East Greek Pottery provides the only dedicated study of the pottery created by the Greek settlers... more East Greek Pottery provides the only dedicated study of the pottery created by the Greek settlers along the western coast of Turkey between 1100 and 500 BC. The authors examine in detail significant developments in shape, material and decoration from the emergence of the protogeometric style in the eleventh century to the fifth century BC, when competition from Athenian imports forced craftsmen to use only very simple ornamentation. The twenty-three chapters offer a comprehensive style-by-style analysis of both familiar and lesser-known pottery types, including Grey ware, relief ware and archaic trade amphorae. With full illustration, thorough referencing and authoritative interpretation of the archaeological evidence, this volume is a unique and accessible guide to an area of study which has often been neglected.
A vision of reality in which a pre-eminent human type was defined in opposition to non-ideal &quo... more A vision of reality in which a pre-eminent human type was defined in opposition to non-ideal "others" characterized Ancient Greece. In democratic Athens the social structure privileged male citizens, and women, resident aliens, and slaves were marginalized. The Persian Wars polarized the opposition of Greeks and Barbarians. This anthology provides an investigation into the delineation of otherness across a broad spectrum of the imagery of Greek art. An international cast of authors, with methodologies ranging from traditional to avant-garde, examine manifestations of the other in late archaic and classical Greece. The 17 chapters develop a nuanced picture of the visual criteria that denoted otherness in regard to gender, class and ethnicity and also reveal the social and political functions of this remarkable Greek imagery.
the notion of a 'special relationship' between Sparta and Samos in the archaic period has been wi... more the notion of a 'special relationship' between Sparta and Samos in the archaic period has been widely accepted since it was first proposed by e.a. Lane in 1934, and carefully discussed by p. cartledge in 1982, based especially on Laconian pottery finds at Samos, and information in herodotus. It has become clear in more recent years, however, that Laconians were in regular contact with east Greeks generally, as well as with Lydians, in the archaic period, for political, economic and cultural reasons. recent Laconian pottery finds at Miletus suggest that Samos was not an exclusive destination in east Greece for significant quantities of this ware.
This volume includes a detailed illustrated catalogue of the East Greek, Island, and Laconian pot... more This volume includes a detailed illustrated catalogue of the East Greek, Island, and Laconian pottery from the sanctuary. The author uses the data to help establish the chronology for the founding and early development of this important Greek colony. University Museum Monograph, 56
Mouseion: Journal of the Classical Association of Canada, 2002
der why there is a discrepancy in the dates. The heading says "Knossos 2000" but the id... more der why there is a discrepancy in the dates. The heading says "Knossos 2000" but the identification box says "23.8.93." It gives the impression that the record sheet was filled in years after the excavation. surely not what the authors intended. This book is written very much from a U.K. perspective and intended for U.K. readers. For example. in Chapter 3. there is a section entitled "Funding for UK-based projects" in which we are told about funding agencies such as the Arts and Humanities Research Board. and the British Academy. This section might have been better as an appendix. since it is specific and not much use to anyone outside the U.K. Would I recommend this book to students? Yes. it certainly gives a clear idea of what archaeology is all about. It is reasonably short and. certainly. affordable: however. it would need supplementing with a book that is specific to the area being studied. As a generaL brief introduction it works quite welL and th...
BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are infl... more BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are influenced by Greek painting techniques since they show parallels to paintings on white lekythoi. They are more advanced in the depiction of depth, however, since figures in the back are not defined by a different color, but by darker shades of color. Thus Etruscan paintings help to reconstruct the appearance of paintings at a time when white lekythoi ceased to be made. Some of Koch-Brinkmann's observations have interesting implications. For instance, it is often thought that preliminary sketches, like those on the grave stelai of Demetrias, were used in the late fourth century not only to define the outlines of figures but also to use hatching to create shading. A similar technique, however, occurs on a white lekythos from the Kerameikos (3146), which was made 100 years earlier. Similarly, for the tomb of Persephone at Vergina (late 4th century), Koch-Brinkmann believes that the lack of colors in the figures around Hades and Persephone is not caused by erosion but indicates that the painting was never completed. For technical reasons she attributes the group of Demeter and Moira to a different artist. The author's reconstruction of the original colors of polychrome paintings is of particular use in the case of the wall paintings of Campania, where it helps to determine the accuracy of Roman copies of Greek paintings and to distinguish Roman invention from the Greek original. Koch-Brinkmann's brief discussion of ancient writers on the history of painting is necessary, but does not add anything new. A short but useful index gives easy access to the subjects discussed in the book, but regrettably there is no summary, which would make the book a less daunting read for non-German speakers.
BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are infl... more BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are influenced by Greek painting techniques since they show parallels to paintings on white lekythoi. They are more advanced in the depiction of depth, however, since figures in the back are not defined by a different color, but by darker shades of color. Thus Etruscan paintings help to reconstruct the appearance of paintings at a time when white lekythoi ceased to be made. Some of Koch-Brinkmann's observations have interesting implications. For instance, it is often thought that preliminary sketches, like those on the grave stelai of Demetrias, were used in the late fourth century not only to define the outlines of figures but also to use hatching to create shading. A similar technique, however, occurs on a white lekythos from the Kerameikos (3146), which was made 100 years earlier. Similarly, for the tomb of Persephone at Vergina (late 4th century), Koch-Brinkmann believes that the lack of colors in the figures around Hades and Persephone is not caused by erosion but indicates that the painting was never completed. For technical reasons she attributes the group of Demeter and Moira to a different artist. The author's reconstruction of the original colors of polychrome paintings is of particular use in the case of the wall paintings of Campania, where it helps to determine the accuracy of Roman copies of Greek paintings and to distinguish Roman invention from the Greek original. Koch-Brinkmann's brief discussion of ancient writers on the history of painting is necessary, but does not add anything new. A short but useful index gives easy access to the subjects discussed in the book, but regrettably there is no summary, which would make the book a less daunting read for non-German speakers.
East Greek Pottery provides the only dedicated study of the pottery created by the Greek settlers... more East Greek Pottery provides the only dedicated study of the pottery created by the Greek settlers along the western coast of Turkey between 1100 and 500 BC. The authors examine in detail significant developments in shape, material and decoration from the emergence of the protogeometric style in the eleventh century to the fifth century BC, when competition from Athenian imports forced craftsmen to use only very simple ornamentation. The twenty-three chapters offer a comprehensive style-by-style analysis of both familiar and lesser-known pottery types, including Grey ware, relief ware and archaic trade amphorae. With full illustration, thorough referencing and authoritative interpretation of the archaeological evidence, this volume is a unique and accessible guide to an area of study which has often been neglected.
A vision of reality in which a pre-eminent human type was defined in opposition to non-ideal &quo... more A vision of reality in which a pre-eminent human type was defined in opposition to non-ideal "others" characterized Ancient Greece. In democratic Athens the social structure privileged male citizens, and women, resident aliens, and slaves were marginalized. The Persian Wars polarized the opposition of Greeks and Barbarians. This anthology provides an investigation into the delineation of otherness across a broad spectrum of the imagery of Greek art. An international cast of authors, with methodologies ranging from traditional to avant-garde, examine manifestations of the other in late archaic and classical Greece. The 17 chapters develop a nuanced picture of the visual criteria that denoted otherness in regard to gender, class and ethnicity and also reveal the social and political functions of this remarkable Greek imagery.
the notion of a 'special relationship' between Sparta and Samos in the archaic period has been wi... more the notion of a 'special relationship' between Sparta and Samos in the archaic period has been widely accepted since it was first proposed by e.a. Lane in 1934, and carefully discussed by p. cartledge in 1982, based especially on Laconian pottery finds at Samos, and information in herodotus. It has become clear in more recent years, however, that Laconians were in regular contact with east Greeks generally, as well as with Lydians, in the archaic period, for political, economic and cultural reasons. recent Laconian pottery finds at Miletus suggest that Samos was not an exclusive destination in east Greece for significant quantities of this ware.
