Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-26T03:00:36.507Z Has data issue: false hasContentIssue false

Part V - Shared and Distinct Iconographies

Published online by Cambridge University Press:  02 March 2023

Elizabeth P. Baughan
Affiliation:
University of Richmond, Virginia
Lisa C. Pieraccini
Affiliation:
University of California, Berkeley
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Etruria and Anatolia
Material Connections and Artistic Exchange
, pp. 215 - 266
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Almagor, E. 2013. “Proskynesis,” in Encyclopedia of Ancient History, ed. Bagnall, R. S., Brodersen, K., Champion, C. B., Erskine, A., and Huebner, S. R., 5588. Malden, MA: Blackwell Publishing.Google Scholar
Baughan, E. P. 2010. “Persian Riders in Lydia? The Painted Frieze of the Aktepe Tomb Kline,” in Proceedings of the XVIIth International Congress of Classical Archaeology, 22–26 September 2008. Rome: Bollettino di Archeologia, On Line 1, Volume special G/G1/3: 2436.Google Scholar
Berndt-Ersöz, S. 2006. Phrygian Rock-Cut Shrines. Structure, Function and Cult Practice. Leiden: Brill.CrossRefGoogle Scholar
Bingöl, O. 1997. Malerei und Mosaik der Antike in der Türkei. Mainz: Philipp von Zabern.Google Scholar
Boardman, J. 1967. Excavations in Chios 1952–1955: Greek Emporio. Athens: The British School of Archaeology at Athens; London: Thames & Hudson.Google Scholar
Brinkmann, V. 2003. Die Polychromie der archaischen und frühklassischen Skulptur. Munich: Biering und Brinkmann.Google Scholar
Brosius, M. 2006. “Frauen am Hof der Achämeniden,” in Pracht und Prunk der Grosskönige. Das Persische Weltreich, 8897. Stuttgart: Historisches Museum der Pfalz Speyer.Google Scholar
Brownlee, A. B. 2009. “His Golden Touch. The Gordion Drawings of Piet de Jong,” Expedition 51: 3944.Google Scholar
Cook, J. M. 1959–1960. “Greek Archaeology in Western Asia Minor,” Archaeological Reports 6: 2757.CrossRefGoogle Scholar
Eaverly, M. A. 2013. Tan Men/Pale Women. Color and Gender in Archaic Greece and Egypt. A Comparative Approach. Ann Arbor: The University of Michigan Press.Google Scholar
Emmerling, E., Adelfinger, K., and Reischl, J. 2010. “On the Painting Technique of the Tomb Chamber,” in Summerer and von Kienlin (eds.), 204233.Google Scholar
Fields, A. L. 2010. “The Late Phrygian Citadel of Gordion, Turkey: A Preliminary Study.” M.A. thesis, University of Cincinnati.Google Scholar
Glendinning, M. R. 1996. Phrygian Architectural Terracottas at Gordion. Ph.D. diss., University of North Carolina at Chapel Hill.Google Scholar
Griffith, R. D. 2005. “Gods’ Blue Hair in Homer and in Eighteenth-Dynasty Egypt,” The Classical Quarterly 55: 329334.Google Scholar
Hanfmann, G. M. A., and Ramage, N. H. 1978. Sculpture from Sardis: The Finds through 1975. Cambridge, MA: Harvard University Press.Google Scholar
Hurwit, J. M. 2014. “The Lost Art: Early Greek Wall and Panel Painting, 760–480 B.C.,” in The Cambridge History of Painting in the Classical World, ed. Pollitt, J. J., 6693. Cambridge: Cambridge University Press.Google Scholar
Lawergren, B. 1985. “A Lyre Common to Etruria, Greece, and Anatolia: The Cylinder Kithara,” Acta Musicologica 57: 2533.Google Scholar
Lemos, A. A. 2000. “Aspects of East Greek Pottery and Vase Painting,” in Die Ägäis und das westliche Mittelmeer, ed. Gassner, V., Kerschner, M., Muss, U., and Wlach, G., 377391. Wien: Verlag der Österreichischen Akademie der Wissenschaften.Google Scholar
McGovern, P. E. 2010. “Appendix 5. Chemical Identifications of the Beverage and Food Remains in Tumulus MM,” in The Furniture from Tumulus MM, ed. Simpson, E., 177187. Boston: Brill.Google Scholar
