The article aims at discussing an unpublished marble statue from an Italian private collection. T... more The article aims at discussing an unpublished marble statue from an Italian private collection. The sculpture was made by assembling two different elements: the upper part (from the head to the pubis) is an antique replica of a statue of Aphrodite Pudica, while the lower part (from the pubis to the basis of the sculpture) and the arms can be attributed to restorations carried out in the early 19th century. The paper also discusses the type of integrative restoration by attempting to define the iconographic models selected by the restorers.
The paper aims at discussing the presence of Greek/Etruscan vases and their imagery in Tuscan man... more The paper aims at discussing the presence of Greek/Etruscan vases and their imagery in Tuscan manufactories, through the decades that cover the last years of the Grand Duchy, the short period of Florence as capital of Italy (1865–1871) and the last years of the 19 th century, when Florence became point of attraction for elitist tourism. I want to discuss two examples of adoption (or not adoption) of Greek motives in decorative artifacts produced in Tuscany. The first concerns the presence of archaeological models in Doccia Manufactory (which has been massively inspired at its beginning in 18th century by ancient works of art, mainly sculptures). Except for some rare examples, which I discuss in the paper, Greek/Etruscan vases are virtually absent form Ginori production in second half of 19th century. Probably, an explanation can be provided by the interest of clients on neo-Renaissance style and on majolica collecting (which is more suitable for the nine-teenth-century eclecticism). The second case study regards the presence of Greek vases on commesso fiorentino mosaics: these have been deeply studied only for the last twenty years of the 18th century, while I focus on the production of the second half of 19th century, which was constituted by items explicitly made for bourgeois clients. Also, in this case the eclectic adoption of different styles is much more relevant than the specific desire to imitate ancient products.
The present chapter discusses a specific Etruscan vase shape the ‘olle stamnoidi a colletto’. Thi... more The present chapter discusses a specific Etruscan vase shape the ‘olle stamnoidi a colletto’. This peculiar shape, developed in Etruria during the Hellenistic period, is characterised by a distinctive rib that creates an empty channel around the entire circumference of the vase, close to the mouth. Revisiting two contributions published by the author several years ago, the chapter examines the typological connection of these Etruscan vases with Iberian ‘potes meleiros’ and Greek ‘melopitari’ (vases devoted to honey storage according to ethnographic comparisons). It also discusses the contexts of their discovery in Etruria (tombs and, rarely, votive or domestic deposits) and the typological variation of these vases.
The paper aims at publishing an Athenian black-figure column krater from an Italian private colle... more The paper aims at publishing an Athenian black-figure column krater from an Italian private collection. This vase, known to the Soprintendenza for many years but still unpublished, is here examined considering its shape, iconography (with dionysiac scenes on both sides) and attribution. As concerns the latter aspect, the krater, a late black-figure vase which can be dated in the first decade of the 5th century BC, shows strong similarities with vases attributed to the Louvre C 11287 Painter, who, according to my hypothesis, has probably to be related to the well-known workshop of the Red-Line Painter. Finally, the two-letter glaze trademark – ΔI under the foot – is here described and analysed: it is possible to interpret it as a numeral, but the most reliable hypothesis is that it refers to a man (whose name started with the letters Δι-) involved in export of Athenian pottery from Greece to Italy.
This paper discusses a previously unpublished Roman marble cinerary urn from an Italian private c... more This paper discusses a previously unpublished Roman marble cinerary urn from an Italian private collection. Thanks to its inscription, commemorating Iulia Restituta, and to its specific decoration – birds, bucrania and flowers – it is possible to identify the object as a cinerary urn mentioned in the description of Villa Miollis in Rome written by F. A. and A. Visconti (1814).
The Temple of Apollo Daphnephoros, situated in the centre of the Euboean polis of Eretria, is one... more The Temple of Apollo Daphnephoros, situated in the centre of the Euboean polis of Eretria, is one of the most relevant of Greece, with an important Late Archaic building phase, that saw the decoration of its two pediments with marble statuary. Several fragments of the west pediments, including the famous abduction scene of Antiope by Theseus and the statue of Athena, were recovered during many excavation campaigns. These two items, as well as six others belonging to the same complex, were first submitted to a non-destructive examination of their surface with a light source, a magnifying lens and a portable X-ray fluorescence spectrometer, followed by a micro-sampling and laboratory multiple analysis finalised to the provenancing of the marble. The analytical methods of the samples included optical microscopy on thin section, powder X-ray diffraction and stable isotope ratio determination by mass-spectrometry. The very homogeneous results obtained allowed to conclude that the marble used for all the examined items is Parian from the open pit quarries of the Lakkoi valley, very likely extracted from a unique locus.
