This volume presents an unparalleled assemblage of painted plaques uncovered over a century ago near ancient Corinth. The plaques provide a uniquely rich source of information about Greek art, technology, and society.
Das Heiligtum der Aphaia , Munich 1906 B. Sparkes and L. Talcott , The Athenian Agora , XII , Black and Plain Pottery ... Oxford 1963 Development J. D. Beazley , The Development of Attic Black- Figure , Berkeley 1964 Benson , HBM J. L. ...
Using deposits recently excavated from the Panayia Field, this volume substantially revises the absolute chronology of Corinthian Hellenistic pottery as established by G. Roger Edwards in Corinth VII.3 (1975).
... including handle . slots in the pedestal begin just below its juncture with Globular body with low maximum diameter , tending the bowl and continue so far as the pedestal is pre- to sack shape , on a moderately broad foot - ring .
Excavated between 1928 and 1931, the area of the "Potters' Quarter" is marked by many finds of moulds and wasters. The site seems to have occupied between the 8th and...
However for about 75 years, in the middle of the 5th century B.C., Corinthian potters tried to imitate the Athenian fashion and this book catalogues 186 pieces of their work.
This book focuses on the work of Corinthian potters during the Archaic period, and how the adoption of new techniques triggered the advent of the Black Figure style.
This article and Corinth VII.2 together stand as a full compilation of painters at present represented in the collection of the Corinth Excavations.
However, in order to present the full history of the Hellenistic shapes the author traces their development from the earliest available Corinthian evidence, in some cases from the 6th century B.C. The shape series are further subdivided ...
In Classical Archaeology, attention to these processes received an impetus by J. Theodore Pena's 2007 monograph, Roman Pottery in the Archaeological Record, which considered how ceramic vessels were made, used and stayed in use serving ...
Rejecting this explanation, Athens at the Margins proposes a new narrative of the origins behind the style and its significance, investigating how material culture shaped the ways people and communities thought of themselves.