Cosa: the Italian sigillata

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Author: Maria Teresa Marabini Moevs

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Cosa:The ItalianSigillata

Memoirsof the AmericanAcademyin Rome

Supplementary VolumeIII

Support for this publication was provided by the Lucy Shoe Meritt, FAAR '37, '50, Publication Fund of the AmericanAcademy in Rome.

Cosa The ItalianSigillata

MariaTeresaMarabiniMoevs

PUBLISHED

FOR THE AMERICAN ACADEMY IN ROME

by TheUniversity of Michigan Press AnnArbor,Michigan 2006

Copyright (Cby the Universityof Michigan2006 All rights reserved Published in the United States of America by The University of Michigan Press Manufacturedin the United States of America (? Printed on acid-free paper 2009

2008

2007

2006

4

3

2

1

No part of this publication may be reproduced, stored in a retrievalsystem, or transmittedin any form or by any means, electronic, mechanical,or otherwise, without the written permission of the publisher. A CIP catalogrecordfor this book is availablefrom the BritishLibrary. Libraryof Congress Cataloging-in-PublicationData MarabiniMoevs, MariaTeresa, 1926Cosa: the Italian sigillata/ MariaTeresaMarabiniMoevs. p. cm. - (Memoirsof the AmericanAcademy in Rome. Supplementaryvolume; 3.) Includes bibliographicalreferences. ISBN-13: 978-0-472-11551-8 (cloth: alk. paper) ISBN-10: 0-472-11551-0 (cloth: alk. paper) 1. Excavations (Archaeology)-Italy-Cosa (Extinct city)-Catalogs. 2. Pottery, 3. Pottery,Roman-Italy-Cosa (Extinct Arretine-Italy-Cosa (Extinct city)-Catalogs. city)-Catalogs. 4. Grosseto (Italy: Province)-Antiquities, Roman-Catalogs. I. Title. II. Series. DG70.C63M327 937'.5-dc22

2006 2005046746

Tomychildren Marina and Christian

CONTENTS

LIST OF ILLUSTRATIONS

PREFACE ABBREVIATIONS

ix xiii xv

PART I. THE UNDECORATED SIGILLATAWARE

Maps 1 The Origin: The Late Republican Period A From CampanaBlack to Sigilata Red Capitolium Filling Cesspool in West Block House House of the Skeleton House of the Birds, Construction Level B From TransitionalSigillatato Early "Arretine" West Wall Dump Atrium Building I, Room 16, Levels II-III Atrium Building I, Room 11, Level II 2 The Coming of Age: The Augustan Period House of the Birds, Room 4 Filling Street M Sewer Dump at the Northwest Corner of the Basilica,Levels II, I 3 The Maturityand Later Years:The Julio-ClaudianPeriod Atrium Building I, Room 25 Atrium Building I, Room 22, Level II Atrium Building I, Room 22, Level I

2 7 7 7 11 11 12 14 15 22 27 31 31 35 38 53 53 57 68

PART II. THE DECORATED SIGILLATAWARE

4 5 6

The Decorated Arretine Ware The Beginning of Decorated Arretine The Workshop of Rasinius Rasinius-Memmius Rasinius TentativelyAttributed to the Workshop of Rasinius

77 81 91 91 97 104

viii

CONTENTS

7 The Workshop of Perennius The Perennius-Perennius TigranusPeriod The BargathesPeriod The Late Phase TentativelyAttributed to the Workshop of Perennius 8 Other MajorWorkshops The Workshop of Cn. Ateius The Workshop of the Annii The Workshop of P. Cornelius 9 The Minor Workshops The Workshop of Vibienus The Workshop of L. Pomponius Pisanus The Workshop of C. Tellius 10 Not Attributed to a Specific Workshop

107 107 128 134 136 139 139 142 144 149 149 149 150 153

APPENDIX

1:

The Late Italian Sigillata

165

APPENDIX

2: The South Gaulish Sigillata

169

PART III: PLATES COLORPLATES

following page 170 following page 74

ILLUSTRATIONS

Photographs whose origin is not identified are the property of either the American Academy in Rome or the author.

Maps I II III IV

Cosa, town plan. Excavated area of habitations. House of the Birds. Northwest side of Forum. Atrium Building II, northwest entrance to the Forum, Atrium Building I. V Atrium Building I. East portion.

2 3 4 5 6

Figures 1 Rome, Museo Nazionale Romano, Antiquarium,inv. no. 106299. Head of Apollo citharoedus. 2 Denarius of Q. Pomponius Musa. Head of Apollo. 3 Cosa, "Augustanmedallion bowl." Head of Apollo. 4 Denarius of A. Allienus. Head of Venus. 5 London, British Museum, Campanaplaque. Venus carriedon a swan. 6 Arezzo, ArchaeologicalMuseum, inv. no. 11066. Base of a chalice signed CERDO/RASINI. 7 Arezzo, ArchaeologicalMuseum, inv. no. 11066. Stamp CERDO/RASINI. 8 Arezzo, ArchaeologicalMuseum, mold inv. no. 15093. Fragmentof Italo-Megarianmold. 9 Arezzo, ArchaeologicalMuseum. Fragmentof chalice with an altar. 10 Arezzo,ArchaeologicalMuseum,inv.no. 11049. Fragmentof chalicesigned SECVND/RASINI. 11 Arezzo, ArchaeologicalMuseum, inv. no. 11049. Stamp SECVND/RASINI. 12 Arezzo, Archaeological Museum, inv. no. 8979. Fragmentof mold. Statuette of Priapus. 13 Arezzo, ArchaeologicalMuseum, inv. no. 9127. Mold signed RASIN. Winged figure on acanthus calyx. 14 Arezzo, Archaeological Museum, inv. no. 9034. Fragment of mold attributedto Rasinius. 15 Rome, Villa Giulia Museum. Red-figuredvase signed by Syriscos. Peplophoros Nike on palmette. 16 Hildesheim, R6mer Pelizaeus Museum, inv. no. 1137. Stucco frieze from Mit-Rahine. 17 Arezzo, Archaeological Museum. Fragmentof jug. Head of Silenus.

82 82 82 82 82 85 85 85 86 89 89 89 92 92 93 94 96

x

ILLUSTRATIONS

18 Arezzo,ArchaeologicalMuseum,inv.no. 4494. Fragmentof mold signedPHARNACESRASIN. 19 Arezzo, ArchaeologicalMuseum, inv. no. 15028. Fragmentof mold attributedto Rasinius. 20 Formerlyin Berlin, Antiquarium,inv. no. 30414. Fragmentwith figure of kanephoros. 21 Arezzo, ArchaeologicalMuseum, inv. no. 8332. Fragmentof chalice attributedto Rasinius.Figure of kanephoros. 22 Arezzo, ArchaeologicalMuseum, mold inv. no. 4466. Detail of dancing figure attributedto Rasiniusworkshop. 23 Bologna, ArchaeologicalMuseum, Palagiinv.no. 450. Silverkalathos.Scene of cult to Artemis. 24 Bologna, ArchaeologicalMuseum. Palagi kalathos. Left group of figures. 25 Mariemont,Museum. Head from Hermopolis Magna identified as Queen Berenice II. 26 Bologna, ArchaeologicalMuseum. Palagi kalathos. Centralgroup of figures. 27 Bologna, ArchaeologicalMuseum. Palagi kalathos. Figure of dancer. 28 Arezzo, ArchaeologicalMuseum, inv. nos. 5168, 8980, 8981. Mold signed PHARNACES RASINI. Maiden attaching a ribbon to a garlandof fruit. 29 Rome, Museo Nazionale Romano, inv. no. 1072. Stucco figure from Villa delia Farnesina. 30 Arezzo, ArchaeologicalMuseum, inv. no. 15131. Fragment of mold attributedto Rasinius.Winged figure. 31 U.S.A., private collection. Fragmentwith stamp EPAPHRA RASIN. 32 Arezzo, ArchaeologicalMuseum, inv. no. 9022. Fragmentfrom a mold signed QUARTIO RASINI. 33 Paris, Musee du Louvre. Attic chous by the Nikias Painter. Parody of Herakles driven to Olympus. 34 Paris, Musee du Louvre, inv. no. 858. Base from Messene. Lion hunt. 35 Arezzo, Archaeological Museum. On the left, fragment of mold inv. no. 8777, Muse E. On the right, fragment of mold inv. no. 8768 signed by CERDO PERENNI, Herakles, Muses A, Bi, Cl. 36 Arezzo, ArchaeologicalMuseum, inv. no. 4933. Fragmentof mold. Herakles, Muse A. 37 Graphic reconstructionof group of Herakles and the Muses. 38 Arezzo, ArchaeologicalMuseum, inv. no. 8784. Fragmentof mold. Muses El-2. 39 Arezzo, ArchaeologicalMuseum, inv. no. 8769. Cast from mold. Signatureof M. Perennius Tigranuson the open roll held by Muse C2. 40 Arezzo, ArchaeologicalMuseum, inv. no. 8366. Mold by M. Perennius Tigranus. Sleeping man and warning woman. 41 Arezzo, ArchaeologicalMuseum, inv. no. 4626. Cast from mold signed by Nicephorus. Woman who grasps the chin of her companion. 42 Arezzo, ArchaeologicalMuseum, inv. no. 2108. Mold signed by Nicephorus. Boy behind curtain. 43 Arezzo, ArchaeologicalMuseum, inv. no. 75839(?). Mold signed by Nicephorus. Sleeping man, warning woman, and boy behind curtain. 44 Plaster cast from Begram. Sleeping maenad.

97 98 98 99 99 100 100 100 100 101 101 102 102 102 105 111 113

118 118 118 119 119 120 121 121 122 123

ILLUSTRATIONS

45 Arezzo, ArchaeologicalMuseum, inv. no. 4626. Mold signed by Nicephorus. Group in neoclassical style. 46 Boston Museum of Fine Arts, inv. no. 28.861. Fragmentof mold signed by M. Perennius Tigranus.Weeping woman. 47 Arezzo, ArchaeologicalMuseum, inv. no. 15201. Fragment of mold attributedto Rasinius.Bukephalion. 48 Tiubingen,inv. no. 2550. Mold fragment attributedto the late phase of the workshop of M. Perennius. Figure of Hora. 49 (a) Arezzo, ArchaeologicalMuseum, inv. no. 4956. Fragment of mold signed by Bargathes.Scene from a mime. (b) Detail. 50 London, British Museum. Campanaplaque. Perseus beheading Gorgon. 51 London, British Museum, WaltersCat. L 54. Chalice from Capua signed by Ateius. Horai. 52 Florence, ArchaeologicalMuseum, inv. no. 96302. Chalice by the workshop of Ateius. Hora with a lapful of fruit. 53 Florence, ArchaeologicalMuseum, inv. no. 96303. Chalice by the workshop of Ateius. Hora with phiale and kid. 54 Florence, ArchaeologicalMuseum, inv. no. 96306. Chalice by the workshop of Ateius. Huntress Hora. 55 Florence, ArchaeologicalMuseum, inv. no. 96232. Chalice signed by Ateius. Penteteris. 56 Arezzo, Archaeological Museum, inv. no. 2725. Fragment of mold signed by Bargathes. Hora with palm branch (Penteteris). 57 London, British Museum, WaltersCat. L 91. Stamp by the workshop of Ateius. Hora with a lapful of fruit. 58 Haslemere, Whittal coll., formerlyLansdowne. Marble base with thiasos.

xi

124 126 130 136 141 142 154 154 155 155 156 156 157 158

PREFACE

a long-lastingdebtof gratitude uringthe lengthycompilationof thisbookI haveaccumulated to manyinstitutionsandpersons.I apologizein advancefor anyinvoluntary omissions. The studyof the ItalianSigillatawasentrustedto me in the summerof 1977by the lateProfessor FrankE. Brownwhenthe lateDr.HelenRussellWhite,who hadfirstundertakenthe project, foundherselfunableto continue.At thattimeit consistedof a few randomnotes,a dozenplates with profilesof plainvaseschosenfor theirgood stateof preservation,and a sizablenumberof excellentphotographsof decoratedmaterialbyJohannesFelbermeyer. Twofactorssubsequently delayedthe completionof mystudy.Thefirstwasmygrowinginterest in the iconographicsourcesof decoratedArretineceramics,whichled me to a parallelthorough examinationof the artsandcultureof theearlyHellenisticperiod,particularly in Alexandriaduring the thirdcenturyB.C.A seriesof articlesof varyinglengthandscope,in the Bollettinod'Arteand otherperiodicalsandproceedings,was the resultof two decadesof inquiryinto the originof the Arretinedecorativerepertory. The secondfactorwasthe discoveryby Dr.FrancescaPaolaPorten Palangeof a largenumberof forgedmolds,scatteredthroughoutmajormuseumsof Europeand America,whichhadbeenpreviously consideredbasiccomparative materialin anystudyof decorated Arretine.As a consequencea completerevisionof the manuscriptbecamenecessary. Firstof all,I wishto thanktheAmericanAcademyin Rome,in thepersonsof its president,Mrs. AdeleChatfield-Taylor, andits director,ProfessorLesterK.Little,fora rewarding which association, I startedin 1952asa Fulbrightscholarship recipientandcontinuedasa Fellowin Classicsin 1963-64; fromthe beginningto the presentI havebeena memberof the teamresponsiblefor the excavation andstudyof the Romancolonyof Cosa.Dr.ArcherMartin,presentlyArchaeology at the Supervisor Academy,generouslysharedwithmehisvastknowledgeof Romanceramics,tooka personalinterest in the project,andmadeits completionpossible.In my coUleague ProfessorRussellT. Scottof Bryn MawrCollegeI founda mostreliablesourceof information for the topographyandstratigraphy of Cosaandanunfailingproviderof adviceandsupport.In a spiritof collegiality andfriendshipI shared withmycolleaguesDr.AnnaMarguerite manyinquiries McCannandProfessorElizabethLydingWill, fromtheirknowledgeof theharborof Cosaandof theamphoras. benefiting Mosthelpfulin thecourse of myresearchwerethepersonnelof theAcademylibraryandin particular thepresentdirector,Miss ChristinaHuemer;the formerdirector,MissLucillaMarino;andtheformerassociatedirector,Mrs. AntonellaBucci.Dr.EricDe Sena,assistantforarchaeology, graciously cameto myaidin momentsof practicaldifficulty. Thestaffof theAmericanAcademyin Rome,particularly MissPinaPasquantonio andMrs.MarinaLella,foundfelicitoussolutionsto severalday-to-day problems. BecauseI initiatedthisresearchduringmy residenceas a memberof the Institutefor Advanced StudyinPrincetonin theyear1977-78andcontinuedafterward to takeadvantage of itsfacilities, I wish D

to expressmy deepest appreciationto its Facultyof HistoricalStudiesand to the librarypersonnel.In

xiv

PREFACE

I mostgratefully remember particular, thelateProfessor HomerA.Thompson, whosponsored myproject attheInstituteandfollowedit formanyyearsafterward withgreatinterestandunfailingsupport. To my investigationinto the sourcesof decoratedArretinethe cooperationof the SoprintendenzaalleAntichitadellaToscanaandof the personnelof the Archaeological Museumof Arezzo provedto be essential.Its director,Dr.PaolaZamarchiGrassi,madeavailableto mewithexemplary liberalityandkindnessthe publishedandunpublishedmaterialin the museumon whichmy studies of decoratedwarelargelyrely.ThelateMr.DarioBartoliandafterhimMr.GiovanniOrganelli andMr.FabioAndrucci,consegnatari at the museum,facilitatedmyworkin allpossiblewayswith theirsolicitudeandcompetence. To the EditorialBoardof the Bollettinod'Arteandto its coordinatorDr. EvelinaBoreaI am indebtedfor the publicationof severalof my studieson Arretineiconography. In this connection I feel particularly obligedto Dr.LucillaDe Lachenal,who appliedherremarkable knowledgeand skillto the editingof my articles. The personnelof the Greco-RomanMuseumof Alexandriafacilitatedmy examinationof comparative materialin the summerof 1979. Rutgers,the StateUniversityof NewJersey,grantedme a sabbaticalleavein the springof 1982; its ResearchCouncilmadepossiblethe acquisitionof photographicmaterial. A grantfromtheNationalEndowment fortheHumanities in 1986-87supportedmyinvestigation of earlyHellenisticartin thelibrariesof theAmerican Academyin Rome,of theGermanArchaeologicalInstitutein Rome,of PrincetonUniversity, andof theInstituteforAdvancedStudyinPrinceton. My daughterMarinaoutlineda numberof formsatthebeginningof theproject,anda groupof students enrolledin theRomeprogramof theUniversity of NotreDameSchoolof Architecture volunteered to inkseveraldrawingsof decoratedmaterials. Thefinalversionof themanuscript wasgreatlyimproved by the constructive criticismandvaluablesuggestionsof fourreaders,twounknownandtwoknown to me, ProfessorsRussellT. ScottandLawrenceRichardson. I wishto thankparticularly the second anonymousreaderfor a painstaking examination of the text anda fullunderstanding of mywork. Thepublicationof thisbookwasgreatlyfacilitated by the interestandsupportof ElaineGazda, Professorof theHistoryof ArtattheUniversity of Michiganandcochairof theTrustees' Publications Committee of theAmerican AcademyinRome.ToMs.Margaret Lourie,editorattheKelseyMuseumof Archaeology, I amverygratefulforheraccurate andskillfuleditorial work;I alsothankthegraphicartist atthesamemuseum,Ms.LoreneSterner, forherpreciseandelegantarrangement of mydrawings. Finally,three personsare to be acknowledgedhere withoutwhose support,scientificand moral,this bookwouldnot havereachedits completion.To Dr. GiorgioRizzoI amindebtednot onlyfor his laboriousandaccurateeditorialworkbut for the advice,criticism,andimprovements he provided,derivedfromhis broadarchaeological knowledgeandhis particularexpertisein the fieldof Romanceramics. Thanksto the adviceof Dr.FrancescaPaolaPortenPalangeI wasableto navigatethe perilous watersof attributionof decoratedArretinefragments.Withremarkable altruismandpatienceshe sharedwith me much valuableinformationcontainedin her soon-to-be-published catalogueof decorativeArretinemotifsandprovidedmanysuggestionsfor the improvementof my text. To my husband,the composerRobertMoevs,I owe excellentphotographsof decoratedArretinematerialfromCosaandin the ArezzoArchaeological Museum.I owe him an evengreater debt for yearsof enduranceandunderstanding, nurturedby his unfailingfaithin the project,his generosityandlove. Spring2003

ABBREVIATIONS

Abbreviations of periodicals, series, and books are those adopted by the AmericanJournalof Archaeology.

ALEXANDER, Arretine = C. Alexander,ArretineRelief Ware.CVA, U.S.A. 9; MetropolitanMuseum of Art, New York (Cambridge1943). AMBROGI, ghirlande= A. Ambrogi, "Sarcofagie urne con ghirlandedella prima et'aimperiale,"RM 97 (1990) 163-96. Art decoratif= L'artdecoratifa Rome a'lafin de la republiqueet au dbAutdu principat.Tableronde, Rome 1979 (Rome 1981). ATEIUSJ fabbriche= Ateius e le suefabbriche.La produzionedi sigillataad Arezzo,aPisa e nella Gallia meridionale.Atti del SeminarioInternazionaledi Studi, Pisa 1992, AnnPisa, s. III, XXV, 1-2 (1995), 271-461. BAILEY= D. M. Bailey,A Catalogueof the Lampsin the BritishMuseum,II: Roman LampsMade in Italy (London 1980). BARGATHES= MarcusPerenniusBargathes.Tradizionee innovazionenella ceramicaaretina.Exhibition catalogue (Rome 1984). BORBEIN, Campana= A. H. Borbein, Campanareliefs.Typologischeund stilkritischeUntersuchungen, RM-EH 14 (Heidelberg 1968). BRONEER= O. Broneer, Corinth,IV, pt. 2: Terracotta Lamps (Cambridge 1930). BROWN, Architecture= F. E. Brown, "The Architecture,"in COSA II, 7-147. BROWN, Ashmolean = A. C. Brown, Catalogueof Italian Terra-Sigillata in the Ashmolean Museum (Oxford 1968). BROWN, Cosa = F. E. Brown, Cosa, The Making of a Roman Town (Ann Arbor 1980). BROWN, Scavi= F E. Brown, "Scavia Cosa-Ansedonia, 1965-66," BdA 52 (1967) 37-41. CAMERON,GreekAnthology = A. Cameron, The GreekAnthologyfrom Meleagerto Planudes (Oxford 1993). CHASE, Boston = G. H. Chase, Museumof Fine Arts, Boston. Catalogueof ArretinePottery,2nd ed. (Cambridge 1975). CHASE, Loeb = G. H. Chase, The Loeb Collectionof Arretine Pottery (New York 1908). COLLINS-CLINTON,Odeum = J. Collins-Clinton, "The Neronian Odeum at Cosa and Its Sculptural Program:A NewJulio-Claudian Dynastic Group," MAAR 45 (2000) 99-130. Conspectus= E. Ettlinger et al., Conspectusformarumterraesigillataeitalico modo confectae.Materialen zur R6misch-germanischenKeramik 10 (Bonn 1990). = COSA II F E. Brown, E. H. Richardson, and L. Richardson,jr, Cosa II: The Templesof the Arx. MAAR 26 (1960). COSA III = F E. Brown, E. Hill Richardson, and L. Richardson,jr, Cosa III: The Buildings of the Forum.MAAR 37 (1993). COSA IV = V.J. Bruno and R. T. Scott, CosaIV The Houses. MAAR 38 (1993).

xvi

ABBREVIATIONS

COSA, Aco = M. T. MarabiniMoevs, "Aco in NorthernEtruria:The Workshopof Cusoniusat Cosa," MAAR 34 (1980) 231-80. Black Glaze = D. M. Taylor,"Cosa:Black-glazePottery,"MAAR 25 (1957) 65-193. COSA, COSA, Coins = T. V. Buttrey,"Cosa:The Coins," MAAR 34 (1980) 7-168. COSA, Lamps= C. RickmanFitch and N. Wynick Goldman, Cosa:The Lamps.MAAR 39 (1994). COSA,Megarian = M. T. Marabini Moevs, "Italo-MegarianWare at Cosa," MAAR 34 (1980) 161-227. Port = A. M. McCann et al., The Roman Port and Fisheryof Cosa (Princeton 1987). COSA, CosA, Thin WalledPottery = M. T. Marabini Moevs, The Roman Thin WalledPotteryfrom Cosa (1948-1954). MAAR 32 (1973). CRAWFORD= M. H. Crawford,Roman RepublicanCoinage (Cambridge 1974). CVArr= A. Oxe and H. Comfort, CorpusVasorumArretinorum(Bonn 1968). DRAGENDORFF= H. Dragendorff, "TerraSigillata.Ein Beitragzur Geschichte der griechischenund r6mischen Keramik,"BJb96-97 (1895) 18-155. D/W = H. Dragendorff and C. Watzinger,ArretinischeReliefkeramikmit Beschreibungder Sammlung in Tiibingen(Reutlingen 1948). E.A.A. = Enciclopediadell'arteantica classicae orientale. GIANGRANDE, Sympotic literature = G. Giangrande, "Sympotic Literature and Epigram," in L'EpigrammeGrecque(Geneva 1968) 93-174. GOUDINEAU = C. Goudineau, Fouilles de l'Ecole fran,aise de Rome a Bolsena (Poggio Moscini) 1962-1967, IV:La ceramiquear'tine lisse. MEFRA suppl. 6 (Paris 1968). ' GOUDINEAU, Aretine reliefs = C. Goudineau, "Ceramiquearetine a reliefs de Bolsena,"MEFRA 80 (1968) 167-200. GOW/PAGE, Hellenistic Epigrams= A. S. F. Gow and D. L. Page, eds., The GreekAnthology.Hellenistic Epigrams(Cambridge 1965). HACKIN, Begram= J. Hackin, Nouvelles recherchesarcheologiquesa Begram(ancienneKdpici)193940. Memoires de la Delegation Archeologique Franqaisein AfghanistanII (Paris 1954). HAHNLE = K. Hahnle, ArretinischeReliefkeramik(Stuttgart1915). = J. W. Hayes, "Sigillateorientali,"in E.A.A., Atlante delleforme ceramiche,II (Roma 1985) HAYES 1-96. Relations sigillees = B. Hoffmann, "A propos des relations entre les sigillees de La HOFFMANN, Graufesenque et les sigillees d'Italie,"in ATEIUS, fabbriche,389-402. TerraSigillata= B. Hoffmann, Die Rolle handverklicherVerfahrenbei der Formgebung HOFFMANN, reliefverzierterTerraSigillata (Berlin 1983). = KaiserAugustus und die verloreneRepublik (Mainz am Rhein 1988). KAISER AUGUSTUS KYRIELEIS, Bildnisse = H. Kyrieleis,Bildnisse der Ptolemder(Berlin 1975). LAROCCA, Ara Pacis = E. La Rocca, Ara PacisAugustae (Roma 1983). LAMBOGLIA, preliminare= N. Lamboglia,"Peruna classificazionepreliminaredella ceClassificazione ramicacampana,"Atti del I CongressoInt. di studi liguri, 1950 (Bordighera1952) 139-206. LAVIZZARI Aco = M. P. LavizzariPedrazzini, Ceramicaromanadi tradizioneellenistica PEDRAZZINI, in Italia settentrionale.Il vasellame "tipoAco" (Florence 1987). LAVIZZARI PEDRAZZINI, Arretina = M. P. Lavizzari Pedrazzini, "Ceramicaarretina. Terra sigillata tardo-italica,"in A Frova, Scavi di Luni, I: Relazionepreliminaredelle campagnedi scavo 1970-71 (Rome 1973) 283-301, 698-701, 762-67. LAVIZZARI PEDRAZZINI, PisaniDossi= M. P. LavizzariPedrazzini,La terrasigillatatardo-italica decorataa rilievonella collezionePisaniDossi del MuseoArcheologicoCivicodiMilano (Milan 1972).

ABBREVIATIONS

xvii

LEHNER,Trinkgefdsse= H. Lehner, "Zwei Trinkgefasseaus Vetera,"BJb 122 (1912) 421-30. = S. Loeschcke, Lampenaus Vindonissa(Zurich 1909). LOESCHCKE MEDRI,Tardo-italica= M. Medri, Terrasigillata tardoitalica decorata(Rome 1992). MOEVS,Ambracia M. T. MarabiniMoevs, "Le Muse di Ambracia,"BdA 12 (1981) 1-58. MOEVS,Caricature= M. T. MarabiniMoevs, "Eruditi,omosessuali e mimi in caricaturearretinedi

origine alessandrina,"BdA 107 (1999) 1-36. MOEVS,EphemeralAlexandria= M. T. MarabiniMoevs, "EphemeralAlexandria,"in Eius Virtutis Studiosi.Classicaland PostclassicalStudiesin Memoryof FrankEdwardBrown (Washington 1993) 123-47. MOEVS,Horai = M. T. MarabiniMoevs, "Penteterise le tre Horai nella Pompe di TolomeoFiladelfo," BdA 42 (1987) 1-36. MOEVS,Kalathos = M. T. MarabiniMoevs, "Il Kalathos alessandrinodi Bologna," BdA 22 (1983) 1-42. MOEVS,New evidence = M. T. Marabini Moevs, "New Evidence for an Absolute Chronology of Decorated Late Italian Sigillata,"AJA 84 (1980) 319-27. MOREL= J.-P Morel, Ceramiquecampanienne:les formes, BEFAR244 (Paris 1981). OCK = P. Kenrick, CorpusVasorumArretinorum,2nd ed. (Bonn 2000). OLCESE,Ceramicae archeometria= G. Olcese, ed., Ceramicaromanae archeometria:lo stato degli studi (Florence 1994). OxE,Beziehungen= A. Oxe, "R6misch-italischeBeziehungen der friiharretinischenReliefgefasse," BJb 138 (1933) 83-96. OXu,Rhein = A. Oxe, ArretinischeReliefgefdssevom Rhein. Materialenzur Romisch-Germanischen Keramik5 (Frankfurtam Mainz 1933). PORTEN PALANGE, Antiquarium= F P. Porten Palange,La ceramicaarretinaa rilievonell'antiquarium del Museo Nazionale di Roma (Florence 1966). PORTEN PALANGE, Ateius = F P. Porten Palange, "Alcune osservazionisull'officinadi Cn. Ateius di Arezzo," in ATEIUS,fabbriche,301-10. PORTENPALANGE,Fdlschungen= F. P. Porten Palange, "Filschungen aus Arezzo. Die gefalschten arretinischePunzen und Formen und ihre Geschichte," JRGZM37 (1990) 521-652. PORTEN PALANGE, Review Vannini = Review of A. Vannini, Matrici di ceramicaaretina decorata. Museo NazionaleRomano,Roma. Le Ceramiche,V, 2 by F P. Porten Palange, Gnomon 66 (1994) 67-73. PORTENPALANGE,Vibienus= F P. Porten Palange, "Vibienus,"NumAntCl 11 (1982) 193-213. PucCI, Atlante = G. Pucci, "Terrasigillata italica," in E.A.A., Atlante delle forme ceramiche,II (Roma 1985) 359-406. REINSBERG,HellenistischenToreutik= C. Reinsberg,StudienzurhellenistischenToreutik(Hildesheim 1980). RHODEN/WINNEFELD,Terrakotten = H. von Rhoden and H. Winnefeld, Die antiken Terrakotten,IV, 1-2. Arkitektonischer6mischeTonreliefsderKaiserzeit(Berlin and Stuttgart1911). Rubensohn, Hellenistisches Silbergerdt= 0. Rubensohn, Hellenistisches Silbergerdtin antiken Gypsabgiissen(Berlin 1911). = B. P. M. Rudnick, Die verzierteArretinaaus Oberadenund Haltern (Mainz 1995). RUDNICK SCOTT,Appendix = R. T. Scott, "Appendix 3. Pre-ArretinePottery from the Houses," in COSAIV 202-11. SEARCHFORALEXANDER= The Searchfor Alexander.An Exhibition (New York 1980). S.F E.C.A.GC.= Societe6francaise pour l'etude de la ceramiqueantique en Gaule

ABBREVIATIONS

xviii

STENICO, Aretinivasi= A. Stenico,"Aretinivasi,"in E.A.A.,I (Rome1958)608-16. Arretinae tardo-italica = A. Stenico,"Ceramicaarretinae terrasigillatatardo-italica," STENICO,

11(1959)51-61. RCRFActa, STENICO, Cispius= A. Stenico,"Sullaproduzionedi vasicon rilievidi C. Cispius,"Athenaeum33

(1955)173-217. STENICO, Liste= A. Stenico,Revisionecriticadellepubblicazioni sullaceramica arretina.Listedi at-

tribuzionidel vasellamedecoratoconrilievieditofotograficamente (Milan1960). STENICO, Matricia placca= A. Stenico,"Matricia placcaperapplicazionidi vasiarretinidel Museo

Civicodi Arezzo,"ArchCl6 (1954)43-82. STENICO, Pisani-Dossi= A. Stenico,"Ceramicaaretinaa rilievodella collezionePisani-Dossidel

MuseoNazionaledi Milano,"in Studiin onoredi A. Calderinie R. Paribeni,III (Milan andVarese1956)413-64. STENICO, Punzoni= A. Stenico,Laceramica arretina,II:Collezionidiverse.Punzonizmodelli,calchi ecc.(VareseandMilan1966). STENICO, Rasinius= A. Stenico,La ceramicaarretina,I: Museoarcheologico di Arezzo.Rasinius,I (VareseandMilan1960). Sminthe= A. Stenico,"Ifiglidi Agamennonea Sminthe,"inArtein Europa.Scrittidistoria STENICO, dell'artein onoredi EdoardoArslan(Milan1966)29-46. = S. C. Stone,"Presigillata STONE, Morgantina fromMorgantina," AJA91 (1987)85-103. = E. A. Sydenham,RomanRepublican SYDENHAM Coinage(London1952). TARAN, Art of variation= S. L. Taran,TheArt of Variationin the HellenisticEpigram(Leiden 1979). TELANAFA= S. C. Herbert,ed., TelAnafaII, 1: TheHellenisticand RomanPottery:ThePlain Wares(A.Berlin),TheFineWares(K.WarnerSlane).JRAsuppl.ser.10,11, 1 (AnnArbor 1997). = C. Troso,II ceramista TROSO aretinoPubliusCornelius. Laproduzione decorata a rilievo(Florence 1991). VANNINI,MuseoNazionale= A. Vannini,Le ceramiche, V, 2: Matricidi ceramicaaretinadecorata. MuseoNazionaleRomano(Rome1988). VIVIANI, Vasiaretini= U. Viviani,A Pasqui,et al.,I vasiaretini(Arezzo1921). = M. L. Vollenweider, VOLLENWEIDER, Steinschneidekunst Die Steinschneidekunst undihreKiinstler in spdtrepublikanischer undaugusteischer Zeit (Baden-Baden 1966). = E. Walter-Karydi, WALTER-KARYDI, Grotteskenornamentik "DieEntstehungderGrotteskenornamentikin derAntike,"RM97 (1990)137-52. B.M.Pottery= H. B. Walters,Catalogueof theRomanPotteryin theDepartments WALTERS, of Antiquities.BritishMuseum(London1908). ZEHNACKER, Moneta= H. Zehnacker,Moneta.Recherches sur l'organisation et l'artdes emissions II monetairesde la Re'publique romaine,289-3 av.J.C., (Rome1973).

Cosa:The ItalianSigillata

PART I THE UNDECORATED SIGILLATA WARE

All the materialdescribed below was unearthedbetween 1948 and 1972, in four separate areasof the town: on the Arx, outside the west wall of the city between towers 8 and 9, in the northwest corner of the Forum, and in the excavated area of privatehabitation west of the Forum. From a huge quantity of unstratifiedfinds, the entries in this catalogue representall the undecorated vases from datable contexts. The inventorynumbers in the excavation catalogue begin with the letter C for Cosa, followed by the letters A, B, C, designatingthe year.This was the practice until resumptionof excavation in 1965, when the year itself began to be used: 65, 66, 67, and so on. Colors of fabric and slip are based on Munsell Soil Color Charts(1992 revised edition).

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The Origin

The Late RepublicanPeriod

A. FROM CAMPANA BLACK TO SIGILLATARED ece nt laboratorytests have ascertaineduncontestable affinities of composition that unite in a ingle group of north Etruscan origin: the black slipped ware of Campana B from Cosa; the black slipped ware of the same type from Arezzo; the red sigillatafrom Arezzo, Cincelli, and Pisa; and the Late Italian Sigillata.The regional characterin the composition of all these categories is reflectedin medieval ceramicsfrom the same areasand confirmedby analysisof local clay samples.1 These laboratory tests support my previous conclusion, following a preliminaryexamination of the fine ware from Cosa, that a continuous technical evolution connects Campana B and related local wares, TaylorTypes II and IV, to transitionalsigillata,Arretine sigillata,and the metallic and orange slips found in the thin walled ware.2A further investigationof the transitionfrom black to red, based on similarityof composition in the material,seems now, at least for the territoryof Cosa, scientificallyjustified. The designation "Arretine,"when used in this work instead of the generic "Italiansigillata," refers to sigillata of north Etruscan production. Within this group the conspicuous presence of specificallyArretine materialat Cosa is attested by the many stamps of Arretineworkshops found at this site. pD

CapitoliumFilling:First Quarterof the FirstCenturyB.C. (Cap.1-17, pls. 1-2, colorpl. lA-C, mapI) As I had demonstrated and successive inquiry confirmed, the technical process of transformation from black to red slip is already attested at Cosa in the final years of the first quarter of the first

centuryB.C.3 At this time an artificialterracewas built on the Arx of Cosa between the town walls and the south and west sides of the Capitolium,possibly in connection with a defensive plan in view of an impending danger (see below p. 15). The fillingmaterialunderlyingthe rammedearthsurfaceof the terrace,explored in two successivecampaigns,1948-50 and 1965-66,4 can be dated from about the middle of the second centuryB.C. to the end of the firstquarterof the firstcenturyB.C.5 It demonstrates 1

3 SCOTT,Appendix.

J.-P. Morel and M. Picon, "Les ceramiques etrusco-campaniennes: recherchesen laboratoire,"in OLCESE, Ceramica e archeometria,41-43. This group is sharply differentiated from another that includes the products from the areas of Cales-Teano,Latium, and Bolsena. 2

COSA,

4 BROWN,Architecture, 19-22; id.,Scavi,37-39.

5 COSA, BlackGlaze,117-19, Deposit D; COSA, ThinWalled Pottery,21-22 and COSA, Megarian,172, Capitolium South trenchlevel II (Cap. ES, II); ibid., 172-74, TempleofJupiter,

Thin WalledPottery, 119-23.

7

THEUNDECORATED SIGILLATA WARE

8

that in this period the three main types of black slip pottery of Italian production, CampanaA, B, and C (TaylorTypes I-III), had reached the acme of their popularity in Cosa households.6Type B, by far the best represented, "at Cosa is the black glaze pottery par excellencein the late second and first centuries."7 Though true sigillatais absent in this filling, several fragments of transitionalsigillata are included. In the past, I had tried to classify those found in the area south of the Capitolium as two technically differentiatedgroups within the same line of development from black to red.8Further investigationhas convinced me that descriptionsof technicalstages,not necessarilyin chronological succession but ratherstages of experimentationby differentworkshops,would better depict the fluidity of the process, and the term "transitionalsigillata"ratherthan "presigillata"better define it. The initial stage is represented here by fragments of uncertain technical character,in which the line separatingdeteriorationfrom innovation is blurred. The fabric is mostly hard and slightly gritty,occasionallyhard and fine or rathersoft and fine, pinkish buff in color (7.5YR7/4). The slip is normallythin and matte, varyingin color from darkreddish grayto reddishbrown (2.5YR4/2-5/4). Some metallic sheen may appear on the inner surface of a wall and a pinkish red area (10R5/5) on the interior of a foot. The characteristicsof the fabric eliminate the possibility that any of these fragments may belong to Campana A or C and suggest instead a connection with the black slip wares of north Etruscan production: CampanaB and related products. The following forms were identified: Cap. 1. Smallfragmentfrom a plate with plain rim and slopingwall. Accordingto Taylor,who assigns it to her Type 11,9this form became popular at Cosa in the last quarterof the second century B.C. and continued in use during the following century.It corresponds to Lamboglia B5 and to Morel ser. 2250.10In red sigillatait is similarto the archaicform GOUDINEAU 1 and to Conspectusform 1. Cap. 2. Large fragment possibly from the base of a platter similar to the preceding. The profile of the foot, low and marked by a deep external gorge, belongs, according to Goudineau,1'to the earliest stage of the foot evolution in plates and platters of red sigillata. Cap. 3. Small fragment probably from a bowl with plain rim and sloping wall. It corresponds to Lamboglia B16,12to Morel 285 1,13 and in the red sigillata, to the archaic form GOUDINEAU 2 and to Conspectusform 7.1. Cap. 4. Large fragment from a bowl with offset rim and sloping wall. According to Taylor, who assigns it to her Type IV, this is the most popular form of bowl at Cosa in the period from 170-160 B.C. to 40-30 B.C.14and is equally well represented at Bolsena in levels of the first century levels II-IV (T.J.,II-IV). For the denariusof Mn. Fonteius, 10 LAMBOGLIA, Classificazionepreliminare, 146-47; MOREL, CB.1819, of 84 B.C., found in the South trench, see COSA, 152-55. Coins, 42, no. 105. 1

GOUDINEAU, 33 1.

6 COSA,

Black Glaze, 117-19.

7 Ibid., 154.

8 COSA,Thin WalledPottery, 120-2 1. 9 CosA,Black Glaze, 156-57.

12

LAMBOGLIA, Classificazionepreliminare,159.

13 MOREL,232. 14 COSA, Black

Glaze, 179-80.

THE ORIGIN: THE LATE REPUBLICAN PERIOD

9

B.C.15It is similarto Lamboglia A2816and to Morel 2646.17 In red sigillatait finds a counterpartin

the archaicGOUDINEAU form 5 and Conspectusform 8.1. Cap. 5. Smallfragmentfrom a plate similarto Cap. I but with more curved wall and externalprofiling. Similarto Morel 2255, 2257, 2286,18 and in red sigillatato the archaicGOUDINEAUform 8 and to Conspectusform 4.4. THE NEXT STAGEin the progression from black to red is represented by a ware whose fabric is

similarin texture to the preceding, hard and varyingfrom slightlygrittyto decidedly gritty,but with a generaltendency toward a pinker color. With a pink fabric (10R6/6 or 5YR6/6) one finds a purple reddish slip (10R5/4), darkeron the interior(10R4/6-10R4/4) with some metallicsheen;with a buff or light pink fabric (7.5YR7/4-5YR7/4) one finds a brown-orangeslip (2.5YR5/5-5/6). The lower wall on the exterior may be left unslipped. The following forms can be recognized: Cap. 6. Fragmentfrom a cup with offset rim and sloping angularwall. A similarform of Type IV had, according to Taylor,a short life at Cosa, limited to the second century B.C., and therefore its appearancein the Dump must be considered an intrusion.19It seems to be an unskilled imitation of Lamboglia28 in CampanaA,20a long-lasting form that at Ventimigliais still present among the lastest materialof this type. It belongs to Conspectusform 8.1. Cap. 7. Fragment from a bowl with offset rim and sloping wall. It belongs to Conspectusform 8.1. Cap. 8. Large fragmentfrom a bowl with offset rim and curved wall. It is similarto the Cosa bowl with outturned rim of Type II, which accordingto Taylorenjoyed its greatestpopularityhere in the last decades of the second century B.C.2CIt is similarto Conspectusform 8.1. Cap. 9. Small foot, possibly from a bowl with sloping wall. A small circle is incised at the center of the floor. A more advanced stage of development from the black slip technique is evident in several fragmentsfrom this level whose fabric is soft and fine, pinkish buff (5YR7/4) or buff (7.5YR7/4), with a thin, dull, reddish orange slip (2.5YR5/6) occasionallymottled brown or blackish in spots. Half a dozen of these fragmentscall to mind the technical featuresof EasternSigillataA (ESA) and may be considered a clumsy attempt at imitation. The following forms can be recognized: Cap. 10. Fragment from a plate with broad furrowed rim. According to Taylor this form, which she considers "avirtualmonopoly" of her Type IV, was common at Cosa and still in use in the late 15

GOUDINEAU,328-29, type 5.

19 COSA,Black Glaze, 180-81.

LAMBOGLIA, Classificazionepreliminare,177-78.

20

LAMBOGLIA, Classificazionepreliminare,177-78.

17

MOREL,200.

21

COSA, BlackGlaze,157-58.

18

MOREL,154-55, 162.

16

THE UNDECORATED SIGILLATAWARE

10

secondcenturyB.C. but probablynot in the first,in spiteof its presencein the Dump.22The form does not appearin the repertoryof Italiansigillata. Cap.11.Fragmentpossiblyfroma bowlwithbroadfurrowedrimandslopingwall.Theinclination of the wallsuggeststhisis a variantof the precedingform. a handle.Thetwo-handled Cap.12.Largefragmentfroma goblet,preserving gobletappearsatCosa in TypeI123 andis imitatedin TypeIV,lastinguntilthe end of the productionof blackslipware.24 It correspondsto Morel345125 The formdoes not appearin the repertoryof Italiansigillata. Cap. 13. Fragmentfrom a bowl with plain rim and slopingwall as in Cap.3. It correspondsto Conspectusform 7.1.

Cap. 14. Smallfragmentfroma bowlwith slopingwallandoffsetrimas in Cap.6. It corresponds to Conspectusform 8.1.

Cap. 15. Smallfragmentfroma platewith broadarticulatedrim.Thisform,accordingto Taylor, wasextremelypopularat Cosa,in thelatesecondcenturyB.c. andmostof thefirst,in TypeII,26 and wascopiedin TypeIVwithvariousrimprofiles.In blackslipit appearsat Bolsenaatthe beginning of the firstcenturyB.C.27 andbecomesone of the earliestformsof redsigillata:GOUDINEAU form 6, Conspectusform 10.

Cap.16. Verysmallfragmentof the rimfroma plateas in Cap.15. TRANSITIONAL WAREwas alsorecoveredin the southwestareaof the filldugin the years1965-68.

Of particularinterestis: Cap.17 (C65.183;pl.52). Fragmentof a basewithtracesof palmettesin radialarrangement stamped on the floor.28 STAMPS

Fromthe sameareaof the fillingcomesa blackslip base (C65.40;pl. 52) with four rectangular stampswiththe lettersQA impressedin radialarrangement on the floor(CVArr28 = OCK51). It hasbeen recognizedas likelythe signatureof the potterQ. Afranius,29 whichalsoappearson very earlyredsigillata.It hasbeensuggestedthatthispottermaybe relatedto L. Afranius,consulin 60 B.C., andthatthisfamilymayhavecometo Arretium as settlersin the colonyfoundedby Sullahere followinghis victoryat the CollineGatein 82 B.C.30The activityof the potterhasbeen tentatively 22

Ibid., 177-78.

27

GOUDINEAU, 329-30, type 6.

23 Ibid., 162-63.

28 COSA, Megarian,173.

24Ibid., 187.

29 SCOTT,

25

MOREL,

262-63;

Appendix,206-7, pl. 112.

LAMBOGLIA,

149-50. 26 CosA, Black Glaze, 154-55.

Classificazionepreliminare,

30 L.

Pedroni, "Riflessionisullanascitadell'aretina,"Ostraka 4, 1 (1995) 198-200.

THEORIGIN:THELATEREPUBLICAN PERIOD

11

assigned to the years ca. 40-20 B.C., but an earlier date may be suggested by his possible relation to the family of L. Afranius.

Cesspoolin WestBlock House: Beforeca. 70 B.C. (WBH.1-4, pl. 3, colorpl. 1D-E, map II) Three plates and a cup in transitional technique were recovered from the sediment layer of the cesspool,3"in a republican house situated in the lower southwest section of the excavated area of habitation adjacentto Street L. The house, one of a pair,may have been built shortly after 150 B.C. and was destroyed,accordingto the excavators, in the sack of the town, which took place around70 B.C.32If this event is related, as it seems to be, to piracy along the Tyrrheniancoast," it could hardly have taken place after 67 B.C., the year when the pirates were suppressed by Pompey's admiral,L. Gellius, which should provide the terminusante quem for these four vases.34 Technically,they appearas a homogeneous group, less experimentalthan any of the preceding, quite likely the product of a three-stage firing process. The fabric is very fine, hard, buff in color (5YR7/4). The slip is thin but firm and uniform, from dull to glossy red (10R4/8), occasionally mottled dark red-brown. Their excellent state of preservationsuggests a very short period of use prior to their breaking. The forms are the following: WBH.1 (C72.79).35Nearlycompleteexampleof a platewith offset rim and curvingwall of Conspectus form 5.1.1. Its incised decorationon the interiorconsistsof a smallcircle at the center,surroundedby four circularstampsin radialarrangementand a broad band of roulettingframedby simple circles. WBH.2 (C72.80).36Fragmentaryplate with offset rim similarto the preceding, base missing. WBH.3 (C72.81).37Fragmentsof rim and wall from a plate with broader offset rim, similarto Conspectusform 10.1. Of the decoration on the interior a broad band of rouletting framed by simple circles is preserved.

WBH.4 (C72.131),38 Cup with plain rim and sloping wall like Cap.3, similarto Conspectusform 7. A small circle is incised at the center of the floor on the interior.

House of the Skeleton:ca. 89-70

B.C.

(HS.1-3, pl. 3, colorp1. 1F,map II)

Three more specimens were recovered from a republican house in the northeasternsection of the excavated area, at the intersection of Street M with Streeet 5.39 The house named House of the 31 CosA IV 74.

36 Ibid., 202-3,

32 Ibid.,

37

65-74.

33 BROWN,Cosa, 74 andno. 12. 34 For the significanceand extent of this destruction, see my discussion below p. 15.

fig. 47.8.

Ibid., 204, fig. 47.10. Though Conspectusforms 5 and 10 have been dated to early Augustan times, their forerunner, the black slipped plate with horizontaloffset rim of TypeII, was extremely popular at Cosa in the late second century and most of the first" (COSA, Black Glaze, 154). 38 Ibid., 204-5, fig. 47.2, pl. 110.

35 SCOTT,Appendix,202-3,

fig. 47.9, pl. 109. 39 Ibid., 206, 208, fig. 47.1,5.

THEUNDECORATED SIGILLATA WARE

12

Skeleton, sometimes referred to as the SUNY House,40 appears to have been built after 89 B.C., shortlybefore its destructionaround70 B.C.4"Technically,they are a homogeneous group, somewhat differentfrom the preceding and closer to the final stage of the materialin level II of the Capitolium South trench. In HS.l (C69.237) and HS.3 (C69.446) the fabric is fine and soft, yellowish buff (5YR7/4), in HS.2 (C69.445) slightly gritty, a little harder and darker (5YR6/6). The slip, thin, dull, and worn on all three specimens, is red on HS.2 and HS.3 (10R5/8), darkerred (10R4/5) and mottled on HS.1. The following forms can be identified: HS.1 (C69.237),from the impluvium.Cup or plate with plain rim and slopingwall similarto WBH.4 and Conspectusform 7.1 but shallowerand clumsier,with a slightlyconcave wall and simple vertical foot. Two concentric circles are incised on the inner floor. HS.2 (C69.445), from Room 17. Fragmentof wall and rim from a bowl with offset rim and sloping wall of Conspectusform 8. 1, similarto Cap. 4. HS.3 (C69.446), from Room 17. Fragmentof rim and wall, probablyfrom a jar and inkwell similar to Conspectusform 51.1. Another example of this form was found in a surface level in the East Block of the excavated area. Compared to the preceding, this group seems to be the product of a less accomplished but more experimentalworkshop.

House of the Birds, ConstructionLevel: ca. 40-20

B.C. (HB.1-7,

pl. 4, colorpls. 1F,2G, mapsII-III)

Three examples of transitionalred slip ware come from the constructionlevel of a house adjacent to Street N, in the southeast section of the excavated area. This large double atriumhouse, named House of the Birds,42was built on the ruins of two republicanhouses in the decades 40-20 B.C.,43 when the town was reoccupied and this particularareapartiallyreconstructed.The three examples are the following:44 HB.1 (C71.207), from Room 12. Fragmentof wall and rim from a bowl with offset rim and sloping wall, similar in profile to HS.2 but technically different. The fabric is fine and moderately hard, light red (2.5YR6/6); the slip even and glossy red (2.5YR6/8). Wheel marksare present on the inner surface. It belongs to Conspectusform 8.1. HB.2 (C71.208). Fragment of wall and rim from a bowl with offset rim and sloping wall similar to the preceding, but the inclination of the wall is difficult to assess. The fabric is a little gritty and moderatelyhard, pinkish buff (10R6/6); the slip uniform, a little glossy, somewhat worn, brownish red in color (10R5/6). Technicallysimilarto HS.2. 40

COSA, Megarian,173.

41

COSA

146-48.

42 Ibid., 161-91.

4 Ibid., 185-88. 44 SCOTT, Appendix,209, fig. 47,4, 206, fig. 47,7.

THE ORIGIN: THE LATE REPUBLICAN PERIOD

13

HB.3 (C71.209). Fragmentsof wall and rim from a large bowl with plain rim and rounded wall of Conspectusform 36.1. The fabricis grittyand hard,buff (2.5YR7/3);the slip, largelyworn, is difficult to assess given the heavy incrustationon the surface, possibly brownish red (2.5YR4/8). A similar form, shallowerwith tapering rim, appearsat Cosa in TaylorType II, in deposits of the late second and first centuries.45It is also similarto a variationof Lamboglia B8 and Morel 2245.46 In additionto these, the fragmentsof a platter,which was classifiedas an imitationof an Eastern SigillataA (ESA) form, were found mortared into the top of a drain in Corridor2, in the area of the second Atrium:47 HB.4 (C71.150). Fragmentaryplatterwith upcurved rim (only beginning of curvepreserved).It has a short thick foot of small diameter,deeply concave inside, an almost flat floor and wall of increasing thickness toward the foot. The floor decoration consists of two groups of incised lines around the center. The fabric is fine, moderately soft, of buff color (5YR7/5); the slip is thin, dull, slightly mottled, of brownish red color (10R4/8). It is a clear example of an imported plate of ESA, HAYES form 3,48 TEL ANAFA type 13,49 dated approximatelyfrom the late second century B.C. to the last decade of the first century B.C.Along with HAYESform 4 it is one of the commonest forms of plate in the firstcenturyB.C., found throughoutthe easternMediterranean.It was probablyfirstimported to Cosa at the end of the first quarterof the first century B.C. (see below pp. 20-2 1). A black slip base with five rectangularstamps C. V( ) (CVArr2460 = OCK 2275) in radial arrangement (C68.415; pl. 52), found also in the constructionlevel,50may set the latest chronological limit for the materialpreceding the construction of the house. The earliest date for the red sigillata related to its occupation may be found instead in the sediment layer of a vaulted cesspool that underlies a bathroom in the remodeled northwest portion of the later house (Room 3) 51 The date of construction of the cesspool is uncertain;it may originallyhave been connected with the earlier republican house, but the bulk of the material recovered from its filling, including its sediment layer, reflects an early stage in the occupation of the later house. The following examples belong to its earliest use: HB.5 (C68.572; pl. 52). Fragmentarybase with small ring foot and the beginning of the wall from a bowl with curved junction between wall and floor.52The fabric is very fine, hard, yellowish buff (5YR7/4); the slip is moderatelyglossy on the interior,matte on the exterior, dark red (10R4/8). It likely belongs to a bowl with offset rim and sloping wall of Conspectusform 8.1; the base is similarto ConspectusB 3.4-6. On the floor are preservedtwo rectangularstamps AV( ) (CVArr2317 = OCK 2274) in radial arrangement,which have been dated to the period 40-20 B.C.; the same signature, AV,is also present on black slip ware.53 45 COSA, Black Glaze, 159.

50

SCOTT,Appendix,206, p1. 116.

46 LAMBOGLIA,

Classificazionepreliminare, 148-49; MOREL, 51 COSAIV, 38-42; CosA,Aco, 243-45.

152. 52

SCOTT,Appendix, 205-6, fig. 47.6, pl. 111; COSA,Aco,

47 COSAIV, 186-87; SCOTT,Appendix,206, fig. 47.11.

244.

48

IX 185, n. 13; GOUDINEAU,333; CVArr,no. 2317. 53COSA

HAYES,14-15,

pl. I, no. 8.

49 TELANAFA, 285-97.

14

THEUNDECORATED SIGILLATA WARE

HB.6 (C68.532; pl. 52).54Shallow carinatedcup, with a central rosette impressed on the floor and a band of rouletting on the vertical wall and carination.A small bowl of similarform but without slip or decoration was found, along with a few late republican fragments of thin walled pottery, outside the north corner of the Basilica, in a level datable to the third quarterof the first century B.C. It was included among the thin walled pottery of late republicantimes with some reservations, given the greaterthickness of its wall (Cosa Form XIX).55 Room 4 in the northeast portion of the House of the Birds is a large rectangulartriclinium overlying a low back court of the preceding republicanhouse.56In my previous description of this area Rooms 3 and 4 were evaluated separately,57 as parts of two adjacentnew houses, built on the ruins of the old, each of them containingits own atrium.Successiveinvestigationsproved that both belonged to the large double-atriumhouse now called the House of the Birds.58A vaulted cesspool belonging to the original republican house was discovered under Room 4.59 The material found in the sediment layer,which can be dated to the last period of occupation of the house before its destruction, included a specimen of transitionalsigillata: HB.7 (C68.608; pl. 52). Large fragmentof the base of a plate with a central rosette surroundedby four concentric circles impressed on the floor.60

B. FROM TRANSITIONAL SIGILLATATO EARLY"ARRETINE" As the finds previously described demonstrate, the movement away from black toward red slip technique was under way at Cosa at the close of the first and beginning of the second quarterof the first century B.C. A quarterof a century,therefore, separatesthe appearanceof transitionalsigillata at Cosa from the beginning of "pre-aretine" at Bolsena, which is believed to have taken place in the middle of the first century B.C.61The recently established differences between the two groups of ceramicsmentioned earlier,the north Etruscan, to which the Cosa finds belong, and the southern group of Cales-Teanoand Latium, which also includes the materialfrom Bolsena, can hardly be used to explain so great a discrepancy in date. This becomes even more incomprehensible when we consider the chronology of the "presigillata"from Morgantina,which, notwithstandingthe distance between sites, seems to agree with the dating of the transitionalsigillatafrom Cosa.62Seven deposits at Morgantinahave yielded transitionalsigillata.The earliest,the fill of a fountain house in the Agora dated to the first half of the first century B.C.,contained, albeit in small quantity,sherds of transitionalsigillata.Later deposits demonstratethat this ware became popular during the third quarterof the century.The greaterquantityof transitionalsigillataat Cosa before the middle of the first century B.C.may not be pure coincidence since, given the recognized north Italian influence

54 SCOTT,Appendix,207-8, pl. 117.

5 Ibid.,47-49; CosA,Aco, 245.

55 COSA, Thin WalledPottery,79, 72.

60 SCOTT,

56 COSA IV, 45-47, 163, 173.

61

GOUDINEAU, 320.

57CosA,Aco, 243-46.

62

STONE,Morgantina,85-103.

58 COSAIV, 161-88.

Appendix,208, p1. 118; COSA,Aco, 245.

THEORIGIN:THELATEREPUBLICAN PERIOD

15

in the developmentof this typeof potteryat Morgantina,a slightpriorityof the new techniquein the Etruscanareaseemsindicated. Thesuccessivephasesof thedevelopment fromtransitional to truesigillatacannotbe considered withoutfirstestimatingthe extentandconsequencesof the raidon the townat thebeginningof the In theirexhaustiveexplorationof theharborof Cosa,A. M. secondquarterof the firstcenturyB.c.63 in its commercial McCannandherteamdidnotfindanytraceof destructionorinterruption activity duringthe courseof the firstcenturyB.C.64Equallyunscathedappearthe villasandvillagesin the Bothcircumstances seemconsonantwith a pirateraidsincethe use of the surroundingterritory.65 harborwouldhavebeen of vitalimportanceto the raidersandpillagingof the countrysideunwise. Nor No evidenceto proveor disprovethe attackis offeredby the studyof the coinsfromCosa.66 is such a drasticinterruptionof life demonstratedby the ceramicsfromthe site so farpublished, thougha periodof lesserdemandfor such aroundthe middleof the centurymaybe reflectedin the moderateamountof materialrecovered. At the presentstageof ourknowledge,limitedby the documentation availableso far,it seems prudentto assumethatin the yearsafterthe raidoccasionalsquattersor transientinhabitantsfrom the busyharborandthrivingcountrysideascendedthe hill of Cosaandroamedaboutthe ruinsor in the publicareaof the forum.A drasticinterruptionin foundshelteramongthem,particularly the officiallife of the town mayhavegone on throughoutthe secondquarterof the century,but thiswouldnot preventthe possibilityof someformof survivalat a lesserlevel.Withthispossibility in mindwe cansurveythe findsfromcertainexcavatedareasof the townthatfillthe chronological gapbetweenthe timeof the destructionandthatof resettlement.

WestWallDump:ThirdQuarterof theFirstCentury B.C. (Dump1-33,pls.4-6, colorpl. 2H-J,mapV Toa periodcontemporary withthe Arxfillaroundthe Capitoliumandcontinuingdownto the end of the thirdquarterof the firstcenturyB.C.maybe datedthe materialdiscoveredin a long pocket of the bedrockoutsideandparallelto the citywallto the northwestof the Arxbetweentowers8 and9 (DumplevelsI-IV). Theterminusantequemforthe accumulation is determinedby thelatest materialpresentin level I, a few fragmentsbearingstamps(Dump23-26), one of themfromthe workshopof L. UmbriciusSalvius,activearound20 B.C.;the terminuspostquemis providedby six amphorastampsdatablebetweenthe secondquarterandthe end of the secondcenturyB.c.67The stratification of thismaterialseemsto indicatetwo majordumpingsratherthana gradualaccumulation,the earlier,levelsIV and III, in the secondhalf of the secondcenturyB.C.,the later,levels II and I, in the thirdquarterof the firstcenturyB.C.In this laterdeposit,whichdid not include specimensmucholderthanthe end of the thirdquarterof the firstcenturyB.C.,redsigillata,both transitionaland standard,is well represented: halfa dozenfragmentsin levelII andfivedozenin levelI. Amongthe sigillatarecoveredfromlevelI werefivefragmentsbearingstamps:threeof the old lineartypeandtwo withnames. 63 64 65

BROWN,

Scavi,40; BROWN, Cosa, 74-75.