Abstract. It is here presented a new analysis of the statue of a Late Archaic amazon found in 188... more Abstract. It is here presented a new analysis of the statue of a Late Archaic amazon found in 1888 in the area of the Horti Sallustiani and now exhibited in the Centrale Montemartini in Rome. It will be firstly considered the technical and formal aspects of the figure, which could allow a reliable reconstruction, then the context of use in (reece and at Rome, where the biography of the sculpture develops. Particularly, the links with the pediment’s sculpture of the temple of Apollo Daphnephoros at Eretria, recently reconsidered by the Author. The pertinence of the amazon to this building is probable, even on circumstantial basis. The (reek statue is then analysed in its adaptive re-use at Rome, in the Horti Sallustiani, paying attention to the physical traces that allow reconstructing the changes of the Roman age.
The paper examines a drawing in the British Museum as a case study in the dissemination of images... more The paper examines a drawing in the British Museum as a case study in the dissemination of images of Greek vases in the 19th century. It depicts a hydria with a Dionysiac thiasos on the shoulder and Poseidon mounting a chariot pulled by winged horses on the body. Analysing the shape and iconography, it is possible to find the ancient vase that is depicted, a late 6th century B.C. Attic black-figure hydria, formerly in the Canino Collection. Discussing the graphic reproductions of the hydria, its fortune from the discovery in Vulci to the acquisition by Antoine Vivenel in France, the British Museum drawing is put in its cultural context. It has no relation with John Flaxman, as was previously supposed, but rather reproduces a figure published by Eduard Gerhard, whose role in the diffusion of Greek images deserves particular attention. The drawing should be interpreted as an extract from a sketchbook, a visual note to keep an ancient drawing in memory.
Keywords: History of Classical Studies – Drawings of Greek Vases – Canino Collection – Eduard Gerhard – Leagros Group
A Statue with Many Lives. Biographies of a Hitherto Unpublished ‘Roman’ Menander from a Private C... more A Statue with Many Lives. Biographies of a Hitherto Unpublished ‘Roman’ Menander from a Private Collection in Genoa
Abstract: Adopting the object-biographical approach, this paper discusses a previously unpublished statue from a private collection in Genoa. This monument is a modern (seventeenth - to eighteenth century) pastiche assembled from two ancient sculptures: the head is a second-century A.D. replica of the well-known portrait of Menander, while the body is a fragment of a naked statue of an athlete. It is possible, the paper argues, to relate the peculiar arrangement of the statue to the modern interpretation of the portrait of Menander as Pompey and to identify the statue as a ‘lost’ Menander portrait sold in Rome by the antique dealer Jandolo.
RIASSUNTO
L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età elle... more RIASSUNTO L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età ellenistica. La presenza del colletto sulla spalla, uno spazio vuoto delimitato da un cordone plastico, è un elemento che accomuna questa forma vascolare ai potes meleiros iberici e melopitari greci. Come questi, anche le olle stamnoidi possono quindi essere considerate specifici contenitori per lo stoccaggio di miele.
RESUMEN El presente artículo analiza las ollas con forma de stamnos a colletto, vasos contenedores realizados en Etruria durante la época helenística. Estos vasos se caracterizan por tener un canal circular en el hombro, por eso es posible asociar esta forma cerámica con la de los potes meleiros ibéricos y con la de los melopitari grecos. Por eso, las ollas tienen que considerarse específicos contenedores para conservar la miel.
SUMMARY This paper discusses stamnoid jars a colletto. These vases, made in Etruria during the Hellenistic period, are characterised by a peculiar rib that creates an empty channel around the entire circumference of the vase. Similar features can also be found on Iberian potes meleiros and Greek melopitari. Like these latter two types of vases, the aforementioned Etruscan jars may also be considered as being devoted primarily to honey storage.