Mellink, M. J. 1960. “An Archaic Fresco Found at Gordion in Asia Minor,” The American Philosophical Society Yearbook 1960: 563565.Google Scholar
Mellink, M. J. 1971. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1970,” American Journal of Archaeology 75: 245255.Google Scholar
Mellink, M. J. 1972a. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1971,” American Journal of Archaeology 76: 257269.Google Scholar
Mellink, M. J. 1972b. “Wall Paintings from the Persian Period at Gordion,” in The Memorial Volume of the Vth International Congress of Iranian Art & Archaeology: Tehran, Isfahan, Shiraz, 11th–18th April 1968, Vol. 2, 357359. Tehran: Tehran Ministry of Culture and Arts.Google Scholar
Mellink, M. J. 1973. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1972,” American Journal of Archaeology 77: 293307.Google Scholar
Mellink, M. J. 1974. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1973,” American Journal of Archaeology 78: 351359.Google Scholar
Mellink, M. J. 1975. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1974,” American Journal of Archaeology 79: 349355.Google Scholar
Mellink, M. J. 1976. “Excavations in the Elmalı Area, Lycia, 1975,” American Journal of Archaeology 80: 377384.Google Scholar
Mellink, M. J. 1980. “Archaic Wall Paintings from Gordion,” in From Athens to Gordion. The Papers of a Memorial Symposium for Rodney S. Young, ed. DeVries, K, 9198. Philadelphia: University of Pennsylvania Museum.Google Scholar
Mellink, M. J., Bridges, R. A., Jr., and di Vignale, F. C. 1998. Kızılbel: An Archaic Painted Tomb Chamber in Northern Lycia. Philadelphia: University of Pennsylvania Museum.Google Scholar
Miller, S. G. 2010. “Two Painted Chamber Tombs of Northern Lycia at Kızılbel and Karaburun,” in Summerer and von Kienlin (eds.), 318329.Google Scholar
Nagel, A. 2010. “Colors, Gilding and Painted Motifs in Persepolis: Approaching the Polychromy of Achaemenid Persian Architectural Sculpture, c. 520–330 BCE.” Ph.D. diss., University of Michigan.Google Scholar
Özgen, İ., Öztürk, J., and Mellink, M. J. 1996. The Lydian Treasure: Heritage Recovered. Istanbul: Republic of Turkey, Ministry of Culture, General Directorate of Monuments and Museums.Google Scholar
Panzanelli, R. (ed.) 2008. The Color of Life. Polychromy in Sculpture from Antiquity to the Present. Los Angeles: J. Paul Getty Museum.Google Scholar
Pieraccini, L. C. 2016. “Sacred Serpent Symbols: The Bearded Snakes of Etruria,” Journal of Ancient Egyptian Interconnections 10: 92102.Google Scholar
Plantzos, D. 2018. The Art of Painting in Ancient Greece. Athens: Kapon Editions.Google Scholar
Ridgway, B. S. 1990. “Birds, ‘Meniskoi,’ and Head Attributes in Archaic Greece,” American Journal of Archaeology 94: 583612.Google Scholar
Sachsen-Meiningen, F. 1960. “Proskynesis in Iran,” in Geschichte der Hunnen, Vol. 2, Die Hephaliten in Iran, ed. Altheim, F., 125166. Berlin: de Gruyter.Google Scholar
Sams, G. K. 1977. “Beer in the City of Midas,” Archaeology 30: 108115.Google Scholar
Sams, G. K. and Voigt, M. M. 2011. “Chapter 7. In Conclusion,” in The New Chronology of Iron Age Gordion, ed. Rose, C. B. and Darbyshire, G., 155168. Philadelphia: University of Pennsylvania Museum.Google Scholar
Schmidt, E. F. 1953. Persepolis, Vol. 1. Chicago: University of Chicago Press.Google Scholar
Steingräber, S. 2006. Abundance of Life: Etruscan Wall Painting, trans. Russell Stockman. Los Angeles: The J. Paul Getty Museum.Google Scholar
Steingräber, S. 2010. “Etruscan Tomb Painting of the Archaic Period and Its Relationship to the Painting of Ionian Asia Minor,” in Summerer and von Kienlin (eds.), 354367.Google Scholar