CosA,Port, 27-29.

D. Manacorda, "Produzione agricola, produzione ceramica e proprietarinell'ager cosanus,"in A. Giardinaand A. Schiamone, eds., Societa'romana e produzione schiavistica, II: Merci, mercati e scambi nel Mediterraneo (Bari 1981)

3-54, 263-73. 66 COSA,Coins, 33. 67 COSA,Black Glaze, 133-35; COSA,Thin Walled Pottery, 22-24; S. L. Dyson, Cosa: The UtilitarianPottery = MAAR 33 (1976) 87-88; COSA, Megarian,175.

16

THEUNDECORATED SIGILLATA WARE

Since the datable materialother than the sigillatarecovered from the Dump has alreadybeen examined in detail in The Roman Thin WalledPottery, we need mention here in addition to the quinariusof M. Porcius Cato (CB.1706) of 93-91 B.c.68two more coins not included in this study: a bronze of Panormus of the first century B.C. (CB.1821)69and a halved light uncial as (CB.1823) datable 43-26 B.C.70 Most of the pottery recovered from the Dump is in a poor state of preservation,fragmentary and worn as if it had been exposed for some time to the elements before ending up in the filling.As a consequence it is difficultto describe the originalcharacteristicsof fabricand slip for a number of fragmentsor to assignthem with certaintyto recognizableforms.In general,it can be saidthat here the initialphase of transitionfromblack to red is over and that the red slip technique,in a broad spectrum of variations,has become the norm. The fabricis finer and softer than in the examplesfrom the Arx fill and from the republicanhouses; the prevailingcolor is pinkish ratherthan buff or, more rarely, grayish.The slip variesfrom the thin, dull, light red type of transitionalsigillatato a firmerand glossier one in a red tending toward orange or brown, all featuressignalingthe arrivalof true Arretine. The forms recognizable with some certainty correspond on the whole to those encountered in the transitionalmaterial, but some changes deserve mention. A tendency to move away from the simple and continuous forms of Campanapottery is seen in the preference for furrowed rims, forerunnersof the sharply articulatedforms of classical Arretine. This tendency also accounts for the almost total disappearanceof the bowl with offset rim and sloping wall based on the Campana form, which had been in great favor at Cosa before the destruction. Similarlyoutdated is the attemptto introduce certainclosed forms of Campanapottery,such as the pitcher,into the new technique. In fact the repertorythat will be typicalof undecoratedArretine as a pottery of open forms, bowls, dishes, plates, and platters is alreadybecoming evident. Finally, the presence of severalrim fragmentsfrom plates or platterswith curvingwall and plain rim, some very close in shape and technique to ESA, shows an attempt to imitate this class of pottery. The consequences of this attempt in the development of Arretine pottery will remain negligible in the choice of forms but fundamentalfor technical improvement. The recognizable or probable forms are the following: BOWLS WITH OFFSET RIM AND SLOPING WALL

Dump 1. Large body fragment from a bowl with plain, slightly outturned rim. The fabric is very gritty and hard, pinkish (2.5YR6/6). The surface,which appearsuncoated, variesfrom pinkish yellow (5YR6/6) to yellowish (5YR5/8). Technicallythe piece is unique and possibly a failure. PLATES OR PLATTERS WITH PLAIN RIM AND SLOPING WALL OF CONSPECTUSFORM 1

Dump2. Fragmentof wallwith rimfroma platter.The fabricis veryfine,soft,pinkish(2.5YR7/4);the slip is thin, verydull on the exterior,less dull on the interior,reddish(2.5YR5/6).Transitionaltechnique. 68 COSA, Coins, no. 85. 69 Ibid., no. 14. 70 Ibid., no. 125. On halved coins, see L. Cesano, "Contributo allo studio delle monete antiche dimezzate:ripostiglio

di Terni" RIN 28 (1915) 11-38; A. Tusa Cutroni, "Sulle monete dimezzate trovate a Solunto: osservazioni storiconumismatiche," Kokalos 6 (1960) 110-23; T. V. Buttrey, "HalvedCoins, the AugustanReformand Horace Odes 1.3," AJA 76 (1972) 31.

THEORIGIN:THELATEREPUBLICAN PERIOD

17

Theoriginalshapesof thefollowingvasescannotbe ascertained fromthefragments; technically theyvaryfromearlyArretine(Dump3-4) to Arretine(Dump5): Dump3. Fragmentof wallwithrim.Thefabricis fine,soft,pinkish(2.5YR6/3);the slipthin,dull, brown-orange(2.5YR4/6). Dump4. Twosmallfragmentsof wallwith rim.The fabricis fine,soft,lightpinkish(2.5YR7/4); the slip ratherfirm,moderatelyglossy,orange(2.5YR4/8). Dump5. Fragmentof wallwith rim.The fabricis veryfine,soft,buff (2.5YR6/5);the slipis firm, moderatelyglossy,orange(2.5YR4/8). BOWLS WITH PLAIN RIM AND SLOPING WALL OF CONSPECTUSFORM

7

Dump6. Smallfragmentof wallwithrim,wallprofiledifficultto assess.Thefabricis slightlygritty and hard,orange(5YR6/6);the slip thin, dull, varyingin color fromred (10R5/6)to darkgray (1OR4/2)on the exterior,reddish(2.5YR5/6)on the interior.Transitional technique. Dump7. Fragmentof wallwithrim.Thefabricis veryfine,soft,buff (5YR6/4);the slipfirm,glossy on theinterior,dulleron the exterior,orangein color(10R5/8).Transitional technique.Theslightly concaveandstronglyobliquewallis exceptional. Dump 8. Smallfragmentof rim with beginningof wall. The fabricis fine and soft, pinkish (2.5YR6/5);the slip firmand glossy,orange(2.5YR5/8).The roundedprofileof the rimand the techniquemayalsosuggesta similarityto Conspectus form8. PLATES OR PLATTERS WITH OFFSET AND VARIOUSLYARTICULATED RIM

Dump9. Fragmentof wallandrimfroma platewitharticulatedrimandcurvingwall.Thefabricis fine,soft,grayishbuff (2.5YR6/3);the slipmoderatelyglossy,brown-reddish(2.5YR4/5).TechnicallylaterthanDump 12, it suggestsa formsimilarto Conspectus form5. Dump10.Fragmentof wallandpartlypreservedrimfroma platewitharticulatedrimandcurving wallsimilarto the preceding.The fabricis fine,soft,buff (7.5YR7/4);the slipdull,brown-reddish (1OR5/6).Sametechnicalstageas the preceding. Dump11. Fragmentof wallandrimfroma platewith articulatedrimandcurvingwall,similarto the preceding.Theverypoorpreservation of the surfacemakesit impossibleto definethe characteristicsof the fabricandslip. Dump 12. Largefragmentof wallwith rimfroma platterwith broadarticulatedrim.The fabric is fine,hard,pinkish(2.5YR6/6);the slip moderatelyglossyand brown-reddishabove(10R4/6), dull andpurplebelow (10R4/3).The surfaceis well preserved.Technically it is verysimilarto the platesWBH.1-3 (C72.79-81)and the cup WBH.4 (C72.131), andit is possiblya productof the sameworkshop.It correspondsto GOUDINEAU form 6 andConspectusform10.1.

18

THE UNDECORATED SIGILLATAWARE

The following small fragmentsof articulatedrims belong to plates or platters of forms similar to the preceding. Their fabric is fine, soft, buff or grayishbuff (5YR6/6 or 5YR6/5); their slip dull or moderately glossy, red (10R5/8) or orange (2.5YR5/8). Technically they belong to the stage represented by fragmentsDump 9-11 and along with them may be dated from very early to early Arretine: Dump 13. Fragmentof rim with beginning of wall, from a plate of Conspectusform 10.1. Dump 14. Fragmentof rim with beginning of wall, also from a plate of Conspectusform 10.1. Dump 15. Fragment of rim with beginning of sloping wall. Probably from a plate similarto Conspectusform 11. Dump 16. Partial fragmentof rim, probably from a plate similarto Conspectusform 11. Dump 17. Fragment of rim with beginning of a gently sloping wall, possibly from a plate similar to Conspectusform 11. FEET FROM PLATES AND PLATTERS

Dump 18. Fragment of foot from a platter.The foot is low and broad. Tracesof a linear stamp in radialarrangementon floor.The profile of the foot is similarto the base ConspectusB 1.2, belonging to forms datable from the early to the middle Augustan period. Dump 19. Fragment of small foot with beginning of wall from a plate. The foot is narrow and somewhat rounded. The fabric is very fine, soft, pale grayish buff (2.5YR7/2); the slip dull, dark brown-red (2.5YR4/6). The profile of the foot is similarto the very earlybase ConspectusB 2.2. Dump 20. Large fragmentof foot with beginning of wall from a platter.The foot has a segmented profile and a very narrow resting surface; the attachment is rounded on the exterior, angularon the interior;a band of roulettingframedby circles on the floor.The technique presents transitional features:the fabric is fine, soft, grayishbuff (2.5YR6/4); the slip thin, dull, brown-red (2.5YR4/7). The profile of the foot presents features of the bases ConspectusB 2.2-3, associated with Arretine plates datable to the early Augustan period. Dump 21. Fragmentof foot and beginning of wall from a platter.Shape of foot similarto the preceding but with an angularresting point. The fabric is fine, soft, pinkish buff (2.5YR5.5/4); the slip thin, dull, red (10R4.5/6). The profile of the foot corresponds to the base ConspectusB 2.3. Dump 22. Small fragment of small foot from a plate. The foot has a segmented external profile, angular external attachment, and angular resting point. The fabric is fine, very soft, pinkish buff (5YR7/4); the slip solid, glossy, dark red (10R4/7). It corresponds to the base ConspectusB 2.4, usually connected with forms dated to the middle Augustan period. Within the limited chronologicalcertaintyprovided by the evolution of feet in sigillata,we may conclude that the examples examined above, with the exception of Dump 22, present characteristics

THEORIGIN:THELATEREPUBLICAN PERIOD

19

of shapecorresponding to the firststageof evolutionat Bolsenaandtechnicalfeaturesthatcanbe identifiedas transitionalandearlyArretine. STAMPS(PL. 53)

In additionto the linearstampof Dump18,whichis difficultto interpret,fourstampswerefound in levelI of the Dump,two linearandtwo withnames,whichhavebeen previouslyexaminedand discussedat length.71 Theyare: frame Dump23.72Fragmentof a platewithstampC. SIX(CVArr1827= OCK1973),in rectangular andradialarrangement, assignedto C. Six( ), a potterof uncertainoriginactivearound40 B.C. r

~ of a~platewith ~ stamp ~ L VMB[RIC]I/ SALVI(CVArr2453= OCK2476),in Dump24. 13Fragment withtext in two lines,assignedto L. UmbriciusSalvius, rectangular frameandradialarrangement a potterof uncertainoriginactivearound20 B.C. (see abovep. 15). frameand radialarrangement, similar Dump25. Fragmentof a platewith stampin rectangular to stampsOCK2561.3,4datedbetween40 and20 B.C. Dump26. Fragmentof a platewithtwo radiallyarrangedstampsin a squareframewithrounded corners.The samestampsarefoundalsoon CampanaB platesandarecloselyrelatedto thoseon a platefromthe House of the Griffinson the Palatinedatablebefore15 B.C. EASTERN SIGILLATAA

(ESA) AND LOCAL IMITATIONS

A dozenfragmentsof redsigillata,eitherof easternoriginor of localimitationthereof,werefound in levelI of the Dump,in additionto theplatterHB.4 (C71.150),fromthe construction levelof the Houseof the Birds,previouslydescribed.Theymaycastsomelighton the much-debatedquestion of foreigninfluencein the creationof westernsigillata.Sincea cleardistinctionbetweenimported andlocallyproducedmaterialis hamperednot onlyby theirgreatsimilaritybut alsoby the poor stateof preservation of the fragments,I haverestrictedthe definitionof easternsigillatato a small numberof more plausiblespecimens.Importedor locallyproduced,however,all examplesare relatedto EasternSigillataA (ESA),themostimportantandwidelydistributedgroup,whichprobablyoriginatedin the coastalareaof northernSyria,achievedits greatestpopularitytherein thelast andwasexported,albeitin small quarterof the secondcenturyB.C. andfirstquarterof the first,76 the quantities,alsoto westernMediterranean.77 Recognizable shapesat Cosaareallvariationsof the 71 COSA, Thin WalledPottery,22-23, pl. 91,1-5. 72

Ibid., pl. 91, no. 5.

73 Ibid., pl. 91, no. 1.

and Roman pottery from Tel Anafa: TELANAFA,257-64, 269-74. ESA, which is the chief fine ware during the Late Hellenistic and Romanphases of TelAnafa,firstappearshere around 150 B.C., probably of northern Syrianmanufacture, and was almost the only fine ware at the site in the period 128-80 B.C. (see below pp. 21-22).

74 Ibid., pl. 91, no. 3. 75 Ibid., pl. 91, no. 4. 76

HAYES,12-13. This class of ceramics has been recently reexamined with great accuracy and insight by K. Warner Slane in connection with the publication of the Hellenistic

77 U. Vanderhoeven,Les terressigillees.Fouillesd'Apame'ede Syrie,IX, 1 (Brussels 1989) 18-19; G. Schneider, "La situazione delle ricerche archeometrichesulla sigillata orientale e sulle ceramiche fini di epoca tardo antica," in OLCESE, Ceramicae archeometria,63, 65.

THE UNDECORATED SIGILLATAWARE

20

verypopularplatewithupturnedrim.Thefragmentsclassifiedas ESAsharecertainbasictechnical thefabricis finerandsofterthanin mostwesternsigillataandappearsalmostentirely characteristics: freefromimpurities;the coloris a paleor verypalebuffwith a tingeof pinkor yellow(1OYR8/2; 7.5YR8/3;7.5YR7/2);the slip,thin,dull,andpartlyworn,variesin colorfrompalerto darkerred (10YR5.5/8;2.5YR4/7)andfromreddishorangeto yellowishorange(2.5YR5/8;5YR5/8). The fragmentsclassifiedas ESAarethe following: Dump27. Threejoiningfragmentsof wallandrimfroma platterwithupturnedrim.The external profileof the rimis rounded,the beginningof the wall almostflat.It can be easilycompletedas an exampleof HAYESform3, datedfromthe latesecondcenturyB.C.to the lastdecadeof the first century B.C.,78corresponding to TEL ANAFA 13.79 The fragment of rim comes from level I of the Dump, the fragment of wall from the filling of the Capitolium terrace. Dump 28. Small fragmentof rim similarto the preceding. Dump 29. Fragment of rim from a plate or platter with gently upturned rim of HAYES form 4A,8? TEL ANAFA 13c,81which is contemporarywith HAYES form 3. Dump 30. Small fragment of foot and beginning of wall probably from a plate of moderate size. The short vertical foot is rounded on the exterior and was possibly deeply concave on the interior. The wall thickens toward the foot. A form like HAYES 3 is suggested. Half a dozen fragments,though presenting technical features very similarto the preceding, a fine and soft fabric with a thin, dull, and much worn slip, share a slightly more intense color in the fabric (7.5YR7/3; 7.YR7/4) and a general tendency toward orange in the slip (2.5YR5/8; 5YR5/8). The identifiable forms are again plates or platterswith upturned rim: Dump 31. Fragmentof a very shallow plate with rim rounded at the lip, similarto HAYESform 2A,82 TEL ANAFA 13a.83

Dump 32. Fragmentof rim from a plate or platterwith gently upturned rim similarto HAYES form 2B.84

Dump 33. Two fragments of foot and one of upturned rim likely from the same platter. The ring foot is very low and wide with sloping interior;the floor is almost flat and the floor wall thick. Two incised circles are preserved on the floor. It is similarto the feet of HAYES form 4. THE DISCOVERYof a fragmentof platterDump 27 in the fillingof the Capitoliumterraceand of plate

HB.4 (C71.150) in the construction level of the House of the Birds (see above p. 13) indicates that 78

HAYES,

14-15, pl. I, nos. 7-8.

82 HAYES,

14, pl. I, nos. 3-5.

79 TELANAFA,285-97.

83 TEL ANAFA,285-88.

80

84

HAYES,

15-16, pl. I, nos. 9-10.

81 TELANAFA,288-95.

HAYES,

14, pl. I, no. 6.

THEORIGIN:THELATEREPUBLICAN PERIOD

21

ESA must have firstreachedthe coast of northernEtrurianot laterthan the end of the firstquarterof The presenceof ESA in the areabeforethis datemaybe suggestedby the elegantly the firstcenturyB.c.85 articulateshape of HB.4, which correspondsto an earlystage in the developmentof HAYES3, and by the severalfragmentstechnicallyakin to ESA also found in the filing of the Capitoliumterrace(see above pp. 9-10). It appearsin any case evidentthatimportedred slip warefrom the Eastwas in use at Cosa at the time when north Etruscanworkshopswere firstattemptingthe changefrom black to red. This can hardlybe dismissedas pure coincidence.To the materialexamined so far a dozen fragments will be added, unearthedin pre-Augustanlevels of AtriumBuildingI (see below pp. 25, 28). The possibility cannot be dismissed, however, that fragmentsof ESA have gone unnoticed in the course of excavation due not only to the division between East and West in studies of late Hellenistic ceramicsbut also to the still limited popularityof this class of pottery at the time when the bulk of Cosa ceramicswas unearthed. The misidentificationof ESA in the western Mediterranean by Lamboglia,who classifiedit as "presigillata,"is a case in point.86To the few specimens classified in the past as ESA from Campania, Apulia, and Sicily, more can be added that have been more recently published.87What seems particularlysignificant,however, is the presence of this class of pottery in two centers such as Cosa and Pisa that belong to the same north Etruscangroup (which includes the production of Arezzo) and the date of its appearance at Cosa, at least a quarterof a century earlier than heretofore postulated. It recalls the opinion of those scholars who discerned an eastern influence, albeit in different degrees and aspects, in the creation of Arretine.88 The double aspect, technical and typological, of such an influence has been recently examined with greataccuracyby K. WarnerSlane.89She has reachedthe conclusionthat "inall instanceswhere Italian sigillata and ESA forms resemble each other, the eastern forms are modeled on the Italian ones." It is a conclusion in my opinion entirely justified at Cosa by the insignificanceof imported ESA in comparison to the variety of forms of CampanaB and its local imitations, easily available to the workshops experimenting with new firing techniques. On the other hand, "the potters of Arezzo adopted both the production strategy of ESA ... and its firing technology." This meant abandoning the three-stage firing process of Greek tradition that persisted in the production of Italian black slip ware, in favor of the one-stage firing of the East, "whichwas carefullycontrolled and capable of producing consistently fired red vases." The greattechnicalvarietywitnessedin the transitionalsigillatafromCosa,showingthe persistence of the old tradition in the hard blotched sherds, and the tentative adoption of the new tradition in 85 Its increasing visibility during the third quarter of the centuryis historicallyjustifiedby Pompey'ssettlement of the East, which brought under Roman rule the supposed areaof production of ESA:J. Poblome, R. Brulet,and 0. Bounegru, "The Concept of Sigillata, Regionalism or Integration?," RCRFActa36 (2000) 279. 86

N. Lamboglia, Gli scavi di Albintimilium e la cronologia della ceramicaromana.Campagnedi scavo 1938-1940 (Bordighera 1950) 55, 69, 189; id., "Ceramica 'presigillata' a Ventimiglia,a Minorca e in Sicilia,"ArchEspArq29 (1951) 35-41; GOUDINEAU,57-63, 320-22. 87 Ninety-three fragments from thirty to thirty-five vases were found in Hellenistic strataof a house excavated in Pisa in 1991. They represent eight different forms, mostly plates and bowls of wide distribution, dated between the end of the second century B.C. and the Augustan period. Here, as

at Cosa, more fragments of ESA may have gone unnoticed among the red slip ware found in other areas of the town: S. Menchelli and M. Pasquinucci, "Ceramiche orientali nell'Etruriasettentrionalecostiera(II sec. a.C.-VI sec. d.C.)," RCRFActa36 (2000) 371-72. 88 OXE,Rhein, 28-33, connected the transition from black to red and the origin of Arretine with the migration of oriental artists to Rome after the fall of Alexandria, while such other scholars as G. F. Gamurrini, H. Dragendorff, and A. Del Vita perceived the transition from black to red in Arezzo as the work of local potters under the influence of Easternceramics(GOUDINEAU, 322, n. 2). This influencewas minimizedby C. Goudineau, who in his study of the material from Bolsena reduced it with good probabhlityto only two forms (ibid., 342-47). 89 TEL ANAFA, 273-74.

THEUNDECORATED SIGILLATA WARE

22

the softerred sherds,is cleartestimonyto the effortsof workshopssituatedin the northEtruscan region(anareamoreinclusivethanArezzo)not onlyto movefromblackto redbut, morespecifically,to adoptthe firingtechniquebroughtto theirattentionby the importedeasternware.This accountsfor the lengthandtortuousnessof the processand,at thisstage,lendssupportto Slane's assertionthat "theinfluenceis moreindirectthanis assumedin havingan easterner'founding'a factoryin Arezzo,"sincetherewouldthen be no transitionalphaseat Arezzo.In my opinionthis does not, however,providea sufficientexplanationfor the astonishingjumpin qualitythattakes placein the productionof the most prestigiousworkshopsof Arezzoafterthe battleof Actium, whenvesselsunrivaledin technique,shape,anddecorationbearingthe signaturesof foreignartists andimitatingpreciselyidentifiableHellenisticmodelsstartappearingon the market.The history of decoratedArretine,or at leasta considerablepartof it, shouldbe writtendifferently.

AtriumBuildingI, Room16,LevelsII-III:ThirdQuarterof theFirstCenturyB.C. (AB16.1-32,pls. 7-9, colorpl. 2K-L,mapsI, IV,V) Movingto the centerof thetownandthe openareathatfromthe foundationof the colonyhadbeen designatedasthe Forum,we shallexaminethe redwarefromthe republican-early Augustanlevels in a publicbuilding,AtriumBuildingI, locatedat the northcornerof the Forum90 (see mapIV). Afterthe end of the secondPunicWarandthe arrivalin 197B.C.of a new contingentof colonists, theForumof Cosa,whosehithertohaphazard growthhadreflectedstrictlyutilitarian considerations, wassubjectedto an overallmasterplan.Eightverysimilarbuildingswereerectedon threesidesof the square,fillingthe spacebetweenit andthe boundingstreets.91 AtriumBuildingI, one of the pairflankingthe northwesternentranceway to the Forum,was the onlyone entirelyexcavated.92 Its plan,consistingof thirteenroomslaidout on threetransverse levelsarounda centralatrium,reflectsthe adaptationto publicuse of the basicdesignof a Roman house.Five of the spaceswere tabernae:two situatedon eitherside of the principalentranceto the Forumandthreein the back,openingon Street0. Thoughthe functionsof the otherspaces remainunclear,the absenceof regularlivingquartersexcludesthe possibilitythattheymayhave been used for privatehabitation.In the courseof the firstquarterof the secondcenturyB.C.the remainingportionof theplotto the eastwasgraduallyfilledwithmoretabernaeanda walledarea.93 Of thesetabernaeone,Room25, likelya butchershop,wasbuiltatthe northcorneratthe crossing of Streets0 and7; another,whichmayhavebeen usedfor storage(Room22), was addedbehind it a littlelater.Finally,the remainingL-shapedareaof the plot was enclosedwith a wall alongits two open sides,and threeseparateareaswerecreated.Later,at the time of the reconstruction of the Forumwhen some of the Atriumbuildings,includingAB I, were transformedinto houses, these areasbecameRooms16, 11, and 21.94Thoughthe identificationof consecutivelevelswas complicatedin the excavationof most of the buildingby intentionalchangesand catastrophic 90 COSAIII, 59-77, 104-6. 91 Ibid., 92

57-59.

After this manuscriptwas alreadycompleted, the excavations of Atrium Building V carried out under the direction of E. Fentresswere published: ead., Cosa V, An Intermittent Town.Excavations1991-1997, MAAR suppl. 2 (2003). Accordingto Fentress,"Thecentralpoint remainsthat a private

house opening onto a forum is unusual."Yet, despite admitting that "the Cosan forum seems to have been planned with a modular approach,"she considers the building called the House of Diana a private dwelling (ibid., 21). 9 CosaIII, 135-38. 94

Ibid.,238-40.

THEORIGIN:THELATEREPUBLICAN PERIOD

23

events,the roomspreviouslymentionedprovidedsomestratigraphic evidenceforthe development of red sigillata.Rooms16 and 11 in particularofferedsomeinterestingdatafor the changefrom transitionalto earlyArretine. In the latestperiodof its use Room16, at the easterncornerof AB I andadjacentto the centralpartof the northwesternwallof the Basilica,was quitepossiblya shedfor storage,a function suggestedby the largequantitiesof ceramicsfoundin its upperlevel (Room16, I). Thislevellay underthe debrisof the adjacentnorthwesternwall of the Basilica,which had collapsedat the beginningof the fifth decadeof the firstcenturyA.D.95and above a rammedearthfloor,much disintegrated,in the southernandeasterncornersof the room.96 The beginningof accumulation of the materialfound in level I is set at the end of the third/beginningof the fourthquarterof the first centuryB.C. by a halvedlight uncialas (CE.720);97 the end, by the fall of the Basilica wall. Of the thirty-threesigillatastampsfromthis level, ten arein plantapedis;of the remaining twenty-three,eight maystill be datedwith good probabilitywithinthe Augustanperiod.98 The longevityof the accumulation,however,whichis clearlyreflectedin the greatvarietyof the sigillata and thin walledpottery,and a disturbancein the southeasternareaof the roomlessen the utilityof the stratigraphicevidenceofferedby this level. The sigillatafromthis level is therefore excludedfromthe catalogue. LevelII wasa layerabout0.10m deepbetweenthe rammedearthflooranda pavementof soft signinumlaidon a basepartlyof darkgrayfillandpartlyof virginearthabovebedrock.Thisbase constituteslevelIII. Tracesof firewerevisiblein both levels.Sinceno blackslippedwarewas discoveredin levelII, whilemanysherdsof good qualityrepresenting allfourtypesof Campanawere presentin levelIII, the greaterantiquityof thislevelis evident.The redsigillatafoundin the level musthaveworkeddownthroughbreaksin the signinumfloorandshouldthereforebe considered contemporary with the red sigillatafromlevel II. This assumptionis confirmedby the character of the redsigillataitself,whichshowsno breakin continuitybetweenthe two levels.The terminus postquemfor the beginningof accumulation in levelII canbe inferredfromthe absenceof black slippedwareandItalianreliefbowls andfromits shallowdepth,whichsuggestsa shortinterval, not longerthana generation. Threefragmentsof transitionalsigillataanda few of thinwalledwareof late republicantypes found in level III maystill be consideredcontemporary with the latestblackslippedwarefrom the samelevel. The fragmentsof transitionalsigillataarethe following: AB16.1.Fragmentof wall andbeginningof floorof a smallplatewith plainrimandwide flaring wall.The fabricis fine, soft, buff with someimpurities(5YR7/4);the slip thin, firm,matte,light 95

Ibid., 241: according to the authors, "The Basilica had stood since the reoccupation of the site, apparentlymoldering.... In the depths of Taberna22 were found two fine Tiberianasses, one of A.D. 15-16 and the other of A.D. 34-37. Withina decadewhatwas left of the upperpartof the Basilica was demolishedand an Odeum was risingfrom a new floor of signinum."It has been recentlyproposed that the Basilicafell duringan earthquakerecordedin A.D. 51, which caused some damagein Rome:Collins-Clinton,Odeum, 101-3. A geological surveyof the areaaroundCosabyJ. Bourgeoishad already demonstratedthat most earthquakesin the Thyrrenianarea, including Naples and Rome, "would not have affected the

Cosa area, and there is no documented evidence as yet that suggests a damaging earthquakein the Cosa region during the period of Roman occupation" (CosA,Port, 47). 96

For a descriptionof the stratigraphyin Room 16, see COSA, Black Glaze, 105-7; CosA,Thin WalledPottery,24-25. 97 COSA,Coins, no. 125; for the dating of halved coins, see n. 70 above. 98 COSA, Thin

WalledPottery,29-30.

24

THEUNDECORATED WARE SIGILLATA

red (10R5/7).Wheelmarksare evidenton interiorand exterior.No otherexampleof this shape is knownto me. AB16.2.Smallfragmentfroma shallowcarinatedbowl with plainrim;groovesalongthe edge of the rimandabovethe carination.Techniqueidenticalto the preceding,evidentlya productof the sameworkshop.Veryclose in shapeand decorationto the thinwalledfragmentCosano. 115 of Thisformdoes not havea precise FormXIX, datedto the thirdquarterof the firstcenturyB.C.99 parallelin the repertoryof Conspectus.

AB16.3.Fragmentfrom a bowl with offset rim and sloping wall like Cap.4 (Conspectusform 8.1). The fabric is fine, pinkish buff (5YR7/3); the slip is thin, reddish brown with some metallic sheen

(1OR5/4). OF THREE DOZEN FRAGMENTS of red sigillata found in level III of Room 16, a few more than a

All the cataloguedpieces dozenarerelatedto formsidentifiablewithcertaintyor goodprobability. in the qualityof the slip,whichis firm,fromsilk-shinyto glossy aretechnicallysimilar,particularly with an overall color measure of 2.5YR4/8, the typical dark red of early Arretine sigillata. Some difference can be detected in the fabric, which may vary in texture from fine to slightly gritty and in color from pinkish red (2.5YR6/4) to red (2.5YR5/6) to yellowish red (5YR5/6). The following forms can be identified: AB16.4. Fragment of wall with rim from a very large platter with plain rim and sloping wall of Conspectusform 1, GOUDINEAU 1. The diameter,which can be only approximatelycalculated, suggests a catinuspalmipedalis(cm 37). AB16.5. Fragmentof wall with rim from a smallplate with curvingwall and plain rim of Conspectus form 4.1. AB16.6. Fragmentof wall with rim from a plate with curvingwall and plain rim of Conspectusform 4.3, GOUDINEAU8. AB16.7. Fragmentof rim from a large platterwith broad articulatedrim of Conspectusform 10.1.4, GOUDINEAU6. The diameter cannot be less than 38 cm. AB16.8. Large fragmentof rim with beginning of wall from a very large platter of Conspectusform 11.1. AB16.9. Small fragmentof rim, possibly from a cup with flaringwall and broad lip similarto Conspectusform 13.2. AB16.10. Small fragment of rim with beginning of conical wall. The plain tapering rim inclines slightly inward, with narrow rouletting below. It belongs to a conical cup with incurving rim of Conspectusform 24.4. 99Ibid.,79, pls. 11,61.

THE ORIGIN:THELATEREPUBLICAN PERIOD

25

AB16.11. Fragmentof angularcarinationwith beginningof a concavewall and flatfloor.The concavity of the wall and traces of a lower handle attachmentindicate a cylindricalcup with ring-handles, 3. Derived from a similarform in the Etruscanblack slipped ware, Conspectusform 30, GOUDINEAU it appears at Bolsena in a single example that has been dated before 30 B.C.100 Four fragments are from platters with concave vertical rim and convex moldings above and below markedby grooves, Conspectusform 18. Their great similaritiesof form and technique make these platters clearlycontemporaryand probably the product of the same workshop: AB16.12. Fragment of rim with beginning of floor. AB16.13. Small fragment of rim with beginning of floor from a very large platter (diametercalculated approximatively). AB16.14. Small fragmentof upper rim from a large platter. AB16.15. Small fragment of upper rim from a very large platter (diameter approximativelycalculated but not smaller). The following rim fragmentwith external and internalmoldings and rouletting presents identification problems: AB16.16. Verysmall fragmentof finely molded rim with rouletting.The incurvingrim may suggest a campanulatecup of Conspectusform 15. Two fragmentsof feet come from the same level: AB16.17. Verysmallfragmentof high, oblique ring foot with flat restingsurface,from a platter.The height and angularityof the profile suggest a base like ConspectusB 1.10, associatedwith forms of the Augustan-Tiberianperiod. AB16.18. Fragmentof foot and beginning of floor decorated with a band of concentric grooves. It is an oblique ring foot of medium height, with angularattachmentsto the body, chamferedon the exterior to make a narrow resting surface. It matches the base ConspectusB 2.4, associated with plates of the Augustan period. EASTERN SIGILLATAA

(ESA)

A fragmentof ESA was found in level III of Room 16: AB16.19. Largefragmentof floor,with beginning of curvingwall and possible traces of foot attachment, from a plate of Eastern SigillataA. Very fine, soft, pale yellowish fabric (7.5YR8/3); thick, very firm, glossy slip of very good quality,brownish red (10R4/7).

100GOUDINEAU, 281-82.

26

THE UNDECORATED SIGILLATAWARE

red sigillatawere recoveredin level II of Room 16, most of them shapelessfragmentsof plate floors. Here, as in the preceding level, a few fragmentscan still be identified as transitionalsigillata:

ABOUT ONE HUNDRED SEVENTY SHERDS of

AB16.20. Small fragment of rim with beginning of wall from a bowl with offset rim and sloping wall of Conspectusform 8, GOUDINEAU5. Fine, soft, buff fabric (5YR6.7/6); reddishbrown slip with some metallic sheen (2.5YR5/6). AB16.21. Small fragment of rim and beginning of wall from a bowl like the preceding. Fine, soft, buff fabric (2.5YR6/5); matte, light red slip (10R5/6). AB16.22. Fragment of foot and beginning of wall from a bowl with ring foot and curving wall, possibly from a bowl like the preceding. Fine, very soft, orange fabric (5YR6/6); thin slip, almost entirelyworn away on the interior,matte on the exterior,light red in color (2.5YR5/8). AB16.23. Fragmentof foot and floor,probablyfrom a plate. Fine, very soft, orangefabric (5YR6/6); reddish brown slip with silverysheen, much worn on the exterior (2.5YR5/7). Concentric grooves on the floor. All the other identifiableforms may be classifiedas earlyArretine.The fabric,generallyfine and hard (2.5YR6/6), and the slip, firm, glossy with an overall color reading of 2.5YR4/8, are technical characteristicsconsistent with such classification. Forms recognizablewith certaintyor good probability are the following: AB16.24. Very small fragmentof wall and rim from a plate with plain rim and sloping wall of Conspectusform1, GOUDINEAU 1. AB16.25. Fragmentof body and rimfrom a smallplatewith offset rim and slopingwall of Conspectus form 2.3. The plate has a straightwall meeting the floor at a sharp angle and a very small lip. AB16.26 (CE.1668). Fragmentaryplate with offset rim and curving wall of Conspectusform 5.2. The plate has a flat floor, ring foot, chamferedon the exterior,and rounded lip; grooves and a band of rouletting on the floor. AB16.27. Smallfragmentof rim and beginning of wall, from a bell-shapedcup with narrowhanging lip of Conspectusform 14. AB16.28. Large fragmentof rim with beginning of wall from a cup of Conspectusform 8. The following forms can only be identified tentatively: AB16.29. Very small fragment of rim, possibly from a bowl with offset rim and sloping wall of Conspectusform 8.1. AB16.30. Very small fragment of rim, probably from a platter or plate with broad articulatedrim of Conspectus form10, GOUDINEAU 6.

THEORIGIN:THELATEREPUBLICAN PERIOD

27

STAMPS

No stamps were found in level III and only a fragmentaryone in level II:101 AB16.31 (CE.1667). Left end of a central rectangularframe with the letter P[ ]. of red sigillata in levels III and II of Room 16, the overall picture is sufficiently coherent to permit the following conclusions: The experimentalphase of transitionfrom black to red occurringafterthe middle of the century is coming to an end. The three examples of the bowl with sloping wall and offset rim of Conspectus form 8 (AB16.3, 20-21) are still close in shape and technique to their prototype in CampanaB and fired in the old way. On the other hand, AB16.1-2 seem to represent the random effort of some workshop to move away from the old tradition by adopting a different firing technique and forms closer to the repertory of thin walled ware. The bulk of the material from these levels, however, presents the technical characteristicsof fabric and slip traditionallyassociated with Arretine:a refined manipulationof the clay and a carefullycontrolled one-stage firing. Once again the presence of a large fragment of ESA of excellent quality in the same context indicates that the sudden and remarkabletechnical improvement of the Italian sigillatawas not free from eastern influence. The Etruscanblack slip tradition is still apparent,however, in the range of forms availableto those adoptingthe new technique. Of a dozen forms appearingin levels III and II of Room 16, half, Conspectusforms 1, 4, 5, 8, 10, and 30, have a precedentin Campanapottery.All these forms,including Conspectusform 2, which seems only loosely relatedto Campana,are representedin their earliest versions,coincidentwith the beginningof production,which, at this stage,is located chieflyin Arezzo and its environs.Conspectusforms 1, 8, 10, and30, which correspondrespectivelyto forms 1, 5, 6, and3 fromBolsena,areamongthose definedas "archaic"by Goudineauand datedbefore30 B.C.102The four fragmentsof plattersAB16.12-15 arerelatedto Conspectusform 18 but do not havean exactparallelin the examplesprovidedhere, so thereis some ambiguityof classificationbetweenvariants1 and 2. In eithercase a discrepancyoccursbetweenour terminusantequemof ca. 25 B.C. for the formation of level II of Room 16, where the fragmentswere found, and the date proposed in Conspectusfor the introductionof form 18, set, on the basis of the Oberadenfinds, in the last decade of the firstcentury B.C.103The crisp condition of the fragments,which suggestsa short period of use, and possible delay in the appearanceof the form in the north may fill the gap, at least in part. A similardiscrepancyis presentedby fragmentsAB16.9, 10, and 16, tentativelyassignedto Conspectusforms 13.2, 24.4, and 15 respectively,whose introductionis considerednot earlierthanthe middle Augustanperiod.104 Some uncertaintyin classification,due to the very small size of the fragments,urges cautionhere. FROM THE FINDS

Atrium Building I, Room 11, Level II: ThirdQuarterof the First CenturyB.C. (AB11.1-1 0, p1. 10, colorpls. 2L-30, mapsI, IV, V) Roughly contemporarywith the finds from levels II-III of Room 16 is the material recovered in level II of the adjacentRoom 11 in Atrium Building I. In its originalform this room was one of the 101COSA, Thin WalledPottery,24. The stamp CE.1666 with

103 Conspectus,82.

the signature ATEI was erroneously assigned here to level II; it belongs instead to level I.

104 Ibid, 74, 94, 78.

102

GOUDINEAU,

278-79.

28

THE UNDECORATED SIGILLATAWARE

threesectionsof the L-shapedareaenclosedby a wall at the southwesterncornerof the building (see above p. 22). In the reconstructionof the Forum afterthe middle of the first centuryB.C., when the original public building was transformedinto a house, a large kitchen with a hearth platform paved with lozenge tiles (Room 11) and two appurtenances,possibly a bathroom (6) and a closet (14), were built in this area.105 Since neither structuresof chronological significancenor coins were recovered here, the dating of the contexts is based on their close similarityto those in the corresponding levels of Room 16. As in this latter room, level I of Room 11, enclosed between the fallen northwesternwall of the Basilica and the remainsof a signinum floor, contained a large amount of sigillata and thin walled pottery of evident chronological disparity.'06 Of the twenty-seven sigillata stamps found here, seventeen are in planta pedis; of the remainingten, four can be assigned with good probabilityto pre-Tiberiantimes. The materialfound in level II of Room 11 presents a more coherent aspect, like that of levels II and III of Room 16. It should be associated with the first generation of occupants of the house and be dated to the third quarterof the first centuryB.C. The fragmentsof an Italian relief bowl'07and an "Aco" type beaker'0'may representthe chronological limits of the context. Among the very limited pottery finds from levels III-IV of Room 11,109 the most relevantfor chronologyare some black glaze ware and a few fragmentsof thin walled potterywith dot barbotine decoration of late republican date."0 From the same levels come the following fragmentsof ESA. EASTERN SIGILLATAA

(ESA)

AB11.1. Three non-joining fragmentsof wall with rim from a plate with upturned rim. The fabric is very fine, soft, pale yellowish buff (5YR8/3); the slip is firm, glossy, brownish red (10R4/7). It is an example of HAYES form 4A,111TELANAFA 13,112which along with HAYES form 3 is the commonest type of plate in the first centuryB.C. The Cosa context suggests a date within the first half of the first century B.C. AB11.2. Large fragment of floor from a platter. The fabric is very fine, soft, very pale pink (7.5YR8/3); the slip is silk-shinyto dull, a little mottled, red (10R4/7). It belongs with good probability to a large platter of ESA. A SCORE OF FRAGMENTSof red sigillatawere recovered in level II of Room 11. An overall picture of early Arretine can be drawn from their technical characteristics.Their slip shows a prevailing uniformity of color, varying in hue from lOR to 2.5YR, with a constant value of 4 and variations between 7 and 8 in chromabut gradationin qualityfrom dull to glossy and from worn to firm,with some tendency to better preservationon the interior than on the exterior. Their fabric is fine and ratherfirm,with color varyingin hue from 2.5YR to 5YR and from 4 to 6 in chroma,but preserving an almost constant value of 6 (occasionally7). 105 COSAIII, 238.

110Ibid., no. 10, pp. 49, 262, pls. 1, 55; no. 90, pp. 71, 269,

pls. 8, 60. 106 COSA, Thin WalledPottery,28-29. 107 COSA, Megarian,no.

1 112

108

HAYES,

15-16.

68, pp. 174, 226, pls. 4, 15.

COSA, Aco, no. 1, pp. 241, 275, pls. 1, 3.

109 COSA, Thin WalledPottery,25.

TELANAFA,285-97.

THE ORIGIN: THE LATE REPUBLICAN PERIOD

29

The followingformscanbe identified: froma platewithplainrimand AB11.3.Largefragmentof wallwithrimandbeginningof carination the is slopingwall.The fabricis fine,pinkish(10R6/6); slip worn,dull,red (10R4.5/8).It belongs 1. to a plate of Conspectus form 1, GOUDINEAU

AB1 1.4. Small fragment of wall with rim and beginning of carinationfrom a plate or platter like that above. The fabric is fine, very hard, veined orange-buff(2.5YR6/6); the slip is firm,moderately glossy, red, brownish on the exterior (10R4/7). AB11.5. Verysmallfragmentof wall with rimpresumablyfrom a plate or platterlike that above. The fabric is very fine, a little soft, reddish yellow (5YR6/5); the slip is firm, silk-shiny,red (10R/8). AB1 1.6. Small fragment of wall with rim, with technical characteristicsidentical to AB1 1.5, from a plate or platter.An external groove below the rim seems exceptional. AB1 1.7. Smallnon-joiningfragmentof rim and verylargefragmentof floor from a platterwith curving wall and offset rounded rim. The fabricis fine, slightlygritty,veryhard, pinkishbuff (2.5YR6/4); the slip is generally firm, silk-shiny,worn on the upper exterior, red (10R4/8). It corresponds to Pucci, Atlante, form XI, 6,113 and it is similar to GOUDINEAU12b. It appears to be intermediate between Conspectusforms 5.1 and 5.2, the wall similar to the former, the lip to the latter. This is considered an earlyAugustan form. AB1 1.8. Small fragment of wall with rim from a bowl with offset rim and sloping wall. The fabric is fine, hard, dark pinkish (2.5YR6/6); the slip is glossy red (2.5YR4/8) on the exterior, duller on the interior.It probablybelongs to a cup like Conspectusform 8.1.2, GOUDINEAU 5, classifiedamong the archaic forms from Bolsena. AB1 1.9. Fragment of a broad articulated rim from a large platter. The fabric is fine, light pink (5YR7/4); the slip is firm,very glossy,red (2.5YR4/8). It belongs to a platterthat looks like a slightly different version of Conspectusform 10.1, GOUDINEAU 6, one of the archaicforms from Bolsena. AB11.10. Fragment of wall with rim from a cup with flaring wall and hanging lip. The fabric is fine, reddish yellow (5YR6/6); the slip is dull and worn on the exterior, glossier on the interior, red (2.5YR4/8). Probably it belongs to a cup of Conspectusform 13.2-3, GOUDINEAU 7, classified among the archaicforms from Bolsena. To conclude, if some forms from levels II-III of Room 16 and level II of Room 11 appear to predate by a decade or so their counterpartsfrom the transalpineregions, on which the chronology of the earlyforms of Conspectusmostly relies, an explanationmay be found in the proximityof Cosa to the original centers of production.

113 Pucci,

Atlante, pl. CXXII,3.

2

*

TheComingof Age

TheAugustanPeriod

argequantitiesof Italiansigillatawererecoveredfromstratapostdatingthe partialreconstructionof Cosain theAugustanperiod,in spiteof the reducedsizeof the area.Satisfactory chronoscarcesincemostof thematerialcomesfromunreliablecontexts,either logicaldataarenevertheless or disturbedlevelsorelselevelswithevidenceof lengthyaccumulation. Thechronological superficial precisionreachedin theclassification of sigillataunearthedelsewherein Etruria'provedunattainable at Cosa.The sigillatacan be arrangedhereonlyin threebroadgroups:Augustan,Tiberian-early Claudian,andClaudian-post-Claudian periods.If moreprecisedatesarerequiredwithineachof theseperiods,theymustrelyon evidenceprovidedby othersites,keepingin mindagainthe possibleearlierappearanceof sometypesherethanin the provinces. Our knowledgeof the sigillataat Cosa in the Augustanage relieson the evidenceof three deposits,one in the areaof the Forumandtwo in the residentialarea;the lattertwo areRoom4 in the House of the Birdsand the sewerof StreetM in proximityto the House of the Skeleton(see mapII). L

Houseof theBirds,Room4 Filling:ca.EarlyandMiddleAugustanPeriods (HB4.1-11, pl. 11, mapsII-III) Room4 in the northeasternsectionof the House of the Birds(see abovep. 14) had been, in its originalform,the backcourtof a republicanhousethat,2in the reconstruction of Augustantimes, wasconnectedto a secondhouseadjacentto theeast.3Togethertheybecamea large,double-atrium house,the Houseof theBirds,so namedafterthe subjectof its SecondStyledecorationin the alaof the mainatrium.4The court,a rectangular spaceaccessibleby a stonestairfromabove,contained a largerectangularspill basin over a vaultedcesspool.5The modestquantityof materialin the sedimentof the pit representsthe accumulation thattook placeaftera cleaningperformedshortly beforethe destructionof the originalhouse.6In additionto the exampleof transitionalsigillata previouslymentioned-the platebaseHB.7, C68.608(see abovep. 14)-the sedimentcontained two unclassifiedRomanrepublicancoins,C68.623andC68.639;7threeRomanwheelmadelamps

I GOUDINEAU,245-75. According to P. Kenrick, the dates suggestedin the CorpusVasorumArretinorumare "inthe vast majorityof cases extremely tentative" (OCK, 8).

4Ibid., 176-77.

2 CosAIV, 45-47.

6

3 Ibid., 161-67.

7 COSA, Coins, no.

5 Ibid.,47-49.

31

Ibid.,49, n. 12; CosA,Aco, 245. 381.

THEUNDECORATED SIGILLATA WARE

32

with black slip, C68.591, C68.592, C68.708;8a few unidentifiablefragmentsof thin walled pottery, and a few specimens of black slip ware, the most conspicuous a fragmentaryplate of CampanaB Lamboglia form 6, Morel 1430-40 (C68.578). In the reoccupationof Augustantimes the originalfloor of beaten earthin the court was buried under a massive fill of reddish earth and debris (Room 4, 1), in order to create a uniform extension of the new house toward the northwest for a triclinium.9Only a patch of the new flooring made of square tesserae in white limestone is preserved,10 with the consequence that the fill layer cannot be considereda clearlysealed deposit. Indeed it included fragmentsof Second Stylepaintedplasterthat must have belonged to the decorationof the room. A dozen black slip fragmentsin the same context indicate that material preceding the destruction of the area was also utilized in the filling.11Two specimens associated in technique with transitionalsigillatacan also be included in this group: HB4.1. Largefragmentof floor from a shallow bowl with high flaringfoot. The fabric is fine, pinkish buff (5YR7/4); the slip is red (10R4/8) mottled dark reddish gray (10R4/1; 1OR3/1)with some metallic sheen and incrustation on the surface. It suggests the form of a rimless bowl similar to Lamboglia B 8, Morel 2245.12 HB4.2. Smallfragmentof wall with plain rim. The fabricis hard, slightlygritty,pinkish (2.5YR7/4); the slip firm,matte, purple-brown (1OR4/3).It probablybelongs to a plate with plain rim and sloping wall of Conspectus form 1.1, GOUDINEAU 1. From the same fill layer the following items were also retrieved: * An unclassifiedRoman republican coin (C68.561)13and a Victoriatus (C68.563).14 * The rim of an amphoraof Dressel type lb (C68.491), double stamped SE.L.EVC. (It is probably a product of the Sestius factory at Cosa, Will type 4b, datable to the second and third quartersof the first century B.C.15The rim with part of the neck from a second amphorain the fill [C68.507] may also belong to an example of Dressel type lb.) * Fragmentsfrom about a dozen lamps, half of them still datable before the end of the republican period, the other half belonging to volute nozzle types dated from the resettlementonward. (This lattergroup includes C68.520,16a triangularnozzle lamp,17and C68.560,l8 a double nozzle lamp,19 types produced from the beginning of the Augustan age.) * Two fragmentaryshallow glass bowls, C68.505 of opaque white in millefiori glass and C68.519 in striped mosaic glass, dated to the late first century B.C.20 8

COSA, Lamps,nos. 11, 88, 89.

15 On this type of amphora,see E. LydingWill, "TheRoman Amphoras,"in COSA,Port 182-85.

9 COSA IV, 48, 163; COSA, Aco, 245. 16COSA,Lamps,no. 453. In the classificationof the lampsfrom Cosa it belongs to group Bi of the triangularnozzle lamps.

10COSAIV, 175. 1 For a detailed description of the materialincluded in the filling, see COSA,Aco, 245-46. 12

LAMBOGLIA,Classificazione

XXII; BAILEYA.

18COSA, Lamps,no. 687.

preliminare, 148-49; MOREL, 19

152. 13 COSA, Coins, no. 14 Ibid.,

17 LOESCHCKE I; BRONEER

no. 29.

381.

20

LOESCHCKE III; BRONEER XXI; BAILEYD.

COsA,Aco, 246, nn. 37, 38.

THE COMING OF AGE: THE AUGUSTAN PERIOD

33

Fromthesefindsit seemsreasonableto concludethatthe fillunderthetricliniumin the House of the Birdscontaineddebrisfromthe olderrepublicanhousesalongwith materialrepresenting the beginningof reoccupation.Thisis alsoclearlyreflectedin the thinwalledwarefromthe same filling,whichcanbe easilydividedinto two groups.The firstincludesfragmentsof CosaformsI, VII, andXXIII,none of whichcouldbe laterthanthe end of the republicanperiod;the second, severaluncoatedfragmentsof formsXXXV andXXXVIandonlytwo metallicglazedfragments with sanddecoration.An uncoatedbowl of new formwith thorndecoration,C68.475,and two examplesof the localproductionof Aco typeware21 confirmthe unmistakably Augustancharacter, probablyno laterthanthe endof the century,of thissecondgroup.Thefollowingidentifiablesigillataformsarecontemporary withthis secondgroup: HB4.3.Fragmentof wallwithrimfroma platewithplainrimandcurvingwall.A thingroovemarks the transitionfromfloorto wallon the exterior.The fabricis fine,soft,pinkish(5YR7/4);the slip is firm,matteon the exterior,moderatelyshinyon the interior,red (1OR4/8),slightlymottledon the lowerexterior.It is closeto Conspectus form4.3, GOUDINEAU 8. HB4.4. Twojoiningfragmentsof wallwith rimand beginningof floorfroma platewith narrow, slightlyhanginglip and roundedtransitionfromwall to floor.Lightprofilinglines appearon the innerfaceof the rim.Thefabricis fine,hard,lightpinkish(5YR7/3);theslipis matte,worn,lightred (10R5/8),coveredwithheavyincrustation.It belongsto Conspectus form12.3,GOUDINEAU17. HB4.5. Fragmentof wallwith rimandbeginningof floorfroma platewith a narrowhanginglip andangulartransitionfromwallto floor.Profilinglinesappearon the innerandouterfacesof the rim.Thefabricis fine,hard,pinkish(2.5YR6/6);the slipis glossy,darkred (2.5YR4/8).It suggests a transitionalform similarto Conspectus16.

HB4.6.Fragmentof rimwithbeginningof bodyfroma cupwithconcavemoldedverticalrimand conicalbody.The outerlip band is markedby two simplegrooves,the innerconnectionof rim andbodyby a profilingline.Thefabricis fine,rathersoft,pinkish(2.5YR5/4);the slipis shiny,red (10R4/8).The simplicityof decorationsuggestsa formlike Conspectus 22.6. HB4.7. Largefragmentof bodywithlowermoldingof the rimfroma cup like the preceding.The convexmoldingis rouletted,anda profilinglineon the innerfacemarksthe connectionof rimand body.Thefabricis fine,hard,lightpinkish(2.5YR7/4);the slipis firm,shiny,red (2.5YR4/8),with heavyincrustationon the surface.It belongsto Conspectus form22, GOUDINEAU 27. The followingfoot canbe connectedwith specificformsonlyby approximation: HB4.8. Fragmentof floorwith ringfoot andbeginningof wall.The flaringwallmeetsthe floorat sharpangle.Thefabricis fine,hard,pinkish(10R6/6);the slipis firm,matte,red (10R4/7),mottled darkerred on the bottom.The foot profileis similarto the base Conspectus B 3.1 associatedwith the earliestformsof Italiansigillata.

21

Ibid., 276, no. 7; 277, no. 14.

34

THEUNDECORATED SIGILLATA WARE

STAMPS(PL. 53)

HB4.9 (C68.527). Fragmentarybell-shaped cup with concave verticalrim and chamferedring foot. The convex moldings bounding the rim are rouletted, and profilinglines appearon the inner face. On the floor, framed by two concentric grooves, is the stamp CALI in a rectangularframe with horizontal branch (CVArr362 = OCK 487); on the bottom, an illegible graffito.The fabric is fine, hard, pinkish; the slip is firm, glossy, red. This is an example of Conspectusform 17.1. The activity of the Arretine potter Calidius Strigo is dated ca. 15 B.C.-A.D. 15. HB4.10 (C68.497). Half of a very narrowring foot with floor and beginning of conical body. It has a small bead molding on the exterior and a deep indentation under the floor. On the floor is the stamp MVALERI/ EVHEM[ER] in a rectangularframe (CVArr2220 = OCK 2316), one corner missing, within two incised concentric circles. The fabric is fine; the slip is silk-shiny,firm, red. The shape and small size of the foot suggest a cup like Conspectusform 24.1.2. The potter M. Valerius Euhemerus was active, possibly in Pisa, ca. 10 B.C.-A.D. 10. HB4.11 (C68.494). Largefragmentof floor with chamferedringfoot. On the floor is a centralstamp L. S. G. in a rectangularframe (CVArr1681 = OCK 1824), within two concentric incised lines, and on the bottom a graffito of which only the first two letters (A are clearlylegible; after a gap two more letters foHlow,the first probably R or B. The fabric is fine, hard, light pinkish;the slip is firm, matte, red, mottled darkerred on the bottom. The profile of the foot, similarto the base Conspectus B 2.4, suggests a plate of the Augustanperiod like GOUDINEAU 15, Conspectusform 12. The activity of the Arretine potter L. Saufeius Gausa is dated ca. 15 B.C.-A.D. 10. FROMTHETYPOLOGY of forms the following conclusions can be drawnabout the sigillatacontained in the filling under Room 4 in the House of the Birds: While a large majorityof the material unearthed in levels III and II of Room 16 and level II of Room 11 of Atrium Building I revealed a very early stage in the production of sigillata, with half the forms still having prototypes in Campanapottery,in the filling of Room 4 of the House of the Birds such a connection is limited to fragmentHB4.3, from a plate of Conspectusform 4. The others are typical red sigillataforms corresponding to an Oberaden-early Haltern spectrum. The conical cup with vertical rim, that great favorite in the northern camps during the Augustan age, is present in the fill in several variations:with slightly concave (HB4.6-7) or bell-shaped (HB4.9) walls, its rim decorated with the usual rouletting (HB4.7) or simple grooves (HB4.6). In this latter fragment the refinement of execution does not correspond to the supposed characteristicsof its subform (Conspectus22.6) and therefore does not necessarilybelong to its later date. The presence in the same fill of the fragment of a plate of Conspectusform 12 (HB4.4) supports the suggestion, based on the Haltern evidence, that for a while cups of form 22 were being produced and used alongside plates of form 12. The stamps appearingon HB4.9-11 have been previouslydiscussed.22It is sufficientto repeat here that none of the signaturesof these potters is recorded in plantapedis. It seems therefore reasonableto conclude that the filling supportingthe northeastextension of the House of the Birds included fragmentsof sigillatarepresentingthe tablewarein use during the first decades of occupation of the house, probably not later than the end of the first century B.C. 22

Ibid.,245-46.

THE COMING OF AGE: THE AUGUSTAN PERIOD

35

StreetM Sewer:ca. Middle and Late AugustanPeriods (MS.1-18, pls. 12-13, map II) A similar facies emerges from the examination of the material recovered in 1970 from a section of the sewer of Street M close to the intersection with Street 5, at the north corner of the housing East Block.23Street M, which runs from southwest to northeast, from Tower 9 to north of Tower 20 of the city wall, crosses Street 5, a main arterybisecting the town from its Southeast Gate to the Horreum near the Northwest Gate, at the north corner of the House of the Skeleton. While Street 5 became an important thoroughfare again, Street M remained out of use, and its blocked sewer became a dumping ground for the houses that had been rebuilt to the southeast. The contents of the sewer therefore present a basic affinityto the materialenclosed in the filling of Room 4 in the House of the Birds, but it seems to cover a slightly longer period of time, possibly reaching the beginning of the principate of Tiberius. To this period can be approximativelydated the severalfragmentsof lamps retrievedfrom the sewer:24the nozzle of a Vogelkopflampe,an entire nozzle and fragmentsof four others from volute lamps, a triangularheat shield decorated with palmette,25and a score of top discuses with various decorations (hand with spear,crossed clubs, branch), among them C70.336,26a fragmentarydiscus with Europa on the bull from a triangularnozzle lamp.27The same type appearstwice more at Cosa, in level I of Room 22 of Atrium Building 1,28 whose contents mainly postdate the beginning of the Claudian period but also included a few examples of Augustan sigillata.29A fragmentprobably of a late Italo-Megarianbowl should represent a remainderfrom the previous function of the sewer. The many fragments of thin walled pottery and the few of Aco type ware found in the sewer demonstrate chronological coherence. Neither typical republican ware, such as the ubiquitous dot-decorated situlae of Cosa form I, nor the popular Tiberian ware with metallic glaze appears in the sewer, with the possible exception of an early sand-decoratedbowl of this type. Identifiable forms, technical features,and decorativedevices of the thin walled pottery from the sewer are those of the Augustan period.30The same conclusion applies to the Aco type fragments,three beakers31 and a two-handled hemispherical cup32found in the sewer. The cup and one of the beakers, both signed by the local potter Cusonius, reveal in the choice and arrangementof the decorativemotifs the influence of the contemporaryproduction of the workshop of Rasinius. Finally,a fragmentarybulbous unguentariumin translucentcolorlessglass (C70.303), also found in the sewer, can be loosely dated to the first half of the first centuryA.D.33 Three score fragmentsof red Italiansigillatawere retrievedfrom the sewer,most of them sharing the same very good technical features:the fabric is fine, hard, pinkish beige (from 2.5YR7/4 to 2.5YR6/4), sometimes with a yellowish tinge (5YR6.5/6); the slip is very firm, silk-shiny,from red to dark red (from IOR4/8 to 2.5YR4/7-2.5YR4/8). The walls tend to be thin. 23COSA IV, 125; COSA, Aco, 242.