Riassunto
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Arc... more Riassunto
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Archeologico Nazionale di Siena e appartenente alla collezione di Emilio Bonci Casuccini, formata con materiale proveniente da Chiusi. Sul vaso compaiono figure femminili nell’atto di raccogliere mele, gesto che può essere connesso a momenti
rituali legati alla sfera matrimoniale, ma che può anche aprirsi a letture allusive. Si propone qui l’attribuzione dello stamnos al Pittore di Copenhagen, artigiano di origine siriana attivo nel Kerameikos di Atene fra il primo e il secondo quarto del V secolo a.C. Si analizza infine il contesto di fruizione chiusino, inserendo il vaso nel flusso delle importazioni di ceramica attica nel territorio.
Abstract
The paper examines an Attic red-figured stamnos in the Museo Archeologico Nazionale of Siena, acquired along with the Emilio Bonci Casuccini Collection, which consists of finds from Chiusi. The iconography shows some young women picking apples: the gesture can be connected to wedding rituals, but it may also contain allusive meanings. The vase can be attributed to the Copenhagen Painter, an artisan of Syrian origin working in the Athenian Kerameikos between the first and the second quarter of the 5 th century BC. Lastly, the paper examines the vase provenance inserting the stamnos in the stream of Attic pottery that reached Chiusi and its
countryside.
The article aims at discussing an unpublished marble statue from an Italian private collection. T... more The article aims at discussing an unpublished marble statue from an Italian private collection. The sculpture was made by assembling two different elements: the upper part (from the head to the pubis) is an antique replica of a statue of Aphrodite Pudica, while the lower part (from the pubis to the basis of the sculpture) and the arms can be attributed to restorations carried out in the early 19th century. The paper also discusses the type of integrative restoration by attempting to define the iconographic models selected by the restorers.
The paper aims at discussing the presence of Greek/Etruscan vases and their imagery in Tuscan man... more The paper aims at discussing the presence of Greek/Etruscan vases and their imagery in Tuscan manufactories, through the decades that cover the last years of the Grand Duchy, the short period of Florence as capital of Italy (1865–1871) and the last years of the 19 th century, when Florence became point of attraction for elitist tourism. I want to discuss two examples of adoption (or not adoption) of Greek motives in decorative artifacts produced in Tuscany. The first concerns the presence of archaeological models in Doccia Manufactory (which has been massively inspired at its beginning in 18th century by ancient works of art, mainly sculptures). Except for some rare examples, which I discuss in the paper, Greek/Etruscan vases are virtually absent form Ginori production in second half of 19th century. Probably, an explanation can be provided by the interest of clients on neo-Renaissance style and on majolica collecting (which is more suitable for the nine-teenth-century eclecticism). The second case study regards the presence of Greek vases on commesso fiorentino mosaics: these have been deeply studied only for the last twenty years of the 18th century, while I focus on the production of the second half of 19th century, which was constituted by items explicitly made for bourgeois clients. Also, in this case the eclectic adoption of different styles is much more relevant than the specific desire to imitate ancient products.
The present chapter discusses a specific Etruscan vase shape the ‘olle stamnoidi a colletto’. Thi... more The present chapter discusses a specific Etruscan vase shape the ‘olle stamnoidi a colletto’. This peculiar shape, developed in Etruria during the Hellenistic period, is characterised by a distinctive rib that creates an empty channel around the entire circumference of the vase, close to the mouth. Revisiting two contributions published by the author several years ago, the chapter examines the typological connection of these Etruscan vases with Iberian ‘potes meleiros’ and Greek ‘melopitari’ (vases devoted to honey storage according to ethnographic comparisons). It also discusses the contexts of their discovery in Etruria (tombs and, rarely, votive or domestic deposits) and the typological variation of these vases.
The paper aims at publishing an Athenian black-figure column krater from an Italian private colle... more The paper aims at publishing an Athenian black-figure column krater from an Italian private collection. This vase, known to the Soprintendenza for many years but still unpublished, is here examined considering its shape, iconography (with dionysiac scenes on both sides) and attribution. As concerns the latter aspect, the krater, a late black-figure vase which can be dated in the first decade of the 5th century BC, shows strong similarities with vases attributed to the Louvre C 11287 Painter, who, according to my hypothesis, has probably to be related to the well-known workshop of the Red-Line Painter. Finally, the two-letter glaze trademark – ΔI under the foot – is here described and analysed: it is possible to interpret it as a numeral, but the most reliable hypothesis is that it refers to a man (whose name started with the letters Δι-) involved in export of Athenian pottery from Greece to Italy.