Steingräber, S., Ridgway, D., and Ridgway, F. R. (eds.) 1986. Etruscan Painting. Catalogue Raisonné of Etruscan Wall Paintings. New York: Johnson Reprint.Google Scholar
Summerer, L. 2010. “Wall Paintings,” in Summerer and von Kienlin (eds.), 120185.Google Scholar
Summerer, L. and von Kienlin, A. (eds.) 2010. Tatarlı. The Return of Colors. Istanbul: Yapı Kredi Yayınları.Google Scholar
Wiegand, T. 1904. Die archaische Poros-Architektur der Akropolis zu Athen. Leipzig: T. G. Fischer & Co.Google Scholar
Winter, I. J. 2010. On Art in the Ancient Near East, Vol. 2. Leiden: Brill.Google Scholar
Young, R. S. 1955. “Gordion: Preliminary Report, 1953,” American Journal of Archaeology 59: 118.Google Scholar
Young, R. S. 1956. “The Campaign of 1955 at Gordion: Preliminary Report,” American Journal of Archaeology 60: 249266.Google Scholar

Works Cited

Åkerström, Å. 1966. Die architektonischen Terrakotten Kleinasiens. Lund: C. W. K. Gleerup.Google Scholar
Åkerström, Å. 1981. “Etruscan Tomb Painting: An Art of Many Faces,” Opuscula Romana 13: 734.Google Scholar
Avramidou, A. 2009. “The Phersu Game Revisited,” Etruscan Studies 12: 7387.CrossRefGoogle Scholar
Baughan, E. P. 2011. “Sculpted Symposiasts of Ionia,” American Journal of Archaeology 115(1): 1953.Google Scholar
Baughan, E. P. 2013. Couched in Death: Klinai and Identity in Anatolia and Beyond. Madison: University of Wisconsin Press.Google Scholar
Boschin, F., Bernardini, F., Pilli, E., Vai, S., Zanolli, C., Tagliacozzo, A., Fico, R., et al. 2020. “The First Evidence for Pleistocene Dogs in Italy,” Scientific Reports 10: 13313.CrossRefGoogle ScholarPubMed
Camporeale, G. 1984. La Caccia in Etruria. Rome: L’Erma di Bretschneider.Google Scholar
Carpenter, T. H. 1986. Dionysian Imagery in Archaic Greek Art: Its Development in Black-Figure Vase Painting. Oxford: Oxford University Press.Google Scholar
Carpenter, T. H. 1991. Art and Myth in Ancient Greece. London: Thames & Hudson.Google Scholar
Greenewalt, C. H. 2010. “Lydian Pottery,” in The Lydians and Their World, ed. Cahill, N. D., 106124. Istanbul: Yapı Kredi Yayınları.Google Scholar
Hanfmann, G. M. A. 1961. “The Third Campaign at Sardis (1960),” Bulletin of the American Schools of Oriental Research 162: 849.Google Scholar
Harnwell Ashmead, A. 1994. “Etruscan Domesticated Cats: Classical Conformists or Etruscan Originals?” in Murlo and the Etruscans: Art and Society in Ancient Etruria, ed. De Puma, R. D. and Small, J. P., 144164. Madison: University of Wisconsin Press.Google Scholar
Iozzo, M. 2013. “The Dog: A Dionysian Animal?Rivista di Archeologia (2012) 36: 522.Google Scholar
Isler-Kerenyi, C. 2007. Dionysos in Archaic Greece: An Understanding through Images. Leiden: Brill.Google Scholar
Jannot, J.-R. 1984. Les reliefs archaiques de Chiusi. Rome: École française de Rome.Google Scholar
Jannot, J. R. 1993. “Phersu Phersuna, Persona. À propos du masque étrusque,” in Spectacles et scénques dans le monde étrusco-italique: actes de la table ronde, ed. Thuillier, J. P., 281320. Rome: École française de Rome.Google Scholar
Kjellberg, K., Boehlau, J., Dalman, K. O., Schefold, K., Kjellberg, E., and Åkerstrom, Å. 1940. Larisa am Hermos: Die Ergebnisse der Ausgrabungen, 1902–1934, II: Die architektonischen Terrakotten. Stockholm: Almqvist & Wiksell.Google Scholar
Mellink, M. J. 1974a. “Excavations at Karataş-Semayük and Elmalı, Lycia, 1973,” American Journal of Archaeology 78: 351359.Google Scholar
Mellink, M. J. 1974b. “Notes on Anatolian Wall Painting,” in Mélanges Mansel, ed. Akurgal, E. and Alkım, U., 537547. Ankara: Türk Tarih Kurumu Basimevi.Google Scholar