28

24 COSA, Aco, 242-43.

29

COSA, Lamps,nos. 385, 386.

11 in the same room is securelydated Tiberian-early Level Claudian:see below and CosA,Thin WalledPottery,27-28.

25

LOESCHCKE III; BRONEER XXI; BAILEYD, beginning in the Augustan period.

26 COSA, Lamps, no. 428. In the classification of the lamps

from Cosa it belongs to group A2 of the triangularnozzle lamps. 27 LOESCHCKE I; BRONEER

30 For a detailed description of the thin walled ware, see

COSA, Aco, 243. 31

Ibid., 276-77, nos. 9-11.

32

Ibid., 275, no. 3.

XXII; BAILEYA, beginning in the

early Augustan period.

33 Ibid., 242.

THE UNDECORATED SIGILLATAWARE

36

The following forms can be identified with some degree of accuracy: MS.1. Very small fragment of a tiny rim with beginning of floor likely from a plate with plain rim and sloping wall. The external groove at the attachment of the floor, the very thin wall, and the excellent technique suggest a late example of Conspectusform 1.2, GOUDINEAU 1. MS.2. Two non-joining fragments of wall with rim from a bowl with bead rim and sloping wall, internal grooves at lip and attachmentof floor. They may belong to a cup of Conspectusform 8.2, GOUDINEAU5.

MS.3. Fragment of floor with beginning of wall from a flat-based cup with curving wall and concentric groove on inner floor. It belongs to a cup of Conspectusform 9, GOUDINEAU 10. MS.4. Two non-joiningfragmentsof wall with rim from a bell-shaped cup with narrowhanginglip, grooves on externalmid-body and internallip and body. The wall is exceedinglythin. The fragments belong to a cup of Conspectusform 14.4, GOUDINEAU 16. MS.5. Fragmentof rim with beginning of floor from a platter with concave vertical rim. The concavity is bordered by grooves, and multiple grooves mark the attachment of the floor externally; grooves on inner lip and mid-rim internally.It belongs to a platter of Conspectusform 18.2. MS.6. Fragmentof rim molded at top and bottom, possibly from a platterwith verticalrim;internal grooves on lip; slip much worn on exterior.Though the diametercannotbe ascertained,the thickness of the wall would imply a platter ratherthan a plate. It may suggest a form like Conspectus20.4.3, but the true direction of the wall remainsuncertain. MS.7. Fragment of rim with beginning of floor from a plate with convex rim molded on top and bottom and steps between rim and floor;multiple grooves on moldings and steps, grooves on lip and bottom of rim on the interior.Technicallyit is a little different from the majorityof the other fragments: the fabric is fine, hard, pinkish beige (5YR7/4); the slip is firm, glossy, dark red (2.5YR4/8). It belongs to a plate similarto Conspectusform 21 but not identical to any of the examples given there. MS.8. Fragmentof wall with rim from a conical cup with concave vertical rim bounded by convex moldings decorated with rouletting;a groove at mid-body on the exterior.The profiles of the outward sloping rim and slightly convex wall indicate a form like Conspectus22.2. MS.9. Fragmentof wall with rim from a conical cup with narrowvertical rim bounded below by a rouletted molding and ending in a plain lip. It is covered with heavy lime incrustation.It suggests a form similar,but not identical, to Conspectus23.1. MS.10. Fragment of the upper portion of wall and lip of a hemispherical cup with outturned lip and restrictedwall. It has an external groove at the point of restrictionand internalgrooves on the lip at outturning. The wall is very thin; the matte, worn slip is covered with gray incrustation. It belongs to a form like Conspectus32.1.

THE COMINGOF AGE:THEAUGUSTANPERIOD

37

MS.11. Fragmentof rim with the beginning of the wall of a hemisphericalcup with narrowvertical rim trimmed below with a flange. The flange is rouletted;the lip has multiple grooves at top of the exterior and a groove on the interior. The wall is very thin. It belongs to a form like Conspectus 34.1, dated late Tiberian. MS.12. Fragmentof rim and beginning of the wall from a cup like the preceding. There is a rosette appliqued on the rim. The wall is thin, the surface entirely covered with heavy lime incrustation.It belongs to a form like Conspectus34.1. THE FOLLOWING BASESwere recovered from the sewer:

MS.13. Large fragmentof floor and foot from a large platter.The exterior of the foot flares.There are two sets of concentric circles on the floor;the lower surfaceis uncoated. The profile of the foot is very close to the base ConspectusB 1.9 associated with plates of Augustan-Tiberiandate. MS.14. Fragmentof bottom with ringfoot and beginningof flaringwall from a smallcup. The transition from foot to wall is rounded with a groove on the inner face; the wall is thin; the slip is glossy. It belongs to a small cup of bell-shaped form. The foot profile corresponds to the base Conspectus B 3.9, usually associated with cups produced in the Augustan period, more rarelyTiberian. MS.15. Two joining fragments of bottom and beginning of flaringwall from a cup similar to the preceding, with concentric grooves on the inner face and traces of a graffito on the underside of the floor. The wall is very thin; the slip is duller than in the preceding. STAMPS (PL. 54)

MS.16 (C70.328). Fragment of floor from a small bowl with a stamp in an oval frame surrounded by a circulargroove. The stamp bears the signatureC. SENT[I] (CVArr1732 = OCK 1861). This type of stamp of the potter C. Sentius has been dated to ca. 20 B.C.-A.D. 20.34 MS.17 (C70.321). Fragmentof floor from a platterwith a stamp in a rectangularframe bearing the signature CHAEREA/C.VOLVSE (OCK 2504), a slave of C. Volusenus Nestor, presumably an Arretine potter active A.D.1-20.35 IN ADDITIONTO these red sigillatafragmentsthe sewer contained the following example in black

sigillatatechnique: MS.18. A fragment of rim and beginning of wall from a conical cup with vertical rim bounded above and below by convex moldings decorated with rouletting. The fabric has the same characteristics as red sigillata;the slip is good, firm, black-brownish,with some metallic luster.It belongs to Conspectusform 22. 34 The signature of the potter C. Sentius often appears in

35 The name is that of one of many slavesin the workshop of

stamps radially arranged and only exceptionally in planta pedis. See CosA,Aco, 242.

C. Volusenus Nestor (CVArr2469-70 = OCK 2499-2500), the latestphase of which seemsto coincidewith the beginning of signaturesin plantapedis. See COSA,Aco, 242.

38

THEUNDECORATED SIGILLATA WARE

Two decoratedArretinevases,cataloguenos. 34 and 83, were discoveredin the sewer.No. 34 is four non-joiningfragments,probablyfroma chalicewithverticalrimof Conspectus form9, decoratedwith nautiliand rosetteson rope spikes(seebelow p. 132).Both formand decoration of the workof M. PerenniusBargathesandcannotbe earlierthanthe end of the arecharacteristic Augustan-beginning of theTiberianperiod.No. 83 is a fragmentprobablyfroma tallovoidbeaker decoratedwith a stylizedacanthuschaliceandrosette(seebelowp. 163). In conclusion,the bulkof the redsigillatarecoveredfromthe sewerof StreetM canbe dated on the basisof contextmiddleandlateAugustan;in agreementwiththisdateit findsits best comparandaamongthe materialfromHaltern.The tinyfragmentMS.1of Conspectus form1 andthe fragmentMS.3of Conspectus form9 representtheupperlimit;fragmentsMS.10of Conspectus form 32.1 andthe decoratedchaliceno. 34 fromthe Bargathesworkshop,its lowerlimit,the beginning of the Tiberianperiod.The presenceof MS.11,12 in this contextis eitherintrusive,or the initial dateof Conspectus form34 shouldbe madeearlyTiberian.

Dumpat the NorthwestCornerof theBasilica,LevelsII, I:AugustanPeriod (BNWII.1-48, BNWI.1-58, pls. 13-23, mapIV) Thelargestamountof Italiansigillatadatableto theAugustanperiodfoundat Cosawasdiscovered in the summerof 1951in anareaoutsidethenorthwestcornerof theBasilica.36 Theareais delimited on the southwestby a remnantof Street7, one of the four streetsthatin the originaltown plan boundedtheenvironsof theForum.In theexpansionof the civiccenter,partof Street7 wasoverrun by constructionfirstof the ComitiumandCuriaandlaterof the Basilica,builtaroundthe middleof the secondcenturyB.C.Theplanof the latterrequiredcoveringnot onlyStreet7 but alsothe slope downbeyond,andmassiveretainingwalls,rising2.30-3.50m abovethe rock,anddeepfillshadto be added on the northeast and northwest.37Outside this northwest corner lay a deep accumulation

of materialdumpedtherein the Augustanperiod,eithergraduallyor at two successivetimes.The verynatureof the terrainatthispointwouldnot havefavoredthe formationof a clearstratigraphic sequence,so the chronologicalsignificanceof the two levels,whichfor the sakeof precisionwere establishedduringthe excavation,remainsto be proved.Sinceno coinswerefoundin eitherlevel, chronologyhasto dependon the ceramicsand,to a lesserdegree,on the lamps. The absenceof anyfragmentof Italianreliefbowlsfromso largea quantityof ceramicsis an indicationthatdumpingdid not startbeforethe reoccupationof the Forumandthe adaptationof the adjacentAtriumBuildingI to habitation. Threefragmentsof Aco typebeakers,probablyby thelocalpotterCusonius,38 allfoundin level II, pointto an Augustandate. Of the manyfragmentsof thin walledpottery,those belongingto identifiableformsareuncoated;with the exceptionof a singleexamplefoundin level 1,39theywerefound,like the three specimensof Aco beakers,in levelII of BNW.Whilethe conicalbowl of formXXII,represented by two examples,40 is a survivalfromlate republicantimes,all the otherformsappearfirstin the 36 For a

preliminaryinterpretationof these strata,see COSA,

38 COSA, Aco, 278, no. 19; 279, no. 23; 280, no. 29.

ThinWalledPottery,25-27. 37 For the successive stages in the development of the north-

easternside of the Forum and the northerncornerin particular, see BROWN,Cosa,22-24, 56; CosAIII, 113, 121, 207.

39COSA,ThinWalledPottery,279-80, no. 195. 40

Ibid., 105-6, nos. 177-78.

THECOMINGOF AGE:THEAUGUSTANPERIOD

39

Augustan period. They are the conical beaker of form XXXII,41the hemisphericalbowl of form

XXXVI,42 the conicalbowl of formXXXVII,43 the bell-shapedbowl of formXXXVIII,44 the twohandled round carinatedcup of form XXXIX,45 the two-handled carinatedcup of form XL,46and the two-handled hemisphericalcup of form XLI.47 Sixteen fragmentsof lamps, all from level II of BNW, are recorded in the Cosa catalogue. Five of them can be dated to late republican-earlyimperial times: CD.1223 is a fragmentary example of a Warzenlampe;48 CD. 1224 is a fragment of a lamp with swallowtailears;49CD. 1221a-b, CD. 1222, and CD.1225 are fragmentsof Vogelkopflampen.50 Ten fragments belong to volute lamps of early imperial times. Four of these, CD.1219, CD.1230, CD.1227, and CD.675,51arevolute lamps with triangularnozzle52datableAugustan-Tiberian;two, CD.734 and CD.1226,53are early examples of volute lamps with round nozzle,54datable Augustan-Claudian. A third example of the same type, CD. 1229,55 may belong to the Tiberian period. Two decorated discus fragments,CD.674 and CD. 123 1,56and a triangularheat shield, CD. 1228,57 cannot be precisely dated. The only example of a definitelylater date, to the point that it should be considered intrusive,is CD.1206,58a base fragmentfrom a lamp with simple round nozzle,59a type that does not seem to appear until a late Tiberian date.60 The preliminaryconclusion that can be reached from this concentration of thin walled ware and lamps in level II of BNW is that the lower stratumpreservesthe early characterof the majority of the finds, most of which can be dated before the end of the first century B.C.The reason for the concentration of this materialonly in the lower level defies logical explanation. The accumulation of sigillata in area BNW follows instead a different pattern: a diffusion of fragmentsthroughoutthe two levels, with greaterconcentrationin level I. Forty-twoshapelessfragments should be added to the cataloguedexamples from level II and ninety-twoshapelessfragments to the catalogued examples from level I.

41 Ibid., 101-2, nos. 165-66, 168. 42

oldest lamps of group BAILEYBiii (BAILEY,132, 135 f.), dated Augustan-Claudian.

Ibid., 106-11, no. 184. 52 LOESCHCKE I; BRONEER

XXII; BAILEYA.

4 Ibid., 111-12, nos. 195, 197. 53 CosA,Lamps,nos. 514, 515.

44Ibid., 112, no. 199. 54 LOESCiHCKE IV; BRONEER XXXIII; BAILEYBi. 45 Ibid., 112-13, no. 201. 46

55 COSA, Lamps,no. 533.

Ibid., 113-14, no. 205. 56

Ibid., nos. 622, 624.

47 Ibid., 114-16, no. 206. 48

COSA, Lamps,no. 241.

57 Ibid., no. 717. 58 Ibid., no. 949.

49Ibid., no. 295. 59 LOESCHCKE VIII; BRONEER XXV;BAILEYO-P. 50 Ibid., nos. 327-29. 60

Ibid., nos. 352, 438, 463, 472. In the classificationof the lamps from Cosa the first two belong to groups A1-2 of the triangularnozzle lamps, the last two to group B2. Cosa group Al corresponds to BAILEY Ai, dated Augustan-Tiberian (BAILEY, 127). Cosa groups A2 and B2 correspond to BAILEY Bii of the Augustan-Tiberian period and to the 51

The beginning date for the production of these lamps is set either in Augustan or in Tiberian times, since in the last period they are certainlypresent in Switzerland.More recently,D. M. Baileyhas set the beginning of type 0, which includes the oldest roundnozzle lamps,in Claudiantimes:C. Pavolini, "Lucerna-Mediterraneo occidentale," in E.A.A., secondosupplemento1971-1994, 456.

40

THEUNDECORATED SIGILLATA WARE

BNWII.1-48 (PLS. 13-17) Only three fragmentsfound in level II, nos. BNWII.1-3, can be defined as transitionalsigillata: BNWII.1. Fragment of sharp angular connection of floor with the beginning of a sloping wall, probably from a platter of Conspectusform 1 or 2. BNW11.2. Large fragmentof floor with ring foot from a plate. The foot is almost vertical,with flat resting surface and a small groove on the exterior. There are two concentric grooves on the inner face of the floor. BNWII.3. Small fragment of wall from a cup with a plain rim and sloping wall, probably of Conspectusform 7, GOUDINEAU 2. BNWII.1 and 2 share the same technical characteristicsbut are of different wall thicknesses. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is thin, matte, red (1OR5/8)with a faint metallic sheen in BNW 11.1,mottled with some sheen on the under surfacein BNW 11.2.BNW I1.3 shares the same colors of fabric and slip, but the fabric is a little softer and the slip matte and worn. Among the sigillatafragmentsthe following forms can be identified: BNWII.4. Small fragment of wall with rim and beginning of floor from a plate with plain rim and sloping wall; a small groove on the exterior above floor attachment. The fabric is fine, pinkish (2.5YR6/6); the slip is matte, worn on the rim, dark red (2.5YR4/7). Probably it belongs to a plate of Conspectusform 1.2. BNWII.5. Smallfragmentof wall with rim from a plate with plain rim and curvingwall with internal bipartition.The fabric is very fine, slightly soft, pinkish (2.5YR6/5); the slip is firm, silk-shiny,dark red (2.5YR4/7). It belongs to a plate sharingfeatures of Conspectusforms 4.4-5. BNWII.6. Fragmentof wall with lip from a plate with curvingwall and outturned rounded lip. The fabric is fine, pinkish (2.5YR6/6); the slip is matte, worn on the upper rim, dark red (2.5YR4/8). It belongs to Conspectusform 5.3. BNWII.7 (CD.904). Four joining fragments(preservinga little less than half) from a cup with offset rim and sloping wall on a ring foot; a groove at mid-body on the interior and two small concentric circles incised around the center of the floor. The wall is very thin; the fabric is fine, hard, pinkish (2.5YR6/6); the slip firm, silk-shiny,red (10R4/6), of good quality.It is a cup of Conspectusform 8. 1, GOUDINEAU 5. BNWII.8. Two non-joining fragmentsof wall with rim from a cup with sloping wall very similarto the preceding in form and technique. The two following examples share the technical characteristicsof BNWII.7, 8: BNWII.9. Small fragment of wall with rim from a cup with offset rim and sharply sloping wall,

probablyof Conspectus form8.3;interiorgroovebelowthe rim.

THECOMINGOF AGE:THEAUGUSTANPERIOD

41

BNWII.10. Small fragment of wall with rim from a cup with offset rim and sharply sloping wall, probably of Conspectusform 8.3. Fine ribbing of the exterior of the rim and a groove below the rim on the interior. BNWII.1 1. Two joining fragmentsfrom a plate with broad articulatedrim and wide vertical ring foot. The fabric is fine, a little soft, pinkish;the slip is matte, a little worn, red. It is a version of the plate of Conspectusform 10.3, GOUDINEAU6. BNWII.12. Largefragmentof wall with rim and beginning of floor from a plate with broad articulated rim. The fabricis fine, hard, pinkish (5YR6/6); the slip is firm, silk-shiny,darkred (2.5YR4/8) with some metallic sheen recallinga transitionaltechnique. It belongs to a plate of Conspectus form 10.3. A large fragmentof plate floor with ring foot decoratedwith a band of roulettingmay belong to the same vessel; it is technicallyvery similarto the wall fragment,but the fabric is slightly darker and the slip a little duller. BNWII. 13. Smallfragmentof wall with lip and beginning of floor from a plate with verticalhanging lip. The wall is very thin, the fabric fine, hard, pinkish (2.5YR6/6); the slip firm, silk-shiny,darkred (2.5YR4/8). It belongs to a plate of Conspectusform 11.1, GOUDINEAU 15.

BNWII.14. Small fragmentof wall with lip from a plate of Conspectusform 11.1. Shape and technique like the preceding. BNWII.15. Large fragment of lip with beginning of wall from a platter of Conspectusform 11.1. Technical characteristicsas of BNWII.13 and 14. THE FOLLOWING EXAMPLESof

Conspectusform 12 share technical characteristics,a fabric that is fine, hard, pinkish (2.5YR6/6), and a slip firm, ratherglossy, dark red (2.5YR4/8), of good quality. In BNWII.16 the slip is silk-shinywith a purple-brown tinge (10R4/5) and some metallic sheen, which recalls a transitionaltechnique: BNWII.16. Small fragment of wall with lip from a plate with narrow hanging lip. A faint groove on the inner wall. From a plate of Conspectusform 12.1, GOUDINEAU 15. BNWII.17. Two large fragmentsof wall with lip and beginning of floor from a plate with narrow hanging lip of Conspectusform 12.2. BNWII.18. Two fragmentsof wall with lip and beginning of floor with ring foot from a plate with narrow hanging lip. A groove defining the lip on the inner wall and circularincisions on the floor. From a plate of Conspectusform 12.3, GOUDINEAU 17. BNWII.19. Largefragmentof wall with lip and beginning of floor from a platterwith narrowhanging lip. Two grooves mark the transitions from concavity to convexity in the profile of the inner wall. From a platter of Conspectusform 12.4. BNWII.20.Twofragmentsof wallwithlip froma cup withnarrowhanginglip. A grooveat mid-bodyon the interior.The wall is thin;the fabricis fine, hard,pinkish(2.5YR6/6);the slip is firm,silk-shiny,dark red (2.5YR4/8).Probablyfrom a bell-shapedcup with narrowhanginglip of Conspectus form 14.1.

42

THEUNDECORATED SIGILLATA WARE

BNWII.21. Small fragment of narrow hanging lip with beginning of wall, technically identical to the preceding. Quite probably the same shape. BNWII.22. Smallfragmentof rim from a plate with concave verticalrim bounded by convex moldings on the exterior;grooves markthe correspondinginternal articulation.The fabric is fine, hard, pinkish brown (10R5/6); the slip is firm,matte, darkred (10R4/8). From a plate of Conspectus form 18.2, GOUDINEAU 36a. BNWII.23. Fragment of rim from a plate with concave vertical rim. Shape, decoration, and technique as in the preceding. From a plate of Conspectusform 18.2. BNWII.24. Smallfragmentof upper rim from a plate with concave verticalrim. The upper molding is rouletted.The fabricis hard, fine, pinkish (2.5YR6/6);the slip is firm,glossy,darkred (2.5YR4/8). It belongs to a plate of Conspectusform 18.2. BNWII.25. Fragmentof rimfrom a platterwith concaveverticalrimbounded by convex moldingson the exterior;grooves markoff the correspondinginternalconvexity.The fabricis fine, hard, pinkish (5.YR6/6); the slip is firm, glossy,dark red (2.5YR4/8). From a platterof Conspectusform 18.2. BNWII.26. Fragmentof rim with beginning of wall from a cup with concave vertical rim bounded by convex rouletted moldings on the exterior and correspondinggrooves on the interior.The fabric is fine, hard, pinkish (25YR6/6); the slip firm, silk-shiny,darkred (2.5YR4/8). The slope of the wall suggests a conical cup with concave, molded verticalrim of Conspectusform 22.1. A large fragment of conical wall in identical technique may belong to the same vessel. BNWII.27. Fragment of rim from a cup with concave vertical rim bounded by convex rouletted moldings on the exterior and correspondinggrooves on the interior.The fabric is fine, hard, dark pinkish (10R5/6); the slip is firm, silk-shiny,dark red (10R4/8). Probably from a conical cup with concave, molded vertical rim of Conspectusform 22.1. BNWII.28. Smallfragmentof upper wall with rim from a cup with verticalwall and plain rim. Rim markedoff by a groove and double spiraladded in applique below the lip. The wall is very thin; the fabric is fine, hard, buff (5YR6/4); the slip firm, silk-shiny,dark red (2.5YR4/8). From a carinated cup with vertical rim of Conspectusform 26.1. BNWII.29. Fragmentof convex wall with outturned rounded lip. On upper surface of the lip is a band of rouletting with part of an appliqued spiral, and below the lip on the exterior is a groove. The wall is very thin; the fabric is fine, hard, buff (5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4/8). Probably from the upper part of a cup with restrictedwall of Conspectusform 32.1. BNWII.30. Smallfragmentof verticalwaRlwith plainrim.A singleand a double groovewith faintroulettingbound the rimon the exterior.The fabricis fine,hard,buff (10R6/4);the slip is firm,glossy,dark red (10R4/7), of good quality.Probablyfrom a carinatedcylindricalcup of Conspectusform 26.2. BNWII.31 (CD.982a-b). Thirteen joining fragments of wall with rim and one fragment of a low ring foot from a beaker with cylindricalwall and thickened rim. Two broad bands of rouletting at

THECOMINGOF AGE:THEAUGUSTANPERIOD

43

form50.3.1, rimsimilarto 50.4.1 but mid-body.Shapeand decorationverysimilarto Conspectus without rouletting.

Severalfeetwererecoveredin levelII of BNW;the followingthree(BNWII.32-34)belongto heavyplatters;theyarelow with angularattachmentto the body,somewhatflaringon the exterior to forma wide restingsurface: BNWII.32.Largefragmentof floorwithfoot;broadbandof roulettingon the uppersurface.The fabricis fine,hard,pinkish(2.5YR6/6);the slip is firm,glossyon the uppersurface,mattebelow, darkred (10R4/8).The bottomof the foot is mottledandpartiallyunslipped.The foot profileis B 1.1. similarto the earlybase Conspectus BNWII.33.Fragmentof floorwith foot; concentricgrooveson the uppersurface.The fabricis similarto the preceding,a little darker(10R5/6);the slip is firm,matte,darkred (10R4/7).The foot profileis similarto the base Conspectus B 1.8, associatedwith formscommonin the Augustan-Tiberianperiod. BNWII.34.Fragmentof floorwith foot; concentricgrooveson the uppersurface.The fabricis slightlygritty,veryhard,pinkish(2.5YR6/4);the slip is firm,matte,verydarkred (10R4/5);like the precedingfoot profile,it is similarto the baseConspectus B 1.8. Twofeet (BNWII.35,36) belongto plates;theyareobliqueringfeet of mediumheightchamferedon the exteriorto forma narrowrestingsurface.Thefabricis hard,fine,pinkish(2.5YR6/6); the slipis firm,silk-shiny,darkred (2.5YR4/8): BNWII.35.Smallfragmentof floorwithfoot. The foot profileis similarto the base Conspectus B 2.3, associatedwithformsof earlyAugustandate. BNWII.36.Smallfragmentof floorwith foot. The foot profileis similarto the base Conspectus B 2.4, associatedwithformsof middleAugustandate. BNWII.37.Smallfragmentof floorwith obliqueringfoot from a smallcup. Tracesof circular stampon uppersurface.Theflooris verythin;the fabricis fine,hard,pinkish(2.5YR6/6);the slip is firm,glossy,darkred (2.5YR4/8). STAMPS (PLS.

54-55)

The followinglegiblestampswerefoundin the samelevel: BNWII.38(CD.641).StampA. AVILLin lozenge-shapedframewithincircle(CVArr249-50 = OCK395)61 on thefloorof basefragment.Thelocationof theworkshopof A. Avilliusis not known; his activityhasbeen dated15 B.C.-A.D. 30 or later. BNWII.39(CD.642).StampL. IEG in rectangular frameand radialarrangement (CVArr818 = OCK967)62on fragmentof platefloor.Thefabricis fine,lightpinkish;the slipis silk-shinyon the 61

COSA,Thin WalledPottery,26.

62

Ibid., 26.

44

THEUNDECORATED SIGILLATA WARE

interior,matte and mottled on the exterior.The activity of the Arretine potter L. Jegidiusis dated

ca. 20-10 B.C. BNWII.40 (CD.645). StampIVN in lozenge-shapedframe (CVArr856 = OCK 1000) on a fragment of a cup base with oblique ring foot. The fabric is fine, hard, pinkish (2.5YR6/5); the slip is firm, silk-shinyon the interior,matte on the exterior, dark red (10R4/7). The beginning of a gently flaring wall decorated with a band of rouletting suggests a conical cup of Conspectusform 24.1. This abbreviationof the name lunius is shared by a number of potters located in Pozzuoli and probably Gallia; the stamps as a group have been dated 10 B.C.-A.D. 10. BNWII.41 (CD.715). Stamp L.MARI/RVFIin rectangularframe (CVArr977 = OCK 1128), on the floor of a plate with concave vertical rim of Conspectusform 18.2. The fabric is hard, slightly gritty,pinkish;the slip is firm, silk-shiny.The workshop of the potter L. MariusRufus has not been located; his activityhas been tentativelydated to the Augustan period. BNWII.42 (CD. 876). Stamp SENT in rectangularframe (CVArr1729 = OCK 1854) on the floor of a fragmentaryplate of Conspectusform 12.2. A band of roulettingon the floor.The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, dark red (10R4/8). Like the stamp of fragment MS.16 it is of the workshop of C. Sentius, whose activityin Italy is dated ca. 20-1 B.C. On the bottom is a large graffitoAFRI. BNWII.43 (CD.639). Stamp TITI. THYR in rectangularframe (CVArr2063 = OCK 2247)63 on a fragmentof a cup base with oblique ring foot. The fabric is fine, hard, light pinkish (25YR7/4); the slip firm, silk-shiny,dark red (2.5YR4/8). Possibly from a bell-shaped cup of Conspectusform 14.1. The activityof the Arretine potter L. Titius Thyrsus is dated ca. 20 B.C.-A.D. 10. BNWII.44 (CD.643). Two stamps L.T.C.in rectangularframe and radialarrangement(CVArr2055 = OCK 223 9)64 on a fragmentof plate floor with oblique ring foot like ConspectusB 2.4. Lines with rouletting on the floor. The fabric is fine, hard, pinkish yellow (5YR6/5); the slip is firm, silk-shiny, dark red (10R4/8). The activity of the Arretine potter L. Titius Copo is dated ca. 20-10 B.C. BNWII.45 (CD.7 12). Stamp A. VIBI/FIGV in rectangularframe (CVArr2324 = OCK 2398), with small palm branch along the right side,65on the floor of a cup base with oblique ringfoot, possibly a bell-shaped cup of Conspectus form 14. The location of the workshop using the signatureA.Vibius Figulus is unknown. The stamps are dated ca. 20-5 B.C. BNWII.46 (CD.644). StampDIOMED/VIBI.< in rectangularframeand radialarrangement(CVArr 2344 = OCK 2409)66 on a fragment of a platter floor encircled by broad band of rouletting. This unusual stamp of Diomedes, a slave of the Arretine potter (A.) Vibius (Scrofula),has been dated to the period 30-10 B.C. The odd sign after the nomen may be interpreted as a production control mark by the contrascriptor.

63

Ibid., 26, wrongly transcribed.

65

Ibid.,27.

64

Ibid.,26.

66

Ibid.,26.

THECOMINGOF AGE:THEAUGUSTANPERIOD

45

BNWII.47 (CD.640). Stamp L.VIBI in rectangularframe (CVArr2358 = OCK 24 19)67bounded by a broad circulargroove on a base fragment of a cup base likely of Conspectusform 14. The fabric is fine, hard, pinkish (25YR6/4); the slip is matte, slightly mottled, red (10R5/8). The workshop of the potter L. Vibius, possibly located somewhere in central Italy,was active ca. 15 B.C.-A.D. 5. BNWII.48 (CD.736). Stamp L.VMBR/SALVIin rectangularframe within circle (CVArr2453 = OCK 2476)68on the floor of a fragmentaryplate with offset rim and curving wall of Conspectus form 5.2. A band of rouletting on the floor. The slip is dark red, matte, and mottled purple on the exterior.The location of the workshop of the potter L. Umbricius Salvus, whose activityhas been dated around 20 B.C., is unknown. BNWI.1-58

(PLS.

18-23)

Turningour attention now to the sigillatarecovered in level I of areaBNW, we can detect as a preliminaryobservationthe dwindling or disappearanceof some of the oldest forms, the prevalenceof intermediateones with a noticeableincreasein laterversionsof these, and finallythe firstappearance of half a dozen later forms, harbingersof the development of Tiberiantimes. Five fragments, including BNWI.51 (which bears a stamp), belong to platters or plates with curving wall and plain rim of Conspectusform 4:

BNWI.1. Fragment of wall with rim from a plate of Conspectusform 4.1. Techicallyvery good, the fabric is fine, hard, pinkish (2.5YR6/6), with thin wall; the slip is firm, glossy, dark red (2.2YR4/8). BNWI.2. Fragmentof rimwith beginning of floor from a platterof Conspectusform 4.4. The fabric is fine, very hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4/6).

BNWI.3.Fragmentof wall with rim from a platter of Conspectusform 4.2. The fabric is very fine, soft, pinkish yellow (5YR7/4); the slip is firm, matte, dark red (2.5YR4/7).

BNWI.4. Small fragment of rim from a plate or platter of Conspectusform 4.2. Technicallyvery similarto the preceding; the slip is dark red (2.5YR4/6). The following fragments belong to platters with curving wall and offset rim of Conspectus form 5.2: BNWI.5. Two fragmentsof wall with rounded rim. The fabricis fine, soft, pinkishyellow (5YR7/4), with very thick wall; the slip is thin, matte, partlyworn, dark red (10R4/7). BNWI.6. Fragment of wall with rounded rim. The technique is similar to the preceding, but the wall is thinner,the fabric pinkish yellow (5YR6/5), and the slip dark red (2.5YR4/8). BNWI.7. Fragmentof wall with rounded rim, molded on the exterior,grooved on the interior.The fabric is fine, dark pinkish (10R5/6); the slip is firm, silk-shiny,dark red (2.5YR4/8). 67

Ibid.,26.

68 Ibid.,27.

THEUNDECORATED SIGILLATA WARE

46

The followingfragmentsbelongto plattersandplateswith narrowhanginglip of Conspectus form 12: BNWI.8. Large fragment of wall with swelling lip profile on the interior from a platter of Conspectus form 12.1; the fabric is hard, fine, light pinkish (2.5YR7/4); the slip is firm, glossy, red (2.5YR4.5/8). BNWI.9. Small fragmentof wall swelling on the interiorwith lip and beginning of floor, probably form 14, which from a plate of Conspectusform 12.2. The greatsimilarityof the profileto GOUDINEAU form for our 2. the same classification has been connected with the early Conspectus 1, may suggest fragment. The inner curve of the wall, however, seems more like the profile of Conspectus12.2. BNWI.10. Fragment of lip and wall with tripartitemolding on the interior from a platter of Conspectusform 12.3. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4/8).

BNWI.11. Fragmentof lip and wall similarto the preceding, probablyfrom a platterof Conspectus form 12.3. The technique is similarto the preceding, but the slip is glossy. BNWI.12. Largefragmentof lip and wall with tripartitemolding and multiple profiling on interior from a platter of Conspectusform 12.3. The fabric is fine, hard, dark pinkish (1OR5/6);the slip is matte, worn on lip, dark red (2.5YR4/8). BNWI.13. Fragment of lip and wall with bipartite concavity on the interior from a plate of Conspectusform 12.5. The fabric is fine, hard, dark pinkish (10R5/6); the slip is firm, silk-shiny,dark red (10R4/5). The following fragments of small cups with narrow hanging lip and sloping wall, marked on the exterior of the wall by a groove in three examples, BNWI.14, 15, 17, share some features of the bell-shaped cups of Conspectusform 14 but are closer to GOUDINEAU forms 13 and 16 in the accentuated slant of the wall. They all have a very thin wall, a fine, hard, pinkish (2.5YR6/6) fabric, and a firm, glossy, dark red (2.5YR4/8) slip:

BNWI.14.Large fragmentof wall with lip from a cup similarto Conspectusform 14.1. BNWI.15. Very small fragment of wall with lip from a cup similarto the preceding. BNWI. 16. Smallfragmentof wall with lip from a cup similarto the preceding. The externalgroove is not preserved, but a groove appears on the interior. BNWI.17. Verysmallfragmentof lip with beginning of wall, grooved on the exterior,possibly from a cup like the preceding. The following fragmentsof plattersor plates with concave verticalrim framedby convex moldings belong to Conspectusform 18.2:

THECOMINGOF AGE:THEAUGUSTANPERIOD

47

BNWI.18. Fragmentof platter or plate rim with rouletting on exterior moldings and two grooves on the interior.The fabric is fine, hard, pinkish (2.5YR6/4); the slip is firm, very glossy, dark red (2.5YR4/8). BNWI.19. Fragment of platter or plate rim with two grooves setting off the articulationon the exterior and two other grooves, on the interior.The technique is similarto the preceding, but the fabric is dark pinkish (10R5/6) and the slip dark red (10R4/7). BNWI.20. Fragment of rim from a platter with grooves framingthe lip on the interior.The fabric is fine, hard, pinkish (2.5YR6/6); the slip is partlyworn, dark red (2.5YR4/8). BNWI.21. Fragment of rim with beginning of floor. The almost vertical profile of the rim on the exterior and the internal articulation limited to setting off the lip by a single groove indicate a transitionalstage from Conspectusform 18 to Conspectusform 20. The fabric is fine, hard, pinkish (2.5YR6/6); the slip matte, flaky,dark red (2.5YR4/8). The following fragments of rims from two platters and one plate point to different stages in the evolution of Conspectusform 20: BNWI.22. Fragment of rim with beginning of floor from a platter with shallow external concavity framed by fine multiple moldings, plain on the interior. The fabric is very hard, fine, pinkish (10R6/4); the slip is firm, silk-shiny,dark red (10R4/7). Probably from a platter of Conspectusform 20.3. BNWI.23. Fragmentof rim with beginning of floor from a platter similarto the preceding in shape and technique. The more vertical external profile and the small simple moldings point to a platter of Conspectusform 20.4.3. BNWI.24. Fragment of stiff, vertical rim bounded by small simple moldings from a plate of Conspectus form 20.4.4 The wall is very thin; the fabric is hard, fine, pinkish (2.5YR6/3); the slip is firm, glossy, red (10R5/7). The following fragmentsbelong to conical cups with molded vertical rim of Conspectusform

22: BNWI.25. Fragment of rim bounded by moldings with rouletting on the exterior and grooves on the interior,from a cup of medium size of Conspectusform 22.1. The wall is very thin; the fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, matte, dark red (2.5YR4/8). BNWI.26. Fragment of rim similarto the preceding with beginning of concave wall from a small cup of Conspectusform 22.1; two grooves set off the rim on the interior.The wall is very thin; the fabric is fine, hard, pinkish (10R6/4); the slip is firm, matte, dark red (10R4/8). BNWI.27. Fragment of rim with beginning of conical wall from a small cup with concave, slightly flaring rim of Conspectusform 22.2. The rim is bounded by moldings with rouletting, and two

48

THEUNDECORATED SIGILLATA WARE

grooves outline its convexity on the interior.The wall is very thin; the fabric is hard, fine, pinkish (10R6/4); the slip is firm, matte, dark red (10R4/8). BNWI.28. Fragmentof slightly concave rim bounded by moldings with rouletting on the exterior, while on the interiorthe simple convexity is set off by two grooves. Probably from a very large cup of Conspectusform 22.5. The wall is thick; the fabric is hard, fine, pinkish (2.5YR6/4); the slip is firm, dark red (2.5YR4/8). THE FOLLOWING FRAGMENTS come from cups of various forms:

BNWI.29. Fragmentof plainwall with rim set off on the exterioras a bead decoratedwith rouletting and finishedbelow by grooves, probablyfrom a cylindricalcup with verticalrim of Conspectusform 28.2. The fabric is hard, fine, dark pinkish (10R5/5); the slip is firm, silk-shiny,dark red (10R4/7). BNWI.30. Small fragment of upper wall, curving outward with rounded outturned lip and decorated with rouletting below. Two grooves on the interior.The wall is very thin; the fabric is hard, fine, pinkish (2.5YR6/6); the slip is firm, glossy, dark red (2.5YR4/7). From a very small cup of Conspectusform 32.1.2. BNWI.31. Smallfragmentof wall with narrowflange and lip set off by a groove on the exterior.The wall is thin; the fabric is fine, hard, darkpinkish (10R5/6); the slip is firm,matte, darkred (10R4/7). From a hemisphericalcup with a narrowflange through the outer wall of Conspectusform 34.1. BNWI.32. Large fragmentof wall with plain lip marked off by a groove on the exterior from a cup of Conspectusform 36.4. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, matte, dark red (10R4/7).

BNWI.33.Fragmentof plain wall from a small cup of ovoid shape, similarto Conspectusform 36.2 but with grooving on the lip on the interior.The wall is thin; the fabric is fine, hard, dark pinkish (lOR5/5); the slip is firm, matte, dark red (1OR4/7). BNWI.34. Small fragment of plain wall from a small cup. The wall is thin; the fabric is fine, hard, dark pinkish (10R5/4); the slip is firm, matte, dark red (1OR4/7). BNWI.35. Large fragment of wall entirely covered with rouletting on the exterior from a hemispherical cup probably of Conspectusform 38.2. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, glossy, dark red (2.5YR4/7). BNWI.36. Fragmentof verticalwall with plain rim below which are grooves and roulettingon the exterior and correspondinggrooves on the interior.The wall is thin; the fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,dark red (10R4/8). Probably from a carinatedcup with vertical rim of Conspectusform 26. The following two small fragments belong to vessels of uncertain form, although the moderate thickness of the wall would suggest either small plates or large bowls. They share a similar

THECOMINGOF AGE:THEAUGUSTANPERIOD

49

technique:the fabric is fine, hard, pinkish (2.5YR6/4);the slip is firm, silk-shiny,dark red (2.5YR4/8):

BNWI.37.Smallfragmentof slopingwallwithoffsetrim.It maycomefroma bowl of Conspectus form8.3. BNWI.38.Smallfragmentof flaringwallwitha pronouncedhanginglip. It maycomefroma bowl of Conspectusform 13.

The followingtwo fragmentsbelongto formsnot representedin Conspectus: BNWI.39.Fragmentof wall with plainrim and carinationfor the beginningof the floorfroma shallowconicalcupentirelycoveredwithroulettingon the exterior.Thefabricis fine,hard,pinkish (2.5YR6/6);the slipis firm,silk-shiny,darkred (2.5YR4/8).The closestcomparanda canbe found in thinwalledpottery,in the uncoatedbowlsof CosaformXXXVII,anexampleof which,no. 195, was found in the same level, BNWI.69

BNWI.40.Fragmentof wallfroma largebowlof conicalform,withplainrimmarkedoffby a groove on the exteriorandby a smallgrooveon the interior;thereis a groovemidwayon the exterior.The fabricis fine,hard,pinkish(2.5YR6/6);the slip is firm,matte,darkred (2.5YR4/8).The shapeis onlybroadlyrelatedto platesof Conspectus form3 andto cupsof Conspectus form8. Once again canbe foundin the thinwalledpottery,in the uncoatedtwo-handledshallowconical comparanda cupsof CosaformLVII.70 Two score ring foot fragmentsfrom platters,plates,bowls, and cups were recoveredfrom BNWI.The followingarethe most representative. In most of themthe flooris partlypreserved, but the centeris missing. Four fragmentsof floor with foot from large platters.Their technicalcharacteristicsare similar;the fabricis fine,hard,pinkish(average2.5YR6/6);the slipis firm,matte,andmottledon the undersurface, matteor a little shinierabove,partlymissinginsidethe ring,darkred (average 2.5YR4/8): BNWI.41.Foot with smallsectionof floordecoratedwith a broadbandof rouletting.The foot is profiledin roundedringson the exterior,has a flatrestingsurface,andis verticalon the interior. Thefoot profileis similarto thatof the baseConspectus B 1.2,associatedwithformsdatableto the early-middleAugustanperiod. BNWI.42.Footwithlargesectionof floordecoratedwithconcentriccircle.Thefoothasa projecting ringon the exterior,a flatrestingsurface,andis verticalinside.Similarto GOUDINEAU B-3-16. BNWI.43.Largefragmentof floordecoratedwith concentriccircles,with roundedtransitionto slopingwallandfoot.Thefootprofileis verticalon theexterior,flaringon theinterior;it corresponds to the baseConspectus B 1.7, associatedwithformsdatableAugustan-Tiberian. 69

Ibid., 279-80, 111, pls. 19, 66.

70

Ibid., 167-68.

50

THEUNDECORATED SIGILLATA WARE

BNWI.44. Very small fragment of floor with foot. The foot is vertical with a flat resting surface and a groove midway on the exterior.It is similarto the base ConspectusB 1.9, also associatedwith forms datable Augustan-Tiberian. The following two ring feet belong to plates. They are high, thin, oblique with a small flat resting surface: BNWI.45. Largefragmentof foot and floor with angulartransitionto slopingwall. There is a groove at the point of transitionon the exterior and a broad band of rouletting on the floor. The fabric is fine, soft, pinkish yellow (5YR6/5); the slip is matte, mottled, dark red (2.5YR4.5/8). BNWI.46. Small fragment of foot and floor decorated with a broad band of rouletting. The followingfour ringfeet of mediumheight,oblique and chamfered,belong to platesof moderate size. They all have concentriccircleson the upper floor and sharesimilartechnicalcharacteristics. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4/8): BNWI.47-50. Fragmentsof foot and floor with transition to wall (BNWI.47) and foot with very small section of floor (BNW 1.48-50). These foot profiles correspond to the base ConspectusB 2.5, associated with forms datable late Augustan-Tiberian. STAMPS (PL. 55)

The following legible stamps were found in level I of BNW: BNWI.51 (CD.633). StampANNI in rectangulardecorativeframewithin double circle (CVArr77 = OCK 116)71on the floor of a largefragmentfrom a plate of Conspectusform 4.4. Concentriccircleson the floor.The fabricis fine, hard, pinkish. The Arretinepotter Annius was active ca. 15 B.C.-A.D. 5. BNWI.52 (CD.655). StampCHRESin rectangularframe (CVArr423.1 = OCK 548) on a largefloor fragment from a plate with oblique, chamfered ring foot like ConspectusB 2.4. Concentric circles on the floor and deeply incised graffitoA on the under surface.The workshop of the potter Chres(), locatedin Pisa,was active ca. 10 B.C.-A.D. 10. BNWI.53 (CD.652). Stamp HERTO in rectangularframe (CVArr787 = OCK 932)72 on the floor of a small cup base with oblique ring foot probably of Conspectusform 22. The wall is very thin; the fabric is fine, hard, pinkish; the slip is firm. The stamp is of the Arretine potter Hertorius, active ca. 30 B.C.-A.D. 10. BNWI.54 (CD.716a-b). Stamp L.R.P.in plantapedis (CVArr1558 = OCK 1690) on the floor of a dish (a little less than half preserved) of Conspectusform 3.1. The fabric is fine, hard, pinkish; the slip is firm, glossy, dark red. The stamp is of the potter L. RasiniusPisanus, whose production of undecoratedLate ItalianSigillatastartedaround the middle of the first centuryA.D. The sherd must be considered intrusive in the present context. 71 Ibid., 26.

72

Ibid., 26.

THE COMINGOF AGE:THEAUGUSTANPERIOD

51

BNWI.55 (CD.63 1). Stamp RAV in rectangularframe (CVArr 1566 = OCK 1695) on the fragmentary floor of a cup with small oblique foot. The fabric is fine, hard, pinkish; the slip is firm, silk-shiny.The stamp is of the workshop of Ravius,probably of Arezzo, whose activityis suggested to date 40-20 B.C. BNWI.56 (CD.653). Stamp L.TAR in rectangularframe with concave ends (CVArr1902 = OCK on the floor of a large fragment of a cup of Conspectusform 8.1. The fabric is fine, hard, pinkish; the slip is firm, silk-shiny on the interior,matte and slightly mottled on the exterior. The stamp is of the Arretine potter L. Tarquitius,active 15 B.C.-A.D. 15 and possibly later.

2040)73

BNWI.57 (CD.630). Stamp L.TITIC in rectangularframe and radial arrangement(CVArr2055 = OCK 223 9)74 on a floor of a large platter with broad, low, slightly oblique foot with flat resting surface like ConspectusB 1.5. The floor is decorated with a broad band of rouletting.The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shinyon the upper surface, mottled below and absent within the ring foot, dark red (10R4/7). The stamp, as previouslynoticed, is of the Arretine potter L.Titius Copo, active around 20-10 B.C. BNWI.58 (CD.632a-b). Stamp of palm branch in rectangularframe (CVArr2517-8 = OCK 2580) on the concave floor of a small ovoid cup with oblique ring foot, possibly a cup of Conspectusform 24. On the undersurfaceis the graffito CALIAS in an arc. The fabric is fine, hard, pinkish. Such palm branch stamps, related to workshops of as yet unknown location, are dated ca. 15 B.C. provided by this examination of the sigillatafrom levels II and I of the Basilica Dump can be summarizedas follows: The beginning of the accumulationis set at the opening of the Augustan period by the appearance in level II of a fragment probably from a plate of Conspectusform 1.2, of several fragments from plates of Conspectusforms 4, 5, 10, 11, and of cups of form 8, corresponding to the cultural environment of the Rhineland camps of Dangstetten and Oberaden. The close of the accumulation at the very end of the Augustan period or shortly thereafteris established by the appearance in level I of a small number of fragments from forms belonging to the final years of the Haltern camp and later:plates of Conspectusform 20.3-4 and cups of Conspectusforms 28, 34, 36.2-4, 38. While Conspectusforms 1, 8, 10, 11 have alreadydisappearedin level I, forms 4 and 5 are modestly increasing.The most enduring and plentiful forms, however, are plates of Conspectusforms 12 and 18.2 and cups of form 14, which, occurringin both levels, are the commonest vessels in the middle and late Augustan periods at Cosa. Of the nineteen stamps found in the two levels only one (BNWI.54), probably out of context, is in planta pedis; the others confirm the dating provided by the forms. Eight of the potters who imprintedtheir names are surelyArretine;two more are probablyArretine;the location of the others remainsunknown. The presence of the last, nevertheless,is significant;it testifies to the growth and expansion of sigillataproduction in Italy,outside the Arretinearea, during the Augustan period. The technical characteristicsof the sigillataof the Augustanperiod cannotbe easilygeneralized. While the fabric has alreadyreached a satisfactorylevel of stability,with a generaltendency toward a refinedhard texture, variationsin the qualityand color of the slip are frequent. From comparison THE INFORMATION

7

Ibid.,26.

74

Ibid.,26.

52

THEUNDECORATED SIGILLATA WARE

of the fragmentsbelongingto the earliestandlatestforms,it is possible,however,to detectcertain trends.The colorof the slip,whichin the formsof the earlyAugustanperiodis mostlya definite red (1OR)witha valueof 4 anda chromaof 7 or 8, tendsto movelatertowarda yellow-red(2.5YR) witha valueof 4 anda chromaof 8, the famous"coral"colorof classicalArretine.The dull,worn, or spottedslip,appearingespeciallyon the exteriorof the vesselsandunslippedareasunderlarge feet, foundon earlyforms,is graduallyreplacedby a consistent,uniform,silk-shinyto glossyslip thatwill becomethe trademarkof Tiberiantimes.

3 4 TheMaturityandLaterYears TheJulio-Claudian Period

Atrium BuildingI, Room 25 (AB25.1-24, pls. 24-26, mapsIV, V)

The

stratifiedlayers of Room 25, situated at the north corner of Atrium Building I, provided valuable material for defining the latest phase in the typology of thin walled ware, a class of pottery earlierunclassified.1Study of the Italiansigillatafrom the same levels, however,has proved to be much less satisfactory.2Nevertheless, the intrinsic interest of some of the finds suggests the usefulness of a rapid survey of this area. In its originalplan Room 25 was a taberna,which, along with another to the west of it, Rooms 24/26, was added to the northeastsection of AtriumBuildingI within twentyyearsafterits construction, occupying an empty plot at the crossing of Street 7 with Street 0.3 The interpretationof the stratigraphyin Room 25 was complicatedby the fact that partitionshad been erectedinside the room at differenttimes. Consequently,the excavatedmaterialwas divided into four groups corresponding to areasof provenience, referredto as A, B, C, and D. Subsequent examinationproved that in the originalplan the room was divided into two majorareasby a zigzag wall that created two spaces of unequallengthbehind a largeL-shapedroom,openingon Street0. The smallerof the two backspaces, Room25 B, whichwas unpaved,containeda rock-cutpit of roughlyrectangularshape (1.78/1.56),0.90 m deep, defined in the excavationas Room 25 B IV Pit, the lowest level in this area.The largerspace, Room 25 A, was paved with lozenge-shapedbricks of terracotta.Four levels, correspondingto those in 25 B, were identifiedhere also, and the entire areathen, from a stratigraphicpoint of view,must be considereda unit:Room 25 A/B. The L-shapedareain front had a signinum floor and communicated with space 25 A through a large door with a step, in the cutback of the partition.Since this areawas a single room in the originalplan, the two later sections C and D eventuallybecame Room 25 C/D. In the excavation,as it appearsfrom the 1953 journal,confirmedby a later examinationof the finds, levels III and II of 25 C/D correspondrespectivelyto levels IV and III of 25 A/B. Taberna25 probably functioned as a butcher shop, with an area out of sight in the back for slaughteringthe animalsand preparingthe meat and a largerone in front for selling the meat. The great quantity of fragments of thin walled pottery found in Room 25, the majoritydatable from the late Tiberianperiod to the end of production, and the comparativelymore modest number of sigillatafragments,about fiftyin all, suggest the prevalentuse of drinkingvessels by the shop owner and his assistantsin their strenuous activity. 1 COSA, Thin WalledPottery,231-33.

3 For the plan of the room, see CosAIII, 105, fig. 38; for an

2 On

account of the excavation, see COsA,Thin WalledPottery, 231.

account of its location, Room 25 was not buried under the debris of the northwest wall of the Basilicawhen it collapsed at the beginning of the reign of Claudius.

53

54

THE UNDECORATED SIGILLATAWARE

Level IV of 25 A/B contained a small quantityof thin walled fragmentsof great chronological range, from as early as the late republican period down to the reign of Tiberius. An even greater discrepancy appearsin the date of the coins found in this level: from republican times to the third quarterof the second century A.D.4 A dozen fragments of sigillatawere found in level IV of section 25 A; the identifiable forms are the following: AB25.1. Small fragment of upper wall with lip from a carinated cylindrical cup with flat rim of Conspectusform 27.1. The wall is very thin; the fabric is fine, hard, light red (2.5YR6/6); the slip is firm, silk-shiny,dark red (10R4/8). AB25.2-6. Five fragmentsof rims, four with the beginning of the walls, of five hemisphericalcups with vertical rim and pronounced exterior flange of Conspectusform 34.1. They all have a groove markingoff the lip; two have a six-petaled rosette applique and one a small head similarto Bolsena form C-2A-51.5 The fabric is slightly gritty,very hard, from dark red (2.5YR5/6) to red (10R4/6); the slip is thin, firm, matte, dark red (2.5YR4/6; 1OR4/6). Three fragmentsin good earliertechnique may belong to one or more decorated vessels. One is a fragment of a chalice foot similarto ConspectusR 2.3. Among half a dozen fragmentsof sigillata,from the contemporarylevel III of section 25 C in the front room, the following forms can be identified: AB25.7. Very small fragment of wall with lip, probably from a carinated cylindrical cup of Conspectusform 26.2. A groove sets off the lip, and grooves decorate mid-body. The wall is very thin; the fabric is slightly gritty,very hard, pinkish red (2.5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4/8).

AB25.8.Small fragment of wall with lip from a hemisphericalcup of Conspectusform 36.3. Small grooves set off the lip, and rouletting decorates the entire outer surface of the wall. The wall is thin; the fabric is slightly gritty,very hard, red (10R5/8); the slip is thin, very firm, matte, dark red (2.5YR4/8).

AB25.9.Fragmentof sloping wall with bead-rim from a dish of Conspectusform 3.1. The fabric is slightly gritty,very hard, red (10R5/6); the slip is firm, silk-shiny,dark red (2.5YR4/8). STAMP

AB25.10 (CF.2199). An almost entirely preserved bell-shaped cup with vertical rim of Conspectus form 17. Convex moldings bound the rim and decorate the foot on the exterior, grooves on the interior. On the floor is the stamp [C]AMVR in a round-ended frame inscribed within a circle 4In section 25 B IV the following coins were found: CF.624, COSA,Coins, no. 218, an as dated to A.D. 161-176; CE626,

COsA,Coins, no. 119, a Roman republican as of uncertain date; CF.1802, CosA,Coins, no. 380, an unclassified Greek or Roman republican coin; CE1809, CosA,Coins, no. 225,

an as of Lucilla dated to A.D. 164. In section 25 A IV was found CE 1806, CosA,Coins,no. 155, an as of Tiberiusdated to A.D. 15-37. 5 GOUDINEAU, 225, 226.

THEMATURITY AND LATERYEARS:THEJULIO-CLAUDIAN PERIOD

55

(CVArr1042 = OCK 1198). Though the reading of an initial C remainsunverified,the stamp may be attributedto the potter C. Murrius,whose activityis approximatelydated to A.D. 1-20 and after. This stamp is very frequent at Cosa. As A WHOLE the sigillatafrom 25 A IV and 25 C III can be dated to the Tiberianperiod in harmony with the latest thin walled pottery from the same levels, though some forms, such as Conspectus forms 27 and 34 respectively,may last into Neronian and Flavian times. The appearance of the sporadic Conspectusform 17 (AB25.10)in this context seems to confirm its survivalinto the Tibernanperiod. Three fragmentsof sigillatawere recovered from level III of section 25 A; the following forms can be identified: AB25.11. Large fragment of wall with rim from a platter with plain rim and curving wall of Conspectusform 4.6. The fabric is fine, very hard, pinkish red (2.5YR6/6); the slip is thin, flaky,dark red (2.5YR4/6) mottled brownish red in spots (2.5YR4/3). AB25.12. Fragment of tall ring foot similar to ConspectusB 4.7, a type connected with cups of Conspectusforms 22-25. The fabric is fine, soft, reddish yellow (5YR6/6); the slip is thin, slightly flaky,red (2.5YR5/8). Fromthe contemporarylevelIII of the adjacentsection25 B comes a smallerfoot: AB25.13. Two non-joiningfragmentsfrom a tall ringfoot with beginningof wall similarto Conspectus B 3.14, possibly associatedwith Conspectusforms 31-33. Technicallyvery similarto the preceding. The finding of two late coins in level III of 25 A/B, a dupondiusof Hadrian in 25 A,6 and an Antoninianus of Claudius Gothicus in 25 B,7confirmsthe confused characterof this level, already apparentin the sigillata.This characterbecomes even strongerin level II, warningus to limit inquiry to the lower strataof the excavation. The sigillata recovered in section 25B IV Pit was eventually combined, in the process of cataloguing, with some fragments from the upper levels III and II from the same section. An early-middle Augustan date for the entire group is suggested, however, by the identifiable forms and the good technical qualityof all the fragments:a fine, hard, reddish yellow (5YR6/6) or yellowish red (2.5YR6/6) fabric and a basically firm, silk-shiny,dark red (2.5YR4/8) slip, worn in some fragments.It seems, therefore, logical to postulate a single provenience for this coherent group of pottery.The identifiable forms are:

AB25.14.Fragment of rim from a plate with broad, articulated rim, very similar to Conspectus form 10.3.

AB25.15.Fragmentof wall with narrowhanging lip from a plate of Conspectusform 12.1. AB25.16. Large fragmentof wall with lip from a cup with pronounced hanging lip and flaringwall of Conspectusform 13.2. 6

CF.216, COSA, Coins, no. 195, dated to A.D. 118.

7

CE620, COSA, Coins, no. 266, dated A.D. 270.

THEUNDECORATED SIGILLATA WARE

56

AB25.17. Fragment of wall with rim from a bell-shaped cup with narrow hanging lip and groove at mid-body of Conspectusform 14.1. AB25.18. Large fragmentof lower wall with beginning of foot from a carinatedcup with sloping wall of the rareConspectusform 27.3. The example cited here bearsthe signatureof Firmus,a maker of conical cups, approximatelydated 10 B.C.and after (CVArr695 = OCK 835). EASTERN SIGILLATAA

(ESA)

AND IMITATIONS

The sigillata just examined may represent the latest period of accumulationin 25 B IV Pit. To an earlier stage probably belong several fragments of ESA, including a few that may be considered local imitations. Regrettably,in the cataloguingof this materialtoo some confusion occurred, and the fragmentswere assigned once again to 25 B IV Pit and to levels III and II of the same section 25 B. In this instance, however, we may assume that the fragmentsof ESA belong to level 25 B IV Pit and have preceded the accumulationof sigillata.The ESA fragmentsare the following: AB25.19. Largefragmentof wall with gently curved rim from a plate of HAYESform 4 A,8TELANAFA 13c.9The fabric is very fine, soft, pinkish yellow (7.5YR8/3); the slip is thin, a little flaky,matte, red (10R5/8) mottled darkerred (10R4/8). AB25.20. Two very large non-joining fragmentsof floor and a fragmentof rim from a platter with curved rim of HAYESform 3,10 TEL ANAFA 13.11The fabric is very fine, soft yellowish (7.5YR7/4); the slip is firm, matte, red (1OR5/6). AB25.21. Fragmentof curved rim from a plate or platter of form and fabriclike the preceding. Slip firm, silk-shinyon the exterior,matte on the interior,red (1OR4/7). AB25.22. Small fragment of rim from a plate with curved rim of form like the preceding. The fabric is very fine, soft, pinkish yellow (7.5YR8/3); the slip is thin, worn in spots, silk-shiny,dark red (2.5YR4/5). Because of their inferior quality the two following specimens may be considered local imitations of ESA: AB25.23. Fragmentof wall with rounded lip from a dish with bead-rim and sloping wall. The rim is set off by grooves on the exterior and by a single groove on the interior.The fabric is fine, soft, pinkish yellow (7.5YR7/4); the slip is thin, very flaky,with some sheen, dark red (2.5YR4/8). AB25.24. Fragmentof wall with rim from a platter with plain rim and sloping wall. Technicalfeatures identical with the preceding, probably from the same workshop. The discovery of thin walled fragmentsdatable to late republicantimes in level IV of the area 25 A/B gives chronological support to the presence of Eastern SigillataA and its imitationsin level 8

HAYES,

15-16, pl. I, nos. 9-10.

9 TELANAFA,288-95.

10

HAYES,

14-15, pl. I, nos. 7-8.