This paper discusses a previously unpublished Roman marble cinerary urn from an Italian private c... more This paper discusses a previously unpublished Roman marble cinerary urn from an Italian private collection. Thanks to its inscription, commemorating Iulia Restituta, and to its specific decoration – birds, bucrania and flowers – it is possible to identify the object as a cinerary urn mentioned in the description of Villa Miollis in Rome written by F. A. and A. Visconti (1814).
The Temple of Apollo Daphnephoros, situated in the centre of the Euboean polis of Eretria, is one... more The Temple of Apollo Daphnephoros, situated in the centre of the Euboean polis of Eretria, is one of the most relevant of Greece, with an important Late Archaic building phase, that saw the decoration of its two pediments with marble statuary. Several fragments of the west pediments, including the famous abduction scene of Antiope by Theseus and the statue of Athena, were recovered during many excavation campaigns. These two items, as well as six others belonging to the same complex, were first submitted to a non-destructive examination of their surface with a light source, a magnifying lens and a portable X-ray fluorescence spectrometer, followed by a micro-sampling and laboratory multiple analysis finalised to the provenancing of the marble. The analytical methods of the samples included optical microscopy on thin section, powder X-ray diffraction and stable isotope ratio determination by mass-spectrometry. The very homogeneous results obtained allowed to conclude that the marble used for all the examined items is Parian from the open pit quarries of the Lakkoi valley, very likely extracted from a unique locus.
Abstract. It is here presented a new analysis of the statue of a Late Archaic amazon found in 188... more Abstract. It is here presented a new analysis of the statue of a Late Archaic amazon found in 1888 in the area of the Horti Sallustiani and now exhibited in the Centrale Montemartini in Rome. It will be firstly considered the technical and formal aspects of the figure, which could allow a reliable reconstruction, then the context of use in (reece and at Rome, where the biography of the sculpture develops. Particularly, the links with the pediment’s sculpture of the temple of Apollo Daphnephoros at Eretria, recently reconsidered by the Author. The pertinence of the amazon to this building is probable, even on circumstantial basis. The (reek statue is then analysed in its adaptive re-use at Rome, in the Horti Sallustiani, paying attention to the physical traces that allow reconstructing the changes of the Roman age.
The paper examines a drawing in the British Museum as a case study in the dissemination of images... more The paper examines a drawing in the British Museum as a case study in the dissemination of images of Greek vases in the 19th century. It depicts a hydria with a Dionysiac thiasos on the shoulder and Poseidon mounting a chariot pulled by winged horses on the body. Analysing the shape and iconography, it is possible to find the ancient vase that is depicted, a late 6th century B.C. Attic black-figure hydria, formerly in the Canino Collection. Discussing the graphic reproductions of the hydria, its fortune from the discovery in Vulci to the acquisition by Antoine Vivenel in France, the British Museum drawing is put in its cultural context. It has no relation with John Flaxman, as was previously supposed, but rather reproduces a figure published by Eduard Gerhard, whose role in the diffusion of Greek images deserves particular attention. The drawing should be interpreted as an extract from a sketchbook, a visual note to keep an ancient drawing in memory.
Keywords: History of Classical Studies – Drawings of Greek Vases – Canino Collection – Eduard Gerhard – Leagros Group
A Statue with Many Lives. Biographies of a Hitherto Unpublished ‘Roman’ Menander from a Private C... more A Statue with Many Lives. Biographies of a Hitherto Unpublished ‘Roman’ Menander from a Private Collection in Genoa
Abstract: Adopting the object-biographical approach, this paper discusses a previously unpublished statue from a private collection in Genoa. This monument is a modern (seventeenth - to eighteenth century) pastiche assembled from two ancient sculptures: the head is a second-century A.D. replica of the well-known portrait of Menander, while the body is a fragment of a naked statue of an athlete. It is possible, the paper argues, to relate the peculiar arrangement of the statue to the modern interpretation of the portrait of Menander as Pompey and to identify the statue as a ‘lost’ Menander portrait sold in Rome by the antique dealer Jandolo.
RIASSUNTO
L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età elle... more RIASSUNTO L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età ellenistica. La presenza del colletto sulla spalla, uno spazio vuoto delimitato da un cordone plastico, è un elemento che accomuna questa forma vascolare ai potes meleiros iberici e melopitari greci. Come questi, anche le olle stamnoidi possono quindi essere considerate specifici contenitori per lo stoccaggio di miele.