Mellink, M. J. Bridges, R. A., Jr., and di Vignale, F. C. 1998. Kızılbel: An Archaic Painted Tomb Chamber in Northern Lycia. Philadelphia: University of Pennsylvania Museum.Google Scholar
Miller, M. C. 2011. “‘Manners Makyth Man’: Diacritical Drinking in Achaemenid Anatolia,” in Cultural Identity in the Ancient Mediterranean, ed. Gruen, E., 97134. Los Angeles: Getty Research Institute.Google Scholar
Pieraccini, L. 2003. Around the Hearth: Caeretan Cylinder-Stamped Braziers. Rome: L’Erma di Bretschenider.Google Scholar
Pieraccini, L. 2014a. “Artisans and Their Lasting Impressions: Clay Stamping and Craft Connectivity at Caere during the 6th Century BCE,” Etruscan Studies 17(2): 140153.Google Scholar
Pieraccini, L. 2014b. “The Ever Elusive Etruscan Egg,” Etruscan Studies 17(2): 267292.Google Scholar
Pieraccini, L. in press. “Dining with the Dead: Visual Meals, Memory & Symbolic Consumption in Etruscan Tomb Painting,” in Consumption, Ritual and Society: Recent Finds and Interpretive Approaches to Food and Drink in Etruria, ed. Pieraccini, L. and Taylor, L.. Turnhout: Brepols.Google Scholar
Rathje, A. 1994. “Banquet and Ideology: Some New Considerations about Banqueting at Poggio Civitate,” in Murlo and the Etruscans: Art and Society in Ancient Etruria, ed. De Puma, R. D. and Small, J. P., 9599. Madison: University of Wisconsin Press.Google Scholar
Rathje, A. 2007. “Murlo, Images and Archaeology,” Etruscan Studies 10: 175184.Google Scholar
Ridgway, B. 1977. The Archaic Style in Greek Sculpture. Princeton, NJ: Princeton University Press.Google Scholar
Shear, T. L. 1926. Sardis, Vol. X.1. Architectural Terra-Cottas. Cambridge: The University Press.Google Scholar
Siddiq, A. B., Onar, V., Mutuş, R., and Poradowski, D. 2021. “The Iron Age Dogs from Alaybeyi Höyük, Eastern Anatolia,” Animals 11(4): 1163, https://doi.org/10.3390/ani11041163.Google Scholar
Small, J. P. 1994. “Eat, Drink, and Be Merry: Etruscan Banquets,” in Murlo and the Etruscans: Art and Society in Ancient Etruria, ed. De Puma, R. D. and Small, J. P., 8594. Madison: University of Wisconsin Press.Google Scholar
Steingräber, S. 2006. Abundance of Life: Etruscan Wall Painting, trans. Russell Stockman. Los Angeles: The J. Paul Getty Museum.Google Scholar
Steingräber, S., Ridgway, D., and Ridgway, F. R. (eds.) 1986. Etruscan Painting. Catalogue Raisonné of Etruscan Wall Paintings. New York: Harcourt, Brace, Jovanovich.Google Scholar
Strandberg Olofsson, M. 2006. “Creatures Great and Small: Animals on Etrusco-Italic Architectural Terracotta Reliefs,” in Across Frontiers: Etruscans, Greeks, Phoenicians and Cypriots, ed. Herring, E., Lemos, I., Schiavo, F. L., Vagnetti, L., Whitehouse, R., and Wilkins, J., 517528. London: Accordia Research Institute.Google Scholar
Winter, N. A. 2009. Symbols of Wealth and Power: Architectural Terracotta Decoration in Etruria and Central Italy, 640–510 B.C. Ann Arbor: The University of Michigan Press.Google Scholar
Winter, N. A. 2013. “Confronti fra scene su bracieri e pithoi ceretani e terrecotte architettoniche,” in Mediterranea: Studi e Ricerche a Tarquinia e in Etruria, ed. Gentili, M. D. and Maneschi, L., 8596. Rome: Fabrizio Serra.Google Scholar

Works Cited

Amyx, D. A. 1962. “A ‘Pontic’ Oinochoe in Seattle,” in Hommages à Albert Grenier, Vol. 1, Latomus 58, ed. Renard, M., 121134. Brussels: Editions Latomus.Google Scholar
Arnott, W. G. 2007. Birds in the Ancient World from A to Z. London: Routledge.Google Scholar
Bailey, D. M. 2006. “The Arpies Amphora. Another Cartouche,” in Naucratis: Greek Diversity in Egypt, ed. Villing, A. and Schlotzhauer, U., 155157. London: British Museum.Google Scholar