1 TELANAFA,285-97.

THEMATURITY AND LATERYEARS:THEJULIO-CLAUDIAN PERIOD

57

IV Pit of 25 A. Theassociationof thelatterwitha coherentgroupof sigillatadatableto theearlyand middleAugustanperiodin the restrictedareaof a pit is significant: it is furtherproofof a relation betweenthesetwo typesof ceramicin the crucialperiodof the formationof redItaliansigillata.

AtriumBuildingI, Room22, LevelII: Tiberian-Early ClaudianPeriod (AB2211.1-89, pls. 26-34, mapsIV,V) A shopor storehouse,Room22, wasbuiltin the remaining vacantareaof the plot southof Taberna 25 a shorttime later.12The southeastwall of 25 becamethe partitionbetweenthe two. The new, roughlyrectangular roomwasflooredwithrammedearthandaccessiblefromthe openspaceto the to area16.Inthereoccupation southeast,which,afterthewallingof theremaining plot,corresponded of the Forumandtransformation of AtriumBuildingI intoa house,Room22 becamea taberna;the connectionwith 16, now usedfor storage,wasblockedanda newdooropenedon Street7.13 A trench,openedalongthe southwestwallof the room,revealedthe construction floorandthe crestsof the bedrockon whichthe roomfloorwaslaid directly.Thislayer,onlya few centimeters deep andalmostentirelydevoidof artifacts,is levelIII of the excavation.LevelII abovethe floor represents,withthe profusionof materialfoundhere,the periodof full activityof the shopduring the reignsof Tiberiusand Caligulaandthe firstyearsof Claudius.14 At the beginningof the fifth decadeof the firstcenturyA.D., aswe haveseen (abovep. 23), the northwestwallof the Basilicafell, sealingoff this layerandburyingunderits limestoneblocksandthe terracottatilesfromthe roof of the roomthe entirecontentsof the shop:ceramicsof manykinds,lamps,glass,andhardware. Twoassesof the DivusAugustusPaterseriesfoundin the context,CE.1201,datedto A.D. 15-16,15 and CE.1050,datedto A.D. 34-37,16 both in a conditionsuggestinga circulationno longerthana decade,seemto definethe durationof levelII andconfirmthe predominantly Tiberiancharacterof the material.Thirty-fourstampsin plantapedisof the forty-onefoundin levelII (a moreaccurate examinationhasmodifieda previouscount)makethis characterparticularly clear. Withina decadethereafterthe extantruinsof the Basilicawere demolishedand an Odeum builtin its place.17 LevelI of Room22 representsin partthe accumulation thattookplaceafterthese eventsbut alsoincludesrandommaterialof earlierdateleft in the confusionafterthe catastrophe. I havedecidedto includein my surveyof the sigillatafromRoom22 the materialfromlevelI, in spite of its surfacecontext,in an attemptto gainsomeinsightinto the latestphasein the history of sigillataat Cosa. Level II of Room22 has playeda fundamentalrole in the classificationof the thin walled potteryof Tiberian-early Claudiandate:the largestamountsof "unglazed"and "metallicglaze" warelaterthanthe Augustanperiodandhalf of all the "orangeglaze"warefound at Cosacame fromthislevel.18Althoughthe datingof this materialis corroborated by outsideevidence,I have preferredto discountthe supportof the thin walledpotteryin the assessmentof the sigillatato avoidthe possiblecriticismof aninbredchronology. It hasseemedadvisable,however,to takeinto 12 COSA III, 135-37.

16Ibid., no. 153.

13 Ibid., 240.

17

14

18 COSA, Thin WalledPottery, 153, 173, 190.

COSA,Thin WalledPottery,27-28.

15 COSA, Coins, no. 148.

CosAIII, 241, COLLINS-CLINTON, Odeum, 99-130.

THEUNDECORATED SIGILLATA WARE

58

consideration from level II of Room 22 two vases of "Aco Ware" type: a shallow bowl signed by the local potter Cusonius19and a beaker probably from the same workshop.20The activity of this potter in the Augustan period and a few sigillatastamps of similardate, also found in level II, seem to indicate that a very small amount of earliermaterialmay have been present in the shop. The one hundred seventy identifiablelamps unearthed in level II of Room 22 have been catalogued according to nine different types:21 * Thirty lamps with voluted triangularnozzle;22 * Forty-six lamps with voluted round nozzle;23 * Forty-one lamps with voluted round nozzle and heat shield.24 Voluted nozzle lamps are almost certainlyto be dated to the first century A.D. * Twenty-threelamps with short rounded nozzle,25dated mainly to the second half of the first century A.D. * Five lamps with pseudo-double-ended volutes,26dated from about the middle years of the first century to the earlieryears of the second century A.D. * Four lug-handled lamps with channel extending from discus to wick-hole,27dated late Claudian to Trajanic. * One lamp may be assigned, for lack of a more specific classification,to BAILEYtype C.28 Once again the chronological evidence offered by the lamps seems too broad to challenge the dating of the deposit to the Tiberian-earlyClaudianperiod. A preliminarysurveyof the sigillatafound in level II of Room 22 revealsthe high technical excellence achieved in the preparationof the clay and in the firingprocess and a tendency toward the utilizationof basic forms in large quantities.The long struggletoward the perfection of a luminous, uniform red slip, alreadyoccasionallysuccessful in the matureAugustanperiod, is now completely won. Gone is the last trace of discrepancybetween the even quality of the inner surface of a vessel and the sometimes flakyor mottled appearanceof the exterior.Less frequent also is the occurrence of an unslipped area inside the foot of a large platter.The fabric is fine and generallyconsistent. From the staggering quantity of sherds piled under the collapsed roof, it emerged that the owner of the taberna favored, among the types of plates then current, those of Conspectusform 20, which had alreadymade a timid appearancein level I of the BasilicaDump. He also fancied a ubiquitous type of dish, form 3, which could be modified into many subforms. Less popular, but still in demand, were the long-lived plates of form 4 appearinghere in their latest subforms 6 and 7. Notwithstandingthe considerablechoice of cups availablein the market,and indeed represented in his inventory,the shopkeeper seems to have fixed his interest especially on those of Conspectus form 37 and, to a lesser extent, forms 33 and 27. Two types of plate, however, may be considered survivalsfrom the preceding period:

19COSA, Aco, 278, no. 18.

24 LOESCHCKE III; BRONEER

20 Ibid., 280, no. 30.

25 LOESCHCKE VIII; BRONEER

21

26 LOESCHCKE V;

XXI; BAILEYD. XXV; BAILEYO/P.

CosA, Lamps, 14-16. For a correct dating of stamp CE.1796, signed by M. Perennius Crescens, see COSA,Thin WalledPottery,27-28.

22

LOESCHCKE I; BRONEER XXII; BAILEYA.

23 LOESCHCKE IV; BRONEER

XXXIII; BAILEYB.

BRONEER XXIV; BAILEYCV.

27 LOESCHCKE

V; BAILEYG.

28 COSA, Lamps,no. 653 (CEL.331).

THEMATURITY AND LATERYEARS:THEJULIO-CLAUDIAN PERIOD

59

AB2211.1. Fragment of rim with lip and beginning of floor from a plate with pronounced vertical hanging lip and groove on the interior of Conspectusform 11.1.3, datable mid-Augustan. AB22II.2. Small fragment of rim with beginning of floor, from a plate with concave vertical rim divided in half by a groove on the interior,of Conspectusform 18.2. The commonest plate is, as we have said, the platter or plate with smooth or finely molded vertical rim of Conspectusform 20, a simplifiedform, omitting the internalmoldings, of Conspectus form 18 of Augustan times. Foot profiles are in general higher and more delicate. The majorityof these plates at Cosa belong to the subform 20.4, which is characterizedby simple convex moldings forming the rim and often by applied motifs on the outside. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,darkred (from2.5YR 4/8 to 2.5YR7/8). The following plates and fragmentsof Conspectusform 20.4 have been identified: AB22II.3 (CE.1774; pl. 56). Almost complete plate with a small dolphin applied on the rim and two sets of concentric circles on floor. At center, stamp in planta pedis Q.SVLP (CVArr1872 = OCK 2009). It is of the potter Q. Sulp(icius), active around A.D. 15, whose workshop has not been located. AB221I.4 (CE.1776;pl. 56). Almost complete platewith partof a double spiralon the rim, concentric circles and band of rouletting on floor. At center, stamp in planta pedis, possibly SERT or SERTO (CVArrl776 = OCK 1909), of the Arretine potter Sertorius, active during approximatelythe first thirty years of the first century A.D. AB22II.5. Fragmentof rim with part of floor and foot. AB221I.6. Fragmentof rim with beginning of floor. Double spiral applied on rim. AB22II.7. Two non-joining fragmentsof a shallow plate. To Conspectusform 20.3, characterizedby double convex moldingsframingthe rim and interior groove at the lip, may be assigned: AB2211.8 (CE.1773; pl. 56). Large portion of rim and floor with high delicate foot from a platter. Applied lion's head on outer face of rim and grooves on the interior. AB2211.9 (CE.1775). Floor with foot and section of rim from a plate. Double spiralapplied to wall; bipartite division inside and circle on floor. Illegible stamp in planta pedis inscribed within circle at center. AB22II.10. Fragmentof rim with portion of floor from a plate. AB2211.11. Small fragmentof rim with beginning of floor. AB22II.12. Fragment of rim probably from a plate or platter of Conspectusform 20.3. Bipartite division inside.

60

THEUNDECORATED SIGILLATA WARE

Two examples, AB22II.13 and 14, belong to plates of Conspectusform 19.2, with concave vertical rim and quarter-roundmolding between the rim and floor,datableAugustan-Tiberian.The other fragmentsbelong to plates of the long-livedConspectusform 21, a successorof form 19 characterized by a vertical rim. They present the same technical characteristicsas the preceding form. AB2211.13 (CE.1777). About half plus several non-joining fragmentsof a plate. Double spiral applied to rim on the exterior, grooves on the interior,and band of rouletting on floor. AB22II.14. Fragmentof rim with beginning of floor of a plate. The following fragmentsbelong to plates of Conspectusform 21.3, dated like the corresponding form 20.3 to approximatelythe first thirty years of the first century A.D.: AB22II.15 (CE.1778;pl. 56). About one-quarterpreserved.Femaletheatricalmaskunderlong double spiral applied on wall, band of rouletting on floor. At center stamp in planta pedis within a circle: C.VIBI (CVArr2295 = OCK 2373), of the Arretinepotter C. Vibienus, active ca. A.D. 1-40. AB2211.16. Small fragmentof rim with quarter-roundmolding. Star applied to wall. AB2211.17. Large fragment of rim with beginning of floor. Star under double spiral applied to wall. AB22II.18. Fragment of smooth rim with beginning of floor. The following fragment comes from a plate of Conspectusform 21.4: AB2211.19. Fragmentof rim with triple moldings on the outer face. The following plates with plain rim and curvingwall can best be classified as Conspectusform 4.6, a late subform of the type dated Tiberian-Claudian,though no example is an exact copy of the form. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, glossy, dark red (2.5YR4/8): AB22II.20 (CE.1779; pl. 56). Verysmall plate almost complete. Severalconcentric circles on floor. At center stamp in plantapedis CAMVRI(CVArr397 = OCK 514), of the Arretinepotter Camurius, whose activitybegan ca. A.D. 30. AB2211.21 (CE.1780; pl. 56). About half plus three non-joining fragmentsof a plate. Band of rouletting between concentric circles on floor. At center stamp in planta pedis possibly SERT (CVArr 1776 = OCK 1909), the Arretine potter Sertorius, active, as we have seen, in the first thirty years of the first century A.D. AB221I.22 (CE.1781; pl. 56). Small plate almost complete. Double spiral applied to wall and concentric circles on floor. At center stamp in planta pedis CAMVRI (CVArr397 = OCK 514). AB22II.23 (CE.1782; pl. 56). Almost complete plate. Double spiral applied to wall and concentric

THEMATURITY AND LATERYEARS:THEJULIO-CLAUDIAN PERIOD

61

circles on floor. At center stamp in planta pedis possibly VMB (CVArr2385 = OCK 2441), of the probably Arretine potter Umbricius, active ca. A.D. 10-50. AB22II.24. Small fragmentof rim. The following plate may be classified as Conspectusform 4.7: AB22II.25 (CE.1783; pI. 56). Plate with five deep grooves producing an effect of ribbing on outer face of rim and applied dolphin. At center stamp in planta pedis C.MVRRI(CVArr1044 = OCK 1203) of the Arretine potter C. Murrius,active during the first thirty years of the first century A.D. and possibly later. The dish with sloping wall and bead-rim, Conspectusform 3, is one of the latest vessels of Italian sigillatato be found at Cosa, hardlysurprisinggiven the longevity of the type: apparentlyfrom a beginning between the end of the first quarterand the middle of the first century A.D. to an end sometime in the second century A.D. About fifteen examples of the form, mostly fragmentsof wall with rim, were found in level II of Room 22. Only one example, AB22II.26 (CE.1794), provides the complete profile of the form, which can be classified,on the basis of its rounded wall and outturned lip with groove on inner face, as Conspectussubform 3.1. All the other fragmentssuggest a greater variety of shape and more freedom in detail than might be expected from the recorded subforms of Conspectus.In the large majorityof examples the fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, from silk-shinyto glossy, dark red (2.5YR4/8): AB221I.26 (CE.1794; pl. 56). About two-thirds of a small dish on high, delicate ring foot. A relief line separates the floor from the wall on the interior. On floor a circle, at center stamp in planta pedis L.VET (CVArr2277 = OCK 2357). The location of the workshop of the potter L. Vet(tius), active ca. A.D. 15 and later,is unknown. AB2211.27.Verylargefragmentof wall with outturnedlip and beginning of curvedfloor.Groove on inner face of lip and at beginning of curve on exterior.Probably to be classified as subform 3.1. AB22II.28. Fragment of rounded wall with bead-rim. Grooves on inner face of lip and below it. The thick wall suggests a large, heavy dish. Probably to be classified as subform 3.1. AB22II.29. Fragment of rounded wall with bead-rim and beginning of curved floor from a dish similarto the preceding but smaller. AB22II.30. Largefragmentof straightslopingwall, with bead-rim,slightlyangulartransitionto floor, and external groove, from a shallow dish not representedin Conspectusbut similarto form 3.2. AB2211.31. Fragment of wall with rim from a dish similarto the preceding. Groove on outer and inner face of rim. The slip is matte. AB22II.32. Largefragmentof slightlyrounded wall with barelyarticulatedrim from a shallow dish. Grooves on inner face of rim. It may be classified as subform 3.3.

62

THEUNDECORATED SIGILLATA WARE

AB2 1I.33. Large fragment of rather straight sloping wall with unarticulatedlip from a deep dish of subform 3.3. The fabric is softer than usual and the slip thin and matte. AB221I.34. Fragmentof straightsloping wall with unarticulatedlip and angulartransitionto floor from a shallow dish of subform 3.3. Technicalcharacteristicslike the preceding. The following conical cups, with vertical rim framed by simple convex moldings, belong to Conspectusform 23.2. AB22II.35 and 36 share the same technical features:fine, very hard fabric with very thin wall and pinkish (2.5YR6/4), firm, silk-shiny,dark red slip (2.5YR4/7). The slip of AB22II.37 is glossy, dark red (2.5YR4/8): AB22II.35 (CE.1747; pl. 56). Small cup about three-quarterspreserved. Double spiral on wall, on center of floor stamp in planta pedis CMVR (CVArr1042 = OCK 1198). The location of the workshop of the potter C. Mur( ), active during the first twenty years of the first century A.D. and possibly later,is unknown. AB2211.36 (CE.1784a-b; pl. 56). Small cup almost complete. Two double spiralson rim;on center of floor stamp in planta pedis ATEI (CVArr144 = OCK 268). All the stamps in plantapedis of the potter Ateius are now assigned by P. Kenrick to the period of his activity in Pisa and dated approximately to the first quarterof the first century A.D. AB22II.37 (CE.1785; pl. 56). Small cup almost complete. On center of floor an indecipherable rounded-ended rectangularstamp. Among the cups found in level II of Room 22 the carinatedcylindricalcup with flat rim, Conspectusform 27, proved to be one of the most numerous. These seem to represent an intermediate stage between subform 27. 1, with which they share the smooth wall, and subform27.2, with which they share a lower body blending smoothly with the floor. The stamp on the center of the floor is surrounded by a circle. They all present the same technical features: a fabric fine, hard, pinkish (2.5YR6/6) and a slip firm, silk-shiny,dark red (2.5YR4/8): AB22II.38 (CE.1762A;pl. 57). About one-third of cup preserved.Tip of rim missing. On center of floor stamp in planta pedis M.POBL (CVArr1347 = OCK 1491). The workshop of the potter M. Pobl ( ), active after ca. A.D. 15, has been assigned to central Italy. AB221I.39 (CE.1762B; pl. 57). Lower body and four non-joining fragments of wall with rim of an identical cup. On center of floor stamp in planta pedis M POBL (CVArr 1347 = OCK 1491). AB221I.40 (CE.1764; pl. 57). About one-third of a similar cup. On center of floor stamp in round-ended rectangularframe EVT (CVArr656-57 = OCK 793-94). The workshop using the signature Eut( ) has been located in central Italy and its activity dated sometime after the beginning of the first century A.D. AB221I.41 (CE.1763). Cup similarto the preceding. On floor the same stamp,EVT in round-ended rectangularframe, appears.

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ofcuppreserved. Oncenteroffloorstampinplanta AB22II.42(CE.1767;pl.57). Aboutone-fourth pedis M.POBL (CVArr1347 = OCK 1491). The following lower body probably comes from a cup of the same form: AB221I.43 (CE.1760; pl. 57). Base and foot of cup preservedup to carination.On center of floor an

unclear stampinplantapedis,possiblyCAN (CVArr 258= OCK402).Theworkshop ofthepotter C.Avillius datedto ca.A.D.30-70. Nym() hasbeenlocatedin centralItalyanditsactivity Another similar to thepreceding butbelonging to asomewhat fragment largerandheavier cup is probablyto be connectedwith Conspectus form26, datedto the firsthalfof the firstcenturyA.D.

Thestampin a round-ended framealsoindicates anearlydate: rectangular AB221I.44 (CE.1749; pI.57).Aboutone-third oflowerportionof cupupto carination. Oncenter = of floorstampin round-ended frameCOMA(CVArr rectangular 463 OCK601).Theworkshop of thepotterComa(zon) hasbeenlocatedin Pozzuolianditsactivity datedto ca.A.D. 1-20. The uncommoncylindricalcup with smallringfoot of Conspectus form28, datedto the first

halfof thefirstcentury inlevelIIofRoom22byonesureexampleandpossibly A.D.,is represented threemorefragments: AB22II.45 (CE.1748;pl.57).Abouthalfoffloorandsmallportionofwallwithrimfromaverysmall cupof Conspectus form28.1.Thefabricis fine,hardwithverythinwall,pinkish(2.5YR6/6); the slipis firm,silk-shiny, darkred(2.5YR4/8). Therimis smooth.Oncenterof floorstampinplanta in circleCEL(OCK530).Thestampis of theworkshop pedisinscribed of unknown locationof a potterCel(), activeafterca.A.D. 15. AB2211.46. Smallfragment of wallwithsmoothrimandbeginning of floor,technically similarto thepreceding. of a somewhat AB22II.47. Fragment thickerwallwithrimmarked bysmallgrooveontheexterior. Possiblyfroma cupof thesameform. The followingarecupswith restrictedwall andvariouslyarticulatedrimof Conspectus form

32,datedfromearlyTiberian to themiddleof thecentury. Theysharethesametechnical features, a fabricthatis fine,hardwiththinwall,pinkish(2.5YR6/6); a slip,firm,silk-shiny in AB221I.49 and50,glossyin48, darkred(2.5YR6/8): AB2211.48 (CE.1787; pl. 57).Almostcompletecupof Conspectus form32.3,characterized by a horizontal lipoffsetatanangle.Twodoublespiralsareappliedto thegroovedhorizontal lip.On centeroffloor,surrounded bycircle,stampinplanta pedisVMBR(CVArr 2385= OCK2441.48-53). ThestampUmbricius is of a workshop probably locatedin Arezzoandactivefora longperiod, fromca. 10 B.C. to A.D. 50 andlater.

AB2211.49 (CE.1786; pl.57).Threenon-joining fragments, aboutone-quarter preserved of a very small cup of Conspectus form 32.5, characterized by a less pronouncedrestrictionof the wall,

64

THEUNDECORATED SIGILLATA WARE

slightlyoffsetlip, andhighfoot. Veryfine roulettingon uppersectionof body;on centerof floor framedby a circlestampin plantapedis/VI (CVArr2282 = OCK2362?).This stampis difficult to decipher;it maybe thatof a C. Vi( ), a potterwhoseworkshophasnot beenlocatedandwhose activityis datedpost-Augustan. of a cupverysimilarto the precedingbut a AB22II.50(CE.1786bis;pl. 57). Aboutthree-quarters littlelarger.On centerof floorframedby a circlestamplike the preceding. form Sixexamplesof thehemispherical cupwitha narrowflangelow on thewall,of Conspectus 33, arerecordedin levelII of Room22. Onlyone findsanexactparallelamongthe subformsof this to Conspectus form33.2.1.In alltheotherexamplesbutonethe type,AB22II.51,whichcorresponds lip is not set off by a groovebut by a plainbandthatseparatesit fromthe roulettingdecoratingthe wall.In AB22II.52the roulettingalsocoversthe lip. Thefabricis fine,hardwiththinwall,varying the slipis firm,glossyon AB2211.51, frompinkish(2.5YR6/6)to pinkishyellow(5YR7/4-5YR6/6); silk-shinyon AB22II.52,closeto matteon the others,darkredon all (2.5YR4/8): AB2211.51(CE.1766;pl. 57). Half a dozennon-joiningfragments,abouttwo-thirdspreservedof form33.2.1.Circleon floor,at centerfragmentary a cup like Conspectus stampin plantapedis[L.] FASTI(CVArr673 = OCK809). It is of the potterL. Fastidienus,whoseworkshophasnot been locatedandwhoseactivityis datedafterca. A.D. 15. AB221I.52(CE.1789;pl. 57). About one-thirdplus two smallnon-joiningfragmentsof a small shallowcup similarto Conspectus form33.3. Circleon floor,at centerverysmallstampin planta pedis A( ) (OCK2.5). It is a veryunusualstampof an unknownpotter,datableapproximately post-Augustan. AB221I.53(CE.1790B;pl. 57). Abouthalfplustwo smallnon-joiningfragmentsof a cup of transitionalshapebetweenConspectus forms33.2 and33.3.Veryfineroulettingon wall,two concentric circleson floor,withat centeranepigraphic stampof fiveparallelverticallinesin anellipticalframe (OCK2550.10).This stampof a workshopof unknownlocationis datedafterapproximately the beginningof the firstcenturyA.D. AB221I.54(CE.1790A;pl. 57). Aboutone-fourthof a cupverysimilarto the precedingbut a little smaller.On centerof floorthe samestampas the preceding. AB22II.55.A scoreof non-joining fragments(basemissing),representing abouthalfof a cupsimilar to the preceding.Circleon floor. AB22II.56.Largefragmentof wallwithlip, carination,andbeginningof floorof a cup similarto the precedingbut with coarserroulettingof the wall.Faintcircleon floor. Twomorearehemispherical cupswithshortverticalrimandpronouncedflangemidwaydown the wallof Conspectus form34, a laterdevelopmentof form33, datedlateTiberianto Flavian: AB2211.57(CE.1756;pl. 57). Fournon-joiningfragmentspreservingabouthalf of a verysmall shallow cup of Conspectusform 34.2. The fabric is fine, very hard with very thin wall, pinkish

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(2.5YR6/4); the slip is firm, silk-shiny, dark red (2.5YR4/6). Double spiral applied to rim. On center of floor framed by circle stamp in planta pedis of which only the last two letters can be deciphered: [ ]ER. AB2211.58 (CE.1788; pl. 58). About half plus an additionalnon-joiningfragmentof a small cup of Conspectusform 34.1.The fabric is fine, hard, pinkish (2.5 YR6/6); the slip is firm, glossy, dark red (2.5YR4/8). Two double spirals are applied to the rim. On center of floor framed by circle stamp in planta pedis but difficult to read. Verypopular in the Cosa households of these times seems to have been the hemisphericalcup with variouslyarticulatedrim of Conspectusform 37, dated Tiberianto midcentury.The Cosa cups, with their everted, horizontal lips, must be classified as examples of form 37.1. They all share the same technical characteristics:the fabric is fine, hard with thin wall, pinkish (2.5YR6/6); the slip is firm, mostly silk-shiny,exceptionally glossy or matte, dark red (2.5YR4/8): AB22II.59 (CE.1750; pl. 58). About one-quarter of a small cup very similar to Conspectusform 37.1.1. Upper surface of lip decorated with a band of rouletting between two grooves. Applied double spirals probably not preserved. On floor two concentric circles, at center stamp in planta pedis RVE The stamp may be that of the potter Rufus, possibly of central Italy and active ca. 10 B.C. to A.D. 15 (CVArr1594 = OCK 1723.3), or of the Arretine potter Rufrenus, active during the first thirty years of the first century A.D. (CVArr1599 = OCK 1728), or else of the Arretine potter T. Rufrenus, active during the first forty years of the first centuryA.D. (CVArr1600 = OCK 1730). None of the known stamps of these potters, however, corresponds exactly to ours. AB221I.60 (CE.1793). Small cup similar to the preceding with rouletting and double spirals on upper side of lip. On center of floor fragmentarystamp in plantapedis. AB2211.61 (CE.1792a-b; pl. 58). Small cup almost entirelypreserved, similarto the preceding but with double spiralsapplied to smooth upper side of lip and low groove on the interior.Wall thicker than usual and slip glossy. On floor circle with stamp at center in planta pedis VM (CVArr2385 OCK 2441), of the potter Umbricius seen above on AB22II.48. AB221I.62 (CE.1791; pl. 58). Small cup similar to the preceding with double spirals applied to smooth upper side of lip. On floor circle with stamp at center in planta pedis M. POBL (CVArr 1347 = OCK 1491) of the potter seen above on AB2211.38. Half a dozen fragmentaryexamples of Conspectusform 37 can be added to the preceding. The following five belong to form 37.1: AB22II.63. Two non-joining fragments of wall with lip from a small cup with roulettings and applied double spirals on upper side of lip. AB22II.64. Small fragment of wall with lip from a small cup similarto the preceding. AB2211.65.Two non-joining fragmentsof wall with lip from a very small cup similarto the preceding. Only tiny trace of applied double spiralvisible.

66

THE UNDECORATED SIGILLATAWARE

AB221I.66. Five non-joining fragmentsfrom a cup largerthan usual. On upper side of lip band of rouletting and applied double spiral. AB22II.67. Large fragment of wall with lip from a small cup similar to the preceding but with double spiral applied to smooth upper side of lip. The following example, characterizedby the undecorated upper side of its lip, must be classified as Conspectusform 37.4: AB2211.68. Large fragment of wall with lip and beginning of floor from a small cup. The slip is slightly matte and mottled on external surface. In spite of its great popularity Conspectusform 37 does not seem to have eclipsed the earlier, simpler hemispherical cup Conspectusform 36. The fabric is fine, hard, pinkish (2.5YR6/6); the slip firm, silk-shiny,dark red (2.5YR4/7): AB2211.69 (CE.1765; pl. 58). About one-third preserved of a large cup of Conspectusform 36.4. Rim marked by thin groove on the exterior. Circle on floor with stamp at center in planta pedis of uncertaininterpretation.The first letter may be read as a C. or L., the following letters possibly as POR or TQR. AB221I.70. Fragmentof wall with rim from a small shallow bowl. A form that does not find any comparison among those recorded in Conspectusis a cup with plain curving wall and flat base, present in level II of Room 22 with two examples. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, silk-shiny,dark red (2.5YR4.8): AB2211.71 (CE.2079; pl. 58). About one-third of wall with rim and one-fifth of floor preserved from a small cup. On center of floor surroundedby an irregularcircle is a stamp in plantapedis CV (CVArr2165 = OCK 2276). It belongs to a potter C. V( ) from central Italy, active in the second quarterof the first century A.D. AB22II.72 (CE.1758; pl. 58). Base with beginning of wall from a cup probably of the same form but larger.On floor surrounded by circle stamp in plantapedis, similarto the preceding. This form is also recorded in level I of Room 11 with one example, CE.1688, of about the same dimension as the preceding but with straighterwall. Another example, CE.1718, was found in levels I-III of Room 21. On center of floor is preservedthe beginningof a rectangularstamp,possibly CA. All these levels of Rooms 11 and 21 represent a long period of accumulation,from the beginning of the Augustan period to the beginning of the reign of Claudius. The following bases with ring foot and large portion of floor can be classified as Conspectus B 2.5. In this publication they are considered typical for the late Augustan-Tiberianplates/dishes of forms 3-4, 6, 11-12, 18-20. They all share the same good technical features:a fabric fine, hard, pinkish (2.5YR6/6); a slip firm, silk-shinyto glossy, dark red (2.5YR4/8):

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AB22II.73 (CE.1754a-b; pl. 58). Large portion of rim and floor on high, chamferedring foot from a platter of Conspectusform 20.4. On outer face of rim from right to left are the following applied motifs:runninggoat, pugilist Eros, seated Eros with festoon?, partiallypreservedstandingEros. On floor concentric band of fine rouletting and circle, at center stamp in planta pedis VMBR (CVArr 2385 = OCK 2441). As previously seen (AB22II.48), this potter was active, probably in Arezzo, between 10 B.C. and ca. the middle of the first century A.D. AB2211.74 (CE.1757; pl. 58). Foot similar to the preceding but more delicate, with portion of floor. On floor two sets of concentric circles, at center stamp in plantapedis Q.SVLP (CVArr1872 = OCK 2009). As previously seen (AB22II.3), the workshop of this potter, active around A.D. 15, has not been located. AB22II.75 (CE.1772; pl. 58). Foot similarto AB22II.73 but shorter,with portion of floor. Concentric relief line and set of deep circles on floor. At center fragmentarystamp in rectangularframe, undecipherable. The following base with oblique ring foot may be classified as ConspectusB 4.1-11 or bases with ring foot for cups of forms 22-25. The technical features are those of the preceding bases: AB2211.76 (CE.1752; pl. 58). Small fragment of base with foot and about one-fourth of floor. Deep circles mark the outline of floor, at center stamp in planta pedis SEX. M. [-1. The graphic characteristicsof this stamp conform best to the stamps by the "late Italian"potter Sex Murrius Festus (CVArr927', 1054 = OCK 1212), whose initialproduction of plain ware has been set around A.D. 60, outside the chronological limits of the present context. The potter Sex. MurriusT( ) from Pisa (CVArr1060 = OCK 1217), whose activityhas been dated to the period A.D. 30-50, would be chronologicallya better choice, but the praenomenon his stamps is abbreviated. The following identifiable feet of platters and plates were also found in level II of Room 22: AB2211.77. Heavy foot from a large platter of Conspectusform 1.1, datable from the early to the middle Augustan period. Its appearancein this context is unique but confirms the presence here of a small amount of Augustan material. AB22II.78. Ring foot from a platter,ConspectusB 1.9 of Augustan-Tiberiandate. AB2211.79-80. Two ring feet from platters, ConspectusB 1.11, of Tiberian-Flaviandate. AB2211.81. Ring foot from a plate, same type as the preceding. AB22II.82. Ring foot from a very small plate, same type as the preceding. AB221I.83. Ring foot from a platter,similarto ConspectusB 1.12, of Tiberian-Flaviandate. AB22II.84. Ring foot from a small plate, ConspectusB 2.5, of Augustan date.

68

THEUNDECORATED SIGILLATA WARE

AB221I.85.Ring foot from a plate, ConspectusB 2.5, of late Augustan-Tiberian date. AB221I.86.Ring foot from a small plate, same type as the preceding. AB22II.87.Ring foot from a plate, ConspectusB 2.6, connected with forms 21.5-8. AB2211.88.Ring foot from a plate, ConspectusB.2.7, of Tiberian-Flaviandate. AB22II.89.Ring foot from a small plate, same type as the preceding. A survey of the stamps found in level II of Room 22 shows the following: of forty-one stamps thirty-four are in planta pedis and, with a few exceptions, sufficiently legible. Two anepigraphic stamps (AB22II.53,54) arein ellipticalframes;one indecipherablestamp (AB22II.75)is in a rectangularframe.The remainingfour are in round-ended rectangularframes:AB22II37indecipherable, AB22II.40-41anepigraphic,AB2211.44from a workshop located at Pozzuoli. Ten can be attributed with certainty to Arretine workshops, five to workshops probably Arretine, and seven to workshops located in central Italy.The location of the workshops for all the other stamps remainsunknown. The main source of production, therefore, for the sigillatapottery from Cosa was, as in the preceding periods, Arezzo and the surroundingEtruscan area. Finally,the repetition of forms and potters' names is not unusual but ratherseems to indicate shipments of a sizeable number of specimens from a specific workshop.

Atrium Building I, Room 22, Level I: Late Claudian-NeronianPeriod (AB22 I. 1-45, pls. 34-36) The sigillata found in level I of Room 22 can be divided into three groups. The first and by far the most important comprises three basic forms: a plate, Conspectusform 20.4; a dish, Conspectus form 3; a cup, Conspectusform 34. The numerous examples of these three late forms representthe pottery of common use in Cosa households around the middle of the century and thereafter.Two of five examples of the long-lastinghemisphericalbowl, Conspectusform 36, present in level I have been added to this first group. The second group comprises forms representedonly by one or two examples that chronologically may belong to a period preceding or following the catastrophicfall of the Basilica'snorthwest wall. They are: Conspectusforms 23, 26, 32, 33, and 37. The third group comprising forms dated to the Augustan period, mostly represented by one exemplar each, constitutes the random surface material. Technicallyit is a rather homogeneous group: the fabric is fine, hard, pinkish (2.5YR6/6); the slip firm, from silk-shinyto glossy, dark red (2.5YR4.8). It includes the following forms: AB221.1. Fragmentof rim from a platterwith broad articulatedrim, likely of Conspectusform 10.3. AB.221.2. Fragment of wall with lip and beginning of floor from a plate with narrow hanging lip of Conspectusform 12.5.

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AB.221.3. Small fragment of lip with beginning of wall, likely from a cup with flaring wall and hanging lip of Conspectusform 13.2. AB.22I.4. Small fragmentof lip with beginning of wall, probably from a bell-shaped cup with narrow hanging lip of Conspectusform 14.2. AB22I.5. Small fragmentof rim from a plate with concave vertical rim of Conspectusform 18.2. AB221. 6. Small fragmentof rim from a plate with concave vertical rim of Conspectusform 18.2. AB22I.7-8.Two fragmentsof wall with rim from plates with curvingwall and plain rim of the longlived Conspectusform 4. Their very small size does not permit attributionto a particularsubform, with relative dating. Their attributionto this group therefore remainshypothetical. The second group is characterized,as we have said, by a varietyof scantily representedforms that share certain basic technical features. The fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm, from silk-shinyto glossy, dark red (2.5YR4/8). A few fragments,AB221.12, 13, and possibly 14, show some deteriorationin the quality of the slip on account of either lateness of date or surface-level wear. To this second group belong the following: AB22I.9. Fragment of wall with rim from a conical cup with smooth vertical rim of Conspectus form 23.2. AB22I.10 (CE.1744). Almost complete carinated cylindrical cup with vertical rim of Conspectus form 26.1. Faint grooves on exterior wall and circle on floor. Slip largelyworn awayon the exterior, firmer and matte on the interior. AB221.11.Verysmallfragmentof verticalwall and rimwith applied double spiral,in good technique, probably from a cup of Conspectusform 26.1. AB221.12. Smallfragmentof roulettedwall with plain offset rim,probablyfrom a cup with restricted wall of Conspectusform 32.5. Four more very small fragmentsof walls with rouletting may belong to cups of similarform. AB221.13. Small fragment of wall with traces of flange, with rouletting above and grooves below. Possibly from a hemisphericalcup with narrow flange on wall of Conspectusform 33. AB221.14. Small fragment of wall with smooth outturned lip, possibly from a hemispherical cup of Conspectusform 37.4. AB221.15. Smallfragmentof wall with smooth outturnedlip from a cup similarto the preceding. Finally,the first group comprises, as we have said, the utilitariansigillatapottery,plates, dishes, and cups, present at Cosa during the late period of production of this ware.

70

THEUNDECORATED SIGILLATA WARE

All the plates of this group belong to Conspectusform 20, a laterevolution of form 18, characterized by the disappearanceof the internal moldings on the rim and generallyby a smooth exterior. They share the same technical characteristics:the fabric is fine, hard, pinkish (2.5YR6/6); the slip is firm but worn in spots by surface erosion, from silk-shiny to glossy, dark red (2.5YR4/8). The following four examples, AB221.16-19, with simple convex moldings framing the rim, belong to Conspectussubform 20.4: AB22I.16 (CE.1746; pl. 58). Large portion of base and small fragment of rim of a plate on high, chamfered ring foot, with double spiral applied to rim, circularband of rouletting, and grooves on floor. At center of floor stamp in planta pedis C.MVR (CVArr1043 = OCK 1200). The potter C. Murriussupposedly startedhis activityafter A.D. 15. The appearanceof his stamp on a form as late as Conspectus20.4 seems to indicate a long period of activity. AB22I.17. Small fragmentof rim with applied double spiral. AB22I.18. Small fragment of rim. AB221.19. Small fragmentof rim from a very shallow plate. AB221.20. Small fragment of rim with quadruple moldings on the exterior. Similarto Conspectus form 20.2.1. All the items in this group, a score of fragments, are hemispherical cups with the short vertical rim and pronounced flange on the wall of Conspectusform 34. They share the same technical characteristics:the fabric is fine, hard, pinkish (2.5YR6/6); the slip is basically firm but worn in spots by surface erosion, silk-shiny,dark red (2.5YR4/8): AB221.21. Small fragmentof wall with rim and flange. Applied rosette on rim. AB22I.22. Small fragmentof rim with flange and beginning of wall. Applied rosette on rim. AB22I.23. Fragment of rim with flange and beginning of wall. Traces of applied decoration on rim. AB22I.24. Fragmentof wall with flange and portion of rim. AB22I.25. Large fragment of wall with flange and portion of rim. Rouletting on flange. AB22I.26. Fragmentof rim with flange and beginning of wall. Rouletting on flange. AB22I.27. Large fragmentof wall with undecorated rim bounded by grooves. The fabric is a little harder than averageand the slip very firm, matte, and darkerred (2.5YR4/7). The long-lived dish with sloping wall and bead-rim of Conspectusform 3 seems to have been very popular at Cosa during the last period of sigillataproduction. At least one example, AB22I.28, however, in its good technique and elegant articulation of the wall must belong to the earliest

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periodof productionof the typeandis to be dated,therefore,to a timeprecedingthe collapseof the Basilicawall. AB221.28 and the small fragmentAB221.29 can still be classified as examples of subform 3.1. All the other fragmentspresent an unstructuredprofile and rathercarelesstechnique, betrayingtheir relativelylate date: AB221.28. Large fragment of wall with part of floor, plus a non-joining fragment of wall with lip from a very large dish with rounded wall, inner face of rim slightly concave bounded by moldings, a groove under the lip on the exterior,another on the floor. Fabric fine, hard with ratherthick wall, pinkish yellow (5YR6/6); slip firm, glossy, dark red (2.5YR 4/8); very good technique. AB221.29. Very large fragment of wall with lip and beginning of floor from a dish with rounded body and rounded lip markedby two grooves on the exterior and a groove on the interior,circular ridge on floor.The fabricis fine, very hard,pinkish (2.5YR6/6);the slip is firm, silk-shiny,red darker than usual (10R4/7). AB221.30. Smallfragmentof wall with lip from a very small dish with rounded lip markedby groove on the exterior and interior. The fabric is fine, very hard with very thin wall, pinkish (2.5YR6/4); the slip is firm, matte, dark red (2.5YR4/7). The followingfragmentspresentcharacteristicsbetrayinga later,less carefulstagein the production of the forms. The profile of the wall tends to become stiffer,the lip poorly defined, the fabric fine and softer with wall thickerthan usual, generallyof a somewhatlighter color (from2.5YR6/6 to 2.5YR6/4 to 2.5YR6.5/4); the slip is thin, worn, matte, darkerred (from 2.5YR 4.5/8 to 1OR4/7): AB221.31. Two non-joining fragmentsof wall with lip. Groove below lip on the exterior. AB221.32. Fragment of wall with lip. Light groove defines lip on the exterior and interior. AB22I.33. Very small fragment of wall with lip similarto the preceding. AB221.34. Very small fragment of wall with lip. Groove defines lip on the exterior and interior. AB221.35. Small fragmentof wall with rounded lip defined by groove on the exterior and interior. AB221.36. Small fragment of wall with lip similarto the preceding. AB221.37. Small fragmentof wall with lip marked by groove on the exterior. AB221.38. Fragmentof wall with lip lightly molded on the exterior,groove on the interior,rouletting on upper face. AB221.39. Fragment of wall with lip, marked by light groove on the exterior, and trace of base carinationmarked by groove on the exterior. AB22I.40. Fragment of wall with beginning of carinated base marked by groove on the exterior and i nterior.

72

THEUNDECORATED SIGILLATA WARE

The two hemisphericalbowls of Conspectusform 36 (AB22 1.41, 42) present the same technical characteristics:the fabric is fine, hard with thin wall, pinkish (2.5YR6/6); the slip is very firm, from silk-shinyto matte, dark red (2.5YR4/8): AB22I.41 (CE.1745; pl. 58). Four non-joining fragments,preservingabout half of a rathershallow hemisphericalcup of Conspectusform 36.4. Groove on lip on the exterior;on center of floor stamp in plantapedis is difficult to decipher. AB221.42. Four non-joining fragments of wall with lip from a shallow hemispherical cup of the same form. Light groove on lip on the exterior. Three fragments of barbotine-decoratedsigillata were found in level I of Room 22. They all share the same technical characteristics;the fabric is fine, a little soft, pinkish (2.5YR6/6); the slip is thin, slightly worn, matte, dark red (2.5YR4/8): AB221.43. Fragment of rim with beginning of wall from a dish with curving wall and drooping rim of Conspectusform 39.1.2. On upper face of rim an elongated leaf with short stem. Groove separatesrim from wall on the interior.This is a typical product of "lateItalian"workshops or late workshops in the Po Valley,datable after the middle of the first century A.D. AB22I.44. Very small fragment of rim from a dish, probably of the same form. On upper face of rim partlyworn barbotine decoration of small leaves and berries. Grooves separaterim from wall on the interior. AB22I.45. Fragmentfrom a vessel of unspecified shape (possibly a lid). A wide horizontal flange, with a line of small, unconnected leaves in barbotine and grooves on the upper face seems to have sloped upward. Below the flange is a vertical section similarto a ring foot. EXAMINATION OF THE MATERIALfound in level I of Room 22 confirmsand clarifiesour preliminary

classification,allowing us to draw the following conclusion: At this late stage in the production of Italian sigillatathe marketis dominated by a dish, Conspectusform 3; one type of plate, form 20.4; and two types of cup, forms 34 and 36.4. The presence of cups of Conspectusforms 23, 26, 32, 33, and 37, in use in smaller quantity shortly before or after the fall of the Basilicawall, demonstrates the persistence in some workshops of a more sophisticated tradition providing a largervariety of options. The appearancein level I of a few fragments (AB221.43-45) with barbotine decoration, particularlyof the plate Conspectusform 39. 1, datable from the middle of the first centuryA.D. on, further demonstratesthe later date of level I in relation to level II. The appearanceof these vessels decorated in barbotine technique is therefore documented at Cosa startingin late Claudiantimes. Their production is attributed as a rule to late Italianworkshops in the coastal region of northern Etruriaand to late workshops in the Po Valley. This interpretationof the latest presence of Italian sigillatain stratificationat Cosa resembles very closely the situation documented by G. Rizzo in Rome. Concentratinghis attention on a strategic areabetween the Coliseum and the Palatine, where well-documented building activitiestook place in Neronian and Flavian times, he was able to date the specimens of Italian sigillata found there within a narrowrange of years.During the Neronian period in Rome, as also at Cosa, a small

THEMATURITY AND LATERYEARS:THEJULIO-CLAUDIAN PERIOD

73

number of types dominates the market: Conspectusforms 20.4, 36.4, 34.3, and, most popular of all, form 3. At the same time several types of cups, Conspectusforms 23, 27, 32, 33, and 37, are produced in small quantities.And in Rome, as in Cosa at the same time, there is a modest presence of barbotine-decoratedvessels, among them the plate of Conspectusform 39.29

29

G. Rizzo, "Samiaetiam nunc in esculentis laudantur.(P1., N.H., XXXV, 160-161). I vasi 'aretini' a Roma," MEFRA 110,2 (1998) 809-21.

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4

PART II THE DECORATED SIGILLATAWARE

4

A

* The DecoratedArretineWare

11the material described below was recovered in a span of two decades, from 1952 to 1972,

in two separate areas of the town, in the northwest corner of the Forum, mostly in Atrium Building I, and in the excavated area of private habitation. With the exception of two examples attributed to the provincial workshop of Ateius, nos. 45 and 46, and a third of possible Puteolan manufacture,no. 69, they are the products of Arretineworkshops. In both locations, the Forum and the habitation area, the chronological data provided by the excavations are disappointing: the majorityof finds are sporadic, come from disturbed levels, or come from levels of lengthy accumulationembracingAugustan,Tiberian,and earlyClaudiantimes, the whole assumed span of production of decorated Arretineware. When a more precise reference is provided, it generallyagreeswith the traditionaldatingof the workshops. Some discrepanciescan be noticed, however,in the dates assigned to the last two phases of the workshop of Perennius:no. 32, signed by M. Perennius Bargathes,and no. 34, attributedto the same potter, were respectively found in levels of late and middle-late Augustan date, suggesting a somewhat earlierbeginning for his activity than the widely accepted beginning under Tiberius. Nos. 39 and 40, both displaying the signature of Crescens, a potter active during the final phase of the workshop, were found in a level dated largely Tiberian,not later than the early Claudianperiod. A particularlyproblematicsituation,in both chronologyand style,is presentedby the workshop of Rasinius,documented at Cosa by a dozen examples surely or with probabilityattributedto him and by two outstanding specimens assigned to his "consociate"RasiniusMemmius:no. 3, signed QUARTIO RASINI, and no. 4. According to Stenico the unabbreviatedsignature of Rasinius in the genitive, on single line stamps, is always associated with that of his partner Memmius, whose independent activityhad little in common with the repertoryand style of Rasinius.This epigraphic peculiarity,we may assume, does not underminethe Rasinianresponsibilityfor the earlyfragments. The decoration of no. 2, dated to the third quarterof the first centuryB.C., finds close comparanda on vases where the names of the workmen Cerdo and Secundus appear in rectangularstamps in the nominative above that of Rasiniusin the genitive. The definition of a "lateral"activityof Memmius, moreover,is challenged at Cosa by the high stylisticqualityof the two vases attributedto him. His merit becomes even more evident when we compare the young winged woman on chalice no. 3 with the same figure on a mold in the Arezzo Museum signed in the abbreviatedform RASIN. An early date for the beginning of the workshop bearing the name of Rasinius alone is supported by its adoption of figures, one documented at Cosa on fragmentno. 7, which are preserved on an Alexandrian silver vessel of the late third century B.C., the kalathos Palagi in the Archaeological Museum of Bologna, most likely a rare survival from the booty of Actium. Activity of the same workshop longer than generally supposed may be implied by its use of late forms such as chalice no. 5 of Conspectusform R 9, dated late Tiberian-Claudian.

77

78

THEDECORATED SIGILLATA WARE

The lesson we can draw from the Cosa evidence about the workshop of Rasiniusis, in conclusion, more cautionarythan enlightening.From the present state of our knowledge we should abstain from passing fast judgments and drawingdefinite conclusions. We may tentativelypropose the following: under the ownershipof Rasiniusthe workshop began in the third quarterof the firstcentury B.C. producing vessels in one of the periodic revivalsof the Italo-Megariandecorative tradition in the new red sigillata technique. Around 30 B.C., like the contemporaryworkshop of Perennius, it adopted a wide figurativerepertoryof high stylistic qualityderived from models that, when clearly identifiable, appear to be of Alexandrian origin. Without renouncing a decorative background of mostly vegetable motifs, it assimilatedthe new figurativerepertory,preferablyin disiectamembra, and succeeded in blending the two traditionswith amazingresults. About this time or soon thereafter we can posit the association with Memmius. The activity of the workshop, probably longer than previously supposed, may have lasted into Tiberiantimes. For quantityand quality of material,the workshop of M. Perennius is the best representedof all the Arretineworkshops at Cosa. Though all four successivephases of its activityare documented here, of particularinterest are several pieces belonging to the first two phases. To the first phase, characterized by the signature of M. Perennius alone, certainly belong two examples (nos. 18 and 19) and possibly a third (no. 21); these are all connected by the same ideological theme of the victory of Actium, which also provides a valuable chronological datum for the beginning of the factory.No. 18, the crown jewel among all the ceramicsfound at Cosa, is a fragmentarychalice decorated with the cycle of "Heraklesand Omphale," D/W XI. It preservesin clear capital letters the signatureof the workmanCERDO and thus confirmshis authorshipof the cycle, presumed but never previously documented. The long-debated interpretationof the scene as the symbolic representationof the humiliation of Antony by Cleopatrais now supported by the reference to Actium on the fragmentsof chalice no. 21, decorated with the cycle of "Heraklesand the Muses," D/W XII. In this cycle I have recognized a reproduction of the famous Muses of Ambrakia, the group brought to Rome in 189 B.C. and later elevated to the rank of SymbolusActiacus, given the proximity of Ambrakiato the promontory of Actium. Commemorationcan also be read in the hunting scenes of cycle D/W XVII on nos. 19 and 20, attributedto the second phase of the workshop characterizedby the signatureof M. Perennius Tigranus.In these scenes we can discern the young protagonist of Actium allegorized in the guise of the hunting Alexander. Memorialization is also seen at Cosa in the third phase of the workshop: on the beautiful fragmentarychalice no. 29, signed by M. Perennius Bargathes,the bucraniato which are attached festoons of fruit and flowers recall the interior frieze of the Ara Pacis. The connection with Alexandria,which also underlies some of the previous images, is evident on fragmentno. 22, assigned to the Tigranusphase of the workshop, whose decoration belongs to the cycle of "SymposiumGroups," D/W XIII. Several images in this cycle can be recognized as illustrationsof erotic and sympotic poems of the Alexandrianepigrammatists. A decoration predominantlyinspired by natural elements, which again finds parallels in the Italo-Megarianrepertory,appears in the initial phase of the workshop of Perennius,l thus suggesting a development, and possibly a chronology,similarto that of Rasinius.In the figurativecycles bearing its stamp or attributedto it, however, the workshop of Perennius reveals at the same time inventivenessin the creationof new cycles and fidelityin the interpretationof old ones. In the cycle 1

F. P. Porten Palange, "Una produzione poco nota della primafase dell'officinaaretinadi M. Perennius," NumAntCl 24 (1995) 257-76.

THE DECORATED ARRETINE WARE

79

of "Heraklesand the Muses,"it was ableto illustrateex novoa statuarygroupof the earlythird centuryB.C.withstylisticaccuracy, whilein its adoptionof thecyclesof "Symposium Groups"andof "Caricatures andBurlesqueFigures"(belowno. 46) it demonstrated suchfidelityto theillustrations fromwhichthe figuresultimatelyderivethatthe pertinentliterarytexts couldbe identified. AmongthematerialfromothermajorworkshopsfoundatCosathelargestquantitycomesfrom the workshopof P. Cornelius.Tohimmustbe attributedthe littleskyphoswithEleusinianfigures, no. 58, remarkable, amongallthe ceramicsfoundat Cosa,for its stateof preservation. Of the fourexamplespositivelyor tentativelyattributedto the workshopof Cn. Ateius,three areproductsof his provincialestablishment atPisa,not a surprisingcircumstance giventhe greater accessibilityof this townto Cosa.Worthyof particularconsiderationarethe fragmentsof chalice no. 46, decoratedwitha groupof grotesquefigures,one of themperforminga ridiculousdisarticulated dance.The samecharacterappearsin the cycleof "Caricatures andBurlesqueFigures"by Bargathes,D/W XXIV,whichI haveidentifiedas a seriesof vignettesderivedfroma satiricalwork of Timonof Phliusandfroma mime,probablyby the sameauthor,ridiculingthe Egyptianritual representing the captureandsacrificeof thedonkey-headed god Seth.Thismime,or sometheatrical workof similarsubject,mayhavebeen the inspirationfor Apuleius'sGoldenAss.A connectionof the grotesquedancerwiththismimemaybe justifiedby the habitof introducingintermissionacts of vaudevillecharacterinto Hellenisticcomedy. Theworkshopof the Anniiis representedatCosaby onlythreeexamples,two of themof great epigraphicalinterest.On no. 49, the signatureACHORISTVS/L.ANNI provesfor the firsttime the presumedbut previouslyunattestedconnectionof thisworkmanwiththe Annii.On a second chalice,no. 50, whosefragmentswerefounda shortdistanceawayin the sameAtriumBuildingI, the signatureof Achoristusappearsagain,an extraordinary circumstance giventhe smallnumber of fragmentspreservinghis name. Minorworkshopsrepresentedat Cosaarethose of Vibienus,L. PomponiusPisanus,and C. Tellius,each with a few examplessurelyor tentativelyattributedto it. Particularly interestingis an almostcompletebeaker,no. 62, decoratedwithvegetableelements,humanfigures,andbirds, whichis signedfreehandin largeirregularlettersBIT[V]S,an unusualsignaturefor this slaveof L. PomponiusPisanus. Amongthe unattributedmaterial,worthyof specialattentionarethe fragmentsof chaliceno. 67, decoratedwith the processionof the Horai,a cyclebest knownfroma chalicein the British Museumsignedby Ateius.I havedemonstrated thatthe sequenceof the fourSeasonson Arretine potteryultimatelyderivesfroma documentillustrating the GrandProcessionof PtolemyPhiladelphus,whichtook placein Alexandriaprobablyduringthe winterof 275-274 B.C.andis described in the Deipnosophistae of Athenaeusof Naukratis. Theinfluenceof Alexandrian models,silverwareandpossiblygypsumcasts,on Arretinedecoratedwarestartingat the time of the victoryof Actiumis now sufficientlydocumented,but for the timebeingthe questionof whetherthisinfluencealsoimpliesthe transferof artisansfromthe defeatedcityto Italyremainsunanswered. Thevarietyandqualityof the decoratedArretinevasesfoundat Cosa,someof thembelonging to the veryearlyandbest periodof the production,suggesta certaindegreeof sophisticationand affluencein someinhabitantsof the recentlyreoccupiedcolony.A reoccupationat leasta decade priorto the beginningof the Augustanperiod,a datealreadysuggestedby otherevidence,would betterexplainthe presenceof suchwell-established citizens.Sucha datingis supportedby the few earlyArretinefindsfromthe site,productsof a briefexperimentalphasepriorto the beginningof full productionaboutthe timeof the battleof Actium.

80

THEDECORATED SIGILLATA WARE

of decoratedArretinevasesfromthehouseholdsof Cosacannot The dateof the disappearance be easilydetermined,not onlyfor lackof precisestratigraphical evidencebut alsobecauseof the natureof the materialitself.The rarityof decoratedwarein comparisonto undecoratedat Cosa andelsewhererevealsthe highcost of the formerandthe heirloomcharacterit probablyacquired in time,implyinga longerthanusualsurvivalin use.Nevertheless,somedatacanbe extractedfrom the stratigraphical records.Manyexampleswerefoundin level I of Room16 of AtriumBuilding I, othersin levelI of Room11 in the sameedifice.Bothlevels,as we haveseen (see abovepp. 23, 28), lay underthe debrisof the adjacentnorthwestwall of the Basilica,whichhad collapsedat the beginningof the fifth decadeof the firstcenturyA.D., establishinga terminusante quemfor the materialburiedbeneath.The onlyevidencefor a longerdurationwouldbe providedby three examples,nos. 15, 63, and71, foundin levelI of Room22 of AtriumBuildingI. Thisstratum,an accumulation startingwithina decadeafterthe demolitionof the extantruinsof the Basilica,lasted wellintoNeroniantimesandpossiblylater.Sinceit alsoincludedrandommaterialof earlierdateleft in the confusionafterthe catastrophe, thesethreeisolatedArretinepiecesmayverywellbe survivors of earlierdates.In conclusion,the Cosaexcavationsprovideno evidencethat the productionof decoratedArretinewarecontinuedmuchafterthe middleof the firstcenturyA.D.

5 * The Beginning of Decorated Arretine

The

following fragments, on the basis of their technical and decorative features and of stratigraphical evidence, may provide the only proof at Cosa of an experimental phase preceding the production of the major Arretine workshops. This meager documentation, corroborated by comparison with examples in the ArchaeologicalMuseum of Arezzo, mostly unpublished, points to the important influence here of the Italianmolded pottery of Hellenistic tradition, the so-called Italo-Megarianware, produced in Etruscan territory,'on the decorative repertoryadopted by the Arretine artisans.The names of Cerdo and Secundus, workmen of Rasinius, are associated with this experimentalphase. No. 1 (pls. 37, 59; color pl. 3P). Smallfragmentof centralbody, erroneouslyclassifiedwith fragments of chalice no. 19 (C71.172, below p. 112) from the surface level of the sediment in the cross drain sewer of Street M close to its intersection with Street 5,2 and possibly from the same context. Fabric:fine, moderately hard, light red (2.5YR6/6). Slip: thin, worn on high relief, silk-shiny on exterior, matte with irregularitiesand fine wheel markson interior,red (2.5YR4/8). Decoration:head of Apollo in profile turned to the left: long stiff neck with horizontal wrinkles, wide jawwith short chin, smallmouth with thick lips, high forehead;hair strandsmarkedby parallel wavy lines on top of head, gathered in soft rolls along the temple and in a bun on the nape, wavy lock descending along the neck; leaf crown. Tracesof turning on the left. Technically,including the wheel markson the inner surface,it is very similarto fragmentHB.1 (C71.207) from the construction level of Room 12 in the House of the Birds (see above p. 12) and also, to a lesser degree, to fragments AB16.1 and AB16.2 from level III of Room 16 in Atrium Building I (see above pp. 23-24). While HB.1 has been attributedto a bowl of the early Conspectus form 8.1, no comparandain the repertoryof Conspectuswere found for AB16.1-2, though an affinityof shape and decoration can be seen between AB16.2 and the thin walled fragment Cosa no. 115 of Form XIX, dated to the third quarterof the first centuryB.C. Stratigraphicallythe three fragmentscan also be dated to the third quarterof the centuryand, on account of their transitional characteristics,close to its beginning. An iconographic examination of the head on fragmentno. 1 corroboratesthis dating. A figure on an Arretinefragmentin the Antiquariumof the National Museum of Rome with a head identicalto ours allows us to identifythe type as Apollo citharoedus(fig. 1).3 Dressed in a longsleeved, high-belted chiton and himation, he is holding with his right hand a citharawhose frame, I COSA,Megarian,157-227, pls. 1-23 with preceding bibliography. On P. Puppo, Le CoppeMegaresiin Italia (Rome 1995), see my review in AJA 101 (1997) 416-17.

2

COSAIV, 125; see above p. 35.

3

PORTENPALANGE,Antiquarium, 70-71, no. 104, pl. 28,

identified as female.

81

Fig. 1. Rome, Museo Nazionale Romano,Antiquarium,inv. no. 106299. Head of Apollo citharoedus(photo courtesyF P Porten Palange).

-

z .

_

2. Denarius of Q.PomponiusMusa. Fig. Head of Apollo (photo courtesyAmerican NumismaticSociety).

":.'

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Fig. 4. Denarius ofA. Allienus. Head of Venus Steinschneidekunst,pl. 18,6). (from VOLLENWEIDER,

Fig. 3. Cosa, "Augustanmedallionbowl"'Head of Apollo.

Fig. 5. London,BritishMuseum,Campanaplaque. Venus carriedon a swan (fromRHoDEN/WiNNEFELD, Terrakotten,pl. 103,1).