RESUMEN El presente artículo analiza las ollas con forma de stamnos a colletto, vasos contenedores realizados en Etruria durante la época helenística. Estos vasos se caracterizan por tener un canal circular en el hombro, por eso es posible asociar esta forma cerámica con la de los potes meleiros ibéricos y con la de los melopitari grecos. Por eso, las ollas tienen que considerarse específicos contenedores para conservar la miel.
SUMMARY This paper discusses stamnoid jars a colletto. These vases, made in Etruria during the Hellenistic period, are characterised by a peculiar rib that creates an empty channel around the entire circumference of the vase. Similar features can also be found on Iberian potes meleiros and Greek melopitari. Like these latter two types of vases, the aforementioned Etruscan jars may also be considered as being devoted primarily to honey storage.
Riassunto
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Arc... more Riassunto
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Archeologico Nazionale di Siena e appartenente alla collezione di Emilio Bonci Casuccini, formata con materiale proveniente da Chiusi. Sul vaso compaiono figure femminili nell’atto di raccogliere mele, gesto che può essere connesso a momenti
rituali legati alla sfera matrimoniale, ma che può anche aprirsi a letture allusive. Si propone qui l’attribuzione dello stamnos al Pittore di Copenhagen, artigiano di origine siriana attivo nel Kerameikos di Atene fra il primo e il secondo quarto del V secolo a.C. Si analizza infine il contesto di fruizione chiusino, inserendo il vaso nel flusso delle importazioni di ceramica attica nel territorio.
Abstract
The paper examines an Attic red-figured stamnos in the Museo Archeologico Nazionale of Siena, acquired along with the Emilio Bonci Casuccini Collection, which consists of finds from Chiusi. The iconography shows some young women picking apples: the gesture can be connected to wedding rituals, but it may also contain allusive meanings. The vase can be attributed to the Copenhagen Painter, an artisan of Syrian origin working in the Athenian Kerameikos between the first and the second quarter of the 5 th century BC. Lastly, the paper examines the vase provenance inserting the stamnos in the stream of Attic pottery that reached Chiusi and its
countryside.
M. Iozzo - M.R. Luberto (a cura di), Tesori dalle terre d'Etruria. La collezione dei conti Passerini, 2020
Catalogo della mostra, Museo Archeologico Nazionale di Firenze, 29 ottobre 2020 - 30 giugno 2021.... more Catalogo della mostra, Museo Archeologico Nazionale di Firenze, 29 ottobre 2020 - 30 giugno 2021. Con schede di:
Pieter Heesen, Andrew J. Clark, Elisabeth Langridge-Noti, Nicole Cuddeback, Michael Padgett, Mario Iozzo, Martino Maioli, Barbara Arbeid, Andrea Martelli, Edoardo Albani ed Elisa Salvadori, Fernando Gilotta, Luca Cappuccini, Claudia Noferi, Marco Sofia, Paolo Persano, Mariangela Turchetti, Ada Salvi, Stefania Berutti, Greta Balzanelli, Vittorio Mascelli, G. Carlotta Cianferoni, Andrea Magno, Federica Biagiotti, Barbara Cattaneo.
in Paros through the Ages from Prehistoric Times to the 16th Century AD.
Fifth International Con... more in Paros through the Ages from Prehistoric Times to the 16th Century AD. Fifth International Conference on the Archaeology of Paros and the Cyclades, 21-24.06.2019
L'enlèvement d'Antiope par Thésée, l'une des sculptures du temple d'Apollon Daphnéphoros à Erétri... more L'enlèvement d'Antiope par Thésée, l'une des sculptures du temple d'Apollon Daphnéphoros à Erétrie, compte parmi les chefs d'oeuvre de l'art grec archaïque. Paolo Persano, jeune chercheur italien actuellement hôte de la Fondation Hardt, propose une nouvelle restitution du fronton occidental, qui modifie la reconstruction traditionnelle du groupe de Thésée et d'Antiope, du char sur lequel ils montent et de certaines amazones. Il étend sa réflexion aux fragments qui peuvent être attribués, par hypothèse, au fronton oriental de l'édifice.
