Campania, the Ionian coast, and Sicily also feature in Chapter 3 (pp. Corinthian, Euboian, East Greek, and other influences are duly discussed, as are “entangled objects” (to borrow the turn from Nicholas Thomas), 3 such as the celebrated Cup of Nestor, an East Greek Late Geometric kotyle found at Pithekoussai with an inscription in Euboian epichoric. 33-45) deals with the figurative pottery of the Geometric period (750-700 B.C.), with especial focus on pottery produced in Campania, the material from the cemetery of San Montano on Ischia (Pithekoussai), and the pottery of la côte ionienne, and eastern Sicily. Highlights include the centers of production and the identities of the potters, including signatures and names of painters, the important contributions of Trendall (1909-1995)-the latter presented as a boxed entry separate from the main narrative (there are similar boxed highlights in all of the chapters)-a brief account of scientific techniques, and the issue of fakes.Ĭhapter 2 (pp. 23-32), entitled “La céramique de Grande Grèce et de Sicile hier et aujourd’hui”, begins with a historical overview and the formation of the first collections of Italiote red figure pottery before addressing questions of ethics and method in the study of the pottery of Magna Graecia today. The color plates begin with early illustrations of Greek pottery in the volumes by Giovanni Battista Passeri (1770) and Alexandre-Isidore Leroy de Barde (1813), 2 before presenting some of the veritable icons of the Greek colonial pottery of south Italy, from the Aristonothos krater and the polychrome vases of Megara Hyblaia, to the black- and red-figured pottery of the various regional styles of south Italy and Sicily, and ending with Gnathian pottery and the polychrome vases of Sicily and Centuripe.Ĭhapter 1 (pp. The volume is a “must” for anyone interested in Greek pottery and art more generally, the cultures and cultural history of southern Italy and Sicily spanning a period of over 500 years, the production and reception of material culture in a colonial context and, not least, the history of the Greek theater.Ī short introduction briefly overviews the aims and scope of the volume and this is followed by 13 pages presenting 26 color plates which provide a stunning visual accompaniment of what will be covered. Although various edited volumes have touched upon aspects of the indigenous, colonial, and imported pottery of Magna Graecia, and the great Arthur Dale Trendall penned a classic overview of the red-figured styles of the region, 1 there has never been before a single volume that treats the Greek pottery produced in the colonies of south Italy and Sicily across such a breadth of time. The book does not cover the non-Greek wares, matt-painted or plain, of Daunia, Apulia, Peucetia, Messapia, and Lucania. The book focuses on the painted, and largely figurative, pottery of the historic period, beginning with the Late Geometric period (750-700 B.C.) and ending with the demise of figurative work in the course of the 3rd century B.C. by two scholars whose contributions to the study of Greek painted pottery have been seminal. At long last there is a well conceived, elegantly written, and lavishly illustrated synthesis of the Greek-inspired pottery of southern Italy and Sicily from the 8th through the 3rd centuries B.C.
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