Our systems are now restored following recent technical disruption, and we’re working hard to catch up on publishing. We apologise for the inconvenience caused. Find out more: https://www.cambridge.org/universitypress/about-us/news-and-blogs/cambridge-university-press-publishing-update-following-technical-disruption
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 23 December 2013
The main lines of the development of South Italian pottery from its beginnings shortly after the middle of the fifth century to the period about 380 when provincialism or local characteristics began to make themselves felt have already been laid down by the researches of Beazley, Moon, Watzinger and others, but a detailed study of the great bulk of South Italian pottery which falls after that date and its division into its several fabrics has yet to be made. Patroni blazed the trail, and Macchioro tried to map out the new territory, but his frontiers have so often been proved inaccurate or arbitrary that a new map is badly needed.
One of the most clearly defined of all the local fabrics is that attributed to Paestum. Walters was the first to recognise a style of Asteas, Patroni extended this to Paestum, and since then it has been generally accepted as rightly named. The evidence of recent finds in a necropolis at Spinazzo Sta. Venere near Paestum helps to confirm this attribution, which I am taking for granted here, though I hope to go more fully into the question later in a paper on Paestan pottery after Asteas, with which the new finds are mainly concerned.
1 Beazley, , Vases in Poland, p. 72, n. 4Google Scholar; Moon, , BSR. xi, p. 30Google Scholar; Watzinger, FR. iii, pp. 343–50; Wuilleumier, , RA. 1929, ii, p. 185Google Scholar, 1931, i, p. 250, 1933, ii, p. 1; Philippart, , Coll. de la Céramique en Italie, ii, pp. 14–16Google Scholar.
2 Ceramica dell' Italia Meridionale in Atti dell' Acc. di Napoli, xix, 1897Google Scholar.
3 RM. 1911, pp. 187–213; 1912, pp. 21–36, 163–88.
4 Walters, , B.M. Cat. iv, pp. 72–78Google Scholar; cp. Winnefeld, , Bonnet Studien, p. 166Google Scholar.
5 Op. cit., p. 37.
6 Hope Vases, pp. 16–17, Nos. 260–63.
7 Pryce, CVA. B.M. IV Ea, Nos. F129, F130, F139, F156.
8 Watzinger, FR. iii, p. 389, n. 18.
9 CVA. B.M. IV Ea, Pl. 3, 4; Walters, , B.M. Cat. iv, Pl. 5Google Scholar.
10 Naples 2873; Speier, , RM. 1931, Pl. 21, 2Google Scholar.
11 FR. iii, fig. 97.
12 Trendall, , JHS. 1934, Pl. 8Google Scholar.
13 K710; FR. Pl. 120, 3, and reverse Moon, op. cit., fig. 6.
14 Paris, Bib. Nat. 422; FR. Pl. 147.
15 A1018; CVA. Brussels, IV Db 1.
16 Leroux 369; pub. in outline Hoppin, , B.F. Handbook, p. 439Google Scholar.
17 E.g. on the Naples lekythos, and Cadmus krater by Asteas or on Louvre K244, Copenhagen 257B, etc.
18 F3044; FR. iii, fig. 94.
19 Naples 3412; Patroni, fig. 35.
20 E.g. all the signed vases of Asteas except the Phrixus krater, the Alcmena and Orestes kraters; neck amphoras: Copenhagen inv. 8377, Berlin F3025, Vienna 724, Boston inv. 99540, etc.
21 The stem of the scroll is upright, and there is one downward-pointing fan. In this stage it occurs once on a late bell-krater from St. Agata (Naples inv. 82642) not actually Paestan, but strongly influenced by that style.
22 Kertscher Vasen, p. 22, Pl. 7 a.
23 FR. iii, p. 389, n. 18.
24 Alinari photo 23678; RM. 1925, p. 223, fig. 3; Millin-Reinach, ii, 7–8.
25 Jdl. 1886, p. 275; Patroni, fig. 107, 1. From the illustrations, for I was unable to track down the vase in Naples, I incline to doubt whether the vase is really Paestan.
26 3581; FR. iii, fig. 99.
27 E.g. Naples 1773, 1788, 2585; Louvre K254.
28 Inv. 36332; Pace, , Mon. Ant. 1922, col. 538, fig. 5, 6Google Scholar; Wuilleumier, , RA. 1931, i, p. 236, fig. 2, p. 238, fig. 6Google Scholar.