"Paolo Persano, autore di “Ceramica e regionalismo a Creta nella prima età del ferro”, è il vinci... more "Paolo Persano, autore di “Ceramica e regionalismo a Creta nella prima età del ferro”, è il vincitore del Premio Celluprica 2014 e propone un contributo basato sul suo lavoro di tesi centrato sulla ceramica cretese della prima età del Ferro (XI – VIII/VII secolo a. C.). Lo studio introduce le scuole di pensiero che si sono succedute nel corso di decenni nella valutazione degli studi archeologici. Il primo approccio da un punto di vista storico è centrato sulla ricostruzione storica e storico-artistica. La tipologia, in particolare, basata sullo studio di caratteristiche formali simili presenti in esemplari diversi è sembrata fin dall’Ottocento lo strumento migliore per l’ordinamento dei rinvenimenti. Ma la ceramica non riflette soltanto una società, può rivestire anche un ruolo attivo nella ricostruzione delle relazioni sociali stesse, “l’individuazione di relazioni tra aree specifiche in termini di cultura materiale”. L’innovazione più evidente è costituita dall’introduzione di nuovi strumenti analitici, come l’archeometria, degli studi tecnologici e dall’attenzione all’intero ciclo di vita dei vasi: dall’esame della forma o decorazione, a tutto il ciclo produttivo e agli usi dei manufatti stessi, fino alle circostanze deposizionali. La permanenza di specifici modelli in alcune aree e la disposizione di altre nei confronti di centri esterni, può indicare fenomeni di lunga durata e favorire l’indagine di processi di interazione culturale e di acculturazione. La comparsa di attributi o di tipi propri di differenti aree e tradizioni è infatti spia di forme di interazione culturale indicatore di mobilità di persone e saperi tecnici"
T. Baroncelli, Presentazione, in ANALYSIS Rivista di cultura e politica scientifica N.2/ 2015
Uploads
Papers by Paolo Persano
by items explicitly made for bourgeois clients. Also, in this case the eclectic adoption of different styles is much more relevant than the specific desire to imitate ancient products.
As concerns the latter aspect, the krater, a late black-figure vase which can be dated in the first decade of the 5th century BC, shows strong similarities with vases attributed to the Louvre C 11287 Painter, who, according to my hypothesis, has probably to be related to the well-known workshop of the Red-Line Painter. Finally, the two-letter glaze trademark – ΔI under the foot – is here described and analysed: it is possible to interpret it as a numeral, but the most reliable hypothesis is that it refers to a man (whose name started with the letters Δι-) involved in export of Athenian pottery from Greece to Italy.
birds, bucrania and flowers – it is possible to identify the object as a cinerary urn mentioned in the description of Villa Miollis in Rome written by F. A. and A. Visconti (1814).
analysis finalised to the provenancing of the marble. The analytical methods of the samples included optical microscopy on thin section, powder X-ray diffraction and stable isotope ratio determination by mass-spectrometry. The very homogeneous results obtained allowed to conclude that the marble used for all the examined items is Parian from the open pit quarries of the Lakkoi valley, very likely extracted from a unique locus.
Sallustiani and now exhibited in the Centrale Montemartini in Rome. It will be firstly considered the technical and formal aspects
of the figure, which could allow a reliable reconstruction, then the context of use in (reece and at Rome, where the biography
of the sculpture develops. Particularly, the links with the pediment’s sculpture of the temple of Apollo Daphnephoros at Eretria,
recently reconsidered by the Author. The pertinence of the amazon to this building is probable, even on circumstantial basis. The
(reek statue is then analysed in its adaptive re-use at Rome, in the Horti Sallustiani, paying attention to the physical traces that
allow reconstructing the changes of the Roman age.
Keywords: History of Classical Studies – Drawings of Greek Vases – Canino Collection – Eduard Gerhard – Leagros Group
Abstract: Adopting the object-biographical approach, this paper discusses a previously unpublished statue from a private collection in Genoa. This monument is a modern (seventeenth - to eighteenth century) pastiche assembled from two ancient sculptures: the head is a second-century A.D. replica of the well-known portrait of Menander, while the body is a fragment of a naked statue of an athlete. It is possible, the paper argues, to relate the peculiar arrangement of the statue to the modern interpretation of the portrait of Menander as Pompey and to identify the statue as a ‘lost’ Menander portrait sold in Rome by the antique dealer Jandolo.
L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età ellenistica. La presenza del colletto sulla
spalla, uno spazio vuoto delimitato da un cordone plastico, è
un elemento che accomuna questa forma vascolare ai potes
meleiros iberici e melopitari greci. Come questi, anche le olle
stamnoidi possono quindi essere considerate specifici contenitori
per lo stoccaggio di miele.