This volume includes a detailed illustrated catalogue of the East Greek, Island, and Laconian pot... more This volume includes a detailed illustrated catalogue of the East Greek, Island, and Laconian pottery from the sanctuary. The author uses the data to help establish the chronology for the founding and early development of this important Greek colony. University Museum Monograph, 56
Mouseion: Journal of the Classical Association of Canada, 2002
der why there is a discrepancy in the dates. The heading says "Knossos 2000" but the id... more der why there is a discrepancy in the dates. The heading says "Knossos 2000" but the identification box says "23.8.93." It gives the impression that the record sheet was filled in years after the excavation. surely not what the authors intended. This book is written very much from a U.K. perspective and intended for U.K. readers. For example. in Chapter 3. there is a section entitled "Funding for UK-based projects" in which we are told about funding agencies such as the Arts and Humanities Research Board. and the British Academy. This section might have been better as an appendix. since it is specific and not much use to anyone outside the U.K. Would I recommend this book to students? Yes. it certainly gives a clear idea of what archaeology is all about. It is reasonably short and. certainly. affordable: however. it would need supplementing with a book that is specific to the area being studied. As a generaL brief introduction it works quite welL and th...
BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are infl... more BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are influenced by Greek painting techniques since they show parallels to paintings on white lekythoi. They are more advanced in the depiction of depth, however, since figures in the back are not defined by a different color, but by darker shades of color. Thus Etruscan paintings help to reconstruct the appearance of paintings at a time when white lekythoi ceased to be made. Some of Koch-Brinkmann's observations have interesting implications. For instance, it is often thought that preliminary sketches, like those on the grave stelai of Demetrias, were used in the late fourth century not only to define the outlines of figures but also to use hatching to create shading. A similar technique, however, occurs on a white lekythos from the Kerameikos (3146), which was made 100 years earlier. Similarly, for the tomb of Persephone at Vergina (late 4th century), Koch-Brinkmann believes that the lack of colors in the figures around Hades and Persephone is not caused by erosion but indicates that the painting was never completed. For technical reasons she attributes the group of Demeter and Moira to a different artist. The author's reconstruction of the original colors of polychrome paintings is of particular use in the case of the wall paintings of Campania, where it helps to determine the accuracy of Roman copies of Greek paintings and to distinguish Roman invention from the Greek original. Koch-Brinkmann's brief discussion of ancient writers on the history of painting is necessary, but does not add anything new. A short but useful index gives easy access to the subjects discussed in the book, but regrettably there is no summary, which would make the book a less daunting read for non-German speakers.
BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are infl... more BOOK REVIEWS BOOK REVIEWS of color. According to Koch-Brinkmann, Etruscan wall paintings are influenced by Greek painting techniques since they show parallels to paintings on white lekythoi. They are more advanced in the depiction of depth, however, since figures in the back are not defined by a different color, but by darker shades of color. Thus Etruscan paintings help to reconstruct the appearance of paintings at a time when white lekythoi ceased to be made. Some of Koch-Brinkmann's observations have interesting implications. For instance, it is often thought that preliminary sketches, like those on the grave stelai of Demetrias, were used in the late fourth century not only to define the outlines of figures but also to use hatching to create shading. A similar technique, however, occurs on a white lekythos from the Kerameikos (3146), which was made 100 years earlier. Similarly, for the tomb of Persephone at Vergina (late 4th century), Koch-Brinkmann believes that the lack of colors in the figures around Hades and Persephone is not caused by erosion but indicates that the painting was never completed. For technical reasons she attributes the group of Demeter and Moira to a different artist. The author's reconstruction of the original colors of polychrome paintings is of particular use in the case of the wall paintings of Campania, where it helps to determine the accuracy of Roman copies of Greek paintings and to distinguish Roman invention from the Greek original. Koch-Brinkmann's brief discussion of ancient writers on the history of painting is necessary, but does not add anything new. A short but useful index gives easy access to the subjects discussed in the book, but regrettably there is no summary, which would make the book a less daunting read for non-German speakers.
Abstract: The central mountainous region of the Peloponnese is commonly regarded as idyllic and p... more Abstract: The central mountainous region of the Peloponnese is commonly regarded as idyllic and pastoral, but also isolated, backward, poor and semi-impenetrable. While the chains of mountains, commonly rising above 2,000 m asl, presented obstacles to human and commercial mobility, they did not present insurmountable barriers. Paths, trails and even roads criss-crossed the landscape, giving access to the most isolated parts of this region. Pack animals and carts brought commercial goods into and through the area regularly from the surrounding coasts. One very specific source of evidence for commercial mobility in the region is Laconian pottery which was distributed northward through the mountains from its source in Sparta. Laconian lead figurines help confirm ideas about these distribution patterns.