Beazley, J. D. 1956. Attic Black-Figure Vase-Painters. Oxford: Clarendon Press.Google Scholar
Bentz, M. (ed.) 2008. Rasna. Die Etrusker. Eine Ausstellung im Akademischen Kunstmuseum Antikesammlung der Universität Bonn 15. Oktober 2008–15. Februar 2009. Petersberg: Imhof.Google Scholar
Boardman, J. 1998. Early Greek Vase-Painting. London: Thames & Hudson.Google Scholar
Böhlau, J. 1898. Aus ionischen und italischen Nekropolen. Leipzig: Teubner.Google Scholar
Böhlau, J. 1900. “Die ionischen Augenschalen,” Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 25: 4099.Google Scholar
Bonaudo, R. 2004. La culla di Hermes. Iconografia e imaginario delle hydriai ceretane. Rome: L’Erma di Bretschneider.Google Scholar
Cook, R. M. 1933–1934. “Fikellura Pottery,” Annual of the British School of Athens 34: 198.Google Scholar
Cook, R. M. 1946. “Ionia and Greece in the Eighth and Seventh Centuries B.C.,” The Journal of Hellenic Studies 66: 6798.Google Scholar
Cook, R. M. 1984. Clazomenian Sarcophagi. Mainz: Philipp von Zabern.Google Scholar
Cook, R. M. 1989. “East Greek Influences on Etruscan Vase-Painting,” La Parola di Passato 44: 161173.Google Scholar
Cook, R. M. 1997. Greek Painted Pottery, 3rd ed. London: Routledge.Google Scholar
Cook, R. M. and Dupont, P. 1998. East Greek Pottery. London: Routledge.Google Scholar
de Witte, J. 1836. Descriptions des Antiquités et d’Objets d’Art qui composent le cabinet du feu M. le chevalier E. Durand. Paris: F. Didot frères.Google Scholar
Dohrn, T. 1966. “Die Etrusker und die griechische Sage,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilungen 73: 1528.Google Scholar
Ducati, P. 1932. Pontische Vasen. Berlin: Keller.Google Scholar
Dümmler, F. 1887. “Über eine Classe griechischer Vasen mit Schwarzen Figuren,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung 2: 171192.Google Scholar
Dümmler, F. 1888. “Vasenscherbe aus Kyme in Aolis,” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung 3: 159180.Google Scholar
Furtwängler, A., and Reichold, K. 1909. Griechische Vasenmalerei. Munich: F. Bruckmann.Google Scholar
Gaultier, F. 1995. Corpus Vasorum Antiquorum, Musée du Louvre, Fascicule 24, France Fascicule 35. Paris: De Boccard.Google Scholar
Gaultier, F. 2003. Corpus Vasorum Antiquorum, Musée du Louvre, Fascicule 26, France Fascicule 39. Paris: De Boccard.Google Scholar
Gerhard, E. 1831. “Rapporto intorno i vasi volcenti,” Annali dell’Istituto di Corrispondenza Archeologica 3: 5233.Google Scholar
Hannestad, L. 1974. The Paris Painter, an Etruscan Vase-Painter. Copenhagen: Munksgaard.Google Scholar
Hannestad, L. 1976. The Followers of the Paris Painter. Copenhagen: Munksgaard.Google Scholar
Hemelrijk, J. M. 1984. Caeretan Hydriae. Mainz: Philipp von Zabern.Google Scholar
Hemelrijk, J. M. 2007. “Four New Campana Dinoi, a New Painter, Old Questions,” Bulletin antieke beschaving: Annual Papers on Classical Archaeology 82: 365421.Google Scholar
Hemelrijk, J. M. 2009. More about Caeretan Hydriae: addenda et clarificanda. Amsterdam: Allard Pierson Museum.Google Scholar
Herbig, R. 1933. “Verstreute etruskische Denkmäler in deutschen Sammlungen. I. Etruskisch-schwarzfigurige Vasen in Heidelberg,” Studi Etruschi 7: 353363.Google Scholar
Jackson, D. A. 1976East Greek Influence on Attic Vases, Hellenic Society Supplementary Paper 13. London: Society for the Promotion of Hellenic Studies.Google Scholar
Kramer, G. 1837. Über den Styl und die Herkunft der bemahlten griechischen Thongefässe. Berlin: Nicolaischen Buchhandlung.Google Scholar
Kunze, E. 1934. “Ionische Kleinmeister,” Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 59: 81122.Google Scholar