RESUMEN
El presente artículo analiza las ollas con forma de stamnos
a colletto, vasos contenedores realizados en Etruria durante la
época helenística. Estos vasos se caracterizan por tener un canal
circular en el hombro, por eso es posible asociar esta forma
cerámica con la de los potes meleiros ibéricos y con la de los
melopitari grecos. Por eso, las ollas tienen que considerarse
específicos contenedores para conservar la miel.
SUMMARY
This paper discusses stamnoid jars a colletto. These vases,
made in Etruria during the Hellenistic period, are characterised
by a peculiar rib that creates an empty channel around the entire
circumference of the vase. Similar features can also be found on
Iberian potes meleiros and Greek melopitari. Like these latter
two types of vases, the aforementioned Etruscan jars may also
be considered as being devoted primarily to honey storage.
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Archeologico Nazionale di Siena e appartenente alla collezione di Emilio Bonci Casuccini, formata con materiale proveniente da Chiusi. Sul vaso compaiono figure femminili nell’atto di raccogliere mele, gesto che può essere connesso a momenti
rituali legati alla sfera matrimoniale, ma che può anche aprirsi a letture allusive. Si propone qui l’attribuzione dello stamnos al Pittore di Copenhagen, artigiano di origine siriana attivo nel Kerameikos di Atene fra il primo e il secondo quarto del V secolo a.C. Si analizza infine il contesto di fruizione chiusino, inserendo il vaso nel flusso delle importazioni di ceramica attica nel territorio.
Abstract
The paper examines an Attic red-figured stamnos in the Museo Archeologico Nazionale of Siena, acquired along with the Emilio Bonci Casuccini Collection, which consists of finds from Chiusi. The iconography shows some young women picking apples: the gesture can be connected to wedding rituals, but it may also contain allusive meanings. The vase can be attributed to the Copenhagen Painter, an artisan of Syrian origin working in the Athenian Kerameikos between the first and the second quarter of the 5 th century BC. Lastly, the paper examines the vase provenance inserting the stamnos in the stream of Attic pottery that reached Chiusi and its
countryside.
by items explicitly made for bourgeois clients. Also, in this case the eclectic adoption of different styles is much more relevant than the specific desire to imitate ancient products.
As concerns the latter aspect, the krater, a late black-figure vase which can be dated in the first decade of the 5th century BC, shows strong similarities with vases attributed to the Louvre C 11287 Painter, who, according to my hypothesis, has probably to be related to the well-known workshop of the Red-Line Painter. Finally, the two-letter glaze trademark – ΔI under the foot – is here described and analysed: it is possible to interpret it as a numeral, but the most reliable hypothesis is that it refers to a man (whose name started with the letters Δι-) involved in export of Athenian pottery from Greece to Italy.
birds, bucrania and flowers – it is possible to identify the object as a cinerary urn mentioned in the description of Villa Miollis in Rome written by F. A. and A. Visconti (1814).
analysis finalised to the provenancing of the marble. The analytical methods of the samples included optical microscopy on thin section, powder X-ray diffraction and stable isotope ratio determination by mass-spectrometry. The very homogeneous results obtained allowed to conclude that the marble used for all the examined items is Parian from the open pit quarries of the Lakkoi valley, very likely extracted from a unique locus.
Sallustiani and now exhibited in the Centrale Montemartini in Rome. It will be firstly considered the technical and formal aspects
of the figure, which could allow a reliable reconstruction, then the context of use in (reece and at Rome, where the biography
of the sculpture develops. Particularly, the links with the pediment’s sculpture of the temple of Apollo Daphnephoros at Eretria,
recently reconsidered by the Author. The pertinence of the amazon to this building is probable, even on circumstantial basis. The
(reek statue is then analysed in its adaptive re-use at Rome, in the Horti Sallustiani, paying attention to the physical traces that
allow reconstructing the changes of the Roman age.
Keywords: History of Classical Studies – Drawings of Greek Vases – Canino Collection – Eduard Gerhard – Leagros Group
Abstract: Adopting the object-biographical approach, this paper discusses a previously unpublished statue from a private collection in Genoa. This monument is a modern (seventeenth - to eighteenth century) pastiche assembled from two ancient sculptures: the head is a second-century A.D. replica of the well-known portrait of Menander, while the body is a fragment of a naked statue of an athlete. It is possible, the paper argues, to relate the peculiar arrangement of the statue to the modern interpretation of the portrait of Menander as Pompey and to identify the statue as a ‘lost’ Menander portrait sold in Rome by the antique dealer Jandolo.