THEBEGINNINGOF DECORATED ARRETINE

83

taperingoff towardthe end, has a geometricdecorationand clearlydefinedstrings.In the Cosa fragmentthe top of the instrumentis visibleandthe stringsbarelydiscernible,whilethe featuresof the head,betterdefinedherethanin the Romanfragment,allowus to identifyits originalmodel. Theheadof Apollowithrolledhairandbungoesbackultimatelyto anearlyclassicaltypecanonizedaboutthe middleof the fifthcenturyB.C.on the coinsof CataniaandLeontini4andrevived in the splendidneoclassicalinterpretations issuedin the fourthdecadeof the firstcenturyB.C.by suchlaterepublicanmoneyersas Q. PomponiusMusa(fig.2).5In Tiberiantimesa headof Apollo, alsoderivedfromthoseSiciliancoins,appearsas an emblemin the interiorof threeshallowbowls withthinwallsbelongingto a groupincorrectlynamed"Augustan medallionbowls,"one of them foundat Cosa(fig.3).6 A closescrutiny,however,willreveala moreimmediatesource,bothiconographic andstylistic, for the Apolloon the Cosafragments:a head of Venus,also relatedto the earlyclassicaltype of Apollo,whichappearson the coinageof JuliusCaesarshortlyafterthe middleof the centuryand lastsuntiltheyearof his deathin 44 B.C.7Comparison of theheadof thisVenuson a denariusissued by the moneyerA. Allienus(fig.4)8withthe CosaApollomayunveila manipulation of themodelto obliterateits feminineconnotations:earringremoved,diademtransformed into a crownof leaves, curlabovethe foreheaderasedleavinganemptytriangulararea,hairalongthe templesawkwardly rearranged to accommodatethe disappearance of the diadem.Thebasicfeatures,however,arestill present:on the long tubularneckthe profilesof jaw,chin,andmouthareverysimilar.Keydetails in the hairdoarepreserved:the bun low on the napeanddividedinto two separaterolls,another rolledsectionbehindthe ear,the thickwavylockdescendingalongthe neck,andthe heavyparallel strandsat the summit.Stiff,cylindricalneckssupportingshortchinsalsocharacterize the profiles of two divinitieson aureiissuedby L. MussidiusLongusin 42 B.C.9 The utilizationof coinsis knownin the decorationof ItalianHellenisticreliefware.Partially manipulatedimpressionsof late republicandenariicanbe seen on an Italo-Megarian bowl in the VaticanMuseumbearingthe forgedsignatureof Popiliusanddatableto the turnfromthe second to the firstcenturyB.C.'0 Technicaland iconographicalcharacteristics thereforeconcurto date the moldedvases to whichthe two fragmentsfromCosaandRomebelongto the beginningof the secondhalfof the firstcenturyB.C., probablycloseto 40 B.C.The wornconditionof the surfaceandof the breakin the Cosafragmentindicatesa long intervalin the ground.The ownerof the vase,presumably, was one of the settlerswho reclaimedthe town afterits temporaryabandonment. In the laterevolutionof ArretinepotteryApollo,playingan acanthus-decorated cithara,followedby ArtemisandLatona,approachesan altarattendedby a Nike, all in archaisticstyle,best I

G. E. Rizzo, Monete greche della Sicilia (Rome 1946) pl. XIII,2,3, pl. XXIV,2,3; LIMC, I, 252, nos. 547, 548, pl. 224. For the head of Apollo on the issues of Q. Pomponius Musa, see SYDENHAM,nos. 811-23; see also the stylistically related head of Sybil on the issues of L. Manlius Torquatus, SYDENHAM, nos. 835-37. For an evaluationof these issues and bibliographicalreferences, cf. MOEVS,Ambracia,8-10. 5

6

The other two are in Heidelberg and Berlin; see MOEVS, New Evidence,322-23, n. 31.

VOLLENWEIDER, Steinschneidekunst,P1. 8,7, p1. 17,2-3, p1. 18,6; also ZEHNACKER, Moneta,882-83, group 57. According to CRAwiFoRD,735, the type was adopted after the battle of Pharsalusin 47 B.C.;according to SYDENHAM, 168, in 48 B.C.; according to ZEHNACKER, Moneta, 603, in 49 B.C. 8

CRAWFORD, no. 457; SYDENHAM, no. 1022; VOLLENWEIDER, Steinschmeidekunst,98, pl. 18,6. 9 SYDENHAM, nos. 1090, 1091; VOLLENWEIDER,Steinschmeidekunst,pl. 18,4,2. 10 COSA, Megarian,186,

7

CRAWFORD, nos. 457, 458; SYDENHAM, nos. 1013-16, 1022;

192, 193-94, pl. 18.

84

THEDECORATED SIGILLATA WARE

known from a mold in the Boston Museum of Fine Arts'1attributed to M. Perennius Tigranus.12 The stylized perfection of the head of this Apollo and the irrationaldesign of his costume show a different direction of taste from the more naturalisticstyle of the Cosa Apollo. The seated figure dressed in a high belted chiton and mantle who plays the citharaon a fragment in the Archaelogical Museum of Arezzo signed RASINJ,13and on another fragment in the Museo Civico of Milan,14 may also be a representationof Apollo. The head with rolled hair and high bun seems to bear only a general resemblanceto our type, but the seated pose may be an appropriate restorationfor it. A comparison can also be made with the head of Venus riding a swan on a Campanaplaque of the first century A.D. in the British Museum, whose severe profile and coiffure suggest a later derivationfrom the type of Venus on the coins of Caesar (fig. 5).15 No. 2 (pls. 37, 59; color pl. 3Q). Atrium Building I, Room 16, level III. Third quarterof the first century B.C. (see above p. 23). Two fragmentsfrom central body, probably of a chalice. Fabric:slightly gritty with some impurities, soft, pinkish beige (2.5YR6.6/4). Slip: thin with some granulartexture, worn in spots, glossy, dark red (2.5YR4/7). Decoration: (a) Tip of vertical acanthus leaf and traces of a second to the left; very delicate low relief. (b) Lower part of circular altar with molded base on quadrangularplinth; decorated with sequence of three draped female figures moving to the right, the first almost entirely preserved, the second only below the chest, the third lost except for a little of the skirt. Figures in very low relief not easily decipherable; deeply outlined base and plinth indicate use of a worn mold roughly retouched. The calyx of acanthus leaves rising from the bottom of the vase is one of the most frequent motifs in the decoration of Italo-Megarianbowls. A succession of acanthusleaves alternatingwith architecturalelements is also part of this decorative repertory;it appears at Cosa on the fragments of two molds and a vase,16as well as in products of the late Tivoli workshop.17The rendition of an elaborate design in a very low relief is also a characteristicof Italo-Megarianbowls, particularlyof those related to the "Popilius revival,"which were cast not from original molds but from molds derived from vases of an older and better period.18An attempt to revive old molds by retouching their decoration can be seen in the two molds from Cosa. The closest comparandum, technically and stylistically,is a large early Arretine fragment of the base and lower body of a chalice in the ArchaeologicalMuseum of Arezzo, from the Petrarca theater of Arezzo (fig. 6),19signed CERDO/RASINI in a rectangularstamp at the center of the interior (fig. 7). A line of bosses encirclingthe attachmentof the foot and a calyx of acanthusleaves in delicate low relief decorate the exterior;between two leaves the beginning of a stem, possibly of 1 CHASE,Boston, 28-31, pl. 3; D/W, Perennius, cycle II, 61-64. 12

Catalogueof the Terracottasof the Departmentof Greekand RomanAntiquities in the BritishMuseum (London 1903) D 508, p. 381, pl. XL.

STENICO,Liste, no. 324.

Inv. no. 10084, D/W, Rasinius,cycle VI, p. 127, Bell. 5,36, identified as a "lyreplaying maiden." The signatureis completed as Rasini Memmi by STENICO,Liste, 87, no. 1516.

16

COSA, Megarian,196-97, 218-19, nos. 10-12, pls. 1, 8.

17

Ibid., 196-97, pl. 22,2.

13

18Ibid., 191, 192, 193-94, 204. 14

STENICO,Pisani-Dossi,no. 58, p. 437, pl. III.

15

RHODEN/WINNEFELD, Terrakotten,pl. 103,1;H. B. Walters,

19

Inv. no. 11066, from the Petrarcatheater, Suni gift.

ARRETINE THEBEGINNINGOF DECORATED

85

Fig. 6. Arezzo,ArchaeologicalMuseum, inv. no. 11066. Base of a chalicesigned CERDO/RASINI.

..........

Fig 7 Arezzo,ArchaeologicalMuseum, inv. no. 11066. StampCERDO/RASINI.

Fig 8 Arezzo,ArchaeologicalMuseum, mold iv. no 15093. Fragmentof Italo-Megarianmold.

a long petal, can be seen The krateriskoswith low molded foot is a form known in Italo-Megarian ware and present also at Cosa. The Italo-Megarianorigin of this decoration, though obvious, is corroboratedby the presence in the ArchaeologicalMuseum of Arezzo of a fragment from a large mold (fig. 8).2 The empty nymphaea nelumbo appearinghere among the leaves of the acanthus calyx is one of the most typical motifs in the decoration of Italo-Megarianbowls. The large dimensions of the mold, the low relief, the unadorned design of the nelumbo, and the wilted aspect of the leaves find comparisons in the late period of the production, particularlyin the materialfrom the Tivoli workshop, whose activitymight have lasted until the middfleof the first century B.C.22 The presence of an artisancalled Cerdo in the workshop of Rasiniusat this earlystage is suggestive. The name is best known in conjunction with the workshop of M. Perennius at Santa Mariain 20

COSA, Megarian,225, nos. 57-59, pls. 3, 14.

however,a common motif in the decorationof Italo-Megarian bowls from the beginning (COsA,Megarian,217-18, no. 6).

21

Inv. no. 15093. Paola Porten Palange attributesthe mold to the Annii (privatecommunication),pointing out that the bead-ribbed leaves are typical of their workshop; they are,

22

COSA, Megarian,210.

86

THEDECORATED SIGILLATA WARE

Fig. 9. Arezzo,ArchaeologicalMuseum. Fragmentof chalicewith an altar

_

S _~~~_A S

_s

2

bu.t

Gradi during its earlyphase (see below no. 18).23 The associationof a Cerdo signaturewith Rasinius is found in some stamps from Puteoli, at least one of them on the interior of a decorated vase.2 A period of activityfor Rasinius'sworkshop at Puteoli was postdlated on account of such finbut the cosmopolitan characterof this port town, a gatewayfor trade with the eastern Mediterranean, and especially Alexandria,may be sufficient explanation. The presence of an artisanCerdo in various workshops26can be explained by the meaning of the name. The noun cerdo-onis,the Latinized form of the Greek KE`P)V or KEp8Og, means "artisan,"and this remained the basic connotation of the word even if by extension it may also have been used as a proper name.2 In the initial stage of Arretine production it may simply be a synonym for the commonerfigulus. The altardecorated with three draped female figures also belongs to the repertoryof Rasinius. It appearsamong the dancing figuresof a thiasos on a fragmentarymold bearinghis signaturein the Arezzo Museum. Only the plinth of the altarwith a lower portion of the main decoration and the fire on top can be seen here, but the missing upper part of the decorationis preservedon a fragment 23

D/W, 35-37.

CVArr1498; here five entries are recorded, while in OCK 1637 they are reduced to three.

also suggests that PharnacesRasiniof Arezzo and Pharnaces Naevi of Puteoli may be the same.

24

CVArr 1491: "Rasinius demonstrably worked there (Puteoli)";in OCK 1623, the possibility of such an activity remainsopen. See also H. Comfort, "Rasiniusat Puteoli, -or Cumae," in Archeologie en Historie, Festschr.H. Brunsting (Bussum1973)271-74. A period of activityof Rasiniusat Puteoli was also postulated by A. Oxe; see H. Comfort, "Terra sigillata,"in E.A.A., Supplemento1970, 811. Comfort here

25

At least two more are recorded, in association with C. Annius: CVArr83h = OCK 137, and with L. Titius: CVArr 2079 = OCK 2208. 26

27

Petron. 60; D/W, 35, n. 2.

Inv. nos. 4465, 4497, 4498, STENICO,Rasinius,25, no. 1, e (burning wood), i (lower section of altar with plinth), also p. 62, no. 119.

28

THEBEGINNINGOF DECORATED ARRETINE

87

of a chalice in the same museum (fig. 9),29 allowing a complete reconstruction of the monument. It is a round altar supported on a square plinth, decorated with multiple moldings at its base and crowned by a line of astragalsbetween parallellines of grooves and ribs with moldings above. On its top, piled on a plain crown, is the heap of burning wood. A relief decoration, which runs along the round shaft of the altar,representsthree young women dancing in procession to the right, the first and second looking back to the last while gracefullylifting the folds of their garments. In spite of their small dimensions the figures can be recognized as neoclassical in style and typologicallylinked to a series of reliefs, derived from models of the mid-fourth century B.C., that depict three maidens, in variouspostures and usuallywithout attributes,who advancewith dancing gait in procession.30The same type of altarwas adopted by the workshop of Perennius, where it appears either in a narrativerepresentationor more often as a decorative accessory among disiecta membra.The first is found on the mold with the Apollinean Triad and Victory in the Boston Museum of Fine Arts attributedto M. Perennius Tigranus.31There, in keeping with the archaisticstyle of the main figures, the three maidens on the altar also have become archaistic,and gentle flames have replaced the heap of wood on the crown. In style and iconography,including the circularaltar with dancing maidens, this composition finds close parallelsin archaisticmarble reliefs of the type Villa Albani-Louvre,most likely of Augustan date,32and in Campanaplaques.33As an independent decorative element of an altar and as the base of a tripod it is well documented elsewhere in the Tigranusphase of the workshop.34 THE DEVELOPMENTof decoratedArretineat Cosa bears no resemblanceto the long gestation of the

undecoratedware in its transitionfrom Campanablack to sigillatared. Only the fragmentsdiscussed above seem to indicate, on the basis of technical and decorative features and supported by some stratigraphicalevidence, that a brief experimentalstage occurred duringthe intermediateperiod of about twenty yearsthat at Cosa separatesthe disappearanceof the last Italo-Megarianware, at the end of the first half of the first centuryB.C.," from the earlyproducts of Perennius commemorating the victory of Actium (see above p. 78). The choice of decorative motifs appearingon these fragments and on their comparandain the Arezzo Museum points to the influence exercised by Italian mold-decoratedpottery of Hellenistic traditionon the formationof mold-decoratedArretine.Such influence had been postulated previously because of their common location in Etruscan territory or on the basis of rathercircumstantialfeatures.36

29

A. Fabroni, Storia degli antichi vasifittili aretini (Arezzo

1841)pl. VI,10. 30W Fuchs, "Die Vorbilderder neuattischenReliefs,"JdI-EH 20 (1959) 59-72; F Hauser, "Disiecta membra neuattischer Reliefs," OJh6 (1903) 79-107. Cf. also E. Harrison, "Alkamenes Sculpturesfor the Hephaisteion,"AJA 81 (1977) 267 ff.; MOEVS,Horai, 12-13, 22-24.

31

architecturalelementsin this scene and their historical implications, see M. J. Strazzulla, II principato di Apollo (Roma 1990) 111-25. OxE, Rhein, 113-14, nos. 73,74, pls. 23,24; D/W, 177, pl. 1, no. 11; STENICO,Pisani-Dossi,429, no. 30, pl. 2; GOUDINEAU, Ar&tinea reliefs, 173-74, no. 7, pl. 3. According to Stenico a stampwith the same altarbelongs to the late phase of Perennius; STENICO,Punzoni, 31, no. 21, pl. 9. 34

See aboven. 11. 35

COSA, Megarian,210.

32

M. A. Zagdoun, La sculpturearchaisantedans l'arthellenistique et dans l'art romaindu haut-empire,BEFAR269 (Paris 1989). Villa Albani: 107-8, no. 435, pl. 31, fig. 17; Louvre: 108, no. 335, pl. 30, fig. 115.

33

BORBEIN,Campana, 187. On the interpretation of the

DRAGENDORFF, 27; H. Comfort, "A 'Popilius Vase' in the National Museum Washington," StEtr 11 (1937) 408-9; STENICO, Aretini vasi, 612; OxE, Beziehungen,bases the connection on similaritiesbetween certain signaturesof potters on Italo-Megarianand early Arretinevases. 36

88

THEDECORATED SIGILLATA WARE

Furtherevidenceof this influenceis providedby anotherexamplein the ArezzoMuseum," a largefragmentfromthe lowerbody of a chaliceshowingthe sametechnicalcharacteristics of transitionseen in the chalicefromTeatroPetrarca(fig. 10). It is decoratedwith a "longpetal" calyx,originallya naturalistic motifthatin the decorationof Hellenisticmoldedbowlsunderwent progressivestylizationandbecame,afterthemiddleof the secondcenturyB.C.,the commonesttype of decorationon Italo-Megarian bowls.38 Althoughthe patternon the Arezzofragment,if restored withthe helpof corresponding wouldstillappearnaturalistic, the cursoryrenditionof the molds,39 petalspointsto a modelcloseto the end of the productionof Italo-Megarian ware.40 The signature in a rectangular frameinscribedin a circleat the centerof the interior(fig. SECVND/RASINI,41 11),maysuggestthe workmanship of a secondartisan,alsofromS. Mariain Gradi,as anonymous in as Cerdo, the earlystageof Rasinius'sproduction.The nameSECVNDin a rectangular frame appearson the exteriorof a mold fragmentin the ArezzoMuseumthat shows a decorationof definitelyArretinecharacter,hintingat a successivestagein the activityof this artisan:a bandof of typicalRasiniandesignand,in the mainfield,a statuetteof Priapuson a high ovolo-and-tongue A secondfragmentin theArchaeological quadrangular pedestal(fig.12).42 Museumof Siena,signed SECVNDVSin a rectangular frame,preserves,undera line of ovolo-and-tongue of Rasiniantype, a beardedfigurewith a spearon a pedestal.43 The calyxof acanthusleavesandflowerson curlingstalksthatappearson a fragmentfroman Arretine"hemispherical bowl"in theAntiquarium of theMuseoArcheologicoNazionalein Rome44 is anotherbasicmotifof Italo-Megarian decoration.It appearsin Cosaat theverybeginningof the production,possiblyas earlyas the end of the thirdor beginningof the secondcenturyB.C.,43and is still a standardin the repertoryof the late Tivoliworkshop.46 In forgoingan attributionfor the Antiquarium fragment,PaolaPortenPalangeimplicitlyrecognizedthe non-Arretinecharacterof the decoration.The haphazarddivisionof the space,resultingin dwarfedelements,andthe hazy appearanceof the reliefon thisfragmentarealsocommonfeaturesof the Italo-Megarian vasesof a late date.

37

Inv. no. 11049.

42

Inv. no. 8979, from S. Maria in Gradi, excavation 1883,

STENICO,Rasinius,26-27, no. 19, pl. 6 (OCK 1838). 38

COSA, Megarian,205-9. 43

Arezzo Museum inv. nos. 15044, 15042, 15043, STENICO, Rasinius,46, nos. 222-24, pl. 40.

Kindly communicated to me by Paola Porten Palange.

39

40

Inv. no. 10539, PORTENPALANGE,Antiquariunm,75-76, no. 113, pl. 28.

4

CosA,Megarian,210-11. See bowl no. 6 from the cesspool of Room 13 of Atrium Building I: COSA,Megarian,171-72, 185, 190, pls. 1, 6, 7.

45

CVArr1547 = OCK 1679, in rectangularframe, location and date unknown.

41

46

Ibid., pls. 22,1; 23,9.

Fig. 10. Arezzo,ArchaeologicalMuseum, inv. no.

~

__

.~~~~~~~~

11049.Fragmentof chalicesigned SECVNDIRASINI. ~~~~~~~~~~~~

~109

Stm

SECVNDRASINI

~~~~~~~

.. ...

J~~~~~~~~~~~~Famn

_+sS!l l 1!w.

'.'^ .t. 3_

i_~~7

_~~~~~~~x

ig

12

Arzo

Arhelgcl

of mod Sttet

Muem

of Praps

in.

no

99

6 * TheWorkshopof Rasinius

Rasinius-Memmius

No.3 (C66.262;pls. 37, 59). From the habitationarea,surfacelevel. Largefragmentof body and two smaller,non-joiningfragmentsof rim and body of a chalice, about one-fourthpreserved. Fabric:fine, moderatelyhard, pinkish (2.5YR6/4). Slzp:firm, slightly worn in spots, silk-shiny,red (10R4/7). Technzque:very good. Form:The heavy,well-shaped hanging rim of almost triangularsection is decorated with grooves and ribs on the outer face; the decorated field is separated from the rim by a large quarter-round molding and two deep grooves; the foot is missing. The chalice belongs to Conspectusform R 1.1, whose type of rim is the earliest found in the Rhineland, according to Oxe. Decoration:The decorated field is surmounted by a band of rosettes connected by horizontal fusiform elements (STENICO, Rasinius 201, 168). The central decoration originally comprised three winged female figures separatedby decorative vegetation;the following portions are preserved: a: A female figure, the body almost completely preserved but lacking her forearms,a small portion at the back of her head (STENICO,Rasinius 14), and an eroded area on her abdomen; the remainingtip of a wing appears at her right and below it a part of a bow. The top of the head, the raised left hand, and the tips of two wings of a similarfigure, preservedon a separatefragment, allow a complete reconstructionof the type. A young woman, her body frontaland her head turned in profileto her right,stands on two large divergingacanthusleaves (STENICO,Rasinius267-68) with her wings spreadwide and her left leg advanced as in the act of alighting;her hair is pulled back and gathered in a knot above her nape. She wears a very light peplos with kolpos under overfold, billowing along her hips and legs, clinging in front. In each hand, the left raisedto the height of her nape and the rightto her shoulder, she holds a bow (STENICO,Rasinius 164 doubled) from which flutters a scroll. b: A zone of vegetable decoration separatingone winged figure from another.The vertical axis of the composition is formed of an acanthus leaf (STENICO,Rasinius 257), a stylized palmette (STENICO, Rasinius283), a flower in side view from which to the right spring two consecutive leaves (similarto STENICO,Rasinius277,275) and, to the left, the frontalbody of a stag emerging from a flower calyx (similarto STENICO,Rasini?us228). Symmetricalvine stems spring from the base of the acanthusleaf, each developing into two circularscrolls (similarto STENICO,Rasinius 272-76) ending in a rosette (STENICO,Rasinius 188, 229). Above the central axis is the two-part stamp: QVARTIORASINI (CVArr1540 = OCK 1598; CVArr 1486' = OCK 1622.2). According to Stenico, as noted above (p. 77), the unabbreviated signatureof Rasiniusin the genitive is alwaysassociated with that of his partnerMemmius (CVArr 1009' = OCK 1136.1). His assertion,however,that the products of this association "havevery little

91

THE DECORATED SIGILLATAWARE

92

*

..

IHIIjuIjj IIi!iIIIjIQ

Fig. 13. Arezzo,ArchaeologicalMuseum, inv. no. 9127. Mold signed RASIN. Wingedfigure on acanthuscalyx.

lj l...,.:.

~~ ~~~C' ~~attributed

Fig. 14. Arezzo,ArchaeologicalMuseum, v. no. 9034. FragmentOfmold to Rasinius.

in common with the repertory and style" of the workshop of Rasinius at Santa Maria in Gradi1 seems contradicted on our chalice by a number of motifs. The winged figure on an acanthus calyx (fig. 13), one of two on a mold in the Arezzo Museum signed in the abbreviated form RASIN, is identical, though empty-handed,to that which appearson the Cosa chalice.2But the clumsy rendition of anatomy and draperyand the lack of refinementin the decoration separatingthe figures on the mold from SantaMariain Gradi show a stylisticinferiorityto the Cosa chalice. The same sort of inferioritycan be noticed between the vegetable composition on the Cosa chalice and comparable motifs on mold fragments in the Arezzo Museum attributed by Stenico to Rasinius alone.3 The scrolls emerging from the acanthus leaves on one of them (fig. 14)4 are particularlyclose to those on the Cosa chalice, but the complexity of the convolutions and their subordination to the central axis are absent in the Arezzo mold. Either empty-handed or holding meaningless ribbons, the Rasinius and Memmius Victories betrayan unsuccessfulattemptto connect the human figurewith vegetal elements, alreadyachieved ' STENICO, Rasinius, 18-19. Inv. no. 9127; ibid., no. 114, p. 36, pl. 23. Other occurrences of the type either carry the signature of Memmius (unpublishedfragmentin the Arezzo Museum cited in D/W, 140, no. 1) or are attributed to the partnership RasiniusMemmius.The attributionto the workshop of the Annii of the Nikai on a fragmentin the Antiquariumof the National Museum of Rome (inv.no. 57377) by D/W, 151, fig. 22, has been correctedby P. Porten Palange, who identifies this and

2

a second pertinent fragment as Rasinian,possibly of Rasinius-Memmius (PORTENPALANGE,Antiquarium,nos. 71-72, pp. 52-53, pl. XIV). For a list of the known occurrences of the type, see H. Comfort, "Signaturesand Decoration on Italian and Gaulish Sigillata at Sabratha,"AJA 86 (1982) no. 32, p. 495, pl. 63. 3

STENICO,Rasinius, nos. 172-74, p. 42, pl. 33.

4

Inv. no. 9034; STENICO,Rasinius, no. 173, p. 42, pl. 33.

THEWORKSHOPOF RASINIUS

93

Fig. 15. Rome, Villa Giulia Museum.Redfigured vase signed by Syriscos.PeplophorosNike on palmette (photo courtesySoprintendenza Archeologicadell'Etruriameridionale).

.'.

.."

M

' ..S . ,..'. ..'.

on the red-figuredpottery of early classical times. A peplophorosNike alightingwith spread wings on a palmette, the body in frontal view and the head turned to the side, on a red-figuredvase from Faleriiin the Villa Giulia Museum, signed by Syriscos (fig. 15),5 holds vegetal scrolls in both hands. Her iconographic similarityto the Rasiniustype is startling.At the transition from the republican to the imperialperiod winged Victories in archaisticstyle hold the surroundingvegetal elements on the frieze of the temple of Divus Julius dedicated in 28 B.C.but begun in 42 B.C.6In the Augustan period the endless possibilities of this combination are explored in the so-called Grotteschi,which appear with great frequency in sculpture, painting, and the minor arts.7 Stylistically,the manneristic interplay of anatomy and drapery identifies the Rasinius Nike as an early Hellenistic interpretationof a classical prototype.8The objects carried by the original 5LIMC, "Nike," VI,1, 865, no. 156, VI,2, 575, no. 156.

relation to Arretine pottery are the winged figures, neoclassical and archaistic,flankedby vegetal elements on Campana 6 Rome, Antiquario Forense, inv. 3690; WALTER-KARYDI, plaques of the early imperial period: RHODEN/WINNEFELD, Grotteskenornamentik, 148, pI. 40,1; KAISER AUGUSTUS, Terrakotten,204-6, figs. 416-19, pls. LVII, LXII, CVII,2. 373-74, no. 206. The highly stylized rendition of figures and vegetation on these reliefs is indicative of a later development. 7On the beginning of the Grotteschiin the early Augustan period and their increasing popularity,see WALTER-KARYDI, 8 A good comparandum, which also includes the standing Grotteskenornamentik; accordingto G.-C. Picardgrotesques figureon the acanthuscalyx,is the "Dancers"of the Acanthus appear around 50 B.C. and temporarily disappear around Column at Delphi, convincingly dated by B. Ridgway,Hel15 B.C., to reappear for a brief period under Nero: "Les lenistic Sculpture,I: The Styles of ca. 331-200 B.C (Madison grotesques: un systeme decoratif typique de l'art cesarien 1990) 25, pI.4, to about 330 B.C.; a securelydated comparanet neronien,"Art d6coratif,143-49. Of particularinterest in dum is the Nike carryinga trophy and a wreath on gold coins

94

THEDECORATED SIGILLATA WARE

..

Fig. 16. Hildesheim, Romer PelizaeusMuseum, inv. no. 1137. Stuccofrieze from Mit-Rahine(photo courtesy ArchdologischesInstitut und AkademischesKunstmuseum der UniversitdtBonn).

model are not clear,thoughthe left hand raisedto the nape maysuggestself-crowningand the outstretchedrightmayhavecarrieda palmbranch.9On a fragmentin the Museumof Gottingen the Nike is apparentlyholdingin heroutstretchedhanda wreathtied witha characteristic double loop bow.'0The Nike carryinga trophy,a typefrequentin representations of the earlyHellenistic period,"seemsto be excluded. Thevegetalcompositionsbetweenthe figureshavea self-justifying qualitythatsetsthemapart fromthe decorationcloselyintegratedwiththe shapeof the vasefoundon Hellenisticreliefbowls. A similarpatternthatincludesidenticalfloralelementscanbe seen on a fragmentfromRoanne,'2 whoseRasinianauthorship,earlierproposedby Stenico,3seemsnow confirmed.Thewideruse of the ramifications andtheconspicuouspresenceof a largebirdindicatea somewhatlaterstage,closer to the reliefsof the AraPacis.'4Thistypeof self-justifying vegetaldecorationvariouslyorganized, axial,coveringa surface,or a frieze,occasionallyincludingsmallhumanand animalfigures,was extensivelyusedin the decorationof utilitarian objectsin HellenisticAlexandria,as a fewsurviving objects'5and severalstuccomodelsdemonstrate(fig. 16).16Amongthese a modelfor the hilt of a of Pyrrus issued in Syracuse in 278-276 B.C. (P. R. Franke and M. Hirmer, Die GriechischeMiinze [Miinchen 1972] 105, no. 475, pl. 151). 9 Crown and palm branch are the traditionalprizes for victory in the Olympic games, Paus. 8.48, 2; 5.7, 7; 10.7, 8; 2. 1, 3. A palm branch can be seen in the left hand of one of the three winged Victories decorating an unusual chalice from Pompeii in the National Museum of Naples (inv.no. 8069-4) signed CERTVSRASINI on two lines in a rectangularframe: A. Ciarallo and E. De Carolis, eds., Homo Faber. Natura, scienzae tecnicanell'anticaPompei(Naples 1999) 172. A palm branch also appearsin the righthand of a small Nike, similar to the Cosa example, on a Campana plaque in the Louvre previouslymentioned:RHODEN/WINNEFELD, Terrakotten,fig. 419. The bow-tied ribbon may be not entirely out of place since immediately after the victory athletes were crowned with a woolen fillet.

10 XE,Rhein, no. 188, p. 94, pl. 49.

8), see the Nike on the horse ornamentof gilded silverin the Basel Antikenmuseum, B. Segall, "Alexandriaund Tarent. Eine tarentinische Fundgruppe des friihen Hellenismus," AA (1965) 555 ff., figs. 3-4, and Nike on a stucco model, RUBENSOHN, HellenistischesSilbergerdt,pl. XIV, no. 79. 2 H. Vertet,"Lesvases caliciformesGallo-Romainde Roanne et la chronologie des fabriquesde terre sigillee de Lezoux au debut du ler siecle," Gallia 20 (1962) 354-55, n. 2, fig. 4;J. Dechelette, Les vases cramiques orne'sde la Gaule romaine, I (Paris 1904) 23, fig. 6.

Liste, no. 140.

13 STENICO,

14

15 A. Adriani, Le gobelet en argent des amours vendangeurs du Musee d'Alexandrie, Societe Royale d'Archeologie d'Alexandrie 1 (1939).

16

11In addition to the Nike on the coins of Pyrrus (above n.

LA ROCCA, Ara Pacis, 18-23.

REINSBERG, Hellenistischen Toreutik,fig. 23; see also figs.

20-33.

THEWORKSHOPOF RASINIUS

95

dagger from Mit-Rahinedated to the beginning of the third centuryB.C. is particularlyclose to the decoration of the Cosa chalice.17 No. 4 (pls. 37, 60). From Atrium Buiding I, Room 16, level I. Augustan-Claudian.Two fragments of moderate size and thirteen small fragmentsof a jug. Fabric:fine, hard, wheel markson the interior,pinkish yellow (5YR6/5). Slip:thin, firm, silk-shiny, dark red (2.5YR4/7), covering the exterior but limited to the mouth and neck with drips down the body on the interior. Form:The jug, which can be reconstructed except for portions of the neck and mouth, shoulder, and handle, had an ovoid body on a low pedestal foot, spouted mouth, and vertical four-ribbed handle with relief head of Silenus at lower attachment.The mouth bears traces of hand pinching to create the spout. Grooves separatedthe plain shoulder from the decorated field. The jug is a form documentedmostly in undecoratedItaliansigillataand with so manyvariations in the shape of body and mouth that typological distinctions are worthless.'8The same conclusion applies to the few decorated examples known: a jug decorated with ivy leaves and berries signed by P. Cornelius in the British Museum'9 corresponding to D/W XIV,20a fragmentaryjug in the Greco-RomanMuseum of Alexandriaattributedto Ateius,2' a jug from Tarquiniain the Villa Giulia Museum signed PHARNACES RAS[INI],22 assignedby Porten Palange to the Rasinius-Memmius group. These do no include a close parallelto the form of the Cosa jug. Decoration:Beneath grooves runs an incised line, which in turn is separatedfrom the main decoration by three incised lines making two ribs. a, b: A vine with bunches of grapes (STENICO,Rasinius 217), leaves similar to STENICO,Rasinius 244-45, and curlingtwigs with tendrils covers the field;beneath it runs a fine rope twist. Above the foot, in sharp contrast to the elegance of the rest of the decoration, are freehand, irregular wavy lines with vertical tendrils. Although the vine covering the body of the vase is a familiar motif in the repertoryof Rasinius, the pattern adopted in the Cosa jug is unusual.23It finds a comparandumon a fragment in the Museo Civico of Milan signed RASINI in a rectangular frame,24which has been assigned to Rasinius-Memmius.25 c: The appliqued head of an old man with thick curly beard, bushy eyebrows, and drooping moustache, wearing a crown of vine or ivy leaves, must be a Silenus. His facial features, however, the sharp cheekbones, the frowning forehead, the intense gaze of the pupils, the small bony nose with dilated nostrils, the sensual half-open mouth, are highly suggestive of human suffering. Together with the refined vine branch, this head confirms the derivationof our jug from a metal prototype of the Hellenistic period. On a fragmentof shoulderwith the beginning of the body from a jug in the Gorga collection in the Arezzo Museum is a Silenus head at the

17 Ibid., fig. 29; RUBENSOHN, HellenistischesSilbergerdt,pl. XIV, no. 36.

18

Conspectus, 186-87.

Inv. no. 49691-2. G. Ricci (ed.), "Necropoli della Banditaccia. Zona A del recinto," MonAnt 42 (1955) 748-49, fig. 167.

22

186, fig. 7.

Usually grapes and leaves are connected by a continuous horizontal line; the closest to our decoration is the small fragment STENICO,Rasinius,no. 144, p. 40, pl. 29.

20

D/W, 27, fig. 2.

24

STENICO,Pisani-Dossi, no. 65, p. 438, pl. IV.

21

Inv. no. 24056, STENICO,Smzinthe,figs. 2, 4, 6, 8.

25

STENICO,Liste, 97, no. 1756.

23

B.M. Pottery, L 56, p. 21, pl. VIII; Conspectus,

19 WALTERS,

THE DECORATED SIGILLATAWARE

96

Fig. 17. Arezzo, ArchaeologicalMuseum. Fragmentofjug. Head of Silenus.

v"'~-~ .

T0.

lower attachment of the handle (fig. 17).2 From the type of its ovolo decoration, the jug can be assigned to the workshop of the Annii. In spite of the good qualityof this head, comparison with the Silenus on the Cosa jug makes the individualityof the latter evident. Applique'dheads of Silenus at the lower attachmentof handles on metal jugs and their ceramic imitations are well known in the late classical and early Hellenistic periods. The Silenus head on the silver jug from Tomb II at Vergina,2 and those on the faience "oinochoai of the Queens" from Ptolemaic Egypt,2 are examples. Among the known examples of metal jugs, a close parallelto the Cosa form can be found in a jug in the Museum of Bucharestfound at Egyed in Hungary.2With its ovoid body in copper, slender neck with spouted mouth and pedestal foot in bronze, and decoration in "blackbronze" technique30whose main element is an assembly of Egyptian divinities, this exceptional vase may be an Alexandrian original of the early Ptolemaic period. Basically similar in shape to the Cosa jug, it provides a plausible model for its restoration. The vine encircling its neck in exquisite two-dimensional renderingis an ornamentalmotif that becomes the main theme in the decoration of the Cosa jug. The leaf-crowned head at the attachmentof a handle, also from Egyed and possibly belonging to the jug, has features very close to the Cosa applique' Although the Egyptian divinities on the body of the Egyed jug bear no relation to the decoration of the Cosa jug, Egyptian figures occur in the repertoryof Rasinius.31 The decoration on a round stucco model from Begrammay provide furtherevidence of a possible Alexandrian connection of the Rasinianvine.3 A similar vine decorates a marble amphora 26Unpublished, no inventory number. 27SEARCH FORALEXANDER, no.

Egyed," JdI 24 (1909) 28-40, pls. 3, 4; F Von Bissing, "Die Darstellungen auf den Gefissen von Egyed," ibid., 40-46.

164, p. 184, pl. 33. Improperly called "niello," this technique was used in Egypt from Dynastic to Ptolemaic times. On this subject, see M. T. Marabini Moevs, "On the Capponi Grotesque in the Metropolitan Museum of Art," Acta 13th. Int. Bronze Congress, Cambridge Mass. 1996, I (Portsmouth 2000) 255-56 and nn. 8, 10. 30

On these vases the head of a satyr protrudes from the top of the handle, while the Silenus head is attachedto the lower end. See in particularthe head of Silenus on the oldest oinochoe of the series in honor of Arsinoe II: D. B. Thompson, PtolemaicOinochoaiand Portraitsin Faience:Aspects of the Ruler Cult (Oxford 1973) no. 1, pp. 43-44, pl. LXII.

28

31

CHASE,Boston, 62, p. 70, pl. 29; STENICO, Liste, no. 390.

32

HACKIN, Begram,no. 129, pp. 143-44, figs. 281, 412.

29 A. Odobescu, Le TresordePetrossa(Paris 1896) 21-29,

no. lb, fig. 23; A. Hekler,"Die hellenistischenBronzegefassevon

THEWORKSHOPOF RASINIUS

97

Fig. 18. Arezzo,ArchaeologicalMuseum, iv. no. 4494. Fragmentof mold signed PHARNACESRASIN.

g-jg

in the VaticanMuseum, which has been dated pre-Augustan. Neither one, however, shows the metallic crispness that characterizesthe vine on the Cosa jug.

Rasinius

No. 5 (C70. 166;pis. 38, 61). From Street M in proximityto the House of the Skeleton, unstratified. Three fragments of rim, one preservingthe upper part of the body, from a chalice. Fabric:fine, hard, pinkish (2.5YR7/4). Slip: very thin, very firm, matte, red (10R4.5/8). Technique: good. Form:The deep verticalrim has high relief moldings with rouletting at the lip and between rim and body, with two grooves above and below the lower molding. The inner face of the rim is marked off from the body by a deep groove. The plain outer face of the rim is decorated with an applique'd female head surmountedby a loop simulatinga handle. The body was originallyhemispherical;the foot is missing. The chalice belongs to Conspectusform R 9, the latest in a group representingthe latest phase of decorated Italian sigillata.It has been dated late Tiberian-Claudian. Decoration:On the decorated field are an inverted bunch of grapes (STENICO, Rasinius217) and a few dots representingthe end of a tendril; above them is the stamp RASIN (CVArr.1486 = OCK 1622.1). The same bunch of grapes with tendrils belongs to a vine branch on a mold fragment in the Arezzo Museum signed PHARNACES RASIN (fig. 18)." Here, as in our fragment, the usual upper band is absent. The female head in frontal view has a round face framed by thick wavy hair, parted in the middle and gatheredinto two heavy braids in front of the ears. It is similarto some heads on stamps in the Arezzo Museum.316An identical loop with a head of a Silenus appears on a fragment in the Antiquariumof the National Museum at Rome, attributed to Rasinius7' 33 K. Schefold, "Das neue Museum in Vatikan,"in Zur griechischenKunst.Hans.orgBloeschzum sechzigstenGeburtstag am 5. Juli 1972 = AntK-BH 9 (1973) 91, pl. 31, fig. 3.

34

AMBROGI, Ghirlande,no. 178.

35

Inv. no. 4494. STENICO,Rasinius, no. 139, p. 39, pl. 28.

36

STENICO,Matricia placca,nos. 58-61, pp. 65-66, pl. XIV.

37

PORTENPALANGE,Antiquarium,no. 66, p. 50, pl. XI.

98

WARE THEDECORATED SIGILLATA

Fig. 19. Arezzo, ArchaeologicalMuseum, inv. no. 15028. Fragmentof mold attributedto Rasinius.

Fig. 20. Formerlyin Berlin, Antiquarium, nv. no. 30414. Fragmentwith_figure of 2,16*). kanephoros (fromDIW Bedage

No.6 (C70.549; pis. 38, 61). From Houses of the East Block, VI D/E, surfacelevel. Two fragments of rim with large portion of body of a cup. Fabric:fine, hard, dark pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/7). Technique: excellent.

Form:Conical cup with multiple rim moldings, both exterior and interior.Rouletting on outer face of moldings. The foot is missing. It is close to the undecorated Conspectusform 25, a rare exotic form derived from the very popular Conspectusform 22. A narrowconcavitybetween the moldings on the exterior connects the Cosa example with the latter. Rasinius251). The leavespoint in opDecoration:Garlandof laurelleavesgatheredin triads(STENICO, posite directionson the two fragments,indicatingthatthe garlandwas conceivedas a wreath.The same decoration appearson a mold fragmentin the Arezzo Museum (fig. 19),18 attributedto Rasinius. No. 7 (pls. 38, 62). From an area northeast of the Basilica,west of the tribunal,surface level. Fragment of lower body.

Fabric:fine, hard, reddish yellow (5YR6/6). Slip: very thin, firm, silk-shiny,dark red and mottled (2.5YR4/7). Technique:good. Form:Form of vase uncertain, probably a chalice; diameter approximate. Decoration:To the right the slender body of a young woman from the waist down, turned in profile to the left in the direction of a small table, her knees slightly bent, her left foot on the ground, the right in play.She wears a light tunic, probably a chiton, and a short mantle. Defective manufacture has doubled the left profile of the figure. The table has only one visible leg, fluted, possibly terminating in an animal paw. On it is placed a shallow cylindricalbasket, close in shape to a classical kanoun,which rests on one visible short foot and has at least one lunate handle above, with traces possibly of a hand on it. A trellis pattern between rope twists, top and bottom, shows the texture of the basket. The high quality of the model is preserved in these details in spite of the defective manufacture.To the left are traces possibly of a draped female figure. 15028. STENICO, Rasinius,no. 152, p. 40, pl. 30. M 15028; ibid., no. 152, p. 40, pl. 30.

381Inv. no.

THE WORKSHOP OF RASINIUS

99

Fig. 21. Arezzo,ArchaeologicalMuseum,inv. no. 8332. FragmentOfchaliceattributedto Rasinius. Figureof kanephoros.

Fig. 22. Arezzo,ArchaeologicalMuseum, mold imv. no. 4466. Detail of dancingfigure attrihutedto Rasinius workshop.

The upper part of the figure is preserved on a fragmentformerlyin the Museum of Berlin (fig. 20):19here the young woman, who wears a short-sleeved chiton and has her hair gathered in a classical sakkos, lifts her head to contemplate something above her while holding with both hands a basket similarto the one on the Cosa fragment,whose lunate handles are clearlyvisible. The attributionof this scene to the workshop of Rasiniusis assuredby a fragmentin the Arezzo Museum that preserves the same figure from the waist down near a two-legged table on which is a simpler version of the basket, closer to the classical type (fig. 2 1) .40 To the left of the table are preservedthe legs and flutteringdraperyof a figure dancing to the left who belongs to the repertory of Rasinius (STENICO,Rasinius38; our fig. 22). Another figure, also belonging to the repertoryof Rasinius(STENICO,Rasinius 19), is associated with our kanephorosand the preceding dancer in the decoration of a silverkalathosfrom the Palagi collection in the ArchaeologicalMuseumof Bologna.This was the model from which all these figures were derived. Since I have treated the subject extensively elsewhere,' the present treatmentcan be brief. On the externalface of the kalathosis embossed a scene of the cult of Artemis (fig. 23), almost completelypreserved,performedby a group of women in the presence of a matronlyfigure (fig. 24), whom I haveidentifiedas Queen BereniceII, wife of PtolemyIll Evergetes(fig.25).42 The image of the D/W, 114, no. 24, Beil. 2,16. The type was unknown to Stenico (Liste, 86, no. 1500); Porten Palange attributes this fragment stylisticallyto Cn. Ateius, who, on the other hand, shares with Rasinius some types of his repertory;see STENICO, Sminthe.

39

40

Inv. no. 8332, unpublished.

41

MOEVS,

Kalathos;M. T. Marabini Moevs, "The Bronzes

from Industriaand Their AlexandrianConnection,"Acta 14 Int. Bronze Congress,Koln 1999 = KolnJb33 (2000) 78-82, figs. 11-12, 15. Museum of Mariemont, from Hermopolis Magna: H. Kyrieleis,Bildnisse der Ptolomder(Berlin 1975) K 5, p. 181, pl. 86,4.

42

Fig. 23. Bologna, ArchaeologicalMuseum, Palagi inv. no. 450. Silver

kalathos.Sceneof cultto

.....

.

..

.; ..:..... .

:.

.

. .........

Artemis. ? Bologna,Museo

CivicoArcheologico.

_f

~~Eh#W~~

Fig. 24. Bologna, ArchaeologicalMuseum.

Palagi kalathos.Left groupoffigures. ? Bologna,Museo GivicoArcheologico.

Fig. 26. Bologna,ArchaeologicalMuseum. Palagi kalathos. Centralgroupoffigures. _ _- . . ... . ... . .. . .. ..................... _~~~~~~~~~~~~~~~~~~~~~~~ i'' _;VW' .. .... .... ? Bologna,Museo CivicoArcheologico.

II (photo H Kyrieleis,after KYIELEis, Bildnisse, p1 86,4)

.

THEWORKSHOPOF RASINIUS

101

Fig. 28. Arezzo, 14

4%.

-l

01[

-!

5

/

.

_7Archaeological

o

R '

AE

0

. 2

!5;

Museum, inv. nos. 5168, 8980, 8981. Mold signed PHARNACES RASINI. Maiden attachinga ribhonto a garlandoffruit.

Fig. 27. Bologna,ArchaeologicalMuseum. Palagi kalathos.Figureof dancer. ? Bologna,Museo CivicoArcheologico.

goddess is in Severe Style, and in front of her is a table on which an ecstaticpeplophorosis depositing a basket.This is the focal point of the scene (fig.26). Tableand basket areidenticalto those appearing on the fragmentin the Arezzo Museum;the peplophorostype is the same that can be reconstructed from the fragmentaryfigureson all the fragments.The Palagikalathoswas found on the banks of the Po Riverand very probablycame from the Isiac sanctuaryof Industria,probablypart of the treasure of the defeatedCleopatradonatedto a provincialsanctuary.It can hardlyhavebeen the specimenused as a model in the workshop of Rasinius.The Ptolemaic custom of casting severalcopies in precious metal of the same type of vase for commemorativepurposes would explain this duplication. From an iconographicpoint of view it is clearthat Rasinius,unawareof any specific significance of the object, treated it as a source of individual figures and poses. The dancer,who on the Palagi kalathosbalances the centralscene (fig. 27), in the fragmentof the Arezzo Museum is dancing away from the table, unaware of the goddess and the offering. The young woman who is helping her queen in the ritualisticaction of hanging a garlandon the kalathos (fig. 24) has become, on a mold signed by PHARNACES RASIN in the Arezzo Museum,43a carefreemaiden who, surrounded by similarcompanions, attaches a ribbon to a festoon of fruit (fig. 28), in a bucolic setting dominated by a statue of a huntress Artemis that bears no resemblance,either iconographic or stylistic, to the cult image on the kalathos. Stylistically,the classicistic trend of the early Hellenistic period, evident in the figures of the kalathos,is separatedby two hundred years of varied artisticexperience from the eclectic Arretine reinterpretation.If an immediateparallelis sought for this laterversion, it can be found in the stucco decorations of late republican-earlyAugustan date (fig. 29)." 4

STENICO, Rasinius,no. 108, pp. 35-36, p1.20.

I. Bragantini and M. de Vos, Le decorazioni della Villa Romana della Farnesina (Roma 1982) 138, inv. no. 1072, pl. 78, detail. 44

WARE SIGILLATA THE DECORATED

102

Ik:i . .

w

I _E11! 1E 11.W: l 1X1111

^ S

-

-

U$iZ;:

_g

'm L........

_

^:

|

l ill 11 IF Z

Fig. 30. Arezzo, Archaeological Museum, inv, no. 15131. Fragmentof mold attributedto Rasinius. Winged

~~~~~~~~~~~~~figure.

Fragmentwith stamp tEPAPHRARASIN.

:

Fig. 29 Rome Museo Nazionale Romano in. no 1072 Stuccofigurefrom Villa della Farnesina.

No. 8 (CE.1708; pis. 38, 62). From Atrium Building I, Room 11, level I. Augustan-Claudian. Small fragment of lid. Fabric:fine, hard, dark pinkish (2.5YR6/5). Slip: very thin, firm, silk-shiny,dark red (2.5YR4/8). Technique:very good. Form:Area close to the border from a lid with plain border markedoff by a groove. It is most probably the lid of a large bowl similarto a lebes, like the one signed RASIN that appears on a drawing by Cassiano dal Pozzo at Windsor.' The bowl has a wide ovoid body on a pedestal;the lid is similar to a shallow pagoda roof with a knob at the center. Decoration:Segmented line along border;convergingtips of two acanthusleaves similarto STENICO, Rasinius 267, 270, with a corkscrewscroll in between emerging from one.4 No. 9 (pls. 38, 62). From an areajust outside the north corner of the Basilica,surfacelevel. A large fragment of rim with beginning of body and a small fragmentfrom the upper body of a chalice. Fabric:fine, hard, dark pinkish (2.5YR6/5). Slip: thin, firm, matte, dark red (10R4/7). Form:Preserved are the rim, quarter-round,and the beginning of curving body separatedby two wide grooves. A form like ConspectusR 2.1 may be suggested; it is considered typical of the finds at Haltern. Decoration:Below a double ridge bounded by grooves, setting off the rim, is a band of small ovolos, Rasinius3). Of the centraldecorationare preserved each pairwith a singletongue between (SENICO, RL 11290. D. Bailey,"SmallObjects in the Dal Pozzo-Albani Drawings.EarlyGatherings," in CassianoDal Pozzo'sPaper Museum 1 = QuaderniPuteani2 (1992) 19-20, fig. 30. 4

See similar decoration but applied to vases in STENICO, Rasinius, nos. 169-73, p. 42, pls. 32-33. 46

THE WORKSHOP OF RASINIUS

103

the backof the headandupperbodyof an Erosturnedin profileto the left. He hasshortrounded wingsand possiblyan outstretchedarm,whosebeginningis barelyvisible.Tracesof a wingmay be seen on the secondfragment. The sametypeof ovolo-and-tongue abovea wingedfigureappearson a moldfragmentin the A wingverysimilarto ourscanbe seenon anothermold ArezzoMuseumattributedto Rasinius.47 fragmentin the ArezzoMuseumattributedto Rasinius(fig.30)48 Twoheads,eachwitha rounded wing,possiblybelongingto Erotes(fig.3 1),arepreservedon a fragmentsignedEPAPHRARASIN (CVArr1510= OCK 1647).49 No. 10 (pls.38, 62).FromtheDumpatthenorthwestcornerof theBasilica,levelI. Augustanperiod (seeabovepp. 38-39).Threefragmentsof body,onewithbeginningof rim,probablyfroma chalice. Fabric:fine, soft, pinkishyellow (5YR6/4).Slip:thin, flaky,with smallblisters,silk-shinyon the exterior,mattewithwheelmarkson the interior,darkred (2.5YR4/6).Technique: unusual,similar to somefragmentsof ESA. Form:Deep curvingbody separatedfromthe preservedbeginningof the rimin a quarter-round moldingby two deepgrooves.Possiblyfroma chaliceof Conspectus formR 1.2. Decoration: Belowthe groovesarea bandof ovolo-and-tongue Rasinius1) anda broken (STENICO, line.Of the maindecorationis preservedpartof a large,verticalpalmette(STENICO, Rasinius287). On a small fragmentof mold in the Arezzo Museum attributedto Rasiniusour type of palmette is associatedwith a slightly differentverticalpalmette (STENICO,Rasinius288).5 The original decoration on our vase may have consisted of a wide zone of palmettes of different types, as on another mold in the Arezzo Museum also attributedto Rasinius.51 No. 11 (pls. 38, 62). From the House of the Birds, fill of cesspool under Room 3. Mostly Augustan period.52Fragment of beaker. Fabric: fine, moderately hard, dark pinkish (2.5YR6/6). Slip: thin, firm, silk-shiny, dark red (10R4/8). Form:From body of a beaker of roughly conical shape, with wall curving in toward the base. The form of a truncated cone narrowingtoward the base is one of the forms of the so-called Aco beakers53that were introduced into the sigillatarepertory.54 Decoration:The decorative field, framed by double grooves, was filled by a spray of ivy leaves and berries. Preserved are a leaf and the tip of a second (STENICO,Rasinius 253), together with a Inv. no. 15134. STENICO,Rasinius, no. 65, p. 30, pl. 11; according to Stenico it belongs to the same type as OxE, Rhein, no. 278, p. 104, pl. LV. 47

Inv. no. 15131. STENICO,Rasinius,no. 37, p. 28, pl. 8. According to Stenico the wing here belongs to a Nike.

48

Private collection, U.S.A. The half-erased rectangular stamp to the left may have been like OCK 1647.2, with the name of the owner in the lower line. The name of this slave, so far known only in associationwith plain ware, appearson a decorated fragmentin the Gorga collection in the Arezzo Museum (called to my attention by Porten Palange).

51 Inv. no.

9058. STENICO,Rasinius, no. 257, p. 49, pl. 44.

For the cesspool and its filling, see CosAIV, 39-42; for the finds: COSA, Aco, 243-45. Uncertainty about the period of use of the cesspool and the disturbed stratificationof the material have discouraged me from including the sigillata found here in the present work. 52

49

50

Inv. no. 15009. STENICO, Rasinius, no. 256, p. 49, pl. 44.

53

LAVIZZARI PEDRAZZINI, Aco, 31, pl. 2, type 3 a).

Beakers of Aco type decorated with figures of dancers and musicians are particularly popular in the Tigranus phase of the workshop of Perennius: VIVIANI,Vasiaretini, pls. 26, 28, 29; WALTERS, B.M. Pottery, L 103, p. 32, fig. 26; CHASE,Boston, pl. 17, 69; PORTENPALANGE,Antiquaritum,

54

pl. 6,35-36.

104

THEDECORATED SIGILLATA WARE

berryandpartof another.The berry,attachedto a curledstem,is composedof a largebeadon a Rasinius220. The endsof the cushionedcup dividedinto sectionsby incisionssimilarto STENICO, stemmayhavebeen boundtogetherwith a cordtied in a bow,as on threemoldfragmentsin the ArezzoMuseum.55 No. 12 (pls.38, 62).Fromoutsidethe southwestcornerof theBasilica,levelII, unreliablestratification.Verysmallfragmentof rimfroma cup. red(2.5YR4/8). Fabric:slightlygritty,veryhard,pinkishyellow(5YR7/5).Slip:thin,firm,silk-shiny, Technique: excellent,extremelythinwall. Form:The flaringrimwith groovedlip andverythinwall suggestsa variationof the cup of ConspectusformR 11, but the decoratedrimis exceptional. Decoration:Belowthe lip is a borderof rosettesof twelvebeadlikepetalsarounda bead center framedby grooves. The rosetteswith doublecorollaareverysimilarto someappearingin the borderdecoration of Rasinius.56 No. 13 (pls.38, 63). Fromisolatingtrenchalongthe northside of the Basilica,surfacelevel. Verysmallfragmentof upperbody,probablyfroma beaker. Fabric:slightlygritty,veryhard,pinkishyellow(5YR6/4).Slip:thin,firm,silk-shiny,darkred on exterior(2.5YR4/8),mattewithwheelmarksinside.Technique: excellent. Decoration:Two partiallypreservedelementsof an ovolo-and-tongueborderof Rasiniantype boundedby a grooveandridges.57 Themainfieldwasdividedintoverticalsectionsby doubleridges; one smallsegmentis preserved.On the sectionto the rightis thetip of a slenderacanthusleaf;both the decorativearrangement andmotifareknownin the repertoryof Rasinius.58

Attributedto the Workshop Tentatively of Rasinius No. 14 (C70.553;pls. 39, 63). Fromthe EastBlockHouses,VI D/E, surfacelevel.Largefragment of bodywith foot and eighteennon-joiningfragmentsof varioussizesof rim,body,andfoot of a chalice. Fabric:veryfine,hard,darkpinkish(2.5YR6/7).Slip: verythin,wornon relief,firm,matte,dark red (10R4/7),mottledunderfoot andon rim. Form:Deep curvingbodyon highpedestalfoot;verticalhangingrimwithgrooveson theouterface anda smallconcavemoldingon the innerface.It is joinedto the bodyby a plainquarter-round elementmarkedoff fromthe decorationbelowby a seriesof groovesandridges.The chalicebelongs to Conspectus formR 2.1. FormR 2 is consideredtypicalof the findsof Halternanddatedmiddle to lateAugustan. Decoration: Bandof rosettes(STENICO, Rasinius201) alternating withpalmettesthatreversedirection (STENICO, Rasinius263). The maindecorationconsistsin a seriesof largelozengesframedby groovedbars.At the cornersof the lozengesarerosettes(STENICO, Rasinius190),thoseat the top Inv. no. 4494 signed PHARNACES RASIN, M. 15021 signed RASIN, M. 2981; STENICO,Rasinius, no. 139, p. 39, pl. 28; nos. 157, 160, p. 41, pl. 31. 55

56

Ibid.,nos. 225-26, pp. 46-47, pl. 40.

57

Ibid.,53, no. 1.

58

Ibid., nos. 180-81, p. 43, pl. 34.

THEWORKSHOPOF RASINIUS

105

Fig. 32. Arezzo,Archaeological Museum, inv. no. 9022. Fragmentfrom a mold signed QUARTIO RASINI.

a

W

the lower corners only the same rosettes. Each lozenge

is decorated

with a central rosette (STENICO,

Rasinius 201), toward which four elements converge from the corners, two palmettes (STENICO, Rasinius 263) and two lilies (STENICO, Rasinius 283). Each triangle between lozenges at the top is filled with a palmette, each lower one by a stalk of wheat. A line of small wedges frames the decorated field above and below. A patternbased on such a partitionis very frequent in the decorativerepertoryof Arretinepottery and is also known in the repertoryof Rasinius (fig. 32), although not identical to this one."9At Cosa it appearson an Aco-style beaker attributedto Vibienus (see below no. 61). Ultimately it can be connected with decorative patterns on Hellenistic relief bowls of Italian production, including an example from Cosa.1, The chalice may be tentatively attributed to Rasinius-Memmius;certainly it comes from a workshop with Rasinianinfluence. No. 15 (pls. 3'9, 63). From Atrium Building I, Room 22, level I. Mostly late Claudian-Neronian above pp. 72-73). Small fragment of fid.

(see

Fabric:fine, hard, pinkish yellow (5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/7). Technique: very good.

Form:Section of lid close to rim. Below the preserved small bit of rim are traces of a channel to fit over the lip of another vessel, probably a bowl similarto the preceding chalice. Decoration:Below a three-petaled lIly similar to STENICO, Rasinius 231 sprouting from a partially Rasinius230; above is part of a scrolling manuscriptstem preserved lunate rose similarto STENICO, with foliage originallyjoining the flower;to the right are tendrils. The same combination of Iflyand rose appears on a fragment in the Pisani-Dossi collection, attributedto Rasinius,61 and on the chalice from Roanne previously mentioned (see above p. 94). 59Fragments in the ArezzoMuseuminv.nos. 9022, 8467, 15070 F (STENIco, Rasinius,nos. 192-94, p. 44, pl. 36) fromthe same mold signed not QVARTIORASIN but QVARTIORASINI (privatecommunicationfrom Paola Porten Palange).