Kurtz, D. C., and Boardman, J. 1986. “Booners,” in Greek Vases in the J. Paul Getty Museum 3: 3570. Malibu, CA: J. Paul Getty Museum.Google Scholar
Lane, E. 1933–1934. “Laconian Vase-Painting,” Annual of the British School of Athens 34: 99189.Google Scholar
Lund, J., and Rathje, A. 1988. “Italic Gods and Deities on Pontic Vases,” in Proceedings of the Third International Symposium on Greek and Related Pottery, Copenhagen August 31–September 4 1987, ed. Christiansen, J. and Melander, T., 352368. Copenhagen: Nationalmuseet.Google Scholar
Marangou, L. 1995. Ancient Greek Art from the Stavros Niarchos Collection. Athens: N. P. Goulandris Foundation, Museum of Cycladic Art.Google Scholar
Martelli, M. 1981. “Un askos del Museo di Tarquinia e il problema delle presenze nord-ioniche in Etruria,” Prospettiva 27: 214.Google Scholar
Martelli, M. (ed.) 1987. La ceramica degli Etrusci. La pittura vascolare. Novara: Istituto Geografico de Agostini.Google Scholar
Martelli Cristofani, M. 1978. “La ceramica greco-orientale in Etruria,” in Les céramiques de la Grèce de l’Est et leur diffusion en Occident, 150212. Naples: Institute Français de Naples.Google Scholar
Miller, M. C. 2013. “Clothes and Identity: The Case of the Greeks in Ionia c. 400 BC,” Antichthon 47: 1838.Google Scholar
Mingazzini, P. 1930. Vasi della collezione Castellani, Catalogo, Vol. 1. Rome: La Libreria dello stato.Google Scholar
Olivier-Trottenberg, Y. 2014. Corpus Vasorum Antiquorum. Deutschland 96, München, Antikensammlungen 17. Etruskisch Schwarzfigurige Keramik. Munich: C. H. Beck.Google Scholar
Paleothodoros, D. 2004–2007. “Dionysiac Imagery in Archaic Etruria,” Etruscan Studies 10: 187201.Google Scholar
Paleothodoros, D. 2011. “A Complex Approach to Etruscan Black-Figure Vase-Painting,” Mediterranea 8: 3380.Google Scholar
Payne, H. G. 1931. Necrocorinthia. A Study of Corinthian Art in the Archaic Period. Oxford: Clarendon Press.Google Scholar
Philippart, H. 1933. Review of Pericle Ducati, Pontische Vasen, Berlin/Leipzig 1932, L’Antiquité Classique 2: 424.Google Scholar
Sieveking, J. 1908. Führer durch die königliche Vasensammlung in der alten Pinakothek zu München. Munich: Kastner & Callwey.Google Scholar
Sieveking, J. and Hackl, R. 1912. Die königliche Vasensammlung zu München. Munich: J. B. Obernetter.Google Scholar
Smith, T. J. 2010. Komast Dancers in Archaic Greek Art. Oxford: Oxford University Press.Google Scholar
Stibbe, K. 1977. “Pontic Vases in Oxford,” Mededeelingen van het Nederlands Historisch Instituut te Rome 10: 711.Google Scholar
Tempesta, A. 1998. La raffigurazioni mitologiche sulla ceramica greco-orientale arcaica. Rivista di archeologia, suppl. 19. Rome: G. Bretschneider.Google Scholar
von Bothmer, D. 1955–1956. “Two Etruscan Vases by the Paris Painter,” Bulletin of the Metropolitan Museum of Art 13: 127132.Google Scholar
Walters, H. B. 1905. History of Ancient Pottery. London: J. Murray.Google Scholar
Wehgartner, I. 1983. Corpus Vasorum Antiquorum Deutschland 51, Würzburg; Martin-von Wagner Museum, 3. Munich: C. H. Beck.Google Scholar
Werner, I. 2005. Dionysos in Etruria. The Ivy-Leaf Group. Stockholm: Svenska institutet i Rom.Google Scholar
Williams, D. 2005. “The Beginnings of the So-Called ‘Pontic’ Group and Other Italian Black-Figure Fabrics,” in ΑΕΙΜΝΗΣΤΟΣ. Miscellanea di studi per Mauro Cristofani, Vol. 1, ed. Adembri, B., 352–360. Milan: Centro Di.Google Scholar
Williams, D. and Massar, N. 2017. “Fun and Games at the Symposium: A Corinthian Thauma in Brussels,” in ΤΕΡΨΙΣ. Studies in Mediterranean Archaeology in Honour of Nota Kourou, ed. Vlachou, V. and Gadolou, A., 229246. Brussels: CREA–Patrimoine.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×