L’articolo esamina le olle stamnoidi a colletto, vasi realizzati in Etruria in età ellenistica. La presenza del colletto sulla
spalla, uno spazio vuoto delimitato da un cordone plastico, è
un elemento che accomuna questa forma vascolare ai potes
meleiros iberici e melopitari greci. Come questi, anche le olle
stamnoidi possono quindi essere considerate specifici contenitori
per lo stoccaggio di miele.
RESUMEN
El presente artículo analiza las ollas con forma de stamnos
a colletto, vasos contenedores realizados en Etruria durante la
época helenística. Estos vasos se caracterizan por tener un canal
circular en el hombro, por eso es posible asociar esta forma
cerámica con la de los potes meleiros ibéricos y con la de los
melopitari grecos. Por eso, las ollas tienen que considerarse
específicos contenedores para conservar la miel.
SUMMARY
This paper discusses stamnoid jars a colletto. These vases,
made in Etruria during the Hellenistic period, are characterised
by a peculiar rib that creates an empty channel around the entire
circumference of the vase. Similar features can also be found on
Iberian potes meleiros and Greek melopitari. Like these latter
two types of vases, the aforementioned Etruscan jars may also
be considered as being devoted primarily to honey storage.
L’articolo prende in esame uno stamnos attico a figure rosse conservato nel Museo Archeologico Nazionale di Siena e appartenente alla collezione di Emilio Bonci Casuccini, formata con materiale proveniente da Chiusi. Sul vaso compaiono figure femminili nell’atto di raccogliere mele, gesto che può essere connesso a momenti
rituali legati alla sfera matrimoniale, ma che può anche aprirsi a letture allusive. Si propone qui l’attribuzione dello stamnos al Pittore di Copenhagen, artigiano di origine siriana attivo nel Kerameikos di Atene fra il primo e il secondo quarto del V secolo a.C. Si analizza infine il contesto di fruizione chiusino, inserendo il vaso nel flusso delle importazioni di ceramica attica nel territorio.
Abstract
The paper examines an Attic red-figured stamnos in the Museo Archeologico Nazionale of Siena, acquired along with the Emilio Bonci Casuccini Collection, which consists of finds from Chiusi. The iconography shows some young women picking apples: the gesture can be connected to wedding rituals, but it may also contain allusive meanings. The vase can be attributed to the Copenhagen Painter, an artisan of Syrian origin working in the Athenian Kerameikos between the first and the second quarter of the 5 th century BC. Lastly, the paper examines the vase provenance inserting the stamnos in the stream of Attic pottery that reached Chiusi and its
countryside.
Pieter Heesen, Andrew J. Clark, Elisabeth Langridge-Noti, Nicole Cuddeback, Michael Padgett, Mario Iozzo, Martino Maioli, Barbara Arbeid, Andrea Martelli, Edoardo Albani ed Elisa Salvadori, Fernando Gilotta, Luca Cappuccini, Claudia Noferi, Marco Sofia, Paolo Persano, Mariangela Turchetti, Ada Salvi, Stefania Berutti, Greta Balzanelli, Vittorio Mascelli, G. Carlotta Cianferoni, Andrea Magno, Federica Biagiotti, Barbara Cattaneo.
Fifth International Conference on the Archaeology of Paros and the Cyclades, 21-24.06.2019
Ma la ceramica non riflette soltanto una società, può rivestire anche un ruolo attivo nella ricostruzione delle relazioni sociali stesse, “l’individuazione di relazioni tra aree specifiche in termini di cultura materiale”. L’innovazione più evidente è costituita dall’introduzione di nuovi strumenti analitici, come l’archeometria, degli studi tecnologici e dall’attenzione all’intero ciclo di vita dei vasi: dall’esame della forma o decorazione, a tutto il ciclo produttivo e agli usi dei manufatti stessi, fino alle circostanze deposizionali. La permanenza di specifici modelli in alcune aree e la disposizione di altre nei confronti di centri esterni, può indicare fenomeni di lunga durata e favorire l’indagine di processi di interazione culturale e di acculturazione. La comparsa di attributi o di tipi propri di differenti aree e tradizioni è infatti spia
di forme di interazione culturale indicatore di mobilità di persone e saperi tecnici"
T. Baroncelli, Presentazione, in ANALYSIS Rivista di cultura e politica scientifica N.2/ 2015