60

COSA, Megarian,no. 18, p. 199 and n. 185, p. 220, pls.1,

9. 61

STENICO, Pisani-Dossi,no. 66, p. 438, pl. III.

106

THEDECORATED SIGILLATA WARE

Althoughthefragmentwasfoundin a leveldatedlateClaudian-Neronian, it mustbe classified, becauseof its excellentquality,amongthe straypiecesof earlierdateconfusedwithmaterialfrom the fall of the Basilicawall (see above p. 68). No. 16 (pls. 39, 64). From the isolating trench along the northeastwall of the Basilica,surfacelevel. Four fragments,one of rim, the others of body, possibly of the same chalice. Fabric:fine, hard, pinkishyellow (5YR6/5). Slip:firmbut worn on relief,glossy,darkred (2.5YR4/7). Technique:mediocre. Form: a: Two fragmentscertainlybelonging to the same vase show the body was hemispherical. b: A fragment of rim, probably belonging to the same vase, is composed externally of a plain concave element bounded above and below by convex molding decorated with rouletting. The chalice belongs to Conspectusform R 7.2, dated late Augustan and later. Decoration:Two large rosettes of eight pointed petals (STENICO,Rasini?us195) between reversing horizontal palmettes are partiallypreserved on the body fragments.The badly eroded decoration below may be a band of overlappingpetals (STENICO, Rasinius281). c: A fourth fragmenttechnicallyvery similarto the preceding may belong to a different vase. Its decoration is akin to, but not identical with, elements in the repertoryof Rasinius.On the left is a small krater of Rasiniantype, like the one appearing on a beaker from Naples signed by PantagathusRasini Memmi;62on the right, barely decipherable, is a figure turned in profile to the right. A succession of alternatingkraters and figures is a decorative device known in the repertoryof Rasinius.63 No. 17 (pls. 39, 64). From Atrium Building I, Rooms 16 and 22, level I. Augustan-Claudian.Eight fragments of various sizes from the rim and upper body of a chalice. Fabric:fine/slightlygritty,hard, pinkish (1OR6/4).Slip:firm,glossy,darkred (2.5YR4/7). Technique: good. Form:The rim is composed externally of a short concave element bounded above and below by convex moldings, the upper one decorated with rouletting.The interiorprofile follows the exterior one, with grooves separatingthe elements. The upper body had the form of a truncated cone. The chalice belongs to Conspectusform R 7.1, late Augustan and later; the profile of the conical upper body is almost complete; missing are the lower hemisphericalpart and the pedestal foot. Decoration:The conical section of body is overlaid with appliqued figures of satyrs, one almost completely preservedand two more fragmentary;their originalnumber cannot be ascertained.The satyr dances to the right, turning his back three-quartersto the viewer, holding with outstretched arms a partly rolled nebris behind his lower body; the head is missing. It corresponds to type D/W II, 4b, from the workshop of Rasinius.64

62

64 D/W, 122. For other occurrences of the type, see J.-P. Joncheray, "Cramique aretine de lEpave D du Cap Dra63Arezzo Museum,inv.nos. 15166, 15167. STENICO, Rasinius, mont (Saint-Raphael),"RANarb 6 (1973) 275-84, fig. 1,6, nos. 68, 69, p. 31, pl. 12. fig. 5,7. The proposed Neronian date for this materialis not sufficientlysubstantiated (Conspectus,p. 42).

OxiE,Rhein, no. 108, p. 72, p1.XXII.

7 + The Workshopof Perennius

The Perennius-PerenniusTigranusPeriod

No. 18 (C.1665; pls. 40, 65; color pl. 3R). From Atrium Building I, Room 16, level 1. Augustan-Claudian. Two large fragmentsof body with rim (b, c), one medium size of rim (a), and four fragmentsof body, one medium size (d) and three small (e, f, g) from a chalice. Fabric:fine, very hard, pinkish (2.5YR). Slip: firm, glossy, red (10R4/7). Technique:excellent. Form:The heavy,extremelypronouncedhangingrim,of almosttriangularsection,has a grooveon the outer face;the decoratedfield is separatedfrom the rimby a quarter-roundelement and two grooves; the lower body and foot aremissing.The chalicebelongs to Conspectusform R 1.1, whose rimform is the earliestfound in the Rhine areaaccordingto Oxe, and can be restoredas having a pedestal foot. Decoration:The decorated field is bordered at the top by a line of round beads and, below it, by a chain of small leaflets. Of the main decoration belonging to the cycle of "Herakles and Omphale," D/W XI,' the following elements are preserved: bl: To the left below the chain of leaves is the signature CERDO in a rectangularframe (CVArr 1260-62 = OCK 535). It is followed by a female figure, frontal, preserved above the hips. Her head, turned to the right, is obliterated by defective manufacture,except for the wavy lines of hair gathered in a knot at the nape. Her youthful body appearsthrough the folds of a light sleeveless chiton, fastened under her breasts. A himation, falling from her left shoulder,covers her left arm and wraps her waist, leaving free her outstretched right arm. The missing hand must have held a thong connected with the harnessed centaurs. She is the maiden standing between the pair of centaurs and Herakles, partiallycovered by the two-wheeled cart, D/W XI, 4,2 but without the cup in her left hand. b2: An androgynousfigurepreservedabove the hips is representedwith his torso slightlyturned to his right, his head turned to the left in three-quarterview, his right armdown, stretchedat waist level, his left bent, with the elbow resting on a lost support. Of his head, largelyobliterated in the defective manufacture,some curly hair behind, traces of a headband, and the outline of a thick rounded beard are preserved.The contrastof his powerfullymusculararmsand shoulders with his rounded breasts and slender waist is underlined by his singular costume, a transparent chiton and a himation wound around his arms. The figure can be identified as Herakles in feminine garments sitting on a two-wheeled cart, D/W XI, 1,3 and completed with the legs in profile and his left elbow resting on the side of the seat. 1 D/W, 81-84; HAHNLE, 41-44. To the examples cited by D/W the following may be added: PORTEN PALANGE, Antiquarium,nos. 20-22, pp. 30-3 1, pl. IV;BROWN, Ashmolean, nos. 37-39, p. 116, pl. XI; RUDNICK, Ha no. 6, p. 166, pl. 9.

2D/W, 82. 3 Ibid., 81.

107

THEDECORATED SIGILLATA WARE

108

b3: A female figure, preserved in three-quarterview from the waist to the neck, advancingto the left behind the cart and holding a parasol.She wears a light chiton and a veil coveringher head. She corresponds to D/W XI, 64 and can be completed with the legs in profile under the long flowing chiton and with a himation wrapped around her hips. Behind the figure at shoulder height is preserved the back of a tragic mask draped with ribbons. This is carriedin the hands of the maiden D/W XI, 8, who appears on the following fragment (c). cl: Back of torso and head of a female figure advancingto the left. Her hair,gathered on the nape, falls in tresses on her shoulders; she wears a light himation. The figure corresponds to type D/W XI, 8, represented, respectively,as carryinga mask and as playing a lyre.5 c2: A stout elderly satyrpreserved from the waist up in profile to the right, in a direction opposite to the preceding figure and probably beginning a new sequence. His hair is gathered in a roll above his feline ear;his beard is short and pointed. He has a short curlytail. With his left hand he grasps the neck of a wineskin carriedon his left shoulder;his right outstretched arm holds up a large torch tucked under the armpit.The fine features of his face are slightly obliterated, but the naturalisticrendition of the anatomyof his body is exceptionally good. The figure corresponds to D/W X, 7 in the cycle of the "DionysianOffering."6 c3: Two male figurespreservedfrom the waist up advance,one behind the other,to the left toward the satyr,bending their powerful torsos forward in the effort of pulling a heavy weight. Their heads, represented in profile, are capped by thick masses of curly hair; the bony features of their faces are framed by flowing beards. The muscular quality of their shoulders, shown in three-quarterback view, and of their left upper arms pulled to the back are naturalistically emphasized. These are the pair of centaursharnessed to the cart of Omphale, D/W XI, 2.7 dl: Body of satyras on preceding fragmentpreservedfrom neck to hips, wineskin and torch missing. He wears a loincloth of soft materialwrapped around his hips and held at his waist by a knot from which a circularobject, possibly a purse, hangs. d2: Forwardcentaur,as on the preceding fragment,preservedfrom the hips up; smallpart of right shoulder missing. A broad band around his waist harnessedhim to the cart of Herakles. To the right a fragmentof abdomen and harness band remain of the second centaur. e: Small fragment preserving the knees with part of the legs of one of the two torch-bearing satyrs. f: Smallfragmentpreservingthe two hooves of the rearlegs of the second centaurabove a textured ground line. Beneath it is the tip of an acanthusleaf from the calyx that decorated the bottom of the vase. g: Smallfragmentpreservingthe outstretchedforearmof a female figure,possibly Omphale, D/W XI, 2.8This figure can be restored on the basis of examples belonging to the Tigranusphase of the workshop. Nude except for a lion skin over her shoulders with the paws knotted around her neck, she is seated in a posture similar to that of Herakles on an identical two-wheeled cart, her voluptuous torso in full frontalview, her head and legs in profile. In her bent left arm, which rests on the side of the seat, she supports a club; in her right hand, stretched out and down, she holds a palm branch.

4 Ibid.,82.

7 Ibid.,81.

5 Ibid.,

8 Ibid.,

6

82.

Ibid.,79.

81.

THEWORKSHOPOF PERENNIUS

109

The entire sequence can be restored with seven figures for each section of the procession through the help of specimens produced in the Tigranus phase of the workshop, particularlya mold in the Boston Museum of Fine Arts,9which, since the mold in the Metropolitan Museum of is the best record of the decoration. Here, howNew Yorkl has been discovered to be a forgery,1" ever, two variationstypical of this phase have to be taken into account. First is the replacementof the torch-bearingsatyrwith a young attendantin short chiton who strides in front of the centaurs holding their harness and a whip, D/W XI. The second variation replaces the mask- or lyre-carrying maiden, who clearlybelongs in a different context and here is simply a supernumerary,with attendants following the carts. The lady with the parasol, therefore, is followed by her duplicate carryinga circularfan; the young man in profile to the left, who, wearing a himation and carrying a large rhyton, comes after the cart of Omphale, is followed by his duplicate. On the chalice from Cosa signed by Cerdo the sequence of the procession of Herakles can, therefore,be restored as follows: satyrwith wineskin and torch, pair of harnessed centaurs,maiden holding thong attached to their harness, Herakles seated on cart, attendant with parasol, maiden holding mask. Of these figures,the satyrand the left centaurare partiallypreservedon fragment(d), along with a bit of the second centaur.The thong-holdingmaiden, Herakles, and the attendantwith the parasol are partiallypreserved on fragment (b) along with part of the mask held by the maiden who appears, also partiallypreserved, on fragment (c); entirely missing is the cart. Of the figuresbelonging to the procession of Omphale only the satyrand the centaurs,identical to the preceding, are partiallypreservedon fragment (c). The last figure of the sequence must have been a duplication of the maiden seen in the procession of Herakles, possibly holding a lyre.12The other figures can be restored according to the Tigranusversion. They are: Omphale as described above and two young men, one taking the place of the maiden holding the thong and the other of the lady with a parasol in the procession of Herakles. The first wears a himation over his left shoulder, and his pose and gestures are similarto those of the maiden but with the difference that he is holding a large two-handled bowl in his left hand. The second, in profile to the left, also wears a himation and carries a rhyton in his left hand. The significance of the Cosa chalice is evident: for the first time one of the most important decorative cycles in Arretine pottery, though fragmentary,is sufficiently preserved in its original version to make explicit not only the authorshipof Cerdo but the stylisticexcellence of his creation. According to Hihnle,13followed by Dragendorff,14the cycle was introduced into the repertoryof Perennius by Cerdo, but, to my knowledge, his signaturehad never appearedbefore in this connection. Supposedly these statements are based on the use of certain stamps that also appear in other cycles bearing the signatureof Cerdo: the satyr,as we have seen, in the "DionysianOffering" and the maiden with mask in the cycle of "Heraklesand the Muses," D/W XII.15I have identified this latter cycle as a commemorativerepresentationbased on the Muses of Ambrakia(see below no. 21), a famous group of sculptures datable to the first decade of the third centuryB.C. brought to Rome in 189 B.C. after the capture of that city.The Muse in question, however, denominated as type E1-2 9 CHASE, Boston, no. 9, pp. 38-40, pl. VIII. 10 Inv. no. 19.192.21; ALEXANDER, Arretine, pl. 24, 1 a-d, 38, 13.

one holding a lyre, the other holding a mask on mold inv. no. 8137 in the Arezzo Archaeological Museum; PORTEN PALANGE,Ateius, 580, n. 275. 13

HAHNLE,42.

14

D/W, 83.

15

Ibid., 84-86.

1 PORTEN PALANGE, Fdlschungen, F 62, pp. 534, 580, pl.

60. 12

This figure,probablyby Tigranus,makestwo appearances,

THE DECORATED SIGILLATAWARE

110

accordingto her attributeof eithertragicmaskor lyre(seefig.38),16thoughcertainlyby Cerdoin his originalversion,does not belongto the Ambraciangroup.Sheis a neoclassicalcreationadded to the originalnucleusfor the purposeof reachingthe canonicalnumberof nine Muses.Fillinga void in similarfashion,in this caseone relatedto the dimensionsof the vase,the Muse,doubled witha changeof attributes,wasaddedto the twoprocessions,whichin theoriginalmodelprobably comprisedonlysix figureseach. Besidesthe Cosachalice,otherexamplesthatcanbe attributedto Cerdoare:a smallfragment moldin the ArezzoArcheological in the MetropolitanMuseumof New York17 anda fragmentary in his frame.18In it the youngmanwiththe kantharos MuseumsignedPERENNIin a rectangular left handappearsbetweenthe centaursandOmphale,confirminghis connectionwiththe original version,andthe acanthuscalyxon the bottomrepeatsthe samemotifon the Cosavase.The cycle of "Heraklesand Omphale,"however,seemsto haveenjoyedits greatestpopularityin the phase thatbearsthe signatureof Tigranus,giventhe numberof examplesthatbearhis signatureor can be attributedto him.The time of theirproductionis suggestedby severalfragmentsof a chalice attributedto thisphasethatwerefoundat Halternandcanthereforebe datedbeforeA.D. 9 19 in a verThe cycleof "HeraklesandOmphale"wasalsoadoptedby the workshopof Ateius,20 sioncloserto the originalby Cerdo2lthantheonemanipulated with wineskin The by Tigranus. satyr andtorch,stillpresenthere,suggestsa strongconnectionbetweenthe earliestphaseof Perennius andthe productionof Ateius.22 of Heraklesby Omphaleis a well-knownthemein literaAlthoughthemythof the enslavement tureandthe figurativearts,no immediateprototypecouldbe foundfor the compositionadopted by Cerdo.Hahnle,emphasizingthe connectionof the couplewiththeDionysianthiasos,envisaged a largercompositionof the Hellenisticperiod,whichwould alsohaveincludedthe processionof DionysosandAriadne,as a possibleprototypeforthe Arretinedecoration.At the sametimehe saw resemblances betweenHeraklesin the cartdrawnby centaurson theArretine specificiconographic vasesandthe burlesquetreatmentof the samesubjecton anAtticred-figurevaseinfluencedby the theaterof Aristophanes.23 Dragendorffemphasizedthe distancebetweenhumorousinterpretations of themythin the styleof lateHellenistictimesandthe serioustreatmentof the samesubjecton the Arretinevases.He thenproposeda "neoattic" prototype,which,in keepingwiththe eclectictrend of allneoclassicalart,wouldhavereinterpreted of the Dionysianthiasosinfluenced representations by the Old Comedy,whereHeraklesappears,as we haveseen,ridingon a cartdrawnby centaurs withtheirhandsboundbehindtheirbacks.24 Beneathits highlysophisticatedrenditionthe burlesqueoriginof the sceneis apparent,andits connectionwith a figurativerepresentation influencedby the Old Comedyseemsquiteplausible. Particularly closeto Cerdo'svisualizationof the mythis the sceneon anAtticchousby the Nikias Painterin the Louvre,mentionedby both HahnleandDragendorff.25 Here Heraklesstandson a 16 MOEVS,

Ambracia, 31-32.

7 Inv.no. 17.194.1976;ALEXANDER,Arretine,pl. 43,2;PORTEN PALANGE,

21 Ibid., XII,3. 22

23

HAHNLE,43.

24

D/W, 83.

18Inv. no. 8133; PORTEN PALANGE, Fdlschungen,580,n. 275. 19 RUDNICK,

Ha no. 6, p. 166, pl. 9. Inv. no. 3408, from Cyrene, dated ca. 410 B.C.; LIMC, "Aithiopes,"1.1, no. 22, p. 416; 1.2, P. 325; A. D. Trendall and T. B. L. Webster,Illustrationsof GreekDrama (London 1971) 117-18, pl. IV,2.

25

20

PORTENPALANGE,Ateius, 3 10.

Ateius, 309.

F. P. Porten Palange, "Cn.Ateius di Arezzo. Introduzione al suo repertorio figurato," NumAntCl XIV (1985) 194, XII, 1-4.

111

THE WORKSHOP OF PERENNIUS

~..

_P .....6..2_

_

,.i*

S at

j-

5~

tPl

p

Fig. 33. Paris,Musee du Louvre.Attic chous by the Nikias Painter.Parodyof Herakles driven to Olympus (photo LadyBeazley;from A. D. Trendalland T B. L. Webster, lustrations of Greek Drama [London 1971]

42)~~~~~~~~~~~~~~~~~~~~~~~~l.I,)

V

chariotdrivenby a Nikewithnegroidfeatures,probablymeantto representa theatricalmask,pulled by fourcentaurswiththeirhandsboundbehindtheirbacks.Theyareprecededby a satyrwhoholds two torchesand turnstowardthem (fig.33). The similarityis not limitedto the choiceof figures it also includessuch detailsas the bushyhairand pointedbeardsof the and theirarrangement; hasbeen rightlyconsidereda parodyof Herakles' two centaursseenin profile.Thisrepresentation who hastakentheplaceoccupiedby Hermes introductionto Olympusby Athena.Thetorchbearer not in the originalversionindicatesthathereHeraklesis not drivento heavenbut to marriage,26 maybe reflectedin the humiliationof the centaurs, to glorybut to bondage.The embarrassment but Heraklesstill preserveshis belligerentcountenance,and his driver,in spite of her grotesque features,is still a Nike. In Cerdo'sscene the humiliationof Heraklesin feminineattire,covered by a parasolin the face of a triumphantOmphaleholdinghis club, has passedfrommockeryto tragedy.An intentionmorespecificthanthe casualrevivalof anancientmockeryseemsto underlie the scene on this Arretinedrinkingvessel,possiblycreatedto celebratesome momentousevent. "Nuncest bibendum," the openingof the famousode of Horacewrittenin 30 B.C. to celebratethe end of AntonyandCleopatra,comesto mind.27 later Oxe hadlongagoproposedthe thesis,28 Withcompellingliteraryandhistoricalarguments that a politicalmotivelay behindCerdo'screationand thatthe sagaof the dismissedby others,29 mythologicalhero reducedto the conditionof a womanby wine and lust was meantto represent of Antonyat the handsof Cleopatra.A strongargumentin supportof herethe paralleldegradation Oxe'sthesis,in myopinion,is thefamouselegyin whichPropertiuscitestherelationof Heraklesand attempt Omphale,amongotherclassicalexamplesof femaledomination,asa parallelforCleopatra's of Roman however, the soundness Now, to to the entire world.30 subjugate Antony marriage through by Cerdoof the Musesof thisthesisis confirmedby figurativeevidence:the faithfulrepresentation Ambrakiaas a symbolusActiacusin the cycleof "Heraklesandthe Muses"(seebelowno. 21). 26

Eur. Hel. 723.

27

Hor. Carm. 1.37.1.

28

OxI, Beziehungen, 94-96. This thesis was later revived by P. Zanker,who unfortunatelybased his argumenton the false mold in the Metropolitan Museum: Augustus und die MachtderBilder (Munich 1987) 66-68, figs. 45 a-b. He was

followed by J.-P. Morel, who used the same reproduction, "Das Handwerk in augusteicherZeit," in KAISERAUGUSTUS, 87, figs. 29-30. 29 STENICO, Cispius,212, n.

1; G. Pucci, "Laceramicaaretina: 'imagerie'e correnti artistiche,"in Art decoratif, 112.

30

Prop. Elegies 3.11.

112

THEDECORATED SIGILLATA WARE

No. 19 (C71.172; pls. 40, 66). From the sediment of the cross drain sewer under Street M, surface level. One large (a) and one small fragment (b) from the decorated field of a chalice. Fabric: very fine, medium hard, reddish yellow (5YR6/5). Slip: firm (some mechanical abrasions), silk-shiny,dark red (2.5YR4/8). Form: Hemispherical body preserved from grooves at the upper limit of the decorated field to the attachment of the foot. The lack of rim makes firm classificationof the form impossible; it may have been a chalice with hemisphericalbody and pedestal foot of Conspectusform R 5. 1, datable middle to late Augustan. Decoration:The decorated area is divided into two fields by a wide reticulateband. Of the upper field decoration, which belongs to the cycle of "Hunting Groups," D/W XVII,31the following figures are preserved: al: Head of a man turned in profile to the left wearing a kausia. He has fallen to the ground under the attack of a bear, D/W XVII, 13. The preserved upper part of a gnarled tree separateshim from the figure to the right. a2: The bent legs and left arm of a man running to the left wearing high hunting boots. He is a hunter rushing to the aid of his companion, D/W XVII, 11. a3: To the rightof the precedingfigureis preservedclose to the ground the lower hind leg of a horse turned to the right. What survivessuggests a rearinghorse, a variationof the type of horseman armed with a spear correspondingto D/W XVII, 3. The lower field is decorated with vertical acanthusleaves separatedby vertical rope-twist staffs;below this is a garlandof drop-shaped leaves in high relief, separatedby grooves and a ridge from the attachmentof the foot. The same group of fallen man, tree, and rescuer appears on the fragmentof a mold in Tiubin323 gen attributedby Stenico to M. Perennius,33on two molds signed by Nicephorus Perenni, one in the Arezzo ArchaeologicalMuseum,34the other in the Boston Museum of Fine Arts,35and on a vase from Bolsena, again signed by Nicephorus Perenni.36The same acanthus calyx, with and without rope-twist staffs, appears on the lower field of these examples signed by Nicephorus. b: The surface of the fragment is covered by the partiallypreserved figures of a rider and his horse moving to the right. Missing are the face of the rider,his left shoulder and arm, and his right foot and ankle; of the horse only the body is preserved. The man wears a short chiton and a chlamys,which floats behind his back; in his raised right hand he holds a short spear;his lowered left hand graspsthe reins. On the horse'sback is an animalskin servingas saddlecloth. This is a variationof the type of horsemanwith spear racingto the rescue of a hunter attacked by a lion or lioness. The most complete example of the type to my knowledge is preserved on the fragmentof a mold in the Boston Museum of Fine Arts signed by M. Perennius Tigranus, D/W XVII, 3.37 Horse and horseman, here without the flying chlamys, are very similarto the correspondingfigureson the Cosa fragment,but the diagonalspringof the animal,balancedby the opposite movement of the restrainingrider,indicates a more spiritedaction than that on the Cosa fragment,where the horizontalityof the horse and the quasi-verticalityof the ridersuggest galloping. This version with the flying chlamys appears on a fragmentin Tiubingenattributed 3'

D/W, 91-96.

Vasiaretini,fig. 16.

32

Ibid., no. 121, p. 187, pl. 9.

3

CHASE,

3

STENICO,Liste, no. 1045.

36

GOUDINEAU,

34

Inv. no. 2390. G. Fiorelli, NSc 90 (1884) pl. 8,3; VIVIANI,

37

CHASE,

Boston, no. 76, pp. 79-80, pl. XVII. Are'tined reliefs,no. 1 a-b, pp. 69-70, pl. II.

Boston, no. 81, pp. 82-83, pl. XXVII.

