Athenische
Abteilung BCH Bulletin de Correspondance Hellénique
AnnAStorAnt Annali di Archeologia e Storia Antica BdA Bollettino d’Arte
AnnPisa Annali della Scuola normale superiore di BICS Bulletin of the Institute of Classical
Pisa Studies
Anodos Anodos. Studies of the Ancient World BMetrMus The Metropolitan Museum of Art Bulletin
Antaios Antaios. Zeischrift für eine freie Welt BSA Annual of the British School at Athens
Antiken aus Bonn Antiken aus dem Akademischen BSR Papers of the British School in Rome
Kunstmuseum Bonn, 2nd edition, 1971,
Düsseldorf CivClCr Civiltà Classica e Cristiana
AntK Antike Kunst ClAnt Classical Antiquity
ArchCl Archaeologia Classica Amyx, D. A. 1988, Corinthian Vase-

CorVP
painting of the Archaic Period, Berkeley
ArchEph Aρχαιoλoγική Eφημερίς
312
B i b l i o g r a p h i c Abb r e v i at i o n s
CronA Cronache di Archeologia JASc Journal of Archaeological Science
CSE Corpus Speculorum Etruscorum JdI Jahrbuch des Deutschen Archäologischen

Instituts
CVA Corpus Vasorum Antiquorum JHS The Journal of Hellenic Studies
DialA Dialoghi di Archeologia JSav Journal des Savants
EAA Enciclopedia dell’Arte Antica classica e JWaltersArtGal The Journal of the Walters Art Gallery
orientale
Kernos Kernos. Revue Internationale et
EchosCl Echos du Monde Classique Pluridisciplinaire de Religion Grecque
Antique
Eikasmos Eikasmos. Quaderni Bolognesi di Filologia
Classica Kokalos Kokalos. Studi pubblicati dall’Istituto di
storia antica dell’Università di Palermo
Έργον Έργον της Αρχαιολογικής Εταιρείας
KölnJb Kölner Jahrbuch
EtrSt Etruscan Studies
LCS rendall, A. D. & Cambitoglou, A.,
T
EVP eazley, J. D. 1947, Etruscan Vase
B 1967-1983, The Red-figured Vases of
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AGGELI Red-Figure Pottery of Ambracia

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AGGELI Red-Figure Pottery of Ambracia

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Aarhus University Press

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157 Anthi Aggeli 311 Bibliographic abbreviations

177 Nikos Akamatis 355 List of Authors

Red-figure Pottery of Ambracia

Fig. 1a. Fig. 1b. Fig. 1c.

Fig. 1a-d. Ambracia. Theodorou

the morphological analysis of their shape or form and by

Fig. 9. Ambracia. Theodorou plot,

Fig. 11a-b. Ambracia. Pelike 5493

Fig. 12a-c. Ambracia. Pelike 496

Fig. 13a-b. Ambracia. Pelike

Fig. 14a-b. Ambracia. Pelike 5494

and other vessel-types in Attic and South Italian vase-

human figure, and therefore does not carry any specific

decoration is the egg-and-dot, which appears on almost

INFLUENCES FROM SOUTHERN ITALY AND ATTICA

Fig. 18. Ambracia. Lid of lebes

To conclude, in Ambracia one or more workshops produced

87 See e.g. Aggeli 1997, 11-25.

AA Archäologischer Anzeiger ArchStorSir Archivio Storico Siracusano

AAA Αρχαιολογικά Ανάλεκτα εξ Αθηνών Beazley, J. D. 1963. Attic Red-Figure

Add  arpenter, T. H., with Mannack, T. and

AnnAStorAnt Annali di Archeologia e Storia Antica BdA Bollettino d’Arte

AntK Antike Kunst ClAnt Classical Antiquity

ArchCl Archaeologia Classica Amyx, D. A. 1988, Corinthian Vase-

CronA Cronache di Archeologia JASc Journal of Archaeological Science

CSE Corpus Speculorum Etruscorum JdI Jahrbuch des Deutschen Archäologischen

DialA Dialoghi di Archeologia JSav Journal des Savants

FuB Forschungen und Berichte. Staatliche MedArch Mediterranean Archaeology

IEJ Israel Exploration Journal MetrMusJ Metropolitan Museum Journal

IstMitt Istanbuler Mitteilungen Mnemosyne Mnemosyne. A Journal of Classical Studies

IG Inscriptiones Graecae MonAnt Monumenti antichi. Serie miscellanea

MonPiot Monuments et Mémoires. Fondation Prospettiva Prospettiva. Rivista di Storia dell'Arte

MüJb Münchner Jahrbuch der bildenden Kunst RA Revue Archéologique

NumAntCl Numismatica e antichità classiche. REG Revue des Études Grecques

Orizzonti Orizzonti. Rassegna di archeologia RVP A. D. Trendall 1987, The Red-figured

Πρακτικά της εν Aθήναις Aρχαιoλoγικής

Bibliography Aggeli, A. forthcoming Alexandropoulou, A. 2004

Andreassi, G. 1996 Andreou, I. 2004 Aravantinos, V. 2010

Avronidaki, C. forthcoming Barresi, S. 2000 Barresi, S. forthcoming

Bažant, J. 1990 Bentz, J. L. 1982 Biles, Z. & Thorn, J. 2014

Bonanno-Aravantinos, M. 2013 Bottini, A. 1992 Breder, J. 2013

Buitron-Oliver, D. 1995 Calame, C. 1997 Carter, J. C. & Prieto, A. (eds.) 2011

Chidiroglou, M. & Chatzidimitriou, A. Cole, S. G. 1993 Corbett, P. E. 1962

Csapo, E. 1986 D'Andria, F. 1980a Daux, G. 1959

Degrassi, N. 1967 Del Chiaro, M. 1974 Denoyelle, M. 2002b

Denoyelle, M. & Silvestrelli, F. 2013 De Siena, A. 2001 Droop, J. P. 1926-1927

Dentzer, J. M. 1982 Deubner, L. 1900. Drougou, S. & Touratsoglou, J. 1994

Effenberger, A. 1972 Elia, D. 2002 Elia, D. 2006

Elia, D. forthcoming Farnsworth, M. 1970 Fontannaz, D. 2008

Frisone, F. 2005 Gex-Morgenthaler, K. 1986b Gilotta, F. (ed.) 2005

Giudice, F. 2006 Golubic, M. 1999 Green, J. R. 2012 [2014]

Giuliani, L. 1995 Green, J. R. 1981 Harari, M. 1980

Harari, M. 1988 Hemelrijk, J. M. 1991 Hoffmann, A. 2005

Harari, M. 1994 Herbert, S. 1977 Hoffmann, H. 1969

87 See e.g. Aggeli 1997, 11-25.

Add arpenter, T. H., with Mannack, T. and

CSE Corpus Speculorum Etruscorum JdI Jahrbuch des Deutschen Archäologischen

FuB Forschungen und Berichte. Staatliche MedArch Mediterranean Archaeology

MonPiot Monuments et Mémoires. Fondation Prospettiva Prospettiva. Rivista di Storia dell'Arte

NumAntCl Numismatica e antichità classiche. REG Revue des Études Grecques