28a Inv. 36319; Pace, I.e. Pl. I; Ausonia, 1921, p. 150, fig. 1, 2Google Scholar.
29 Mus. Greg. Etr. Sala viii, Case X, No. 72. The handles have been broken and repaired, and there is a good deal of surface repainting, especially of the black background. I am indebted to Dr. Magi and Mr. Hardie for photos.
30 Furtwängler, , Eros in der Vasenmalerei, p. 63Google Scholar.
31 Examples from the early period: B.M. F139, Cefalù 8; from the late period: Vienna 348.
32 Millin-Reinach, ii, 17. The similarity between the Dionysus on this vase and that on the reverse of the Asteas Madrid krater is so striking that I feel sure the two vases are by the same hand.
33 Athens Nat. Mus. 1481; Svoronos, Cat. Pl. 106 a; BrBr. 533 b; Speier, , RM. 1931, Pl. 21, 1Google Scholar.
34 I am indebted to Sig. Cavallaro and Dr. P. Mingazzini for sending me photos of this vase.
35 CVA. B.M. IV Ea, Pl. 4, 4 and 7.
36 Reinach, , RV. ii, 287, 4Google Scholar.
37 Tischbein, , Engravings from Ancient Vases, p. 10Google Scholar.
38 i, 38 = RV. ii, 288, 4.
39 CVA. B.M. IV Ea, Pl. 4, 11.
40 FR. iii, fig. 9 5; p. 190, n. 69. Other examples are Berlin 4284, Vienna 724, Naples 2878, 2583.
41 Waser, Otto, In Memoriam Arnold Ruesch, p. 4Google Scholar, from Jahresbericht für Altertumswissenschaft, 1932, vol. 237 BGoogle Scholar.
42 RE. ii A, 2527; Roscher, , ML. iv, 822Google Scholar.
43 I know of only four others: (i) the Ganymede fragment in Berlin F3297a, (ii) the Vienna Cassandra amphora, (iii) the lost vase with the rape of Thalia, Tischbein i, 26, (iv) t he B.M. Agrios hydria, the inscription on which is very doubtful and I incline to think non-existent.
44 AZ. 1852, Pl. 44, 1. Schöne, Antichità del Museo Bocchi, Pl. 1.
45 Shortly to be published in the loth fascicule of Italia Antichissima, by Prof. N. Putorti.
46 I have recently heard of another such plate at Reggio (no. 45 in the Antiquarium, from Castelnuova St. Andrea) representing an old comic actor with both hands at shoulder height holding a wreath and a patera, but as I have not seen it myself, I cannot say whether it is Paestan or not.
47 Scheurleer Coll. 2491; Jdl. 1917, p. 52, fig. 24.
48 Palagi Coll. 910; Pellegrini, Cat. fig. 70. I am very grateful to Prof. Ducati for allowing me to publish the two oenochoai in Bologna.
49 E.g. on the fragment in the Albertinum at Dresden, ZV 2891; Bieber, , AM. 1925, Pl. 2Google Scholar.
50 AZ- 1855, Pl. 83 = RV. i, 383, 4. By the same hand are three bell-kraters and a calyx krater in the Museo Arqueologico, Madrid, (Leroux, Cat. nos. 324, 326, 329 and 327, Plates 37–39); and another calyxkrater recently placed there from the Prado Collection (no. 116) with a silen sacrificing a goat in the presence of two maenads. Also a calyx-krater in the Louvre K19, one in the B.M. F275, and a bell-krater in Paris, Bib. Nat. 940. I regard this group of vases as connecting the later products of early South Italian (e.g. Naples 2411 or Brussels A1018) with the early vases of the developed Apulian style.
51 CVA. Lecce, IV Dr, Pl. 19, 4, Pl. 20, 4. Note the resemblance of the thyrsus, patera and drapery.
52 Watzinger, , Vasen in Tubingen, Pl. 44, 5; p. 65Google Scholar.
53 Brückner, , AM. 1907Google Scholar, Pl. 8, referred by Beazley, , AV. p. 463Google Scholar, to the Meidias Painter; and fig. 9.
54 For similarity of pose cp. especially the rev. of Louvre K710, B.M. F160 and F283, all figured by Moon. For the drapery comparisons may be made with almost all the vases of the later period of early South Italian, as listed by Watzinger, FR. iii, p. 349; the influence of the Meidias painter on it I have already pointed out.
55 Ciaceri, , Storia della Magna Grecia, ii, 396Google Scholar.
56 Hope Vases, p. 15.