113

THEWORKSHOPOF PERENNIUS

Fig. 34. Paris,Muse~edu Louvre,Iv. no. 858. Base

46a~~~~~~~~~~~~~~~

(

I

~~~~~~ ~~~

from Messene. Lion hunt (froMSEARCHFORALEXANDEP,

121, no. 44).

by Stenico to M. Perennius38and on a fragment in the Metropolitan Museum of New York,39 also attributed to M. Perennius.40Since the horse's leg on Cosa fragment (a) cannot belong to the horse on fragment (b), we have to assume the appearance of at least two riders on the Cosa chalice, possibly representingthe two versions of the horseman armed with a spear; the posture of the leg of the horse in fragment (a) suggests in fact a spring like that of the Boston fragment. The Cosa chalicemaybe assignedto the initialphase of the workshop of Perennius.To the name of Nicephorus, alreadyencountered, the name of Cerdo is added both by Hahnle and Dragendorff and the name of Pilades by Hahnle alone.4' All these well-known workmen of Perennius, active during the first phase of the workshop, could have made use of the "Hunting cycle." According to Hihnle, however, the cycle was first introduced into the Arretine decorative repertoryby Cerdo, and in this connection he mentions two sherds in the Arezzo ArchaeologicalMuseum, one bearing the Greek inscription AECBEIAnear the stamp of Cerdo. The connection of this Arretine cycle with the hunting scenes celebrating the prowess of the young Alexander and his circle of intimate friends has been well established by Hahnle, who cited in particularthe hunting scenes on the circular base from Messene in the Louvre and on the sarcophagus of Abdalonymos,from Sidon, in the ArchaeologicalMuseum of Istanbul.42The base from Messene (fig.34),43of which about one-sixthis preserved,is supposed to have reproducedthe bronze group by Lysipposand Leochares dedicated by the diadochos Craterusat Delphi to commemorate a hunting episode in which he rescued Alexander from a lion.44On the preserved section of the relief Craterusgallops on his horse to the right toward a lion that turns its head from a dog lying dead at its feet to look at him. He wears a short chiton, a flying chlamys, and a kausia and holds a spear in his right hand and the reins in his left. On the right a hunter on foot, preceded by a second 38

STENICO,Liste, no. 1039.

39

ALEXANDER, Arretine,pl. XLII,2.

40

STENICO,Liste,no. 873.

41

HAHNLE,55; D/W,93.

42

HAHNLE,57.

D. Willers, "Zwei Lowenjagdruppen des vierten Jahrhunderts v. Chr.," Hefte des ArchdologischenSeminars der UniversitdtBern 5 (1979) 21-26; T. H6lscher, Griechische Historienbilderdes 5. und 4. Jahrhundertsv. Chr.(Wiirzburg 1973) 108 ff., no. 1328; SEARCH FORALEXANDER, 121-22, no. 44; P. Moreno, "L'immaginedi AlessandroMagno nell'opera di Lisippo,"in Alexanderthe Great,Realityand Myth (Rome 1993) 122-24, figs. 23, 25. 43

44

Plut. Alex. 40.

114

THEDECORATED SIGILLATA WARE

dog, brandishesan axe. Bothhorseandriderarefaithfulto the samemodelfromwhichthe Cosa typeultimatelyderives.A similarlion huntmaybe envisagedfor the Cosachalice. Theversionwiththe ridermountedon a prancinghorseis alsotraditionally associatedwiththe huntof Alexander:it appearsin the lion-huntingsceneon the sarcophagus fromSidon45 andin the huntingscenesdecoratingthe faqadeof the tombof PhilipatVergina.46 Thelandscapepunctuated by gnarledleaflesstreesof the Verginafrescodrawsourattentionto the similartreethatseparates the fallenhunterfromhis rescueron the Cosachaliceandto the possibilitythatthe prototypesof cycleXVIIreachedArretinepottersandtheirmetalmodelsthroughthemediationof painting,possiblyas book illustrations(seebelownos. 22, 67). In additionto the Verginafresco,unfortunately difficultto interpret,a connectionmaybe establishedbetweenthe Arretinehuntingscenesanda mosaicfoundin a houseof the middleHellenisticperiodin Palermo.47 In a landscapeof rocksand plants,bisectedby a tallleaflesstree,hunterson foot andhorsebackareengagedin a boarhunton the rightanda lion hunton the left. In spiteof its poor stateof preservation the highqualityof the mosaic,stylisticandtechnical, areevident.It hasbeenconsideredthe workof itinerantAlexandrianartistsandconnectedin particularwith [D]IONYSIOS[ALEX]ANDREVS, activein Sicilyaroundthe middleof the second centuryB.C., as his signatureon the mosaic fragmentof a floor in Segesta attests.48Nicola Bonacasa thinks that the originalof the mosaic may have been a pictorialversion of the donariumof Craterus; in this connection he mentions the Egyptian painter Antiphilos, who worked in Alexandria at the court of Ptolemy Soter and executed a painting, possibly brought to Rome in the Augustanperiod, in which the king, wearing a diadem, was representedhunting a boar.49The Alexandrianorigin of the Palermo mosaic and of its pictorial model is for him certain. In general, anecdotal realism is combined with iconographic traditionalismin these hunting scenes of the Macedonian kings and their successors;the protagonists of historical episodes assume the appearanceand gestures of the heroes involved in the hunt of the Calydonianboar.50 No. 20 (CE.1669;pls. 40, 67). From AtriumBuildingI, Room 16, level II (a), level I (b-h). Augustan period (see above pp. 22-23). Three medium-sized and five small fragmentsfrom the central and lower decorated fields of a chalice. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: firm, glossy, rather thick on the lower field, dark red (2.5YR4/7). Technique:very good. Form: The deep curving profile of the body may suggest an early chalice of Conspectusform R 1.1. Decoration: a: Boar standing with its legs spread in profile to the left; missing are the top of its head, part 45 V. Von Graeve, Der Alexandersarkophag und seine Werkstatt = IstForsch28 (Berlin 1970) pl. 16.

P. Moreno, Pittura greca da Polignoto ad Apelle (Milan 1987) 118-20, 151-53, 201; the horseman is identified as the young Alexander.

La monetazione siracusana dell'etd di Ierone II, Atti del Seminario di Studi, Messina 2-4 dicembre 1993 (Messina 1995) 157-79.

46

49

Plin.HN 35.138.

50Nicola Bonacasa (above n. 47) cites a mosaic of the begin-

N. Bonacasa, "A Mosaic in Palermo Showing Alexander Hunting: Between Myth and History," Chronikon1 (2002) 1-4, figs.1-5 (1 upside down) and bibliographyn. 6.

47

E. C. Portale, "Problemidel mosaico ellenistico in Sicilia: rapporti con Alessandria,"in La Sicilia tra l'Egitto e Roma.

48

ning of the fourth centuryA.D. at Setif in Mauretania,reputed to be a copy of the paintingby Antiphilosin which the hunt of Soteris envisagedas the Calydonianboarhunt;M. Donderer, "Dionysosund PtolemaiosSoterals Meleager.Zwei Gemalde des Antiphilos,"in ZuAlexanderdem Grossem.FestschriftG. Wirth(Amsterdam1988) 781-99, pls. III-IV.

THE WORKSHOP OF PERENNIUS

115

of its shoulder,andits feet;onlythe attachmentof its tail remains.Its bristlycoatis skillfully rendered.Thehindfeet of a houndcrouchingon its backarepreserved.Theboarwithhound correspondsto typeD/W XVII,19.To the left of the boaris visiblethe tip of a spearpointing diagonallyupward,probablybelongingto the hunterD/W XVII,4, a youthwearingonly a mantleknottedaroundhis neckwho dashesto the righttowardthe boar,holdinga spearin both hands. The head of the boarand its forelegsrestingon rockstogetherwith the whole figureof the hunterappearon a mold fragmentin the BostonMuseumof Fine Arts,51possiblybelongingto the firstphaseof the workshop.52 The groupalso appearson an unpublishedmoldin the Arezzo Museum.53 The hunteris almostentirelypreservedon a fragmentof a vasein Tiibingen54 assigned to M. PerenniusTigranus;55 the backsof both boarand dog can be seen on a fragmentof a vase of the NationalMuseumof Rome;56 belongingto the Tigranusphasein the Antiquarium two fragmentsof vasesalso attributedto M. PerenniusTigranusin the AshmoleanMuseumprovidethe wholefigureof the crouchinghound.57 b: A youngnude hunterwho has fallento the groundis seen in backview leaningon his right armwith his left leg bent;withhis left armwrappedin his mantle,he triesto repelthe attack of a lionesswho clawshis shoulder.Theheadof the lionessis missing.Thehuntercorresponds to typeD/W XVII, 14,the lionessto typeD/W XVII,17. A gnarledtreeseparatesthe lioness fromthe left kneeof a rescuerdashingto the right,probablyD/W XVII,9, the younghunter who, with his torsoin almostfrontalview and a shortcloakoverhis left shoulder,dashesto the rightswingingan axe abovehis head. The groupof lioness,fallenhunter,and rescuer,but withoutthe tree in between,is partially preservedon a sherdof a moldin the BostonMuseumof FineArts,58 possiblybelongingto the first phaseof the workshop,accordingto Stenico,59 andon a fragmentary moldin the BritishMuseum attributedto the phaseof Tigranus.61 signedby M. Perennius,60 Lionessandfallenhunterarealso partiallypreservedon twofragmentsof a moldin the ArezzoMuseumsignedby Tigranus.62 A tree, differentfromours,is on one of them.Tothe rightof the grouphere,as on the moldin the British Museum,is the horsemanD/W XVII, 1. c: Twoverticalacanthusleavesfromthe calyxof acanthusdecoratingthe lowerfield;abovethem a thickbrokenline is the groundline for the maindecoration,of whichonlyindecipherable tracesremain. On a fragmentin thePisaniDossicollection,datedto theearlyormiddlephaseof theworkshop, abovean identicalcalyxis preservedpartof the hunterattackedby the lioness,D/W XVII, 14.63 d: On the left arethe rightfrontleg andleft frontfoot of a gallopinghorse,belongingto a rider who rushesto the aidof a companion.On the rightarethe rightleg andthe edgeof the cloak 51 CHASE,Boston, no.

79, p. 81, pl. XXVI.

58

CHASE,Boston, no. 80, pp. 81-82, pl. XXVI.

52

STENICO,Liste, no. 370.

5

STENICO,Liste, no. 371.

53

Inv. no. 4838.

60

WALTERS, B.M. Pottery,L 101, p. 31, fig. 25.

54

D/W, 92, pl. 9, no. 116.

61

5

STENICO,Liste, no. 1040.

56

PORTENPALANGE,Antiquarium,no. 34, p. 36, pl. VI.

57

BROWN,Ashmolean, nos. 16, 17, pp. 10-11, pl. VII.

STENICO, Liste,no. 167, attributedby Paola Porten Palange to the second phase of the workshop.

62

VIVIANI,Vasiaretini, figs. 15, 17.

63

STENICO,Pisani-Dossi,n. 18, p. 427, pl. I.

116

THE DECORATED SIGILLATAWARE

of one of the rescuersdocumentedin fragments(a) and (b), typeD/W XVII,4 andpossibly type D/W XVII, 9. Partiallypreserved right front leg of a horse belonging to a second rider. Left thigh with portion of a long tail of an animal, turned to the left. On the right possibly the hem of a flying cloak. If the fragmentbelongs to our vase, the animal can only be the lion springing to the right, D/W XVII, 18, known only to Hihnle.fr g, h:Technically compatible with the other fragments, but main field decoration undecipherable. On fragment (g) is preserved the tip of a vertical acanthusleaf of the lower field. We can conclude with certainty that two hunting scenes decorated the vase. The boar hunt included a hunter on foot with spear, D/W XVII, 4; the lioness hunt, a rescuer on foot, D/W XVII, 9, in addition to the victim. Of the two horsemen galloping to the right, at least one may be connected with either scene, while the second horseman might have been a participantin the lion hunt suggested by the animalon fragment (f). A kraterof considerabledimensions might have accommodated all three scenes. Their creator might belong to either the first or the middle phase of the workshop. The variety of subjects and the changing composition of figures in consecutive phases of the workshop attest to the popularityof cycle XVII; the discovery of two vases carryingthe same type of decoration at Cosa, among a modest number of decorated pieces, is confirmationof such popularity.An explanation of it may be found in the jubilation following the victory of Actium. If the humiliation of Antony and Cleopatraand the location of the battle (see below no. 21) were memorializedin symbolic souvenirs,what about the protagonist of the event? The exploits of Alexander represented in the traditionalform of the "Hunting King" befitted the young hero of Actium and his well-known admirationfor Alexander. Suetonius recounts that while in Alexandria the young Octavian "hadthe sarcophaguscontainingAlexander the Great'smummy removed from its shrine and after a long look at his features, showed his veneration by crowning the head with a golden diadem and strewingflowers on the trunk."65Two paintings by Apelles representingthe victorious Alexander were installed in Augustus'sForum.66 e: f:

No. 21 (CE.1739;pls. 40, 68). From Atrium Building I, Room 21, level II. Augustan-Claudian.Six fragments, three of medium size and three small, from the upper field decoration and beginning of a quarter-roundelement from a chalice. Two more small unintelligiblefragmentsmay belong to the same vase. Fabric:fine, hard, reddish yellow (5YR6/5). Slip: thin, firm, silk-shiny/matte, dark red (10R4/7). Form: The shape of the chalice cannot be identified. Two grooves separate the quarter-roundelement from the decorated field bordered at the top by a line of small round beads above and a chain of tiny leaves below. Decoration:The main decoration belongs to the cycle of "Heraklesand the Muses," D/W XII.67 Dragendorff'sclassificationhas been superseded by my reconstruction of the group of the Muses of Ambrakia,which is based on numerous fragments of this cycle in the ArchaeologicalMuseum of Arezzo, the majoritypreviously unpublished. In this brief summaryof the subject all references are to this study.68 64HAHNLE,56, no. 18. 65

Suet. Aug. 18, transl. R. Graves.

66

Plin. HN 35.27, 93-94.

67

D/W, 84-86.

68

MOEVS, Ambracia.

THEWORKSHOPOF PERENNIUS

117

On the Cosafragmentsthe followingfigurescanbe recognized:69 D2.70Abovea chainof tinyleavesin a rectangular a: Handholdingaulosof Muse,Ambracia frame is the Greekinscription[e]AA[HA]. b: Torsowith head turnedsomewhatto the left of a male figurewearinga belted chitonand chlamyson his left shoulder;a tragicmaskis raisedabovehis forehead.On the rightis the GreekinscriptionKA[AlOHH]belongingto an adjacentmuse.Thisis the figureof an actorin theatricalgarb,chitonwithlongsleeves,andtragicmask,identifiedby inscriptionsasHerakles Musarum.71His righthandgraspedthe end of a clubrestingupsidedownon the ground.The facialfeaturesarepartiallyobliteratedby faultymanufacture. c: Bustin frontalview of a Musewrappedin her himation,AmbraciaA.72Besideher neck is a fragmentof leaf chain;aboveherheadaretwo beads.The facialfeaturesarepartiallyobliteratedby faultymanufacture. d: In the middleis the top of a tragicmaskin profileto the right;on the rightis the facein profile to theleft of a Museholdinga tragicmask,Ambracia El.73Above,betweenleafchainandbead borderin a rectangular frame,is theGreekinscriptionEPATQ.Bothmaskandfacearecarefully rendered. e: On the left the head, partlyobliterated,of Muse,AmbraciaA, is preservedfrom crownto nose.74On the right,betweenleaf chainandbeadborder,in a rectangular frameis the Greek inscriptionHEPAKAEX MO[XQN].Above the bead borderare two groovesseparatingthe rimelement. decoratedfieldfromthe beginningof the quarter-round f: Partlypreservedcomicmaskin profileto the left belongingto a Museholdinga comicmask in herleft handandpedumin her right,AmbraciaD1.75Betweenleaf chainandbeadborder, in a rectangular frame,is the GreekinscriptionHOAY[MNEIA]. Abovethe beadborderare two grooves. Theoriginalcycle,partlypreservedon a moldfragmentin the ArezzoMuseumsignedby Cerdo hasbeenreconstructed (fig.35, right),76 asthe sequenceof nineMusesaccompanied by a previously unidentifiedfigurethatI was ableto identifyas an actoron the basisof his tragicmask(fig.36).77 Fromthreeoriginaltypesof Muses,C, B, andD, by changingtheirattributes, the artistobtainedsix in herhimationMuseA. Stylistically figures,C1-2, B1-2, D1-2, whileleavingundisturbed I wasable to identifythe actorandthe fourMusesas a faithfulandskillfulreproduction of a groupcreatedby an artistof the school of Lysippusin the first decade of the third centuryB.C. (fig.37),78 This was evidentlya donariumerectedby a successfuland affluentactorto commemoratehis victoryin a dramatic competition, in which he envisagedhimself associatedwith four allegoricalfiguresof recitationand song, whose attributeswere a diptych (Cl), a kithara(Bi), and a comic mask (Dl). To obtain the canonical number of nine Muses, Cerdo had recourse to that multipurpose neoclassicalfigureholding a tragicmask or a lyre alreadyencounteredas an attendantfollowing the lady Ibid.,15,fig.7.

75Ibid., 28-30, figs. 10, 11, 34, 35, 42, pl. II.

70

Ibid., 30-31, figs. 13, 33.

76

71

Ibid., 21-24, figs. 11, 20, 21, 42, pl. II.

72

Ibid., 24-25, figs. 6, 26-29, pl. II,2-4.

69

Inv.no. 8768 with Heraklesand the Muses C1, B1, A; ibid., 14-15, fig. 6 b, pl. II. It was found in 1883 in the excavations at Santa Maria in Gradi; G. Fiorelli, NSc 91 (1884) 377, pl. VIII,2; VIVIANI,Vasiaretini, 72, fig. 7.

77

MOEVS,Ambracia,21-22.

78

Ibid., 32-42.

73Ibid.,31-32,figs. 17, 39, 40. 74Ibid.

Fig. 35 (above).Arezzo,Archaeological Museum. On the left,fragment of mold nv. no. 8777, Muse E. On the right, fragment of mold iv. no. 8768 signed by CERDO PERENNI, Herakles,MusesA,

-

Bi, Cl.

_~~~~~~~

_

Fig. 36 (right).Arezzo,Archaeological Museum, inv. no. 4933. Fragmentof mold. Herakles,Muse A.

35/h )ig (aovJ_Aezoi/caolgca)

MTMM

Fig. 37. Graphicreconstructionof groupof Herakles and the Muses (M. T MarabiniMoevs).

THE WORKSHOP OF PERENNIUS

119

....0 .t.. |~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

U

-~~~~~~~~~~~~~~~

Fig. 39. Arezzo,ArchaeologicalMuseum, inv. no. 8769. Castfrom mold. Signatureof M. Perennius Tigranus on the open roll held by Muse C2.

Fig. 38. Arezzo,ArchaeologicalMuseum, inv. no. 8784. Fragmentof mold. Muses El-2.

with a parasol,D/W XI, 6 in the procession of Herakles, D/W XI, 8 (see above no. 18.c1), whom he transformedhere into Muse E1-2 (fig. 38). This figureis preservedabove the waist on a fragmentin the Arezzo Museum belonging to the same mold signed by Cerdo (fig. 35, left).79It was, therefore, a member of the originalcycle that continued to be produced, albeit not alwaysin the originalversion, during the second, third, and finalphases of the workshop. The signatureof M. Perennius Tigranus in the genitive, handwrittenon the open roll held by Muse C2, appears on fragmentsof a vase and a mold (fig. 39) in the Arezzo Museum.80To this period or possibly to the preceding, given the high stylistic quality of some details, can also be assigned the fragmentsfrom Cosa. I have identified the donariumreproduced by Cerdo in his cycle of "Heraklesand the Muses" as the famous group of the Muses of Ambrakia,brought to Rome by M. Fulvius Nobilior after the capture of the town, the former capital of the kingdom of Pyrrhus,in 189 B.C.8' The group was first installed in a temple of Hercules in the Campus Martius, then called Aedis Herculis Musarum. Later it was probably moved to the Porticus Philippi in the same area, when the Muses, given the proximity of Ambrakiato the temple of Apollo on the promontory of Actium, were promoted to the rank of SymbolusActiacus.82In the aftermathof the victory of Actium this attractive symbol was represented by Cerdo on a krater produced in the workshop of Perennius at Santa Maria in Gradi to memorialize the event. 79 Inv. no.

8777; ibid., 31, figs. 6 a, 39, 40.

Inv. nos. 2375, 2380, two fragmentsof rim and part of the decorated field with Muses E and C2 from a krater probably of Conspectusform R, 2, MOEVS, Ambracia,fig. 9; inv. no. 8769, large fragment of decorated field with Muses B2, C2, and A from a mold, ibid., fig. 8. For an examination of the cycle during the first three phases of the workshop, see ibid., 14-21. About the signaturesof Cerdo and Tigranuson the cycle and their relation to the identity of the owner of the workshop, see F P. Porten Palange, "M. Perennius e M.

80

Perennius Tigranus,"in G. CavalieriManasseand E. Roffia, eds., Splendidacivitasnostra.Studiarcheologiciin onoredi A. Frova (Rome 1995) 391-400; on the Bargathesphase of the workshop, see BARGATHES, 44-50, nos. 16-26. 81

Cic. Arch.27; Plin. HN 35.66; Eumenius, Pro instaurandis scholis, 7, 3. For the historicaldata relatingto the transferof the Muses to Rome and their installation there, see MOEVS, Ambracia, 1-4, 46-48.

82

120

THEDECORATED SIGILLATA WARE

#

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.: :

.

.,

j

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Fig. 40. Arezzo,ArchaeologicalMuseum, inv. no. 8366. Mold by M. Perennius Tigranus.Sleeping man and warningwoman.

No. 22 (CD.618; pls. 40, 68). From Dump at northwest corner of the Basilica, level II Augustan period. Fragmentfrom mid-body of a chalice. Fabric:fine, veryhard,pinkish(2.5YR6/3);Slip:verythin, firm,silk-shiny,very darkred (2.5YR3/4). Decoration:Of the main field decoration the following is preserved: Part of a grapeleaf with manuscriptstem originallybelonging to a wide grapevine wreathframed by a ridge above and a chain of tiny leaves below of which only very small portions remain. The vine wreathwas originallyinterruptedby the figure of a boy belonging to the main decoration, preserved here above the waist. He emerges in profile from behind a curtain draped between a lost upper knob on the left and a vertical post on the right. He has a long thin face and a round head covered by wavy hair caught in a ponytail at the back, and he wears a tunic with a short flaring sleeve. With his outstretchedrightarmhe touches a horizontalleg on the right.The boy corresponds to the figure, wrongly identified by Dragendorff as a girl, who appears in the cycle of "Symposium Groups," D/W XIII.83Dragendorff mistakenly excluded the boy from what he considered an original set of eight figures because of his smaller size. The leg touched by the boy belongs to a female figure recliningon a kline, probablythe woman who raises her right hand in a warning gesture, D/W XIII, 3, Arezzo Museum mold inv. no. 8366 (fig. 40), or the woman who grasps the chin of her companion, D/W XIII, 2, Arezzo Museum mold inv. no. 4626 (fig. 41). To the right of the boy can be seen a small part of the left armwrapped in a mantle of the man reclining on a kline with a garland in his left hand, D/W XIII, 5. The cycle was produced during the firsttwo phases of the workshop. During the firstphase it is associatedwith the name of Nicephorus, whose stamps can be seen on three almost complete molds in the Arezzo Museum;the alreadymentioned inv.nos. 4626 (fig. 41),842108 (fig.42),85 and 75839(?) 83

D/W, 86-88.

n. 95, p1.67,1-2.

TerraSigillata,pL. 85 VMvANI,Vasiaretini, fig. 5; HOFFMANN,TerraSigillata, pI. VIviLi, Vasiaretini,fig.4; HOFFMANN, 84,2; PORTENPALANGE,Falschungen,546 andbibliography 84,1; PORTENPALANGE,Fdlschungen,564.

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THEDECORATED SIGILLATA WARE

122

Fig. 43. Arezzo, Archaeological Museum, inv. no. 75839(?). Mold

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signedbyNicephorus.

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Sleeping man, warningwoman, and boy behind curtain.

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(fig. 43 ).86 A fragmentsigned by Cerdo in Munich, mentioned by Dragendorff, on which the male figure D/W XIII, 8 is repeated twice (see below n. 106), may suggest that he was responsible for the introduction of the cycle. At the end of the nineteenth centurythe first two molds were used in the forgeryof five stamps and nine new molds now scattered among importantmuseums in Europe and America.87Since our knowledge of the cycle until recentlyrelied heavilyon this well-publicized material,its recent discreditingfurtherhamperedthe alreadydifficult reconstructionof the original version of the cycle. The couples participatingin the symposium were obtained, possibly with the exception of one (fig. 41), the girl grasping the chin of her companion,88through separate stamps, one for each figure, thus multiplying the number of possible combinations. The lady, D/W XIII, 3, who makes a gesture of warning and appears in association with different partners, is a case in point. This freedom, already noticeable during the first phase of the workshop, becomes more evident during the Tigranus period, to which the Cosa fragment should be assigned on the basis of its secondary decoration. In a study on the iconographic sources of the "Symposiumand Erotic Scenes" in Arretinepottery, D/W XIII, XIV, I was able to detect a literaryinfluence on some of the groups and, through it, to identify their original representation.The boy behind the curtain now becomes associated with the warning lady D/W XIII, 3 and her sleeping partner D/W XIII, 7. Since my researchwill be completed in the near future, I shall summarizehere its essential points, particularlyin relation to the Symposium scenes.89 PORTENPALANGE,Fdlschungen, 599 and n. 432. I owe knowledge of this vase previously in the Archeological Museum of Florence to the courtesy of Paola Porten Palange. 86

87

PORTENPALANGE,Fdlschungen,564-65.

88

Above n. 84.

A preliminaryreport given at the XVI InternationalCongress of ClassicalArchaeology,Boston, 23-26 August 2003, will appear in the Actes of the Congress. 89

THE WORKSHOP OF PERENNIUS

123

Fig. 44. Plastercastfrom Begram.Sleeping maenad (fromHACKIN,Begram,fig. 280, no. 126).

It is generally assumed that the Symposium and Erotic scenes on Arretine pottery reflect the culturaland social environmentof the elegiac poetry of the Augustan age.90This assumptioncan be accepted if we envisage this poetry as a related subject that may have promoted interest in this kind of imagery.The iconographic sources for at least some of these scenes, however, are rooted in the sympotic and love poetry of the Alexandrianepigrammatists.9'A close scrutiny of the Symposium groups will revealthat in some of them, beneath the polished surfaceof the neoclassical taste of the day,there are iconographicand stylisticfeaturesthat point back to the art of Hellenistic Alexandria. The odd hairdo of the boy behind the curtain is the cyrrusin vertice, a variation of the Egyptian side-lock of the Child-Horus,which seems to have an ethnic Africanorigin,9 appropriatefor a slave boy. His linen tunic with short flaring sleeve was a traditional Egyptian garment from Pharaonic times on. His figure in profile on a continuous plane with the curtain in frontal view is a reminder of the peculiaritiesof Egyptian perspective. The use of a small isolated element, such as a curtain, to define a locale is a device seen in other works of Alexandrianorigin.93 As to the sleeping young man, D/W XIII, 7 (figs. 40, 43), it soon becomes evident that his broad realistic face and muscular body have little in common with the Polykleitean perfection of other symposiasts in true neoclassical style, D/W XIII, 5. His drunken sleep with his head tilted back and his arm thrown over his head is remarkablysimilarto the bust of a sleeping maenad on a plaster cast from Begram (fig. 44).9 The same features, but drawn to the point of an almost brutal 'o On the relation between sympotic context and Roman erotic elegy, see J. C. Yardley,"The Symposium in Roman Elegy,"in W.J. Slater,ed., Dining in a ClassicalContext(Ann Arbor 1991) 149-55. 0. Brendel noticed the great affinity between Arretine scenes of symposiumand representationsof the same theme on Greek red-figured vases, but, although he assumed the influence of Alexandria on the new erotic iconography,he failed to see a connection with epigram: "The Scope and Temperamentof Erotic Art in the Graeco-RomanWorld," in T. Bowie and C. V. Christenson,eds., Studiesin EroticArt (New York and London 1970) 4a, 57-58.

91

Antiquitas 1, vol. 4 (Bonn 1957) 39-50. 9' MOEVS,Kalathos,26,

fig. 38; ead., EphemeralAlexandria, 138-40, fig. 23. In this context I may mention the attempt to show perspective by placing a boy, evidently derived from the Arretine model, behind the leaf of a half-open door in the homoerotic scenes represented on the so-called Warren cup, a silver vessel of such poor stylistic quality that it must be the work of an unskilled forger:J. R. Clarke, Looking at Lovemaking(Berkeley 1998) 61-72, figs. 16-22, pls. 1-2; J. Pollini, "HomoeroticLove and SymposialRhetoricin Silver," ArtB 81 (1999) 21-31, figs. 1-9.

94 HACKIN, Begram,no. 126, pp. 114-15, fig. 280; B. BarrOn the Egyptian connotation of this type of coiffure and Sharrar,The Hellenistic and Early ImperialDecorativeBust its ethnic origin, see V. von Gonzenbach, Untersuchungen (Mainz am Rhein 1987) P 3, pp. 161-62, pl. 75, dated to the zu den Knabenweihenim Isiskult der romischenKaiserzeit= first half of the second century B.C.

92

124

THE DECORATED SIGILLATAWARE

Fig.45 Arezzo, ArchaeologicalMuseum, inv. no. 4626. Mold signed by Nicephorus.Groupin neoclassicalstyle.

. .s.-.fi

W

............

5I

I~~~~~~~

realism recallingcertain portraitsof the earlyPtolemies,~ can be seen in the young man who turns his head away from his amorous partner,D/W XIII, 6 (fig. 41). The sleeping man and warningwoman couple, D/ W XIII, 7,3, accompaniedby the boy behind the curtain and the couple in which the man turns his head away from the girl who grasps his chin in an attempt to attracthim, D/W XIII, 6,2, both present in the three molds signed by Nicephorus, go back to models of Alexandrianorigin createdin the earlyHellenistic period. They must therefore belong to the original nucleus of cycle XIII. From the very beginning a group in neoclassical style, composed of the young man, D/W XIII, 5, and a woman holding a lyre, D/W XIII, 1, mold 4626 (fig. 45), must have been added to this original nucleus to enlarge the decorative repertory. The peculiar characterof the original groups, whose composition and gesture seem to alude to, ratherthan to represent in detail, a particularsituation, suits the very nature of the epigram,9 the earliestdocumented literarygenre in Alexandria,which was to become one of the most popular artisticforms in the Hellenistic world:We must resortparticularlyto the themes of the sympotic and erotic epigramsthat depict the pleasuresof the banquetand love with their consequentialsorrows,in order to find a plausible explanation for the actions performed by the original Arretine couples. To the end of the reign of Soter and the beginning of that of Philadelphusbelong the firstthree epigrammatistsAsclepiades of Samos, Posidippus of Pella, and Hedylus of Samos, all of them connected with the artistic life of Alexandria.9 Their work, along with that of later epigrammatists, was collected into a comprehensive anthology, the Garland,by Meleager of Gadara shortly after 100 B.C.9 Due to its very conciseness the epigramwas bound to be anthologized, so that it is logical to assume that other collections preceded the Garlandof Meleager;we have, in fact, evidence for a joint edition of the first three epigrammatists.With the compilation of anthologies arises the need to organize their contents so that, even if a thematic arrangementdemonstrablybelongs to a late 95 M. T. MarabiniMoevs, "Strategosand Savior:A Portraitof

Ptolemy I in Baltimore,"BdA 78 (1993) 6-7, fig. 9, pl. I.

Ibid., 181-224; A. Rostagni, Poeti alessandrini (Torino 1916) 201-51; P. M. Fraser,PtolemaicAlexandria,I (Oxford 1972) 555-75.

On this definition, introduced first by Pasquali, see G. in I. Lanaand E. V.Maltese,Storia Guidorizzi,L'Epigramma, della civiltdletterariagrecae latina, II (Torino 1998) 182.

98

97

96

GOW/PAGE, Hellenistic Epigrams.On this and successive anthologies, see CAMERON,GreekAnthology.

THEWORKSHOPOF PERENNIUS

125

we maypostulateanearlydemandforit.'00Althoughillustratededitionsof the epigramsare date,99 not recorded,the veryappearanceof vignettesthat characterizes thesecompressedcompositions suggestsnot onlytheiroriginalconnectionwithpaintingandsculpture101 but alsotheiradaptability for illustration. Broadthematicreferences,in additionto specificpoems,may also be found in the images handeddown to us in Arretinepottery.The curtainliftedby the slaveboy separatesthe outside worldfromthe secludedspaceof the symposiumwith its abundantlibationsand eroticsequels. Exhaustedby the enjoymentof both, the youngmanhasfallenasleeplike "asecondEndymion," warmedby thebodyof hisbeautifulcompanion.Thebroadthemeof wineandlovemaking pervades the scene,102andin the postureof the youngmanrecallingthe sleepof Endymionwe canalsoread referenceto a specificepigram.103 Meanwhilethe outsideworldof the komoswith its wandering revelersis pressingat the door,andanotherclient,invitedor not, is beggingadmittance: the young slavehascometo announcehisarrival.Caughtin thisembarrassing circumstance, theyoungwoman withhercautionary gestureis tryingto protectthe sleepof the firstwhilekeepingthe secondatbay, who, suddenlyawareof the situation,mayonly retreatin bitternessand complaint.Thesemotifs of revelersgoingto the girl'shouseandof the exclususamatorareverycommonin Hellenisticand laterepigramsandwereearlytreatedby Asklepiades,who influencedalllaterdevelopment.104 In the groupof the youngmanwho turnshis attentionawayfromthe womanwho is pulling himto herwe canreadthe themeof the epigramof the "doublepain,"wherethe conflictof being lovedby a womanwhilelovinganotheris expressedin the samevisualterms.'05 To the set of originalcouplesa thirdmaybe added,well documentedon a chalicefromVetera signedby M. PerenniusTigranus.Thisis composedof a youth,D/W XIII, 8, andyoungwoman, D/W XIII,4, turnedtowardeachotheron the bed to sharea cupheldby the man.106 Themotifof the wine cup sharedby two loversalsobelongsto the repertoryof epigram.107 Probablyconnectedwiththe Symposiumcycle,I think,is alsothe puzzlingfigureof a woman who, aloneor looselyassociatedwithothersymposiasts, is seatedbendingforwardatthe endof the kline,hidingherfacewith both handsandevidentlyweeping,D/W XIII, 9 (fig.46).108Her torso is nudeexceptfor a breastband,a garmentthatas a hetaera'strademarkacquiresa roleof its own 99 The Milanese papyrus Vogliano no. 1295 of medieval times. 100CAMERON, GreekAnthology, 19-24. For the identification of "families" of kindred epigrams in the Anthology, see TARAN,Art of variation,52-114; for the sympotic epigrams in particularsee GIANGRANDE, Sympoticliterature,93-174. 1O0D. H. Garrison,Mild Frenzy:A Readingof the Hellenistic Love Epigram,Hermes Einzelschriften41 (Wiesbaden 1978) 49-50. 102GIANGRANDE, Sympoticliterature,n. 8, 127-39, on drunkeness, ibid., 156-63. 103 Anth. Pal, V, 165. According to GOW/PAGE, this epigram goes back to Asklepiades: Hellenistic Epigrams,I, 230 no. 51; II, 634.

04Anth. Pal., V, 164; GOW/PAGE,HellenisticEpigrams,1, 47, no. XIII; TARAN,Art of variation,6-114.

105

Anth. Pal., V, 269: "I once sat between two ladies, of one of whom I was fond, while to the other I did it as a favour. She who loved me drew me towards her.... Sighing I said, 'It seems that I suffer double pain, in that both loving and being loved are a torture to me'," trans. W. R. Paton, The GreekAnthology,Loeb ClassicalLibrary(London and New York 1927) no. 269. 106 OxE, Rhein, 41-43, pl. Ila, dated on the basis of its context to 10 B.C.;HOFFMANN,TerraSigillata,79 A, 2; LEHNER, Trinkgefdsse,42 1-24, pl. LIX, 1. The youth is also present on a fragmentin Munich signed by Cerdo (D/W. 88).

107

Anth.Pal.,V, 171.

108 Boston Museum of Fine Arts, fragmentof mold signed by M. Perennius Tigranus,CHASE,Boston, 60, no. 37, pl. XXIV. She is also present on the chalice from Vetera mentioned above n. 106, OxE, Rhein, pI. i,lb.

126

THEDECORATED SIGILLATA WARE

Fig. 46. Boston Museum of Fine

invno. Arts,

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28.861.Fragment Ofmold signed

byM. Perennius Tigranus.Weeping woman (photo courtesyMuseum of Fine Arts).

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'

H ,..

in epigram.'109 Openly advertisingher vocation, it sets her apart from women more conservatively clad. Though epigramspresenting the point of view of women are rare, severallament the betrayal by a lover.110This figure also serves as a warning not to draw too sharp a distinction between the Symposium and Erotic groups, at least in the workshop of Perennius. Unlike certain erotic scenes appearingin other workshops-those for instance of Rasiniusand C. Cispius, whose crude realism may be connected with the lovemaking manuals of the Hellenistic period-the Symposium and Erotic scenes of Perennius seem to reflect the sequence of banquet and symplegma of classical Greece. No. 23 (pls. 41, 68). From Atrium Building I, Room 14 adjacentto northwest wall of the Basilica, unstratified.Large fragment of lower body and foot from a chalice. Fabric:fine, veryhard,pinkish (2.5YR6/5). Slip:firm,silk-shiny/matte,darkred (10R4/5). Technique: defective manufacture. Form: The low pedestal foot suggests a form similar to Conspectus R 2.2, middle to late Augustan. Decoration: Lower portion of central decoration from left to right: Rear leg of chair, deep loop of curtain or other drapery,body preserved below the waist of a young woman sitting on a chair similar to the preceding; she is turned to the right and her only garment seems to be a mantle covering her legs. Close to the front leg of her chair are traces of a scabellum, played by another musician. It is possible to reconstruct a scene of three female musicians, two seated facing in opposite directions playing the auloi and the kithara,and a young woman, probably a dancer,who plays the krotala,hidden, except for her head and arms,behind a hanging drapery.They seem to belong to a quintet, like the one represented on the chalice by Tigranusfrom Vetera (see above p. 125), which also included a young man playing the kitharastanding at the left and, on the opposite side, an elThis naturalseat, which clashes derlyman seated on a rock who plays the auloi and the kroupalon.11" with the classical elegance of the chairs on which the female musicians are sitting, is better suited 109

Anth. Pal., V, 158: "I played once with captivating Hermione and she wore a zone of many colours bearing letters of gold; all around it was written, 'Love me and be not sore at heart if I am another's',"trans. Paton (above n. 105) 203, no. 158. See also GOW/PAGE,HellenisticEpigrams, L,45, no. IV.

110Even if they tend to be

of a late date, we may assume that they are repeatinga traditionaltheme. Of particularinterest is an epigram presenting a hetaera in tears for having been used and abandoned, Anth. Pal., V, 275. "I Above n. 106, Oxt, Rhein, pI. II, lc-d; see also in particular LEHNER,Trinkgefdsse,424-25, fig. 3.

THEWORKSHOPOF PERENNIUS

127

to the originalidentityof the elderlyplayerwho appearsas a satyrin the cycleof the "Dionysian Offering,"D/W XII, 2, alongwith the samekrotalaplayer,D/W XII, 3.112The faultypressingof the threecentralfigureson the Cosafragment,the Veterachalice,anda fragmentof a kraterfrom Arezzoin the AshmoleanMuseum,113alsoassignedto M. PerenniusTigranus,revealsthe awkward introductionof the krotalaplayerbetweentwo originallywingedmusiciansbelongingto the cycle of "Music-Playing GeniusesandMermaids," D/W V,34114 Theassemblyof theseassortedmusiciansandtheirsomewhatforcedcoexistencearea product of theTigranusphaseof theworkshop,to whichtheCosafragmentmustalsobe assigned.Although the musicalthemeplaysan importantrolein sympoticepigrams,thisparticularensemblemustbe excludedfromthe originalnucleusof Symposiumscenes. No. 24 (pls.41, 69). Fromthe areaalongthe northeastside of the Basilica,unstratified. Fragment fromlowerbodywith smallportionof basefroma beakerof Aco type. Fabric:fine,hard,pinkish(2.5YR6/5).Slip:thin,firm,silk-shinyoutside,matteinsidewithwheel marks,darkred (2.5YR4/7).Technique: verygood,verythinwall. Form:Lowerhalf of a smallconicalbeakerwith slightlycurvingwallnarrowingat a sharpangle, to the groundline of the maindecorationtowarddiskbase.The formbearsonlya corresponding genericrelationto thebeakerConspectus formR 12 andis closerto northItalianAco beakerLAvIzZARIPEDRAZZINI type 3

b, which, however, lacks the angulartransitiontoward the base.115

Decoration:Of the maindecorationarepreservedthe fragmentary figuresof two dancersfacing eachotherin panelsseparatedby two verticalridgesfromwhoselowerend two manuscriptstalks rise. Of the left dancerfacingrightarevisibleonly a leg and a handholdinga line of barbotine dots suggestinga garland;of the rightdancermovingto the right,the body in profilebelow the waist survives.

The two dancersbelong to the cycle of "Dancingand Music-Making Figures,"D/W XXI, whichincludesa dozenmaleandfemaletypes.116The left dancercorrespondsto D/W XXI, 6, a malefiguresteppingto the right,his headandbodyfromthe waistdownin profile,his torsowith armsstretchedto eithersideholdinga garland,frontal.Therightdancercorrespondsto D/W XXI, 5, a malefiguresteppingto the left withlowerbodyin profile,upperbodyfrontal,the headtilted back in profileto the rightand both armsraisedabovehis headwith his handstouching.Both figuresweara shortexomis. Since the handsomestexamplesof this verypopularcycle, six knownmolds,provedto be the best comparandum forgeries,'17 for the Cosafragmentis a beakermoldin the Archaeological Museumof Arezzosignedby PerenniusTigranuson whichbothof ourfiguresappear.118 Thesame figures,turnedin oppositedirections,arepresenton a fragmentof a bowlmoldin theAntiquarium of the NationalMuseumin Rome,assignedto the Tigranusphaseof the workshop.119 To the same phasemustbe assignedthe Cosafragment. 112 D/W, 78-81; the most complete example is the mold in the Arezzo Archaeological Museum inv. no. 6179, VIVIANI, Vasiaretini,figs. 1-3, assignedto the firstphase of Perennius by STENICO,Liste, no. 401.

115 LAVIZZARI

PEDRAZZINI, Aco, 31-32, pl. 2.

116

D/W, 103-5.

117 PORTEN

PALANGE,Fdlschungen,566-67.

113

BROWN,Ashmolean, no. 23, p. 12, pl. 8. 118

VIVIANI,Vasiaretinz,fig. 26.

"4 D/W, 65-67. See musiciansD/W V, 3-4 with overlapping

wings on a mold fragment in the Metropolitan Museum of New York, ALEXANDER, Arretine, pl. XXXIX,1.

119 PORTENPALANGE,

Antiquarium, no. 35, pp. 36-37, pl.

VI.

128

THEDECORATED SIGILLATA WARE

No. 25 (pls. 41, 69). From area along the northwest wall of the Basilica,unstratified.Two non-joining fragmentsof the upper body with rim from a broad beaker. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/7). Technique: good, thin wall, faint wheel marks inside. Form: The short vertical rim with everted lip set off from the curving wall by multiple grooves suggests a broad beaker with curving wall and disk base of Conspectusform R 11, possibly late Augustan. It appears to have been in use during the Tigranusphase of the workshop. Decoration:Traces of a manuscript floral spray are preserved on the smaller fragment. On the larger fragmentis a row of lightly manuscriptbranching stalks and to the right probably part of a stylized flower. No. 26 (pls. 41, 69). From AtriumBuilding I, Room 16, level I. Augustan-Claudian.Smallfragment from central decoration. Fabricand slip: like the preceding entry. Technique:like the preceding but with thicker wall. Decoration:left upper section of the dancer D/W XXI, 5. Perennius Tigranusphase. No. 27 (CD.1038; pls. 41, 69). From the area along the northwest wall of the Basilica,unstratified. Large fragment of quarter-roundelement and beginning of curving body from a chalice possibly of Conspectusform R 2. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/7). Technique: very good. Decoration:A convex molding bounded by grooves separatesthe decorationfrom the quarter-round element. Below it is an ovolo-and-tongue border of type D/W 18.120 In the main field remainsonly the stamp M.PERENN/TIGRANI in a rectangularframe (CVArr12461 = OCK 1411.1). No. 28 (CE.1800;pls. 41, 69). From Atrium Building I, unstratified.Smallfragmentof upper body from a vase of indeterminateform, possibly a beaker. Fabric:fine, hard, pinkish (2.5YR6/6). Slip:thin, firm, silk-shiny/matte,dark red (2.5YR4/7). Technique:good, mechanical abrasions. Decorationfrom top:Naturalisticgrapevineof which a bunch of grapeswith tendril and beginning of a leaf are preserved;below it is a chain of tiny leaves. In the main field is a fragmentarystamp in rectangularframe with the signatureM. PE[RENI] (CVArr1247 = OCK 1390.3), originallyfollowed by the signature of Tigranusin a separate stamp. This type of grapevine band is known to belong in the Tigranusphase of the workshop.121

The BargathesPeriod No. 29 (CD.470; pls. 42, 70). Fragmentsfound scatteredoutside the northwest wall of the Basilica, unstratified.Verylarge fragment(composed of fourteen joining fragments)of body from the rim to the attachmentof the foot, large fragment composed of five joining fragmentsof upper body with rim, and two small non-joining fragmentsfrom a chalice, about one-quarterpreserved.The foot, a separatefragment,is now lost. Fabric:fine, very hard, pinkish (1OR6/5).Slip:firm, glossy, dark red (1OR4/7). 120

D/W, 18,fig. 1.

121

CHASE,Boston, no.

16,p. 43, pl. XXIV

THEWORKSHOPOF PERENNIUS

129

Form:The deep curvingbody andsharplyarticulatedhangingrim,concaveon its outerfacewith convexmoldingsaboveand below,correspondto a chaliceof Conspectus formR 2.2, typicalof the findsof Haltern,middleto lateAugustan.On ourvasea moldingseparatesthe quarter-round elementbelow the rimfromthe decoratedfield;the outerface of rimandmoldingaredecorated with rouletting.The pedestalfoot (lost)wouldalsocorrespondto Conspectus formR 2.2. Decoration: The decoratedfieldis boundedat top by a line of smallroundbeads,an ovolo-andtongueborder,and a chainof tinyleaves.The mainfieldis decoratedwithgarlandshangingfrom bucraniaaboveinvertedHerculesclubs:122 a: On the largerfragmentan elongatedbucraniumabovean invertedHerculesclubprovidesan axis.Tothe sidesof the bucraniumhangthe tasseledendsof a taenia woundaroundits horns. Fromthe headof the clubto eithersidespringa floralcalyxanda serratedleafon manuscript scrollingstems.Fromthe hornsof the bucraniumhangheavyfestoonsof foliage,pinecones, andfruit,evidentlysupportedat oppositeextremitiesby otherox heads.A verticalspikewith spiralthreadappearsabovethe preservedleft serratedleaf;otherspikes,preservedon isolated fragments,mayhaveoccupiedthe emptyareasunderthe festoons.Abovethe rightfestoon, belowthe chainof leaves,appearsthe left cornerof a rectangular stampwith corner"nails" preservingthe letterM. b: On a secondlargefragmentis preserveda differenttypeof ox head:its eyes,bushybrow,and naturalisticmuzzledefineit as a bukephalion.123 c: Verysmallfragmentpreservingpartof a bucranium. It canbe inferredfromthisthatthe overall compositionincludedtwobucraniaandtwo bukephalia, the numberfittingtheproportionsof the vase. d: On a smallseparatefragmentunderthe ovolo-and-tongue andthe chainof leavesis preserved the upperleft cornerof a stampin a rectangular framewithindentedborderwithtwo letters: BA[RGATE](CVArr1256,1257= OCK1404.3).Thisis froma two-partstamp,the firstpart with the signatureM. PEREN(OCK1390.4),whosefirstletteris preservedon fragment(a). These correspond, the first to BARGATHEStype G, the second to type BARGATHEStype B.124 The ovolo-and-tongue bordercorrespondsto D/W type 1 1,125 BARGATHEStype 3 ,126 The two

typesof ox heads,thebucraniumandthe bukephalion, appearinsertedintoa horizontalfloralfrieze or framedby fusiformelementswith spiralthreadon mold fragmentsattributedto Bargathes.127 Theirassociationwith the invertedclub,however,is to my knowledgepreviouslyundocumented in the repertoryof Bargathes,thoughsucha club as an isolatedelementis knownin the repertory of Rasinius,128 who alsomakesuse of the bucranium129 andof the bukephalion (fig.47),130 Bucrania holdinggarlandsarewell knownin the Tigranusphaseof the workshop.131 Bucraniaholdinggarlandsof foliage,pinecones,andfruitcallimmediately to mindthe interior 122

MOEVS,Horai 5, fig. 13.

The term bucraniumis usually adopted for both types of head, which are in realityvery different, have a different development, and should be distinguished; see C. B6rker, "Bukranionund Bukephalion,"AA 70 (1975) 244-50. 123

127 BARGATHES,138, no. 130 (bucraniumin floralfrieze), 148, no. 148 (bukephalionin floral fieze); D/W, pl. 22, no. 285 (bucraniumin floralfrieze), pl. 22, 294 (bukephalionframed by elements with spiral thread).

128

STENICO,Rasinius, no. 124, p. 38, pl. 25, and p. 62, no.

132. 124

Porten Palange in BARGATHES, 18, pl. I.

125

D/W, 18, fig. 1.

126

Porten Palange in BARGATHES, 16, pl. II.

129

Ibid., no. 128, p. 38, pl. 26, and no. 155, p. 64.

130

Ibid., no. 123, p. 37, pl. 25, and no. 156, p. 64.

131

D/W, pl. 13, nos. 176-80.

130

THE DECORATED SIGILLATAWARE

Fig. 47. Arezzo,ArchaeologicalMuseum, inv.no. 15201. Fragmentof mold attributedto Rasinius. Bukephalionll

.....................'.' _.I I.I I..

................

frieze of the Ara Pacis enclosure.132 Indeed this frieze may have encouraged the diffusion of such decorative devices on subsequent monuments and in the minor arts, but the combination of bucranium and bukephalionholding the same type of garland on the Bargathes chalice opens the possibility of other influences. In his study of the Hellenistic round altars from Asia Minor Berges has demonstrated that originally the bucranium was connected with a garland of foliage, but in the course of the second century B.C. these are replaced by the bukephalion and garland of fruit.133 The garland of fruit hanging from an ox skull is a classicistic creation of Augustan times and the Ara Pacis its oldest example. Not later than the middle of the second century B.C. on the islands of Rhodes, Cos, Delos, and in the Greek cities of Asia Minor begins production of round altars decorated with bukephaliaand garlandsof fruit, which continues down to the early imperial period. It is possible to find the closest comparanda for the bukephalionand garland on the Bargathes chalice among examples dated to the first quarter of the first century A.D.'134Moreover, the severe design of the vittae of Bargathes,very different from the floating ribbons of the frieze of the Ara Pacis, finds a close parallel on the Hellenistic altars.The appearanceof the ribbon vitta, in addition to the commoner Hellenistic design of Tigranus,suggests that the bucranium with garland of fruit may have been introduced into the workshop at the time of the dedicatio of the Ara Pacis in 9 B.C.Finally, it would not seem too far-fetched to think that the silversmithsresponsible for the transfer of the motif from marble to metal may have also found in the round altar ready inspiration for the arrangement of the decoration of the vase. Though a date in the last decade of the first century B.C. can be accepted as a terminuspost quem for the Cosa chalice, the more rigid and stylized features of the bucranium of Bargathesare shared by works later than the creation of the altar,such as certain sarcophagi of early imperial 132

LAROCCA, Ara Pacis, 15.

D. Berges,HellenistischeRundaltdreKleinasiens(Freiburg 1986) 93 ff.

133

134 Ibid., K 98, pp. 176-77, fig. 134, altar from Kyme in the Museum of Istanbul of late Augustan date; K 100, pp. 177-78, fig. 136, altarfrom Trallesin the Museumof Aydinof

the first quarterof the first century A.D.; K 101, pp. 178-79, fig. 137, from Side in the Museum of Side of the first quarter of the first century A.D.; K 109, pp. 182-83, fig. 143, altar from Tralles in the Museum Basmahane di Izmir dated to the first third of the first century B.C.; K 111, pp. 183-84, fig. 145, altar from Aphrodisias in the same museum of the first quarterof the first century A.D.

THEWORKSHOPOF PERENNIUS

131

date.Similarto the type of Bargathesis the bucraniumholdinga garlandon a sarcophagusfrom the cemeteryof Ostiaassigneda lateAugustandate,135 a datecloserto the Cosachalice. No. 30 (pls.42, 71). Sporadic.Twofragmentsfromupperbodyof a vaseof indeterminate form. Fabric:fine,hard,pinkish(2.5YR6/5).Slip:firm,glossy,darkred (2.5YR4/6).Technique: good. Decoration: Aboveis a friezeof horizontal,reversingpalmettesjoinedin pairsat the base;below the conjunctionis a rosetteof sevendots arounda centraldot. In fieldbelow are: a: Rightend of a rectangularstampwith indentedframepreservingthe lettersTE. It can be restoredas [BARGA]TE(CVArr1256, 1257= OCK1404.3). b: Undecipherable motif,perhapsa birdwithraisedwing? The rosette corresponds to BARGATHEStype 23,136 the palmette to D/W type 24;137the latter is

similarto BARGATHEStype9 but has six lateralleavesinsteadof four,withthe rosetteplacednot at the pointof juncturebut belowit. No. 31 (pls.42, 71). FromAtriumBuildingI, Room16.Augustan-Claudian. Twofragmentsfrom centralbodyof a vasewithdeepcurvingbody,probablya broadbeakerof Conspectus formR 11.1, datedtentativelymiddleto lateAugustan. Fabric:fine,hard,pinkish(2.5YR6/4).Slip:thin,firm,silk-shiny,darkred (2.5YR4/8).Technique: good. A fragmentof a moldin the ArezzoMuseum,inv.no. 3031 fromthe workshopof BarDecoration: gathesat SantaMariain Gradi,providesa guideforthe reconstruction of the decorationfillingthe field.138Ourtwo fragments,thoughnon-joining,whenarrangedwiththe largerabovethe smaller, showthe centralelementof the composition: a palmetteof typeD/W fig.6,4, springing,witha grain earon eachside,D/W fig.6,16,froma floralcalyx,D/W fig.6,30.Thecalyxsurmountsaninverted palmette,flankedby peltae,BARGATHESpl. II, 16. Aboveeachpalmetteis an eight-petaledflower. Fragmentsof incisedsemicircleson both sidesof the upperpalmetteandarchingaboveit belong to the originalpanelingof the decoration.At the upperleft pointof intersectionof the semicircles is a multipetalrosette.The decorationis framedaboveby a chainof tinyleaves. A similardecorationcan be seen on a broadbeakerof Conspectus formR 11.1 signedby M. PerenniusBargathesin the BostonMuseumof Fine Arts.'39 Thiskind of decoration,assignedby Dragendorff to theinitialphaseof theactivityof Bargathes andidentifiedas "Bargathesmeister A,"140 is sharedby a groupof productsof uncertainattribution,labeledby Stenico"protobargateo."'14' No. 32 (CD.656;pls.42,71).FromtheDumpatthenorthwest cornerof theBasilica, levelI. LateAugustan(seeabovepp. 38-39). Threenon-joining fragments of bodywithbeginningof baseof a chalice. Fabric:fine,hard,pinkish(2.5YR6/5).Slip:firm,glossy,darkred (2.5YR4/7). Form:The decoratedbodyis framedaboveby a plainheavymoldingthatseparatesit froma plain zone above,suggestinga formsimilarto Conspectus R 4.2 but withoutroulettingon the molding. 135 H. Brandenburg, "Der Beginn der stadtr6mischen Sarkophagproduktionder Kaiserzeit,"JdI 93 (1978) 307, figs. 36-37. 136 BARGATHES, pI.

137

II.

D/W, 18, fig. 1.

138 BARGATHES,

125, no. 112.

1'3

CHASE,Boston, no.128, pp. 105-6, pl. I.

140

D/W,44-52.

141 STENICO, Liste, 16-17. For a more exhaustivetreatmentof the problem, see Porten Palange in BARGATHES, 14-16.

132

THEDECORATED SIGILLATA WARE

Decoration: The decoratedsurfaceis coveredwith a seriesof smallcurvingshields,eachoutlined borderbelowa rowof closely andfinishedwitha ropeborder.Abovethemis anovolo-and-tongue spacedbossesand abovea chainof tinyleaves.Belowthe smallshieldsis a row of largerbosses. Betweenthetipsof two smallshieldsis thesignatureMPERENin a rectangular frame(CVArr1256, 43 = OCK 1390.4)froma two-partstampof M. PerenniusBargathes. An identicalmoldis in the Archaelogical Museumof Arezzo.142 Shieldsof verysimilardesign decoratea chalicefoundatHalternsignedby Cn.AteiusXanthus,probablyfromthePisaworkshop, whichsupportsthe Cosachronology.143 No. 33 (pls.42, 71). Fromareaalongthe northside of the Basilica,unstratified. Fournon-joining fragmentsof body andrimfroma chalice. Fabric:fine,veryhard,pinkishclay(2.5YR6/5).Slip:thick,flaky,darkred (2.5YR4/7).Technzque: mediocre. Form:Theshallowcurvingbodyandtherimwitha roulettedconvexmoldingandslightlyoutturned lip vaguely recall the chalice of Conspectusform R 5.1 and the rime of RUDNICK 8.144

Decoration:The ovolo-and-tongue borderwith row of bosses and the smallshieldswith double outlineareidenticalto thoseof the preceding. Formanddecorationarereminiscentof the Hellenisticleafphialewithovoidbosses,145 whose motifswould seem to havebeen combinedin Arretinepotteryinto a singleone.146 This type of phialemaybe the productof workshopsin PtolemaicEgypt.147 No. 34 (pls.42, 72). Fromthe sewerof StreetM. Middleto lateAugustan(see abovep. 35). Four non-joiningfragmentsof bodywithbeginningof the baseof a chalice. Fabric:fine, hard, pinkish (10R6/6). Slip:firm, glossy, dark red (2.5YR4/6). Technique:moderately

good, somemechanicalabrasions. Form:The hemisphericalbody, separatedfrom the vertical rim by a moderatelythick molding with rouletting, may suggest a form like that of the preceding or of ConspectusR 9.1, which probably began in the Tiberianperiod and is associated with Bargathes. Decoration:The decorated field is filled by a row of large nautiliwith simple outline spiralingto the right and separated by vertical, rope-twist spikes ending in small rosettes. Above is a row of small concentric circles, below a row of small rosettes. The row of nautili as a main decorative device is very common in the repertoryof Bargathes;148 the same types of rosettes and small circles as accessorymotifs also appearthere.149Nautili separated by vertical spikes also appear.150Nautilus-decoratedfragments from the Pisa workshop of Ateius are found at Haltern, which again supports the Cosa chronology.151 142 Inv. no. 25682. BARGATHES, 149, no. 149, with extensive bibliography.

143

RUDNICK,Ha no. 44, pp. 176-77, pl. 23.

144

Ibid., form pl. 3.

D. E. Strong, Greek and Roman Gold and Silver Plate (London 1966) 99, p1.25A.

outline, rising on slender rope stems; ibid., 99, pl. 25B. 147

H. Luschey,Die Phiale (Bleicherode 1939) 128 ff.

148

BARGATHES, 150-54,

149

Ibid., pl. II, 23, 26.

150

D/W, pI.20, no. 330.

151

RUDNICK,Ha nos. 46, 50-5 1, pp. 177-78, pl. 24.

nos. 152-58.

145

146 Of particularinterest is a deep bowl from Ithaca in the British Museum with a row of egg-shaped bosses with rope

THEWORKSHOPOF PERENNIUS

133

No. 35 (pls. 43, 72). From the sewer of Street M? Late Augustan? Small fragmentof body. Fabric:very fine, soft, pale pinkish (2.5YR7/4). Slip:firm,silk-shiny,darkred (2.5YR4/7). Technique: mediocre, wheel marks on inner face. Decoration:A nautilus very similarto the preceding but spiralingto the left. No. 36 (CE.1707; pls. 43, 73). From AtriumBuilding I, Rooms 11 and 21, level I. Augustan-Claudian. Two non-joining fragmentsof body and base, one very large with base, from a broad beaker. Fabric:fine, hard, some impurities,pinkish (2.5YR6/4). Slip:firm, from glossy to matte in different areas,dark red (2.5YR4/6). Technique:good to mediocre, some mechanicalabrasions,wheel marks on inner surface. Form:The broad disk base and curving body indicate a beaker of Conspectusform R 11.1 Decoration:A row of nautili spiralingto the left, springingfrom a row of small round bosses closely spaced. The nautili are doubly outlined with flat interior.Above the nautili are traces of the curling leaves of two of a chain of reversingpalmettes (see following entry). No. 37 (pls. 43, 73). From Atrium Building I, Room 25B, levels II/III; 25C, level III. Tiberian? Fragment of upper body. Fabric:very fine, soft, pinkish yellow (5YR6/5). Slip: almost entirely eroded on the exterior, thin, silk-shiny,dark red (2.5YR4/7) on the interior. Technique:wheel marks on inner face. Decoration:Upper part of a large horizontal palmette with three left leaves and one right one preserved. The tip of the center leaf of the palmette touches a large round berry covered with a grille pattern. Below are the tips of two of a row of nautili, identical to the preceding. This fragment completes the design of no. 36 and might have belonged to the same vase. A similar frieze of horizontal palmettes and berries is known in the repertoryof Bargathes;152 with a rosette between palmettes, it is often associatedwith a gadroon decorationin a lower register during the Bargathesphase of the workshop and that which follows.'53During the final phase of the workshop it also appears in combination with the nautilus pattern.154 The small shield and nautiluspatterns,together with the tortile column, are considered by Oxe typical examples of the baroque tendency that, at the beginning of the reign of Tiberius, followed the classicism of the Augustan age.155 No. 38 (CE.1736; pl. 74). From Atrium Publicum I, Room 21, level I/II. Augustan-Claudian. Three non-joining fragments, one very large, one of medium size, and one very small, of an oval shell-shaped object resting on two small knobs. About three-quarterspreserved; missing is the bivalvularhinge. Fabric:gritty,hard, dark pinkish (10R5/4). Slip (only on upper face): thick, firm, glossy, dark red (10R4/7). Technique:The shell was shaped by hand, the bottom surface left rough and unslipped, the upper surface smoothed by hand, showing fingerprints.The knob feet are roughly shaped with incision underneath; their location holds the shell in a slightly sloping position. The wall is very thick at the center and above the figure, thinner below. Decoration:The border of shell is set off by a groove; its hinge was originallymarked by a line of indentations of which traces of two remain. pl. 11,12.

152 BARGATHES,

153 D/W, pl. 21, no. 217 (Bargathes);pl. 26, nos. 377, 378 (IV phase).

154

Ibid.,pl. 26, no. 375.

155

A. Oxe, "BarockeReliefkeramik ausTiberius'Zeit,"in

SchumacherFestschrift(Mainz 1930) 301-8.

THEDECORATED SIGILLATA WARE

134

On the upper surface is the reclining figure of Venus in frontal view, nude to the hips, her legs covered by a mantle. Her bent left arm, resting on a square object, supported her head, now lost. Her right arm lies along her body, the forearm across her lap with the hand on her left hip. Her mantle runs under her body from the shoulder to cover her legs. A small winged Eros stands at the feet of the goddess, and a dove flies in the field under her. The same figure appearson a mold and on two fragmentsof kraters,156 attributedto Bargathes, in the Arezzo ArchaeologicalMuseum. These provide, in addition to the body, the head in profile, the neck adorned with a necklace, the end of the kline on which she reclines, and a small Eros identical to ours holding a mirror.On the Cosa shell the necklace was obliterated and the end of the kline made indistinct in order to transforma hetaera from a Symposium scene into a Venus in her shell. Though unrecorded among the figures of D/W XIII, it has been assigned to the same group.157

On the underside is a V-shaped graffito.

The Late Phase No. 39 (CE.1795; pls. 43, 75). From Atrium Building I, Room 22, level II. Tiberian-Claudian(see above pp. 57-58). Fragmentarychalice, about three-quarterspreserved. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: thick, firm, glossy, dark red (2.5YR4/7). Technique: moderatelygood, irregularsurface. Form:The chalice has a shallow hemisphericalbody with almost vertical, heavily molded rim and pedestal foot. It is similarto Conspectusform R 6, but without the quarter-roundelement separating the rim from the decorated field. Decoration:The decorated field is framed above by a line of closely spaced small round beads. Under them is the signatureCRESENTin a rectangularframe (CVArr1283 = OCK 1407.1), which corresponds to the cognomenCrescens, from two-part stamps;the signatureM.PEREN was on a separate stamp in a rectangularframe (CVArr1247 = OCK 1390.7). The main decoration consists of a series of figuresderived from the repertoryof Perennius and Rasiniusused as disiectamembra.Startingto the right of the signaturethese are: al: two female figures walking side by side to the right; the bust of one figure, half bust of the other, and feet of both are preserved.They belong to the cycle of "Dancingand Music-Making Figures," D/W XXI, 12, of Perennius.'58 bl: a male figure turned to the right between two trees, nude except for a chlamyshanging behind his back and leaning on a stick with his bent left leg resting on rocks. b3: a hunter dressed in chiton and chlamys charging with his spear to the left, from "Hunting Groups," D/W XVII, 5.159 To his left is the partly preserved fore part of a lion springing out of a floral calyx, D/W XVII, 20 a."60 b4: the molded base of round altar?

156 Inv. nos. 8385, 10773, 6091, 27-29.

BARGATHES,

50-51, nos.

158

D/W, 103-4.

159D/W, 92, fig. 11.

Ibid., 50-51; Porten Palange also connects the figurewith the Symposium groups. 157

160

Ibid., 93.

THE WORKSHOP OF PERENNIUS

135

c5: a satyrdancingto the left,his nebrisfloatingbehindhisback,playingdoublepipes;he belongs to the repertoryof Rasinius.161 c6: the legs of a drapedfemalefigureturnedto the right,possiblyfromthe figureappearingon a fragmentin Tiibingensignedby Crescens,162 alsotakenfromthe repertoryof Rasinius. c7: an unidentifiednudemalefigureof muchsmallerproportionsthanthe precedingfigures. No. 40 (CE.1796;pls. 43, 76). FromAtriumBuildingI, Room22, levelII. Tiberian-Claudian (see above pp. 57-58).163 One-third preserved of the body with foot and beginning of rim of a chalice.

Fabric:fine, hard,light red (2.5YR5/6).Slip:firm,from silk-shinyto glossy,mattein spots, red (2.5YR4/8).Technique: good to mediocre,irregularsurface. Form:The shallowhemispherical body,pedestalfoot, and plainverticalrim,partiallypreserved, whichis offsetfromthebodyby a simpleprojectingmolding,correspondto a chaliceof Conspectus formR 9.3, datedlateTiberian-Claudian. Decoration: The decoratedfieldis boundedby linesof closelyspacedroundbosses.Underthe upperline arepreservedthe finallettersof a smallstampin a rectangular frame:[CRESE]NT(CVArr 1283 = OCK 1407.3).The signatureM. PERENfollowedon a separatestampin a rectangular frame(CVArr1247= OCK1390.8).TheCrescens'sfindingof the previouschalicein the samearea corroborates the completionof this stamp. A garlandof oliveleavesandpairsof oliveswithmanuscriptstemscoversthe field. A similardecorationwithsingleolivesappearsin the repertoryof Bargathes,164 but on the Cosa chalicebelongingto a laterstageof the Perenniusworkshopthe renditionis freer.A comparable stylisticdevelopmentcanbe seenin theolivebranchesdecoratingfunerary urnsdatedlateAugustan to Claudian.165

No. 41 (C71.170;pls.43, 76). Sporadic.Twoverysmallfragmentsfromupperbodywithbeginning of rim. Fabric:veryfine,verysoft,pinkish(2.5YR6/5).Slip:thin,worn,matte,darkred (2.5YR4/7).Technique:thickwall,poor condition. Decoration: Belowbeginningof verticalrimis partof a rectangular stampwithropeframepreserving thelastthreeletters:[SAT]VRN(CVArr1285= OCK1409.3).ThecognomenSaturninus preceded by M. PERENin a separatestamp(CVArr1247= OCK 1390.6). Belowthis arepreservedthreeof a line of smallcloselyspacedrosettes. No. 42 (pls.43, 76).Fromareaalongthenorthwallof theBasilica,surfacelevel.Twonon-joining fragmentsof centerandlowerbodywithbeginningof foot attachment, probablyfroma smallchalice. Fabric:fine, hard,pinkishyellow (5YR6/5).Slip:thick, firm,very glossy,darkred (2.5YR4/7). Technique: mediocre,mechanicalabrasions. Decoration: On the higherfragmentis preservedthe bustof a youngwoman,almostfrontal,with the lowerportionof the headturnedslightlyaside.Shewearsa chitonthatleavesherrightshoulder 161

STENICO,Rasinius, p. 57, no. 51.

162 OxE, Rhein, 104, PI. LV, 171; D/W, 208, pl. 24, no. 352; p. 114, XXVII,23.

163

CosA,Aco, 266, pl. 10,2.

I64BARGATHES, 139, no. 131 with bibliography.

165 For instance, from the funerary urn of Annia Cassia in Perugia, dated to the later Augustan age, to the so-called Altar of the Maenads in the National Museum of Rome of Tiberian-Claudiandate.For AnniaCassia'surn,see AMBROGI, Ghirlande,189-91, pl. 50,2; for the MaenadAltar:ByvanckQuarles von Ufford, "Le 'Canthare'd'Alesia,"BABesch35 (1960) 86, fig. 7.

THE DECORATED SIGILLATAWARE

136

Fig. 48. Tiibingen,inv. no. 2550. Mold fragment attributedto the late phase of the workshopof M. Perennius.Figureof Hora (photo courtesyArchdeologisches Institut der Universitdt).

bare and a himation dropped from her left shoulder to her waist and wound around her left arm. She can be recognized as the Hora with phiale and kid from the famous Ateian sequence (see below p. 155, fig. 53), here without attributes. The bust of the same Hora emerging from a partiallypreserved row of three vine leaves can be seen on a mold fragmentin Taibingen'166(fig. 48), attributed by Stenico to the late phase of the workshop of M. Perennius.'161On a mold in the Arezzo Museum with the signature M.PEREN, used by Crescens, she emerges from rows of leaves interruptedby a chest.168 The hair falling along the nape onto the shoulder in a few wavy strands on the fragmentin Tilbingen can be seen also on the Cosa fragment. This shows, in contrast to the illogical short hair of the Ateian version of the type, closer adherence to the original model. On the lower fragmentare preservedtwo rows of vine leaves to the left and a squarewith rope frame and diagonal crossing inside to the right. The square with diagonal crossing can be identified as a version of the circularbase under the tripod decorated with winged sphinxes, which also The crossing chains of tiny leaves decorating this base became belongs to the cycle of the Horai.'169 the rope outline of the chest on the Cosa fragment.

TentativelyAttributedto the Workshopof Perennius No. 43 (CD.530; pls. 44, 77). From the areaalongthe northwestwall of the Basilica,surfacelevel. Two verylargefragments,one of rimwith upper section of body (abouttwo-thirdsof upper circumference preserved),the second of body with foot, and severalnon-joiningsmallfragmentsfrom a chalice. Fabric:fine, hard,pinkish (2.5YR6/5). Slip:thin, firm,silk-shiny,matte in spots, darkred (2.5YR4/7). Technique:good, thin wall. '66

MOEVS,Horai, 19, fig. 40; D/W, 233, pl. 38, no. 569.

167

STENICO, Liste, no. 1478.

168 Arezzo Archaeological Museum, inv. no. 2686. Another example of the same Hora emergingfrom leaves can be seen on a vase from Chur also signed M.PEREN:A. Hochuli-Gysel et al., Churin romischerZeit, II, A. AusgrabungenAreal

Markethallenplatz.B. HistorischeUberblick(Basel 1991) pl. 5,1, and on a fragment of a vase from Ostia with the same signature: M. Carta et al., Ostia. La tabernadell'Invidioso. Piazzaledelle Corporazioni,porticoOvest:saggisotto i mosaici = NSc32 suppl. (1978) 80, no. 6, fig. 76e. 169

MOEVS,Horai, 27-28, figs. 35, 51.

THEWORKSHOPOF PERENNIUS

137

Form:The chalicehas a deep curvingbody,projectingmoldedrimseparatedfromthe body by a formR 2.2, datedmiddle quarter-round element,andlow pedestalfoot. It is similarto Conspectus to lateAugustan. elementfromthe body;belowthesearean ovoloDecoration: Groovesseparatethe quarter-round and-tongueborderanda chainof tinyleaves. Theentiredecoratedfieldis coveredby anundulating vinefromwhichspringlargegrapeleaves, bunchesof grapes,andtendrils.Vine,stems,andtendrilsaremanuscript,andthe compositionis markedby graceandfreedom. The ovolo-and-tongue bordercorrespondsto BARGATHES type 1, used duringthe initialphase of production,'70 but the vine branchdecorationshowsa stylisticfreedomthatcontrastswith the morecontrolledorganizationof the samemotifin Bargathes.'71 Forthisreasonandbecauseof the ovolotype,the Cosachalicecanbe assignedto that"protobargateo" groupin whichmotifsbelonging to the Tigranusand Bargathesphasesof Perenniusminglewith similarmotifsused by other workshops.'72 Thevineis a commondecorativemotifon sarcophagiandfuneraryurnsof Augustan to Claudiandate.173The Cosavine,however,has a pictorialqualitythatplacesit closerto the same motifin the gold decorationof glassvessels,suchas a skyphosfromBegram.'74 No. 44 (pls.44, 77). FromAtriumBuildingI, Room 16, level I. Augustan-Claudian. Threenonjoiningfragmentsof rimfroma chalice. Fabric:fine,hard,darkpinkish(1OR5/6).Slip:firm,glossyred (10R4/8). Form:Tall,almostverticalrimwith simpleconvexmoldingat the lip froma chalicecloseto ConspectusformR 9. Decoration: Theplainouterfaceof the rimis decoratedwithan appliquedram'shead.175 Thistype of appliqueappearson the rimof a fragmentfroma cup of Conspectus form9 in the PisaniDossi collectionof the MuseoCivicoof Milan,signedby Saturninus,176 a phaseto whichourchalicemay alsobelong.

170

Porten Palange, in BARGATHES, 14-15, pl. 11,1.

171 BARGATHES, 137-38, nos. 127-30 with reference to other related examples; R. Knorr,Die Terra-SigillataGefdssevon Aislingen, Jahrbuchdes Histori'schenVereinsDillingen 25 (1912) no. 7, pp. 331-32, pl. I; D/W, pl. 22, nos. 277, 279, 282, 283, 287; on these and preceding examples the ovolo is almost alwaysof type 6.

172 Porten Palange, in BARGATHES, 15-16. Stylisticallycloser to the Cosa decoration is the vine on a fragment in the

Ashmolean Museum: BROWN,Ashmolean, no. 35, p. 15, pl. X attributedto Tigranus. 173

AMBROGI,Ghirlande,175-78.

Begram,no. 121, pp. 105-6, figs. 270-73.

174 HACKIN,

175 STENICO, Matricia placca,nos. 38-45, pp. 61-62, pl. XII; particularlyclose to our type is no. 40.

176

STENICO,Pisani-Dossi,no. 8, p. 924, pl. I.

8

* OtherMajorWorkshops

The Workshopof Cn. Ateius

No. 45 (pls. 44, 77). From the area along the northeast side of the Basilica, surface level. Two non-joining fragments,one of medium size, the other very small, from the body of a chalice. Fabric: fine, hard, pinkish (2.5YR6/5). Slip: thin, worn on high relief, silk-shiny, dark red (10R4/7). Form:The shallow hemisphericalbody suggests a chalice with tall vertical rim of Conspectusform R9. Decoration:Above, grooves separate decorated field from a lost rim. The decorated field is bounded with a border of ovoli. To the left is the signature [ZO]ILI in tabulaansata (CVArr181 = OCK 2543.1),' in the middle is an indecipherablemotif, to the right a tree with crooked branches extending to the right bearing horizontalfoliage. On small fragmentis a bit of horizontal foliage. Cn. Ateius Zoilus is connected with the Ateius workshop located in Pisa.2 No. 46 (pls. 44, 78). From Atrium Building I, Room 5, surface level. Six non-joining fragmentsof body, two large (a, d), two of medium size (b, c), and two small (e, f), from a chalice. Fabric:slightly gritty,irregulartexture, very hard, thick wall, pinkish (2.5YR6/5). Slzp:very thin, firm, matte, dark red (10R4/6). Technique:mediocre, cursive relief, defective impression. Form:The shallow hemisphericalbody suggests a chalice with tall vertical rim of Conspectusform R 9. Grooves separatethe body from the lost rim. Decoration:The decorated field is bounded by a simple wreath of small leaves above, a broken ground line below. In the main decorated field five grotesque figures, two almost complete (a), a third from the hips down (b), and the last two from the knees down (c, e), are moving in opposite directions with dancing steps. Three are sufficientlypreserved to show that the figures were nude except for the pointed cap worn by one of them. a: A figuremoves to the left, brandishingtwo clubs;he has a skeletalbody with huge hangingphallus and an elongatedhead with big nose, thick lips, and protrudingchin. His partnermoves toward him with his head turned in the opposite direction, raisinghis bent left leg and arms,the palm of his left hand open, apparentlyfollowing the steps of a prescribedchoreography.His skeletal body, huge phallus, ovoid head with a long nose and thick lips belong to the same repertory. 1For an identicalstamp:LAVIZZARI PEDRAZZINI, Arretina,CM 527,1, p. 289, no. 7, pl. 100,4.

2 On the Pisa workshopsof Ateius:M. Paoletti, "Cn.Ateius a

Pisa," 319-31 and S. Menchelli, "Ateiuse gli altri,"333-50, in ATEJUS,fabbriche.

139

140

THEDECORATED SIGILLATA WARE