Résumé : La région montagneuse centrale du Péloponnèse est généralement considérée comme idyllique et pastorale, mais aussi isolée, arriérée, pauvre et semi-impénétrable. Si les chaînes de montagnes, qui s’élèvent généralement à plus de 2 000 m d’altitude, constituaient des obstacles à la mobilité humaine et commerciale, elles ne représentaient pas pour autant des barrières insurmontables. Des chemins, des sentiers et même des routes sillonnaient le paysage, donnant accès aux parties les plus isolées de cette région. Les animaux de bât et les charrettes apportaient régulièrement des marchandises commerciales en provenance des côtes environnantes. Une source très spécifique de preuves de la mobilité commerciale dans la région est la céramique laconienne qui a été distribuée vers le nord à travers les montagnes à partir de sa source à Sparte. Les figurines en plomb laconiennes permettent de confirmer les idées sur ces modèles de distribution.
Περίληψη: Η κεντρική ορεινή περιοχή της Πελοποννήσου θεωρείται γενικά ειδυλλιακή και ποιμενική, αλλά και απομονωμένη, καθυστερημένη, φτωχή και ημι-αδιαπέραστη. Παρόλο που οι οροσειρές, οι οποίες γενικά υψώνονται πάνω από 2.000 μέτρα, αποτελούσαν εμπόδια στην ανθρώπινη και εμπορική κινητικότητα, δεν ήταν ανυπέρβλητα εμπόδια. Μονοπάτια, διαδρομές και ακόμη και δρόμοι διέσχιζαν το τοπίο, παρέχοντας πρόσβαση στα πιο απομονωμένα μέρη της περιοχής. Τα ζώα και τα κάρα μετέφεραν τακτικά εμπορικά αγαθά από τις γύρω ακτές. Μια πολύ συγκεκριμένη πηγή αποδείξεων για την εμπορική κινητικότητα στην περιοχή είναι η λακωνική κεραμική που διανεμήθηκε προς βορρά στα βουνά από την πηγή της στη Σπάρτη. Τα λακωνικά μολύβδινα ειδώλια βοηθούν στην επιβεβαίωση των ιδεών σχετικά με αυτά τα πρότυπα διανομής.
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Résumé : La région montagneuse centrale du Péloponnèse est généralement considérée comme idyllique et pastorale, mais aussi isolée, arriérée, pauvre et semi-impénétrable. Si les chaînes de montagnes, qui s’élèvent généralement à plus de 2 000 m d’altitude, constituaient des obstacles à la mobilité humaine et commerciale, elles ne représentaient pas pour autant des barrières insurmontables. Des chemins, des sentiers et même des routes sillonnaient le paysage, donnant accès aux parties les plus isolées de cette région. Les animaux de bât et les charrettes apportaient régulièrement des marchandises commerciales en provenance des côtes environnantes. Une source très spécifique de preuves de la mobilité commerciale dans la région est la céramique laconienne qui a été distribuée vers le nord à travers les montagnes à partir de sa source à Sparte. Les figurines en plomb laconiennes permettent de confirmer les idées sur ces modèles de distribution.
Περίληψη: Η κεντρική ορεινή περιοχή της Πελοποννήσου θεωρείται γενικά ειδυλλιακή και ποιμενική, αλλά και απομονωμένη, καθυστερημένη, φτωχή και ημι-αδιαπέραστη. Παρόλο που οι οροσειρές, οι οποίες γενικά υψώνονται πάνω από 2.000 μέτρα, αποτελούσαν εμπόδια στην ανθρώπινη και εμπορική κινητικότητα, δεν ήταν ανυπέρβλητα εμπόδια. Μονοπάτια, διαδρομές και ακόμη και δρόμοι διέσχιζαν το τοπίο, παρέχοντας πρόσβαση στα πιο απομονωμένα μέρη της περιοχής. Τα ζώα και τα κάρα μετέφεραν τακτικά εμπορικά αγαθά από τις γύρω ακτές. Μια πολύ συγκεκριμένη πηγή αποδείξεων για την εμπορική κινητικότητα στην περιοχή είναι η λακωνική κεραμική που διανεμήθηκε προς βορρά στα βουνά από την πηγή της στη Σπάρτη. Τα λακωνικά μολύβδινα ειδώλια βοηθούν στην επιβεβαίωση των ιδεών σχετικά με αυτά τα πρότυπα διανομής.