In the latter part of the fifth century BC, regional red-figure productions were established outside Attica in regional Greece and in the western Mediterranean, propelled by the impact of the art of Attic vase painting. This collection of papers addresses key issues posed by these production centres. Why did they emerge? To what degree was their inception prompted by the emigration of Attic craftsmen in the context of the weakened Attic pottery market at the onset of the Peloponnesian War? How did Attic vase painting influence already existing traditions, and what was selected, adopted or adapted at the receiving end? Who was using red-figure in mainland Greece and Italy, and what were its particular functions in the local cultures? These and more questions are addressed here with the presentation not only of syntheses, but also primary publication of much newly discovered material. Regional production centres covered include those of Euboea, Boeotia, Corinth, Laconia, Macedonia, Ambracia, Lucania, Apulia, Sicily, Locri and Etruria.

During the latter part of the fifth century BC a range of new local red-figure productions were established outside Attica: in mainland Greece as well as in the western Mediterranean. The 17 papers collected in this anthology deal with the norms and conventions of these regional production centres, the means of transmission, pottery-industry circumstances, iconographic choices, archaeological contexts, as well as issues of reception and function from a cross-regional perspective. The contributions reflect the rapid development within this field of study during the last decades and include material and syntheses on this topic published for the first time to an English-speaking audience. The papers will deal with the Euboean, Boeotian, Corinthian, Laconian, Ambracian and Macedonian production centres in mainland Greece and the Sicilian, Calabrian, Lucanian, Apulian and Etruscan workshops in the Italic peninsula.

This book makes recent scholarship on the Italic people of fourth-century BC Apulia available to English-speaking audiences.

Most of the previous scholarship on Paestan red-figure pottery has focused on the cataloguing of collections, the attribution of vases to painters and workshops, iconographic and stylistic matters, and individual vessels and vase forms. This partly reflects the history of vase-painting scholarship, which grew out of antiquarian collecting during 18th and 19th centuries, and partly the fact that a full archaeological provenance is not preserved for the majority of vessels. This book uses a database containing in excess of 1,800 vessels and fragments to identify patterns in the production and decoration of Paestan vases that cast light on the choices made by vase-producers and the preferences of their customers. It considers the popularity of different vessel shapes over time, the use of highly generic decorative scenes, which are characteristic of Paestan red-figure, as well as the popularity of scenes of myth, images of the gods, and scenes of nude and half-draped women. Paestan red-figure is compared with the vessels decorated in Applied Red produced at the same site. A comparison is also made between the output of the Paestan red-figure industry and that of Apulia. As the majority of the vases in the sample derive from tombs, the patterns identified provide insights into the ways in which the ancient populations of Paestum and South-West Italy commemorated the dead.

Most of the previous scholarship on Apulian red-figure pottery has focused on the cataloguing of collections, the attribution of vases to painters and workshops, iconographic and stylistic matters, and individual vessels and vase forms. This partly reflects the history of vase-painting scholarship, which grew out of antiquarian collecting during the eighteenth and nineteenth centuries, and the fact that a full archaeological provenance is not preserved for the overwhelming majority of vessels. This book takes a different approach by using a database containing in excess of 13,500 vessels and fragments to identify patterns in the production and decoration of Apulian vases that cast light on the choices made by vase-producers and the preferences of their customers. Individual chapters consider the popularity of different vessel shapes over time, the use of highly generic decorative scenes, which are characteristic of Apulian red-figure, as well as the popularity of scenes of myth, images of the gods, scenes of the life of the non-Greek population of ancient Puglia, and those showing funerary monuments. As virtually all of the vases in the sample derive from tombs, the patterns identified provide insights into the ways in which the ancient populations of South-East Italy, both Greek and indigenous, honoured their dead.

This volume draws attention to the importance of pottery evidence in evaluating archaeological material from Thrace. The volume considers the informative value of pottery in tracing cultural and political phases, by providing us with important data about production centres, commercial relations, daily life, religious rituals and burial customs.

This book focuses on the manufacturingtechniques of Corinthian potters during the Archaic Period, as well as therelationships established with their natural environment. The results of thisresearch show that the advent of the Black Figure pottery style wasintrinsically related to the adoption by Corinthian potters of newmanufacturing techniques and recipes for their paints and slips. This change ofthe paint and gloss recipes required the use of new raw materials, which takesthe discussion on pottery production at the site from purely technical issuesto social and economic ones, such as access and control of these scarceresources or the relationships between potters and their local community. Thesignificance of this discovery also sheds new light upon the diversity of localstyles in Greece.

Contributions on a variety of topics, e.g. mantle-figures on Athenian late classical red-figure, white-ground cups in fifth-century graves, late 'Apulian' red-figure vases, an overview of Athenian pottery in Southern Italy and Sicily, the Panathenaic amphora shape in Southern Italian red-figure production and Achilles and Troilos in Athens and Etruria. Contributions by Martin Langner, Annie Verbanck-Pierard, Adrienne Lezzi-Hafter, Athena Tsingarida, Maurizio Gualtieri, Helena Fracchia, Victoria Sabetai, Martin Bentz, Thomas Mannack, Stine Scierup and Guy Hedreen.

This volume aims to merge theoretical models with methodological approaches on ceramic technology and artisanal networks in the Classical world. This convergence of analytical frameworks allowed scholars to explore some traditional archaeological topics that usually have a very low-level of visibility, such as the skillful gestures of the craftspeople involved, the organization of the ceramic production, the dynamics of apprenticeship and knowledge transfer as well as intra and inter-regional artisanal mobility, in the Graeco-Roman ‘communities of practice’. The papers promote interdisciplinary dialogues among various fields of study, such as archaeology, archaeometry, anthropology, ethnoarchaeology, experimental archaeology, and digital humanities - such as Social Network Analysis, computational imaging, and big data analysis.

Athenian Potters and Painters III presents a rich mass of new material on Greek vases, including finds from excavations at the Kerameikos in Athens and Despotiko in the Cyclades. Some contributions focus on painters or workshops – Paseas, the Robinson Group, and the structure of the figured pottery industry in Athens; others on vase forms – plates, phialai, cups, and the change in shapes at the end of the sixth century BC. Context, trade, kalos inscriptions, reception, the fabrication of inscribed painters’ names to create a fictitious biography, and the reconstruction of the contents of an Etruscan tomb are also explored. The iconography and iconology of various types of figured scenes on Attic pottery serve as the subject of a wide range of papers – chariots, dogs, baskets, heads, departures, an Amazonomachy, Menelaus and Helen, red-figure komasts, symposia, and scenes of pursuit. Among the special vases presented are a black spotlight stamnos and a column krater by the Suessula Painter. Athenian Potters and Painters III, the proceedings of an international conference held at the College of William and Mary in Virginia in 2012, will, like the previous two volumes, become a standard reference work in the study of Greek pottery.