These groupsof figures,possiblyoriginallythree,are separatedby tall amphorason square pedestals;threearedocumented(d,f, b). Theamphoracanbe restoredfromtwofragments(d,f) as ovoid,withshortwideneck,pedestalfoot, andhorizontalhandleson the shoulder.At mid-bodyof the best preservedamphorais the beginningof an almostillegiblesignaturein rudimentary tabula ansata:[CNIA ?, (CVArr145 = OCK274). To the left of this amphorais a roughlyrectangular object,evidentlycarriedon the shoulderof a thirdfigure,who is partiallypreservedon a chalice fromBregenzattributedto a provincialfactoryof Ateius.3 To a figureblowingan auloswhileplayinga scabellum,alsoappearingon thischalice,4belong the legs turnedto the left with the rightfoot on the scabellumpreservedon fragment(c). Figures of the sametype,alternating with amphoras,andan identicalsimplewreathdecoratea chaliceof formR 9.3, signedby Cn. AteiusfromLuni.5Grotesquefiguresof the sametype also Conspectus appearon a chalicefromHalternsignedCresti/Euhodi.6 It has been takenfor grantedsincethe firstdiscoveryof Arretinevasesby the workshopof PerenniusBargathesdecoratedwitha cycleof grotesquefiguresthatthesederivedfromthe Roman theaterof earlyimperialtimes,andthe designation"Atellan" hasbeengenerallyadopted.7It is also assumedthatthoughthe cyclewasintroducedby Bargathesandalsoadoptedby Ateius,the types usedby Ateiusaredifferent,8 anassumptionnot entirelyacceptable.Thedancingtypeof Ateiuson the Cosachalicecorrespondsto typeD/W XXIV,2 of Bargathes.9 Thisfigureis the linkbetween certaingrotesquetypesof Ateiusandthe scenesof cycleD/W XXIV,whichI haveidentifiedas a seriesof vignettesderivedfroman illustratededitionof the Silloiof Timonof Phlius(ca.320-230 B.C.),a parodyof the worldof scholarshipandphilosophyfamousin antiquity. The identificationis basedon extantfragmentsand informationderivedfromlatersources, mainlyDiogenesLaertius.10 The grotesquedanceradoptedby Ateiusappearshereandin another sceneof the samecycle(figs.49a-b) centeredon the figureof an Eselmensch, whichI haverecognizedas the illustrationof a mime,possiblyby Timonhimself,in whichthe Egyptianritualof the captureandsacrificeof the donkey-headed god Sethwasridiculed.11 Theexistenceof sucha mime in Hellenistictimescastsnew lighton the probablesourceof Apuleius'sGoldenAss.12 The presence of a grotesquedancerin this contextmaybe explainedby the introductioninto the comedy of Hellenistictimesof intermissionactsof vaudevillecharacter.Forthe typeof danceperformed by our figure,there are the numeroustitles of "ridiculousdances"mentionedby Athenaeusof Naukratis.13

A Hellenisticoriginmayalsobe postulatedfor the club-carrying figurewithpointedcap.On a Hellenisticreliefbowlof the so-calledHomericclassof the latethird-earlysecondcenturiesB.C., I Oxi, Rhein, no. 96, pp. 69-70, pl. XXI, 96 a; the object has been identified as an oar. The attributionto a provincial Ateiushas been challengedby a chemicalanalysisof the fabric of the vase, in favor of an Arretine source:HOFFMANN,Relations sigillees,397 and n. 38. The conclusion is unsatisfactory from a stylistic point of view. 4

OxE, Rhein, pl. XXI, 96 b-c.

I LAVIZZARI PEDRAZZINI, Arretina, CM 527, 4, p. 288, 3, pl. 99,1-5. Oberadenund Haltern, no. Ha 65, p. 181, pls. 29 and 64, also assigned,quite surprisinglyfrom a stylisticpoint of view, to the Arretine production of Ateius.

7 On this interpretation,see MOEVS,Caricature,1. 8

HOFFMANN,Relations sigilles, 397 and n. 35.

9BARGATHES, 64, type 2, fig. on p. 65 (above, left), pl. III; MOEVS,Caricature,29, figs. 34, 45, 46.

10 MOEVS,Caricature,1-18.

" Ibid., 18-27. 12

Ibid., 27-28

13

Ath. Deipn. 14.629-30.

6RUDNICK,

OTHERMAJORWORKSHOPS

141

:,~

.. _| _ll. *1 l

Fig. 49. (a) Arezzo, ArchaeologicalMuseum, inv. no. 4956. Fragmentof mold signed by Bargathes.Scene from a mime (photo courtesy SoprintendenzaArcheologica per la Toscana-Firenze).(b) _...Detail.

"Vi!,

a

...

..'............

l

l

l

b

_~~~~~~~~~~~~~~~~~~~~2

_ ...........\ .....'

L

two very similarfigures appear among others, all defined as kmnaidoi,in a scene supposedly from a mime, in which resemblancesto Apuleius'snarrativehave been recognized.'14 TENTATivELY ATTRIBUTEDTo THEWoRKsHop oF ATEius

No. 47 (pls. 44, 78). From areaalong the northeastwall of the Basilica,surfacelevel. Smallfragment from central body, probably of a chalice. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: firm, glossy, red (2.5YR4/8). Technique:very good. Decoration:Verybroad female face in frontalview. The flat, wide nose with large nostrils, the thick lower lip, the fixed gaze of the marked pupils, the wavy hair parted at the middle of the forehead 14 Apul. Met. 8.26 ff.; L. A. Moritz, Grain-Millsand Flour in ClassicalAntiquity(Oxford 1958) 12-17.

THE DECORATED SIGILLATAWARE

142

Fig. 50. London, BritishMuseum. Campana plaque. PerseusbeheadingGorgon (from RHODEN/WINNEFELD, Terrakotten,pl. 34,2).

recall the head of the Gorgon between Perseus and Athena on Campanaplaques of early imperial date (fig. 50), many fragmentsof which were found associated with the Capitolium of Cosa."1 In Arretinepotterylargeheads insertedin a floraldecorationappearin the repertoryof Ateius.' Resemblingthe Cosa head are the female heads surroundedby a floral calyx and those surmounted by a palmette decorating a carinatedchalice from the dump of the Arezzo workshop of Ateius.'7 No. 48 (pls. 44, 78). From House of the Skeleton, unstratified.Large fragment of rim with beginning of body from a chalice. Fabric:gritty,hard,pinkish (2.5YR6/4). Slip:firm,matte, darkred (2.5YR4/7). Technique:mediocre, calcareous incrustationon surface. Form:The rim has a plain vertical element, finished with an everted lip and offset from the beginning of the hemisphericalbody by a convex molding. Decoration:Under the rim a border of ovoli, probably from a provincialworkshop of Atis.1

The Workshopof the Annii No. 49 (CE.1810; pls. 45, 79). From Atrium Building I, Room 5, level I, surface level. Three large fragments and several from medium to very small size from the body and rim of a chalice. Fabric:fine, very hard, pinkish yellow (5YR6/5). Slip: firm, silk-shiny,dark red (2.5YR4/8). Technique: excellent, mechanical abrasions. 15 L. Richardson, jr., "The Architectural Terracottas," in COSA II, 298-99 and 137, type 5, pl. LVIII,1-2, dated to the late first century B.C.; the illustrated examples from Cosa correspond to Borbein's second version of the type, which, along with the third version, shares features appearing on the Cosa fragment:BORBEIN, Campana,180-81, pls. 36,1-2; 37,1; RHODEN/WINNEFELD, Terrakotten,pl. 34,1-2. See also G. F. Carettoni, "Nuova serie di lastre fittili 'Campana'," BdA 58 (1973) 75-76, figs. 1-2, from the temple of Apollo on the Palatine. 16

STENICO, Liste, 298.

17 M. Scarpellini Testi and P. Zamarchi Grassi, "Lo scarico fabbriche,297, IV,4, pl. XXIV,1. aretinodi Ateius,"in ATEius, In n. 26 it is said that the motif is also present in Bargathes, to whom the Cosa vase may also be assigned.For the Medusa type in the version of Bargathes,see the fragmentin the Arezzo ArchaeologicalMuseum,inv.no. 5202, signed M.PEREN. BARGAT: HOFFMANN, Terrasigillata,89, pl. 91,4.

18

Oxe, Rhein, 29 a, b, p. 51, pl. IX, chalice from Neuss attributed tentativelyto provincial Ateius.

OTHERMAJORWORKSHOPS

143

Form:Conical body with vertical rim composed of two plain concave elements, bounded by three convex moldings decorated with fine rouletting. The form bears some resemblance to the upper section of Conspectusform R 7 and to the rim of Conspectusform R 8. Decoration:The decorated field is framed at the top by a row of small bosses and a border of ovoli of type D/W fig.1, 17b, typical of the Annii workshop. In the main field poppy buds on long undulating stems alternatewith vertical motifs formed by superimposed pairs of double volutes of decreasing size that end in a tiny palmette. Between the two in a rectangularframe is the retrogradesignatureACHORISTVS/L.ANNI in two lines separatedby a row of small triangles.Under the name ACHORISTVS alone, on decoratedware, arelisted two entries (CVArr83 a = OCK 20) that probablycorrespondto the signature Acoristus (sic) read on two fragmentsin the Arezzo Museum;19a signature []CORISTV in one line with rectangularframe appears on another fragment.20In associationwith Annius only one stamp is recorded (OCK 165). The ascending volute motif, which survived in Late Italian Sigillata, appears horizontally in its earliest phase on a fragment signed by Eros C. Annii in the Arezzo Museum21and verticallyin a later phase of the same Annii workshop close to the date of our chalice.22In all these examples the motif rises from a calyx of acanthus,which may also have appeared in the missing lower zone of the Cosa chalice. No. 50 (CE.1738; pls. 45, 80). From Atrium Building I, Room 16, level I, Room 21, level II. Augustan-Claudian. Three non-joining fragments,one very large, one of medium size, and one small, of rim with upper section of decorated field of a chalice. Fabric:fine, very hard, pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/8). Technique:good. Form: A high, plain, flaring element, offset from the hemispherical body by a molding, is surmounted by a rim that has two convex moldings separatedby a wide groove. The chalice is close to Conspectusform R 5.1. Decoration:To the plainflaringelementis appliquedthe reliefhead of a girl.Her roundforehead,wide nose, and thick lips give her chubby little face negroid characteristics.Her hair,partedin the middle, is gatheredinto knots above her ears and falls below them in short braids.Two thick, grooved hooks, risingfrom the top of her head, converge againsta knob with a cross impressedon it, simulatingthe handle of a vase. Tracesof the left side of the hair of anotherhead appearon anotherfragment. The relief-decoratedfield is bordered above by a row of small bosses and below by a chain of tiny leaves. Between the two in a rectangularframe is the signatureACH[OR]ISTVS. Of the central field decoration only a tiny daisy and an manuscriptstem are preserved. The high quality and individualisticcharacterof our head set it apartfrom the appliques usually found on Arretine pottery and connect it to small terracottaheads of Hellenistic date, more particularlyto genre types of Alexandrianorigin.23The particulardesign of the loop "handles"may also have an Egyptian origin. 19D/W, 145.

22

20

23

CHASE, Loeb, no. 90, p. 73, pl. X.

21 Inv.no. 10192, STENICO, Arretinae tardo-italica,57, no. 9 b, pl. V; the same motif appears in D/W, 155, fig. 24,3.

STENICO, Arretinae tardo-italica,57, no. 9 c-e, pl. V.

E. Breccia,Terrecottefigurate grechee greco-egiziedelMuseo diAlessandria (Bergamo 1934) no. 132, pl. T.1 from Hadra, no. 125, pl. XIV,6 from Sciatbi;M. Bieber, The Sculptureof the Hellenistic Age (New York 1967) 95-96, fig. 374, in the Louvre, Alexandrianart of the third century B.C.

144

THEDECORATED SIGILLATA WARE

No. 51 (pls. 45, 80). From AtriumBuilding I, Room 16, level I. Augustan-Claudian.Smallfragment of upper section of relief-decoratedfield. Fabric: fine, hard, thin wall, pinkish yellow (5YR6/4). Slip: firm, silk-shiny/glossy, dark red (2.5YR4/7). Technique:very good, some mechanical abrasions,accurate rendition of relief. Form. A fragment of rim from Atrium Building I, Room 22, level II of Tiberian date is technically very similar.The slightly everted lip, the grooves and moldings of the rim, and the beginning of a plain area below suggest a broad beaker with curving body of Conspectusform R 11, a form also suited to the thin walls of these fragments. Decoration:The decorated field is bordered by the usual row of small bosses and by a border of ovoli of the Annii type. Immediatelybelow it is the head of a young man turned in profileto the left. He has a classicalprofile and curly hair,possibly bound by a fillet. A fragmentin Mainz preserving traces of the Annii ovoli provides the muscular body of a standing warrior,turned three-quarters to the right, his left armlowered to steady a shield that stands behind him, his right lifted to hold a spear (?) in his hand.24The Polykleitananatomyof his body, renderedwith great accuracy,suggests a statuarymodel, a tendency observed in other examples from the workshop of the Annii.25

The Workshopof P Cornelius No. 52 (C66.17; pls. 46, 80). From Street M, level I, unstratified.Largefragmentof rim with beginning of wall from a chalice. Fabric:fine, hard, pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (2.5YR4/7). Technique: very good. Form:The projectingverticalrim has a small plain concave element between largerconvex molding with rouletting above and small multiple moldings with rouletting below; it meets the truncated conical body at a sharp angle. The chalice is similarto Conspectusform R 7.1 and TRoso(e), dated late Augustan and later.26 Decoration:Of the decoration the following is preserved: A line of rosettes of TRoso type fig. 21, 177; below are a rope-decorated spike and leaf of TRoso te fig. 24, 216, turned diagonally to the right. Between rosettes and leaf is the signature P.CORNELIin smallletters and rectangularframe (CVArr478 = OCK 623.4). According to Troso, this type of signaturebelongs to the second phase of production.27 The garlandof alternatingleaves and spikes can be completed from a mold in the Archaeological Museum of Arezzo.28The same garlandand signatureare associated on a mold from the Gorga collection in the Rome National Museum.29 No. 53 (pls. 46, 81). From areaalong the northeastside of the Basilica,unstratified.Two non-joining fragmentsof body with rim, one very large, the other of medium size, from a chalice. D/W, 152, VIII, 2, Beil. 8,61; two more examples of the figures are cited here, on a fragmentfrom Tiubingen,pl. 36, 527 and CHASE,Loeb, 75-76, pl. XVI,102.

24

F. P. Porten Palange, "Addenda ai repertoridelle officine aretine degli Anni e di Cn Ateius," NumAntCl 19 (1990) 215-22, pls. I-V. 25

26

TROSO,59, pl. 73, 441.

27

Ibid., 22, fig. I C.

28

Inv. no. 4486. Ibid.,no. 113, p. 85, pl. 20.

Inv.no. 261846. VANNINI,MuseoNazionale,no. 207, pp. 195, 228 (other examples of the same motif cited here).

29

WORKSHOPS OTHER MAJOR

145

Fabric:fine, hard, pinkish yellow (5YR6/5). Slip: thin, worn on relief areas, red (2.5YR4/8). Technique: cursive rendition of decoration. Form:Short hemisphericalbody, very tall vertical rim with multiple moldings at the lip offset from the body by a sharplydefined convex molding with rouletting;foot missing. The chalice is similar to Conspectusform R 9.2, grouped with vessels belonging to the latest phase in the production of the Italian relief ware. Decoration:Of the relief decoration are preserved:below the rim a line of rosettes with petals surrounding an empty center of a type common in the repertoryof Cornelius.30 Below the rosettes is, almost complete, a team of two harnessed horses galloping to the right, similarbut not identical to types appearingin the repertoryof Cornelius.3' To the right of the horses is the left side of a tabula ansata with hanging fillets and part of a circle that must have framedthe name of the owner of the workshop. Stampswith similarelaborate frames are known in the repertoryof Cornelius.32 A third fragment of the lower body of a hemisphericalchalice from the same area,technically identical to the preceding but with thinner wall and badly worn relief decoration, may belong to another,similarvase. One can barelymake out a part of a garlandof leaves attachedto a rosettelike the preceding;below this is the beginning of what appearsto be a large garlandof fruit and leaves. This seems to correspondto TROSO type fig. 23, 207; garlandsswingingbetween rosette attachments were also adopted by the same workshop.33 No. 54 (C68.650; pl. 81). From the House of the Skeleton, surface level. Very small fragment of body below convex molding of rim, probably from a chalice. Fabric:fine, hard, pinkish (2.5YR6/5). Slip:firm, silk-shiny/glossy,red (2.5YR4/8). Decoration:To the left is the signatureP.CORNELI in small letters and rectangularframe (CVArr 478 = OCK 623.4), belonging to the second phase of this production.34 To the right of the signature are a double concentric circle and the beginning of a second, evidently the beginning of a series correspondingto TRoso,fig. 20, 158. Below the signatureis a rosette like TROSO, fig. 21, 180. No. 55 (pls. 46, 82). From the House of the Skeleton, surface level. Three non-joining fragments, one large, one of medium size, and one small, of upper body and rim of a chalice. Fabric:fine, hard,pinkishyellow (5YR6/5). Slip:thin, firm,silk-shinyinside, silk-shiny/matteoutside, dark red (2.5YR4/7). Technique:good, accurate execution of decoration. Form: The rim consists of a high convex flaring element with rouletting on lip, offset from the decoration by a sharp molding with rouletting and by a deep groove. The beginning of the wall indicates a hemisphericalbody. The form resembles the chalice TROSO, fig. 39, 387. Decoration:The decoration is bounded above by a row of small bosses. The main field is occupied by festoons of fruit and leaves like TROSO, fig. 23, 207; they are

30TROSO, fig. 21, 176; VANNINI, Museo Nazionale, pl. IV, 26; for rosettessimilarto ours but of more accuraterendition,see TROSO,no. 58, p. 80, pl. 10; VANNINI, Museo Nazionale, nos. 264-65, pp. 205, 262-63; PORTENPALANGE,Antiquarium, no. 84, pp. 58-59, pl. XVII (signed); STENICO,Pisani-Dossi, no. 152, p. 455, pl. VII (signed). 31

TROSO, fig. 12, 82 A; VANNINI, Museo Nazionale, pl.

XXI,230. The horses were likely yoked to a chariot driven by Erotes, TRoso, nos. 234-38, p. 98, pl. 39. 32

TRoso, no. 229, p. 97, pl. 38, no. 232, p. 98, pl. 39.

33 Ibid., no.

322, p. 108, pl. 54.

34TROSO, 22, fig.1 C.

146

THEDECORATED SIGILLATA WARE

attached to horse protomes held by a band, TROSO, fig. 13, 90, and falls of draperyknotted to the attachment,TRoso,fig. 18, 143. No. 56 (C71.39; pls. 47, 82). From habitation area,unstratified.Verylarge fragmentof body from attachmentof foot to beginning of rim of a chalice. Fabric:fine, very hard, pinkish (2.5YR6/4). Slip: thin, firm, silk-shiny/matte, dark red (1OR4/7). Technique:good, ratherthin wall with metallic character. Form:The shallow hemisphericalbody, offset from the high, plain, flaring rim by rouletted ridge bounded by grooves and the type of foot attachment suggest a chalice with tall vertical rim on pedestal foot of Conspectusform R 9, with possible similarityto TROSO fig. 36, 284. Decoration:The decorated field, bordered above by a line of tiny leaves of a type common in the repertoryof Cornelius, is covered by a series of shields with double outline, curving upward, corresponding to Troso, fig. 27, 246.35 No. 57 (C70.556; pls. 47, 82). From habitation area, unstratified.Verylarge fragmentof body. Fabric:fine, very hard, pinkish (2.5YR6/4). Slip:thin, flaky,silk-shiny/matte,dark red (2.5YR4/7). Technique:mediocre, poor rendition of decoration. Form:The shallow, slightly flaringhemisphericalbody with a groove at upper extremity originally offsetting the rim suggests a chalice with hemisphericalbody, pedestal foot, and tall, almostvertical rim of Conspectusform R 9.3, dated late Tiberian-Claudian. Decoration:The decorated field is framed above by a line of double concentric circles, TROSO, fig. 20, 160, which includes one rosette of bead petals, TRoso,fig. 21, 177; below, by a line of rosettes similarto no. 52. The central area is occupied by a chain of large lozenges formed by pairs of ropes. At the points of intersection are: daisies, TROSO, fig. 21, 180, above; rosettes, TROSO, fig. 21, 175, in the middle; double concentric circlets, TROSO, fig. 20, 160, below. Inside the lozenges and triangularspaces above and below arelarge featheryleaves, TROSO, fig. 25, 237. This type of decorais tion very common in the repertoryof Cornelius.36 No. 58 (CE.1703;pls. 47, 83). From AtriumBuildingI, Room 11, level I. Augustan-Claudian.Small skyphos assembled from many fragments, about two-thirds preserved. Fabric:fine, very hard, pinkish (2.5YR6/5). Slip: firm, silk-shiny,red (2.5YR4/8); Technique:good, mediocre renderingof decoration. Form:The skyphos has an ovoid body, slightly carinatedat the bottom, a high, plain rim separated by grooves and ridges from the decorated field, two partiallypreserved loop handles with thumb rests connected to the body by two volutes apiece, and a pedestal foot. It corresponds to form D/W, VII and TROSO, fig. 42, 75-217. The slightly carinatedform 217 belongs to the second phase of operation of the workshop and is usually decorated with figures connected with the Eleusinian mysteries.37Of the double palmettes originallydecoratingthe thumb rests (TRoso,fig. 42, 75-14 1), only one is preserved. A line of pearls framed by grooves decorates the outer faces of the loops. Decoration:The decoration is bound above by a line of rosettes, TROSO, fig. 21, 177; below, by a line of double concentric small circles, TROSO, fig. 20, 158. Each side of the centralfield is occupied " For a similarexample, see ibid., no. 395, p. 116, pl. 66. 36

Ibid., 53, pls. 68-69, nos. 408-18.

37

Ibid., 59.

OTHER WORKSHOPS MAJOR

147

by the sameseriesof figures,separatedat the centerby an identicalmotif (one entirely,the other almost entirely preserved): a knotted lion skin with big hanging paws, TROSO, fig. 12, 86 A, resting on an inverted knotted club, TRoso, fig. 15, 105, inside a V-shaped floral motif. The partially preserved figures can be completed from an identical decoration on a skyphos from Besancon in the R6misch-GermanischesZentralmuseumof Mainz.38 al: On the left a draped female figure,turned to the rightwith her right armextended horizontally, sits on a cista with a snake coiled around it. The figure, preserved from the waist down, had her head covered by her mantle, TROSO, fig. 2,4. a2: To her right is preserved a hand holding the end of a torch originallybelonging to a smaller female figure dressed in a belted chiton, who stands full front behind the seated lady,her head turned to the right, and holds two torches, TRoso, fig. 2,5. a3: To the right of the central motif is preserved the left side of a man facing right (see also b3), dressedin high belted tunic, high boots with a mantlewrapped aroundhis hips, TRoso,fig. 4,2 1. Behind his head is the point of a long grooved spear that originallyrested on his left shoulder and was held in his left hand. In his right hand he was supposedly holding a vase.39Missing on the Cosa skyphos is the signatureP.CORNELI,which in the Mainz example appearsat the right of this figure, in small letters and rectangularframe, TRoso, fig. 1 C. b 1: On the left are traces of the seated figure. b2: The standing female figure is preserved above the waist. b3: To the right of the central motif the male figure is preserved above the hips. On the Mainz skyphos to the right of the seated figure is a candelabrum;on our example both corresponding areas are missing. Variations,additions, and different uses of this basic group of figures appear in several other examples.40 In spite of the defective flattened relief, the high artisticlevel of the original model is still discernible in the composition of the female group and in the elegant design of the drapery. The two female figureshave been recognized as Demetra and Kore and connected with the cult group in the Eleusinion in Athens.41The male figure, also connected with the Eleusinianmysteries, has been identified as Hymenaeus or lakchos.42The central motif may allude to the initiation of Herakles into the Eleusinian mysteries. TENTATIVELY ATTRIBUTEDTO THE WORKSHOPOF CORNELIUS

No. 59 (pls. 47, 83). From along the northeastside of the Basilica,surfacelevel. Verysmallfragment of upper body with beginning of rim. Fabric:fine, hard, pinkish (2.5YR6.5/6). Slip:thin, firm,silk-shiny/matte,red (2.5YR4/8). Technique: mechanical abrasionson high relief. Decoration:Under high protruding molding separating the rim from the body is an ovolo-andtongue border under a row of small bosses. The ovolo-and-tongue corresponds to TROsotype no. 148 of Publius Cornelius.43

H. Klumbach, "Materialenzu P. Cornelius,"JRGZM22 (1975) 48-50, fig.1, pl. 12,1.

38

41D/W, 164,1,3 andn. 1.

39

Ibid.,48.

For the firstidentification,see Dragendorff,ibid., 165, III, 18; for the second, Watzinger,ibid., 165, n. 2.

40

See ibid., 50-61, figs. 2-6, pls. 12-15; TROSO, 31-32.

43

42

TROSO, 19.

9

*

The MinorWorkshops

The Workshopof Vibienus

No. 60 (CE.1706; pls. 48, 84). From Atrium Building I, Room 11, level I. Augustan-Claudian. Very small fragmentof upper body with beginning of rim. Fabric:fine, very hard, pinkish yellow (5YR6/5). Slip: thin, firm, silk-shiny, dark red (10R4/7). Technique:good, very thin wall. Form:Possibly from a broad beaker of Conspectusform R 11. Rim offset from the decorated field by two grooves. Decoration:The decorated field is bordered by a chain of tiny drop-shaped leaves. Below them in rectangularframe is the signature [V]IBIEN[VS] (CVArr2288 = OCK 2367.1).' Of the central decoration is preserved the tip of an acanthusleaf, probably in a lozenge-shaped panel.2 No. 61 (CE.1705; pls. 48, 84). From Atrium Building I, Room 11, level I. Augustan-Claudian. Conical beaker of "Aco" type, about two-thirds preserved, rim missing. Slip: firm, glossy, dark red (2.5YR4/7). Form:The conical body with almost straightwall and flat base does not have a parallelin Conspectus but is similarto D/W XIII. Decoration:The decorated field, framed above the base by a row of small bosses, is filled with a series of connected lozenge-shaped panels with double, deeply marked frames,3with bosses at all corners and the addition of fern leaves at the upper corners.4Inside the triangles at the base are large rosettes with round and pointed petals;5inside the upper triangles are palmettes and small flowers with an acanthus calyx on long undulating manuscriptstems.6

The Workshopof L. PomponiusPisanus No. 62 (C68.575; pl. 85). From the west slope of the Arx, surface level. Almost complete beaker. Fabric:fine, hard, pinkish; slip: firm, silk-shiny,red, mottled brownish toward the base. 1 3 This type of decoration corresponds to Porten Palange The same signature is entirely preserved on a beaker of Conspectusform 11 from the Roman Forum and on a mold group IV, ibid., 206-8, pls. IV-V,16-22. fragment in the Arezzo Museum, inv. no. 3475, PORTEN PALANGE,Vibienus,196, pl. I,A; 204, pl. 111,10. 4 This leaf, which has a beaded centralvein, is said by Porten Palange to be the key motif in the Vibienus repertory;ibid., 2 It corresponds to the motif PORTENPALANGE,Vibienus,pl. 206, 208. VI,15, which appears on vases of group IV, mostly beakers 5 Ibid., pl. VI,719. of Conspectus form 11, decorated with lozenge-shaped panels; see fragmentinv. no. 14292, in the Arezzo Museum, 6 Ibid.,pl. VI,17,18. 206, pl. IV,13.

149

150

THEDECORATED SIGILLATA WARE

Form:Broadbeakerwith diskbase,curvingbody,andverticalrimwith evertedlip of Conspectus formR 11. The plainrimis separatedfromthe decoratedfieldby two grooves. Decoration: The decoratedfieldis framedby a borderof ovoli and a chainof smalltriangles.It is dividedintofourpanelsof acanthusscrollsandtendrilsthatspringfromthe centerof an acanthus calyxandendin palmettes.Twoflutedfusiformelementswithvolutesatthe top,flankedby oblique rodswith spirals,and two humanfiguresformthe centralaxes. One of the figuresstandsto the right,hisleft armextended,betweensupportsholdingfruit;the othermovesto theleft.Birdsperch on the scrolls.Betweenthe chainof trianglesanda scrollon the left, in largeirregularlettersis the freehandinscription:BIT[V]S(CVArr1367= OCK 1504),a slaveof (L.)PomponiusPisanus. For a similardecoration,see a moldfragmentattributedto L. PomponiusPisanus.7 TENTATIVELY ATTRIBUTEDTO THE WORKSHOPOFL. POMPONIUSPISANUS

No. 63 (pls.48, 85).FromAtriumBuildingI, Room22,levelI (butpossiblyrandomsurfacematerial). LateClaudian-Neronian. Medium-sized fragmentof lowerbody,probablyfroma broadbeaker. Fabric:fine,hard,pinkish(2.5YR5/6).Slip:firm,silk-shiny,darkred (2.5YR4/6).Technique: very good. Form:The slightcarinationunderthe beginningof a curvingbodysuggestsa beakerof Conspectus formR 11. Decoration: The plainareaabovethe foot is separatedfromthe decoratedfieldby a chainof small triangles.Of the decoratedfield arepreservedonly the volutesand pointedtip with spiralsthat mightbe froma fusiformelement,similarto the precedingbut diagonallyinverted. No. 64 (pls.48, 85). Fromthe Houseof the Skeleton,unstratified. Smallfragmentfromthe upper bodyof a chalice. Fabric:fine,hard,pinkish(10R5/6).Slip:firm,silk-shiny,red (10R4/8).Technique: verygood. Form:A groovesetsthe decoratedfieldoff fromthe lost rim. Decoration: Thedecoratedfieldis borderedaboveby a rowof bosses,eachwitha centraldot. Belowthisis a garlandof horizontalclustersof fiveoliveleavesboundtogetherat the baseby a seed pod. One clusteris almostentirelypreserved;of a secondthereare only the tips of three leaves.On eachside of the centralleaf is an oliveon a manuscriptstem,brokenin places.One is entirelypreserved,of the otheronlythe upperoutline. A similargarlandof three-leafclustersandoliveson brokenstemson a moldin the Ashmolean Museumhas been attributedto L. PomponiusPisanusby Stenico.8A smallgarlandof three-leaf clusters,in the Antiquarium of the NationalMuseumof Rome,has alsobeen assignedto the same workshop.9

The Workshopof C. Tellius No. 65 (pls. 48, 85). From the Dump at the northwest corner of the Basilica.Augustan. Two nonjoining fragmentsof body with rim from a chalice. 7 PORTENPALANGE,Antiquarium,no. 81, p. 57, pl. XVI. 8

BROWN, Ashmolean, no. 79, p. 28, pl. XIX.

9 PORTEN PALANGE, Antiquarium, no. 81, p. 57, pl. XVI. In n.

185 are mentioned several fragments decorated with threeleaf clustersand olives on incised stems among the fragments in the Arezzo Museum signed or attributedby Stenico to L. Pomponius Pisanus.

THEMINORWORKSHOPS

151

Fabric: fine, hard, pinkish (2.5YR6/5). Slip: firm, silk-shiny, dark red (2.5YR4/7). Technique: good. Form:The tall, slightly flaringrim, decorated at the lip by a band of rouletting and two grooves, is offset from the hemispherical body by a sharp convex molding between grooves. These features recall Conspectusform R 9, but no close comparandumcould be found. Decoration:On the plain rim is preserved half of an appliqued comic mask wearing a wreath that forms two bushy clusters on the temples and has hanging ends. On the decorated field, bordered by a row of small bosses and a border of ovoli, are preserved a few parts of a floral decoration, including scrolls, tendrils, and a half calyx of small acanthusleaves; the forequartersof an animal, possibly a hound, emerges from this. The same mask appearson a fragmentin Tilbingen signed by Tellius;10the ovoli correspondto a type used in his workshop.1'The animalprotome emergingfrom a floral calyx and surroundedby scrolls is a motif that, though rare, appearson a signed fragmentof mold in Munich.12 No. 66 (pls. 48, 86). From the House of the Skeleton, surfacelevel. Medium-sized fragmentof upper body with beginning of rim from a chalice. Fabric:fine, hard, pinkish yellow (5YR6/5). Slip:firminside, silk-shiny,dark red (2.5YR4/7), almost completely eroded on relief decoration. Form: The convex molding with rouletting and the slightly concave plain band below it, which separate the rim from the hemispherical body with a single undivided zone of relief decoration, suggest a chalice with finely molded vertical rim of Conspectusform R 7.2. Decoration:The decorated field is bordered above by a row of ovoli of the type used in the workshop of Tellius. Below this can be deciphered the outline of a thick garland of fruit and leaves. The same decoration is preserved on a mold fragment in the Boston Museum of Fine Arts signed by Tellius.13

10 D/W,

156, pI. 32, no. 496.

" Ibid., Beil. 8,71, Beil. 9,75 in Munich, signed by Tellius; CHASE, Boston, no. 119, p. 103, pl. XXVIII, signed by Tellius.

12 Inv. no. 5981.32, 13 Inv. no.

D/W, 157.

08.522, CHASE,Boston, p1.XXXVI.

10

* Not Attributedto a SpecificWorkshop

67 (CE.1818; pls. 49, 86). From Atrium Building I, Rooms 5, 16, level I; Room 22, level II. Augustan-Claudian. Eight non-joining fragmentsof body with rim, one large (b), the others from small to very small (a, c-f), from a chalice. One small fragmentof ovolo is from Room 16, the other fragmentsfrom Room 5; the large fragmentis composed of three joining fragments,two from Room 5 and one from Room 22.1 Fabric:fine, hard, pinkish (2.5YR6/5). Slip: thin, firm, silk-shiny,dark red (10R4/7). Technique: very good, thin wall. Form:The form can be reconstructedas a deep curvingbody and molded hanging rim. Between the two is a quarter-roundelement of undeterminedheight, offset from the body by two deep grooves. It is similarto Conspectusform R 2.3, dated middle to late Augustan and said to be typical of the finds of Haltern. Decoration.The decorated field is bordered by a row of halved beads and a row of large ovoli with double outline. In the central field female figures and large amphoras were linked by garlands of fruit and leaves. Of the figures the following elements are preserved: a: head of a young woman turned in profile to the right. She has a long pointed nose, a small mouth, and a large eye. Her "melon" hairdo is finished with a large ribbon fastened behind the nape of her neck.2 b: torso of a young woman turned to the right with her right arm bent. She wears a long-sleeved chiton that leaves her right shoulder bare. Her back at the waist is covered by a garlandof fruit and leaves partlyflattened by defective casting.3 c: fall of drapery.Above to the right is the beginning of a garlandof fruit and leaves, identical to the fragmentsconnected with the vases.4 Of the vases the following elements are preserved: d: central body of a large ovoid amphorawith beginning of neck. It is decorated with a band of running spirals between two zones of elongated tongue pattern. Above to the right is a small portion of a garlandwith the end of a ribbon fastening.5 e: part of the wide, short neck with ovolo-decoratedrim and double volute handles from a second amphoralike the preceding. Perched on the rim is a bird with its head turned back. Attached to the upper volute of the handle is the beginning of a garlandwith a ribbon.6

No.

I

1

MOEVS,Horai, 1, fig. 1.

4Ibid.,fig.7b.

2

Ibid., fig. 4.

5 Ibid., fig. 10 b.

' Ibid.,fig. 7 a.

6 Ibid., fig. 10 a.

153

154

THE DECORATED SIGILLATAWARE

4,

Fig. 51. London, BritishMuseum, WaltersCat. L 54. Chalicefrom Capuasigned by Ateius. Horai (photo courtesyBritishMuseum). ?Copyrightthe Trusteesof The BritishMuseum. Fig. 52. Florence,

Archaeological

Museum,

nv. no.

96302. Chalicehy the workshopof Ateius. Hora with a lapful offruit.

part of a garland with hanging ribbon. On the left, barely visible, is the curving outline of another amphora.7 These decorative elements belong to the "cycle of the Horai," best documented on a chalice from Capua in the British Museum signed by Cn. Ateius (fig. 51) 8 This, along with a dozen vases and some large fragments from the Arezzo workshop of Ateius, previously unpublished, have been the point of departure for my study of the iconography of the cycle and its historical, literary, and figurative sources. All references are to this study, of which only a brief summary will be given here.9 The group of the four Seasons on Arretinepottery ultimatelyderives from an illustrationin the archivaldocuments recordinga historicalevent that took place in Alexandriaprobablyin the winter 275-274 B.C.: the Grand Procession of Ptolemy Philadelphus.It is described in the fifth book of the Deipnosophistaeof Athenaeus of Naukratis,who in turn resorted to a description of Alexandriaof Hellenistic date. The illustrationcorrespondsto the descriptionof the personificationsof time, Penteteris,the pentetericfestivalholding a crown and a palmbranch,and the Horai each carryingher own attributes,who march preceded by Eniautos, the Year,at the head of the procession of Dionysos.10 To the three original Seasons of the Egyptian calendar,who carryattributesof the major resources f:

7Ibid., fig. 10 c. On a ninth fragmentfrom the same area of

AtriumBuildingI, technicallyidentical to the preceding, is a gnarled tree; on its possible connection with the decoration of the others, see ibid., 4, fig. 10,4. 8WALTERS, B.M. Pottery,L 54,

p. 20, pl. VI; OxE2,Rhein, no. 132 a-g, pp. 78-80, pls. XXXII-XXXIV.

9 MOEVS,Horai, 1-36; MOEVS,EphemeralAlexandria, 129-30.

'0 Deipn. 5.198 A-B. For a recent evaluationof the proposed dates of the Procession, see D. J. Thompson, "Philadelphus' Procession: Dynastic Power in a MediterraneanContext," in Politics,Administrationand Societyin the Hellenistic and Roman World,ed. L. Mooren (Leuven 2000) 381-88.

TO A SPECIFICWORKSHOP NOT ATTRIBUTED

155

Z'~~~~~~~~~~~~~f

)

I

,

Fig. 53. Florence,ArchaeologicalMuseum, inv. no. 96303. Chalicehy the workshopof Ateius. Hora with phiale and kid.

Fig. 54. Florence,ArchaeologicalMuseum, inv. no. 96306. Chaliceby the workshopof Ateius. HuntressHora.

of the country,a lapful of fruit (fig. 52),11phiale and kid (fig 53) 12 and small game suspended from a lagobolon and shoat (fig 54),13 a fourth Season was added by Ateius. He transformedPenteteris into Spring by replacingher originalpalm branchwith a big flower (fig. 55);14 the original attribute is fortunatelypreservedon a mold by Bargathesin the Arezzo Museum (fig. 56).15 The head and torso on the Cosa chalice belong to two figuresof the Hora with a lapful of fruit, the draperyto the Hora with lagobolonand shoat. A small amphoraon a pedestal with tongue-pattern decorationon the lower body is also present in the repertoryof Ateius.16 The accuraterendition of details on the Cosa fragments is evident in the head of the Hora with a lapful of fruit, who is closer to the qualityof an original stamp of the type in the British Museum than the corresponding versions of Ateius (fig. 57).17 The accuracy of the Cosa head has allowed precise comparisons in the type of hairstyleand facial featureswith portraitsof the earlyPtolemaic queens, confirmingthe Alexandrian origin of the iconography.18 The paternityof the Cosa chalice cannot be easily established.19The type of ovolo is the same 17WALTERS, Horai, fig. 18. B.M. Pottery,L 91, p. 26; MOEVS, Paola Porten Palange doubts the attributionof this stamp to Ateius and suggests that it may belong to the same workshop that produced the Cosa chalice (letter of 9-2-1990).

11MOEVS, Horai, fig.5, pl. II a. 12 Ibid.,fig.6, pl. I a. 13 Ibid.,fig.8, pl. I b. 14

15 Inv.no. 2725;ibid.,fig. 14.;BARGATHES, p. 16

18MOEVS,Horai, 13-15, figs. 26-32; ead., EphemeralAlexandria, 129, figs. 9-12.

Ibid., fig. 3, pls. I c, II b.

MOEVS,

Horai, fig.50, pl. II b.

119,no. 105.

19My attributionto the workshopof Perennius(MOEVS,Horai, 5-7) hasbeen challengedby PaolaPortenPalange,who sawinsteadaffinitieswith the productsof C. Cispius,L. AvilliusSura, and Publius:MOEVS, EphemeralAlexandria,144, n. 25.

156

THEDECORATED SIGILLATA WARE

Fig. 55. Florence,ArchaeologicalMuseum, inv. no. 96232. Chalicesigned by Ateius. Penteteris.

i

i

;"'

..1.......f

Fig. 56. Arezzo,ArchaeologicalMuseum, inv. no. 2725. Fragmentof mold signed by Bargathes.Hora with palm branch (Penteteris)(photo courtesySoprintendenza Archeologicaper la Toscana-Firenze).

usedby L. AvilliusSura.20 Theamphorais a typicalmotifof theworkshopof C. CiSpiUS;2'the same can be said for the garlandswith ribbon bands.2 The motif of the bird looking back was used by too many Arretineworkshops to be of use here. In the present state of our knowledge attribution to an unspecified minor workshop seems advisable. 20

D/W, 161, 227, pl. 33, no. 506; A. Stenico, "Nuovi frammenti di L. AvilliusSuranel Museo Archeologico di Arezzo," BuilCom75 (1953-55) 24, fig. 2.

21 D/W, 169, Beil. 11,98 and STENICO, Cispius, no. 13, p.

176, pl. I. 22

STENICO, Cispius,no. 12, p. 176, pl. I, no. 57, p. 196, pl. V.

NOT ATTRIBUTED TO A SPECIFICWORKSHOP

157

Fig. 57. London, BritishMuseum, WaltersCat. L 91. Stampby the workshopof Ateius. Hora with a lapful offruit (photo courtesy BritishMuseum).? Copyrightthe Trusteesof The BritishMuseum.

No. 68 (pls. 49, 87). From area outside the southwest corner of the Basilica, unstratified. Large fragmentof central body, probably from a chalice. Fabric:fine, very hard, very thin wall, pinkish (2.5YR6/5). Slip:very thin, very firm, silk-shiny,dark red (10R4.5/6). Technique:wall of metallic quality,decoration of high stylistic quality,but casting partly defective. Decoration:In the main field is a maenadpreservedfrom head to knee, except for her rightforearm.23 She dances to the left, her torso frontal, her head thrown back in profile, her right arm extended, possibly to hold a thyrsus,her left arm lowered to hold a cymbal. Her hair is so faintly traced as to make her head appearbald; from her nape a lock of hair covers her left shoulder. She wears a light peplos with long, high, belted kolpos. The irregularsurface of her garment on her breasts and hips may represent an animal skin, here erased but still present in a version of the type close to ours.24 To her left is the right side of a rectangularstamp with double frame and two corner double circles25but no trace of letters; a ribbon flutters in loops from it. A chain of ivy leaves hangs down from the right to connect with the stamp, passing behind the figure. Another leaf is partly preserved at the upper right corner of the fragment. Our figure belongs to the series of dancing maenads of the Dionysian thiasoswhose many neoclassicalreproductionshave been referredto an originalof the last decade of the fifth centuryB.C.,by Callimachus.More precisely,the Cosa maenad appearsto be related to the type HAUSER31, whose 23

MOEVS, Kalathos,28, 30, fig. 49.

land Museum of Art; MOEVS, Kalathos,28-29, figs. 46-47, nn. 141, 142.

24

Maenads on a mold in the Archaeological Museum of Arezzo and on a silver beaker from Vicarello in the Cleve-

25

It is similarto type CVArr,no. 63, p. 578, pl. IX and OCK, no. 390, p. 531.

158

THEDECORATED SIGILLATA WARE

Fig. 58. Haslemere, Whittal coll., formerly Lansdowne. Marblebase with thiasos(from G. E. Rizzo, Thiasos[Rome 1934] fig. 11).

_!

a

.

ij

XW JfsSX

\X

derivation from the original cycle remains unchallenged (fig. 58).2 The more sedate movement, the less agitated garment, and the peculiar hairdo are features shared by the two figures. Although certainbasic similaritiescan be detected with the maenadsof Rasiniusand Rasinius-Memmius,2the Cosa type points to another model, possibly closer to the prototype, and to a different workshop. This impressionis also supported by the subsidiarymotif of the chain of ivy leaves. A border of such leaves above the partly preserved figure of a maenad identical to ours is preserved on a fragment of mold in the Arezzo Archaeological Museum attributed to PubliUS.28The same chain of leaves decorates the rim of another fragment signed by Heraklida/Publi in the same museum.2 Only the hemispherical cup of a cymbal is preserved, along with the suspension ring at the center,30visible between the beautiful long fingers of the maenad. Her action and instrument agree with the description of Athenaeus, who says that krembalawere mostly used by women for the accompanimentof dancing and, when played with the fingers,produced a high, clear sound."'The complete instrument, identical to the Cosa example down to the border indentations, is preserved 26MOEVS,Kalathos,30, fig. 50. For further informationand related bibliography,see my iconographic and stylistic examinationof the dancer on the Palagi kalathos in the Museo Civico of Bologna: ibid., 26,28-30. 27 See maenadon a mold in the Antiquariumof the National

Museum of Rome, PORTENPALANGE,Antiquarium,no. 73, pp. 53-54, pl. XIV, attributed to the worshop of RasiniusMemmius.

Palange. 29

Also without inventory number, again from the files of Paola Porten Palange.

30

For a comparison, see examples in the British Museum dated to the fifth-fourth century B.C.; T. J. Mathiesen, Apollo's Lyre (Lincoln and London 1999) 170-7 1, fig. 15. 31

28

Without inventorynumber,from the files of Paola Porten

Deipnosophistae,14.34-38.

NOT ATTRIBUTED TO A SPECIFICWORKSHOP

159

attributedby PaolaPortenPalangeto a on a mold fragmentin the NationalMuseumof Rome,32 minorworkshop,possiblythatof C. Cispiusor L. PomponiusPisanus.33 In thepresentstageof ourknowledgeit seemswiseto assignthefragmentto a minorworkshop, possiblythatbelongingto Publius. preserved No. 69 (pls.49, 87).Fromcrossingof Streets5 andM, surfacelevel.Aboutthree-quarters of upperbodywithrimfroma chalice. Fabric:fine,hard,pinkish(2.5YR6/6).Slip:thin,firm,silkshiny/matte,red (2.5YR4/8).Technique: good. Form:The tallverticalrimhas a plainouterfaceand a convexmoldingat lip decoratedwith roubodyby a moldingwith roulettinganda groove;a form letting;it is offsetfromthe hemispherical R 9.3 is suggested. like Conspectus Decoration: The decoratedfieldis borderedaboveby a rowof ovoli. On the mainfieldarelargehorizontalpalmettesjoinedat theirbases,witha multipetalrosette at the point of connection.The palmetteshave a lanceolatecentralleaf and five sickleleaveson eachside.Betweenthe joinedpalmetteshangsinglesmallpalmettes. Identicaljoinedpalmettesappearon the upperdecoratedzone on a fragmentof a chalice, formR 7.1, in Tiibingen.34 It wasunassignedby Dragendorffandlaterby probablyof Conspectus withthe decorationon certainvasesby RasinStenico,who, however,recognizeda greatsimilarity froma moldin iUS.35 Smallpalmettessimilarto ours,but standing,can be seen on two fragments the NationalMuseumof Romeof uncertainattribution.36 Finallythe type of ovolo on the Cosachalice,with doubleoutline,does not seemto find satisfactorycomparandain anyof the knownArretineworkshopsbut is verycommonin Puteolan decoratedsigillata. No. 70 (pls.49, 87). Fromthe southwestareaof the Forum,surfacelevel.One smallfragmentof centralbody,probablyfroma chalice. Fabric:slightlygritty,veryhard,pinkishyellow(5YR7/4).Slip:verythin,firm,matte,red(2.5YR5/7). unusual. Technique: At centeris a palmateleaf with roundedseed pod at base,risingon a high stem;on Decoration: eachside of it is a largemultipetalrosetteformedof two concentricrosettes,one almostcomplete. Beneatheach rosetteis a long leaf. All these elementsare boundedby connectedcircularlines, veryaccuratelydrawn. Thoughsome genericresemblanceto florallydecoratedvasesof Rasiniusand M. Perennius Tigranusmaybe suggested,identicalmotivescannotbe foundherenorcana closestylisticaffinity. Someaffinitymaybe detectedbetweenourfragmentandthe prolificproductionof floraldecoration in the workshopof Ancharius.37 32 VANNINI,Museo Nazionale, no. 171, p. 141, fig. 162, at-

36

33 PORTENPALANGE,Review of Vannini 70.

VANNINI, Museo Nazionale, no. 135, pp. 127, 131. Paola Porten Palangeassignsnos. 132-39 of this catalogueeitherto the firstphase of M. PerenniusBargathesand P. Corneliusor to Cn. Ateius: PORTEN PALANGE, Review Vannini,70.

34 D/W,

37 C. Sforzini, "Vasi'aretini'in area falisca:l'officina di Va-

tributed here to the workshop of Rasinius.

235, pl. 27, no. 585.

35STENICO, Liste, no. 1288. The palmettesarein fact identical to STENICO,Rasinius, 68, no. 289.

sanello," in La civiltd del Falisci; Civita di Castellana-Forte Sangallo, 28-31 maggio 1987 (Florence 1990) 266-68, pls. V-VII; she dates this workshop to the period 30 B.C.-A.D. 15; ibid., 270.

160

THEDECORATED SIGILLATA WARE

No. 71 (pls. 49, 87). From AtriumBuilding I, Room 22, level I. Mostly late Claudian-Neronian (see above pp. 72-73). Large fragment of central body from a small cup. Fabric:fine, very hard, pinkish yellow (5YR6/6). Slip: thin, firm, silk-shiny/matte, red (10R4/7). Technique:mediocre, very thin wall, wheel marks on inner surface, abrasionson high relief. Form:Probably a cup of "Sarius"type, with bulbous body restrictedat mid-height, high incurving rim, and vertical handles of Conspectusform R 13; LavizzariPedrazzini,Aco type 8. Decoration:The decorated field is divided into two areasby a horizontal double line with isolated bosses. In the upper zone there seems to be no division into panels; a small palmette on an undulating stem, emerging from a simple V calyx is preserved. Double lined segments divide the lower zone into invertedtriangles,each with a single centralmotif. On the three partiallypreservedspaces are:a verticalleaf emergingfrom a small acanthuscalyx with a floret on an undulatingstem to each side; a vertical segment of a tendril scroll; and a palmette on a volute base (one volute preserved) with a globular bud (?) on an undulating stem to each side (one preserved). The type of decorationalsobelongs to the traditionof the "Sarius"cups and related"Aco"examples. The form is presentin the thin walled potteryof Cosa (FormXXV), with severalexamplesdated in the majorityto the third quarterof the first centuryB.c.38Our fragmentmust thereforebelong to that group of random surfacematerialfrom level I of Room 22 of Augustandate (see above p. 68). No. 72 (pls. 49, 88). From Atrium Building I, Room 16. Augustan-Claudian.Two non-joiningfragments, one small, the other very small, of the lower body of a cup like the preceding. Fabric:fine, very hard, pinkish yellow (5YR6/5). Slip: thin, firm, silk-shiny,red (2.5YR4/8). Technique:good, very thin wall, some abrasionson high relief. Decoration:The decorated field is bordered below by a chain of tiny leaves and a ridge. On the largerfragmentare partiallypreservedtwo inverted trianglesframedby double lines; a fusiform spike with spiraldecoration fills the triangleon the left; two leaves on a short verticalstem rising above a half rosette, that on the right. Above to the left is a small rosette. The same rosette and spike within partitions are partiallypreserved on the smallerfragment. No. 73 (CE.1704; pl. 88). From Atrium Building I, Room 11, level I. Augustan-Claudian. Large fragment of lower body with part of the base from a cup, now lost. Fabric:fine, buff. Slip: firm, matte, red. Technique:thin wall. Form:The disk base and beginning of curving body suggest a broad beaker or deep cup of Conspectusform R 11. Decoration:The decorated field is bordered below by a chain of paired tiny leaves. In the preserved lower part of the decoration is a garlandof ivy leaves enclosed by a running vine scroll. Between the leaves are small palmettes. A garlandidentical to ours is the central decorativemotif on fragmentsfrom a cup of the same Conspectusform R 11, from Bolsena.39Goudineau suggested that because of its technical features, very soft, light ochre fabric, and matte slip, differentfrom "classical"Arretine,the vase may belong to an earlyperiod. This assumption, however, seems contradictedby the form, which is tentatively dated middle-late Augustan. No. 74 (pls. 49, 88). From Atrium Building I, Room 15, level I, surface level. Medium-sized fragment of high rim from a chalice. 8

CosA,Thin WalledPottery,81-85.

39 GOUDINEAU, Are~tined reliefs,no. 9, p. 175, pl. IV.

NOT ATTRIBUTED TO A SPECIFICWORKSHOP

161

Fabric:fine,hard,pinkishyellow(5YR6/4).Slip:firm,silk-shiny,red (1OR4/7). Form:The plainverticalouterfaceof the rim,withappliquedmotif,andthe heavymultiplemoldingsaboveindicatea chaliceof Conspectus formR 9.2. On the uppermoldingaretracesof a handle attachment. Decoration: The appliquedmotif,almostentirelypreserved,representsthe beardedheadof an old manin frontalview.Theflatnose,openmouthwithvisibleteeth,bushyV-shapedeyebrowsmeeting the hairline,andbig lunateearssuggesta connectionwith the iconographyof the EgyptianBes40 ratherthanwiththe Silenusheadsin the repertoryof Rasinius.41 No. 75 (pls.50, 88). FromAtriumBuildingI, Room 16, level I. Augustan-Claudian. Verysmall fragmentof centralbody,possiblyfroma smallcup. Fabric:slightlygritty,very hard, pinkishyellow (5YR6/6).Slip:very thin, firm,silk-shiny,red (2.5YR4/8).Technique: good, mechanicalabrasions. Decoration: Miniaturesatyrseatedon a verylargerockin profileto theright,playingthedoublepipe andscabellum; to his left incomprehensible tracesof relief.The satyris a miniatureversionof the sametypein the "DionysianOffering"cyclefromthe workshopof M. Perennius,D/W XII, 2. No. 76 (pls. 50, 88). From area along the west side of the Basilica, surfacelevel. Small fragmentof

rimfroma chalice. Fabric:fine,hard,pinkishyellow(5YR6/5).Slip:firm,silk-shiny,darkred (2.5YR4/7).Technique: good. Form:The plainouterfaceof the rimwith appliquedmotif(dolphintail?)andthe multipleheavy moldings at the lip indicate a chalice of Conspectusform R 9.2. Decoration:On the right are traces of another appliqued motif. No. 77 (pls. 50, 88). From the House of the Skeleton, unstratified.Two non-joiningfragments,one medium-sized of upper body and one small of lower body, likely from a chalice. Fabric:fine, slightlysoft, pinkish yellow (5YR7/4). Slip:thin, firm,silk-shiny/matte,red (2.5YR4/7). Technique:mechanical abrasionson high relief. Form:The flat fragment of lower body above attachment of foot suggests a chalice with shallow hemisphericalbody of Conspectusform R 5.1. Decoration:On larger fragment is a border of ovoli with a double outline and above them a row of bosses. Below them is a stylized palmette with central lanceolate leaf and three archingleaves to each side. To the right of the palmette is an oblique fusiform spike with spiral decoration. On the smallfragmentis a clusterof floralstalks,the centralone possibly of a palmette, covered by a rosette at the base. No. 78 (pls. 50, 88). From Atrium Building I, Room 16, level I. Augustan-Claudian. Very small fragmentof central body, probably from a small bowl. Fabric:fine, very hard, pinkish (2.5YR6/6). Slip:thin, firm,silk-shiny,dark red (10R4/7). Technique: good, thin wall. Decoration:Upper body of small boar turned in profile to the left. Partly preserved above it is a bird picking on a bunch of grapes. 40 LIMC, Ill.1, p. 100, 24b, 25, 111.2,p. 77.

41

STENICO,Rasinius, 63, nos. 144-47.

162

THEDECORATED SIGILLATA WARE

The boar is a small-sized version of the type D/W XVII, 19 of M. Perennius, but without a hound on its back. The bird picking on fruit is also a common motif in this workshop.42 No. 79 (pls. 50, 89). From AtriumBuilding I, Room 16, level I. Augustan-Claudian.Medium-sized fragment of lower body from a chalice. Fabric:fine with some impurities,very hard, dark pinkish (10R5/6). Slip: thin, firm, red (10R4/6). Technique:cursory casting. Decoration:At bottom is a row of rosetteswith dot petals surroundingdouble circletsat the centers. Above them is a large acanthusleaf with rising elongated leaves and spikes (?). On each side is a small acanthus calyx, with a rising leaf and spikes. No. 80 (pls. 50, 89). From AtriumBuilding I, Room 16, level I. Augustan-Claudian.Smallfragment from central body of a small bowl. Fabric:fine, very hard, darkpinkish (10R5/6). Slip:thin, firm, red (10R4/6). Technique:very similar to the preceding but with better casting. Decoration:The decoratedfield is dividedverticaliyby a double line of which a segmentis preserved. To the left of the line is a small ithyphallic Dionysos herm in profile to the left with the left hand resting on the hip. It stands on a large spreadingflower with vertical stem. The herm derives from a type belonging to the workshop of M. Perennius Tigranus.43 No. 81 (pls. 50, 89). From Atrium Building I, Room 16, level I. Augustan-Claudian.Two non-joining fragmentsfrom a chalice;one, large, of rim and beginning of body; the other, medium-sized,of lower body with beginning of foot attachment. Fabric:fine with irregulartexture, hard, pinkish yellow (5YR6/5). Slip: thin, firm, silk-shiny,red (2.5YR4/6) Technique:mediocre, rough surface on decorated field, polished on rim, poor casting. Form:The tall, slightly flaringvertical rim, hemisphericalbody, and projecting molding between rim and body belong to a chalice of Conspectusform R 9.3. Decoration: Below the molding, decorated with coarse rouletting, is a row of small irregular rosettes. On the decorated field is a large flower formed by a cluster of minute circles that is supported by two convergingcurved lines. To the left are additionalpetals. To the rightis a large ivy leaf partly erased by defective casting. Below it and to the right is the curved line of a second flower. No. 82 (pls. 50, 89). From area along the northeast side of the Basilica,unstratified.Medium-sized fragment of rim from a chalice. Fabric:fine, hard, dark pinkish (2.5YR6.5/5). Slip:firm, silk-shiny,dark red (2.5YR4/7). Technique: mechanical abrasionson high relief. Form:The rim is separatedfrom the body by a tall plain element with appliqued motif and by two convex moldings decoratedwith rouletting;above the plain element aretracesof grooves and ridges markingthe lip. These features suggest a chalice similarto Conspectusform R 4.1 or R 9. Decoration:The appliqued motif is the head of a satyrturned to the right, with long wavy hair and 42 Fragment of a small cup in Tiubingen,D/W, 223, pl. 32, no. 477, attributed by STENICO to M. Perennius Tigranus, Liste, 1382.

43 CHASE,Boston, no. 99, pp. 92, pl. XX; D/W, 193, pl. 12,

no. 185.

NOT ATTRIBUTED TO A SPECIFICWORKSHOP

163

deep-seteye. At the top of his head is the beginningof a verticalpseudo-handle.Accordingto Stenicothistypeof satyris verypopularas both a reliefandan applique.4" No. 83 (pls.50, 89). Fromthe sewerof StreetM. Middle-lateAugustan(see abovep. 35). Small fragmentof centralbodyfroma vaseof elongatedshape,possiblya beaker. darkred (2.5YR4/7). Fabric:fine, hard,darkpinkish(2.5YR6.5/6).Slip:thin, silk-shiny/matte, Technique: abrasionson relief,somecalcareousincrustation. A chainof coarse,irregular, Decoration: tinyleavesdividesthe fieldinto two horizontalzones.In the upperzone is a five-petaledrosetteaboveto the left, andbelowto the rightan acanthuscalyx withgranularinterior. In the lowerzone aretracesof a rosette(?). No. 84 (pls.50, 89). Fromthe dumpat the northwestcornerof the Basilica,levelII. Augustan(see abovepp. 38-39). Verysmallfragmentof lowerbodywithbeginningof baseof a beaker. Fabric:fine, hard,pinkish(2.5YR6/6).Slip:firm,matte,darkred (2.5YR4/7).Technique: wheel markson innersurface. Form:The slightlycurvingwallanddiskbase,offsetby a groove,indicatean "Aco"typebeakerof formR 12.1. Conspectus To the left is the beginningof an obliquerod dividingthe fieldinto triangularpanels; Decoration: to the rightis a smallleafon an undulatingstem. No. 85 (pls.50, 89).Fromareaalongthe northeastwallof the Basilica,surfacelevel.Smallfragment possiblyof chalice. Fabric:slightlygritty,veryhard,darkpinkish(10R5.5/6).Slip:thin,firm,silk-shiny/glossy, darkred (2.5YR4/7).Technzque: good. Form:Plainareaaroundattachmentof foot, separatedfromthe decorationby a seriesof grooves andribs. Decoration: Drapedfemalefigurein profilepreservedbelow the knee;her extendedleg is visible throughherverylight,pleatedchiton. Shemaybe one of the manydrapedfemalefiguresin the repertoryof Rasinius.

44 STENICO, Matrici a placca, type 41 and nos. 46-48, pp.

62-63, pl. XIII; as applique, see D/W, pl. 40, nos. 624-25.

APPENDIX1

THE LATEITALIANSIGILLATA

of the prestigiousartifactsof Arretium,Cosahouseholdshadto resort fterthe disappearance in large Manufactured to a modestreplacementto furnishtheirtables:LateItalianSigillata.1 quantityandwithlittleconcernforqualityin centerslocatedin thecostalregionof northernEtruria, theplainanddecoratedproductsof theseworkshopsfoundatCosaaneasilyaccessibleandreceptive market.The seventy-fiveentriesof a preliminary catalogueof mold-decorated ware,whichI compiledin viewof an eventualpublication,do not includeallthe materialfoundhere.Thesesamples comemostlyfromsurfaceor disturbedlevelsin areasadjacentto the northwestandnortheastwalls of theBasilicaand,in smallernumber,fromthe midtownzoneof privatedwellings,buthalfa dozen werefoundin levelI of Room22 of AtriumBuildingI. Of particularinterestare: A

1.1. Bottomwithbeginningof wallfroma carinatedbowl of formDRAGENDORFF 29 (CE.1743;pl. 90) preservinga row of bosses and, on the floor,partof a crescentstampwith the signature[L. RASIN.]PISAN[I] (CVArr1476, 1558 = OCK 1690).Althoughthis potteris reputedto be the oldestof thoseknownto us, he couldnot havestartedhis activitybeforethe timeof Domitian,the generallyaccepteddatefor the beginningof decoratedLateItalianSigillata. 1.2. Six non-joiningfragments(pl. 90) froma carinatedbowl of formDRAGENDORFF29 decorated in the upperzone with figuresof offerentyouthsin profile(MEDRI,Tardo-italica, 1.3.5.01.b)and of Harpokratesin frontalview (MEDRI, Tardo-italica, 1.1.1.05),eachstandingunderan archof an arcade,fromlevel I of Rooms22 and 16 furtherdemonstratethe presenceof materiallaterthan Claudianin theseupperlevels. To L. RasiniusPisanusmustbe attributedalsothe following: 1.3. Twonon-joiningfragments(pl. 90) froma surfacelevel on the northslope of the Arx, one of lower body decoratedwith superimposedrows of verticaldolphins (MEDRI,Tardo-italica, 2.3.1), and a secondof foot bearingon the floora crescentstampwith the signature[L.RASIN.] PISANI. 1.4. A fragmentary foot withbeginningof wall (C67.39,pl. 91) froma surfacelevelof the eastern ' MEDRI, Tardo-italica,with extensive bibliography,165-72. The essential bibliography also includes: G. Pucci, "Terra sigillata tardo-italica,"Conspectus,13-16; id., "Le officine ceramiche tardo-italiche," Ceramiques hellenistiques et romaines = Ann. Litt. Univ. Besan,on 242 (1980) 135-57; LAVIZZARI PEDRAZZINI, Pisani Dossi; H. Klumbach, "Das

Verheitungsgebietder spaitalischen TerraSigillata,"JRGZM 3 (1956) 117-33; H. Comfort, "A PreliminaryStudy of Late ItalianSigilata," AJA40 (1936) 437-5 1. For the Late Italian Sigillatafrom Cosa:H. Comfortand A. MargueriteMcCann, "Decorated Late Italian Sigilata," in COsA,Port, 238-41.

165

166

APPENDIX 1

part of Street M, preserving some indecipherable elements of a lower register decoration and, on the floor of the interior,part of a crescent stamp with the signature [L.RASIN.]PISAN[I]. 1.5. A fragmentaryfoot with beginning of wall (C66.31; pl. 91), also from a surface level of Street M, preservingtraces of a scroll decoration in the lower registerand part of a crescent stamp on the floor signed L.RASIN. P[ISANI]. The signature of Sex. Murrius Festus appears three times on stamps in planta pedis, once in rectangularframe and once in crescent on the following fragments: 1.6. Large fragmentof bottom and lower wall (CD.680; pl. 91) from a bowl likely of DRAGENDORFF form 29, found in a surfacelevel along the western wall of the Basilica.It is decorated in the lower registerwith a sequence of male figures turned to the left (LAVIZZARIPEDRAZZINI,Pisani Dossi, 47) under suspended arches and separated by double rosettes; on the floor is the signature SEX.M.F in planta pedis (CVArr.927, 1054 = OCK 1212). 1.7. A large fragment of bottom with part of lower body and small fragment of lower body (CD.7 13, pl. 92) from a bowl of DRAGENDORFFform 29, found in a surface level along the northwest wall of the Basilica. It is decorated in the lower register with a sequence of standing female figures in profile to the left (MEDRI, Tardo-italica,1.4.9.04), a motif of superimposed volutes (MEDRI, Tardo-italica,6.3.2.01), and an indecipherable tree; on the floor is part of a worn stamp in planta pedis with the letter M clearly legible between traces of two other letters, the one on the right probably F 1.8. A small fragmentof wall (CD.980; pI. 92) from a disturbedlevel external to the northeastwall of the Basilica preserving part of an offerent female figure (MEDRI, Tardo-italica,1.4.3.01); to the left of the figure is a stamp in planta pedis with the retrogradesignature [SE]X.M.E 1.9. The same figure appears on a fragment of wall from a different vase (CD.595; pl. 92,1.9a) found in a surface level outside the northeastwall of the Basilica;to the left of the figure is a stamp in planta pedis with the retrogradesignature SEX.M[.F]. To this vase may also belong two more fragments,one preservingpart of the same female figure (pl. 92,1.9b), the other part of a standing male figure (pl. 92,1.9c). 1.10. A very small fragment of wall (CE.1808; pl. 92) from a surface level outside the northwest wall of the Basilica preservingpart of an architecturalelement to the left and of an indecipherable motif to the right; below the latter is part of a rectangular stamp with the retrograde signature [S.]M.F. 1.11. To the same workshop may also be attributed a fragmentary crescent stamp preserving the letters SEX on the floor of a small bottom fragment with beginning of wall (pl. 92,1.1 Ia) from a carinated bowl found in a disturbed level along the Basilica northeast wall; in the lower register is a sequence of vertical palm leaves (MEDRI, Tardo-italica,5.2.1.08) with a small calyx (?) between. Four more fragments (pl. 92,1.1 ib) decorated with a sequence of identical leaves in the upper register and running dogs (MEDRI, Tardo-italica,2.2.8.09) below may belong to the same bowl.

THELATEITALIANSIGILLATA

167

1.12. Of particular interest are two non-joining fragments of foot and lower wall (CF.2201; pl. 92) from a carinated bowl, a sporadic find from the vicinity of Temple B, on the northeast side of the Forum. On the lower register are, partially preserved, two large appliques of very good naturalistic quality,a Silenus mask of type STENICO,Rasinius 145 and the torso of a female figure in frontal view, the beginning of her right arm raised, the folds of her chiton swaying, tentatively identified as Gaea (MEDRI, Tardo-italica,1.2.1.08). On the floor is part of a stamp in planta pedis with the signature SEX, M [ ]. The style of decoration seems to indicate a date close to the beginning of the production; the type of stamp suggests the name of SEX.MV(RRIVS) P() (CVArr 1059 = OCK 1213.19), probably an abbreviation of PISANVS, a possible contemporary of L. Rasinius Pisanus. 1.13. The name of a potter,so far never associatedwith decoratedware, SHFES (OCK 905), appears on a stamp in plantapedis on the floor of a foot with beginning of lower wall (CD.660; pl. 93), from form 29, found in a surfacelevel outside the north corner of the a carinatedbowl of DRAGENDORFF Basilica.A sequence of pomegranates (MEDRI,Tardo-italica,5.4.1.02) and above them a section of a garland (MEDRI,Tardo-italica,8.6.1.03) are what is preserved of the lower registerdecoration. A detailed examination of all unsigned materialfound at Cosa would go beyond the limits of the present study.Brieflystated, the most evident features are:the almost exclusive adoption of the carinatedbowl of DRAGENDORFFform 29, the preference for a decorativerepertoryof disconnected motifs, mostly of Arretine derivation, aligned in simple sequence or framed by architecturalelements, and the less frequent use of floral scrolls. A few examples, nevertheless, deserve particular attention: form 29, from a 1.14. Two large fragments(C66.542; pl. 93) from a carinatedbowl of DRAGENDORFF is a in the upper register sequence of motifs, surfacelevel in the easternsection of Street M; present maenads alternatingwith trees, that in their crisp rendition are still very faithful to their Rasinian prototypes.2

1.15. On a wall fragment(pl. 93) from a carinatedbowl of DRAGENDORFFform 29, found in a surface level outside the northeast wall of the Basilica, are preserved in the lower register two grotesque figures of Ateian derivation (MEDRI, Tardo-italica,1.3.1.01) (see above no. 46). 1.16. The most significantof all the finds of decorated Late Italian Sigillatafrom Cosa, however, is a small sherd of wall (CD.512; pl. 93,1.16a) found unstratifiedin a vaulted cellar below the floor of the tribunalin the Basilica.I shall summarizethis discoveryhere, having treated the subject in a previous publication.3Tracesof carinationin the lower left cornerindicate that the fragmentcomes from a bowl of DRAGENDORFFform 29. Of the original upper register decoration are preserved the 8.3.1) supported on a very sketchy unequal imposts of two semicirculararches (MEDRI,Tardo-italica, Eros who stands, turned to the left, holding a garland (MEDRI, Tardo-italica,1.1.3.04.d). The fields under the arches are occupied by coin casts derived from real coin impressions in the mold. The one to the right, a little more than half preserved, is a coin of Hadrian's empress Sabina, issued by the mint of Rome and dated A.D. 128-134 (pl. 93,1.16b-c). Of the legend, originallyreading: SABINA.AVGVSTA.HADRIANIAVG.PP,the letters [SA]BINA.AVGVSTAare decipherable(pI. 2 STENICO. Rasinius, nos. 43, 134.

3MOEVS,New evidence.

168

APPENDIX1

93,1.16d). The reverseof the originalcoin, bearing either the figure of Vestaholding palladiumand scepter or of Ceres holding two ears of wheat (pl. 93,1.16c), might have been used in alternation with the obverse head of Sabina. The standing Eros, who functions as a caryatid,is a recurrent motif in the decoration of this class of pottery and specificallyat Cosa, where it appearson at least four fragmentsfrom different vases.4 The significanceof the Cosa fragmentdecorated with the coin of Sabinais evident. By placing a terminuspost quem of absolute chronologyin the fourth decade of the second centuryA.D. for the production of decorated Late Italian Sigillata,it gives the necessary support to previous evidence from stratifiedexcavations, specificallyfrom the Terme del Nuotatore at Ostia.5A lengthy debate between the supporters of an earlier or later chronology was thus put definitivelyto rest. From a stylistic point of view, this find testifies to the existence of those aclassicaltrends continuously underlying the various phases of Roman official art, even in the age of Hadrian, under the surface of one of the most deliberate and pervasive classical revivalsof all time. Indeed, in a perspective not inclined to obvious derogatoryevaluation, this unlikely grafting of scattered naturalisticelements of classical tradition, inherited from the Arretine workshops, into a linear and abstractspatial organization derived from Gaulish sigillata,the stylistic peculiarityof this class of pottery, can only appear as the manifestationof a truly aclassicalartisticexpression.

4 Ibid.,pl. 42,4-7.

5Ibid., 325.

APPENDIX2

THE SOUTH GAULISH SIGILLATA

Fragmentsfrom a considerable number of vases of South Gaulish Sigillatawere found at Cosa, almost all mold decorated and produced at La Graufesenque.1Although they are outside the limits of the present study, a rapid survey of the most significantmay yield interesting data. They come, like the Late Italian Sigillata,from areas adjacent to northwest and northeast walls of the Basilica and from the midtown area of habitation; the stratigraphicaldata are once again largely unsatisfactory. Two samples were found in level I of Room 22 of Atrium Building I. 2.1. The first is a small fragmentof upper body with beginning of rim (pl. 94). The main decorated field is framed above by a border of ovolo-and-tongue ending in stars,below which is a chain of ivy leaves. In the main field are preserved parts of two fern leaves and a small, stylized vegetal element on a tall stem. This type of decoration indicates an early stage of production at La Graufesenque, close therefore to the beginning of accumulation in level I of Room 22, which took place during the fifth decade of the first century A.D. 2.2. The second sample comprises three non-joiningfragmentsof rim with upper wall from a bowl of DRAGENDORFFform 29 (pl. 94). Beneath the rouletted rim, in the upper register,are spiralswithin looped festoons alternatingwith panels filled with superimposedrows of diagonal arrowheads.The bowl belongs to a later phase of activity at La Graufesenque, dated Neronian/early Flavian, thus contemporarywith or slightly later than the latest Italian sigillatain the same context. 2.3. To the early Flavian period may be dated a bowl of DRAGENDORFFform 29 (CD.1029; pls. 51, 94), about one-third preserved, from a surface level outside the west side of the Basilica. Beneath the rouletted rim, in the upper register,is a row of large looped festoons, each enclosing a smaller festoon ending in an arrowhead;in the lower register,panels with Saint Andrew'scrosses alternate with large rosettes inside circles. On the floor is a stamp with the signatureIVNI. Three more stampshave been published by ArcherMartinin a preliminarysurveyof the South Gaulish Sigillatafrom Cosa.2 l On South Gaulish Sigillatafound in Italy, see A. Martin, "Nouvellesobservationssurla sigill6esud-gauloiseen Italie," S.FE.C.A.G., Actes Congr.Millau (Marseilles1994) 115-26; id., "Rare Pieces of Gaulish Sigillata from the Neighborhood of Rome,"RCRFActa29-30 (1991) 71-72; id., "South Gaulish Sigillatain Italy,"Opus 6 (1985) 125-35. On South

Gaulish Sigillata found at Cosa: id., "A PreliminaryNote on South Gaulish Sigillata at Cosa," RCRFActa37 (2001) 241-42. According to Martinthe fragmentsof Gaulish Sigillata from Cosa belong to more than fifty-fivevessels. 2

169

Ibid., 241, fig. 1,a-d.

170

APPENDIX 2

2.4. The first is on the floor of a base from a bowl of

DRAGENDORFFform 29

(C70.102; pl. 94),

decoratedwithleavesandfestoonsin the lowerregister.Foundin a surfaceleveloverStreetM, it hasbeen readOFSILVANanddatedTiberianto Flavian. 2.5. The second, on the floor of an undecorated marbled cup of DRAGENDORFF form 27 (C70.290; pl. 94), reads OF NIC and can be dated to ca. A.D.50-80.

2.6. Thethird,on thefloorof anunidentified basewithmarbledslip(C67.142;pl. 94)froma surface levelin the easternpartof StreetM, reads[SENIICIOandis datableTiberianto Flavian. 2.7. A decorated example of La Graufesenquemarbled ware at Cosa is a fragmentof rim with the beginning of the wall from a bowl of DRAGENDORFF form 29 (C70.284; pl. 94), found in a surface level over StreetM. Below the rouletted rim is preserveda portion of the upper registerdecoration: the forepart of a running rabbit and a panel of network with round beads at most intersections. 2.8. To a hemisphericalbowl of DRAGENDORFF form 37, a shape that from the early Flavianperiod graduallyreplaced DRAGENDORFF form 29 and is scantily represented at Cosa, belongs a very large fragmentfrom a surfacelevel outside the northeastwall of the Basilica(CD.53 1; pls. 51, 94). Below the plain rim are a border of ovolo-and-tongue ending in stars and a triple line of arrowheads(?). The main field is filled by a looping vine with largeleaves and smalllanceolateleaves;also preserved within the loops are a small runninganimaland a stylized clusterof three elongatedpetals. The vase may be dated to the early Flavianperiod. In brief, the decorated South Gaulish Sigillataseems to have been imported to Cosa to fill the gap between the disappearanceof decorated Arretineware, around the middle of the first century A.D., and the beginning of production of decorated Late Italian Sigillata in the Flavian period. The quantity of these imports, very large for such a short time, becomes even more strikingwhen compared with the number of decorated Arretine vases found at Cosa, which cover a span of at least eighty,possibly ninety,years.The lower price of Gaulish sigillataseems evident. When the late Italian workshops of northern Etruriain turn adopted a similar strategyof mass production and low prices, they were able to capture and dominate the market down to the end of their operation, probably under the Antonines.

PART III PLATES

All profiles in the "Plates"section are presented at a scale of 1:2. Drawings of stamps and photographs are presented at a scale of 1:1 except where otherwise indicated. Drawings are by the author.

PLATE 1

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PLATE 54

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PLATE 58

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