Rotroff - The Athenian Agora - Hellenistic Pottery vol 1, inne, Książki historyczne
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THE
ATHENIAN
AGORA
RESULTS OF EXCAVATIONS
CONDUCTED BY
THE AMERICAN SCHOOL OF CLASSICAL STUDIES
AT ATHENS
VOLUMEXXIX
HELLENISTIC
POTTERY
ATHENIAN
AND
IMPORTED
WHEELMADE
TABILE
WARE
AND
RELATED
MATERIAL
PART
1:
TEXT
BY
SUSAN I. ROTROFF
THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT
ATHENS
PRINCETON,
NEW
JERSEY
1997
Library
of
Congress Cataloging-in-Publication
Data
Rotroff,
Susan
I.,
1947-
Hellenistic
pottery:
Athenian and
imported
wheelmade tableware and related
material /
by
Susan I. Rotroff
p. cm.
-
(AthenianAgora
;
v.
29)
Includes
bibliographical
referencesand index.
Contents:
pt.
1. Text-
pt.
2. Illustrations
ISBN 0-87661-229-X
(alk.
paper)
1.
Pottery, Hellenistic-Expertising-Greece-Athens.
2.
Pottery,
Hellenistic-
Catalogs.
3.
Agora (Athens,Greece)
I. Title. II. Series.
NK3840.R68 1997
96-47458
738'.0938-dc21
CIP
0
American School of ClassicalStudies at Athens 1997
TYPOGRAPHY BY THE AMERICAN
SCHOOL OF CLASSICAL STUDIES PUBLICATIONS OFFICE
6-8 CHARLTON
STREET,
PRINCETON,
NEW
JERSEY
PLATES BY HULL
PRINTING, MERIDEN,
CONNECTICUT
PRINTED IN THE
UNITED
STATES
OF AMERICA
BY
PRINCETON ACADEMIC
PRESS, LAWRENCEVILLE,
NEW
JERSEY
FOR BOB
PREFACE
T HE HELLENISTIC POTTERY of the
Agora
has been the
organizingprinciple
of
my
life for
the
past
twenty years,
and its
study
has been an education for me. I would like to thank
Homer A.
Thompson
and T. Leslie
ShearJr.
for
entrusting
such
important
material to me for
publication; they
did this when I was at a
very early stage
in
my
career,
and it was an act of
faith and a vote of confidence for which I am
very grateful.
I owe thanks as well to the
many
Greek
colleagues
in the
Archaeological
Service who have
supportedmy
work and
particularly
to
Maro
Tsoni-Kyrkou,
who held direct
responsibility
for the
Agora duringmany
of the
years
when
this workwas in
progress.
Successivesecretariesof the
Agora
Excavations,
Lucy Krystallis,
Helen
Townsend,
Margot Camp,
andJanJordan,
arranged
for access to the
pottery,
fielded
requests
for
photography,
and
provided good
conversationat the
quiet
teas of
mid-winter.
Steven
Koob,
Alice
Paterakis,
and
Olympia Theophanopoulou
of the conservation staff
cleaned, repaired,
and reconstructed
many
of the
pots.
The
guards
of the excavation
helped willingly
with the
time-consumingprocess
of retrievaland
storage.
The illustrationsof an
archaeological publication
are as
important
as the
text,
and I have
had an
army
of
helpers
in the
preparation
of the
photographs
and
drawings published
in this
volume.
Many
of the
photographs
come from the
Agora
archive: the
photographers
known
to me are Alison
Frantz,
Eugene VanderpoolJr.,
Robert K. Vincent
Jr.,
and
Craig
and Marie
Mauzy;
the
printing
is the work of
Kyriaki
Moustaki. I am
particularly
indebted
to
Craig
for
rephotographing
hundreds
of
pieces
with
remarkablygood
cheer
and
for
always managing
to
produce
the crucial
photograph
in the nick of time
(as
well as for
fixing
the
bathroom,
rewiring
broken
lamps, repairing my
water
heater,
and
doing any
number of mundane tasks that made
my
work
infinitely easier).
The
plan
of the
Agora
was drawn
by
Richard
Anderson,
who has
a remarkable tolerance for research into the excavation trivia of
yesteryear.
The rest of the
drawings
were made
by
a
variety
of artistsand
draftspeople
who have workedat the
Agora during
the last
sixty years. Many
of them I have never
met,
but I owe thanks to them all. Some are
identified
only by
initialsin the
Agora
records,
and
tracking
down their identities has constituted
a small research
project
in
itself.
The
first,
and master of
them
all,
was Piet
de
Jong,
who
in
1932 or 1933 did
drawings
of
several
Hellenistic
pots
for Homer
Thompson's
1934
article,
as
well as severalfine watercolors. Other artistsinclude Rhoda Herz
(1952),
Marian Welker
(1948,
1955 or
1956),
M.
R.Jones (1958),
Iro Athanassiadou
(1959, 1963),
Nina Travlou
(1960-1962),
Aliki
Halepa
Bikaki
(1961),
C.
Polycarpou (1962),
Helen Besi
(1972-1973),
Chris
Pfaff(1979),
Helen Townsend
(1980),
Elizabeth Safran
(1983), Lynn
A. Grant
(1980-1982),
Tina
Najbjerg
(1989-1991),
Elizabeth
Langridge
(1990-1991),
and
Sylvie
Dumont
(1992).
Much of the
inking
and some of the
drawing
is the work of the author.
Because the illustrationswere drawn
by many
hands over
many years,they
are not uniformin
style
or conventions.
Although
the
majority
were drawnwith the crosssection on the
right,
whole
series of illustrationswere done in
reverse,
with the cross section on the left. Often these have
been reinked or
mechanically
reversed,
but when
such
a
drawing
includes surface decoration I
[ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl pingus1.htw.pl
THE
ATHENIAN
AGORA
RESULTS OF EXCAVATIONS
CONDUCTED BY
THE AMERICAN SCHOOL OF CLASSICAL STUDIES
AT ATHENS
VOLUMEXXIX
HELLENISTIC
POTTERY
ATHENIAN
AND
IMPORTED
WHEELMADE
TABILE
WARE
AND
RELATED
MATERIAL
PART
1:
TEXT
BY
SUSAN I. ROTROFF
THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT
ATHENS
PRINCETON,
NEW
JERSEY
1997
Library
of
Congress Cataloging-in-Publication
Data
Rotroff,
Susan
I.,
1947-
Hellenistic
pottery:
Athenian and
imported
wheelmade tableware and related
material /
by
Susan I. Rotroff
p. cm.
-
(AthenianAgora
;
v.
29)
Includes
bibliographical
referencesand index.
Contents:
pt.
1. Text-
pt.
2. Illustrations
ISBN 0-87661-229-X
(alk.
paper)
1.
Pottery, Hellenistic-Expertising-Greece-Athens.
2.
Pottery,
Hellenistic-
Catalogs.
3.
Agora (Athens,Greece)
I. Title. II. Series.
NK3840.R68 1997
96-47458
738'.0938-dc21
CIP
0
American School of ClassicalStudies at Athens 1997
TYPOGRAPHY BY THE AMERICAN
SCHOOL OF CLASSICAL STUDIES PUBLICATIONS OFFICE
6-8 CHARLTON
STREET,
PRINCETON,
NEW
JERSEY
PLATES BY HULL
PRINTING, MERIDEN,
CONNECTICUT
PRINTED IN THE
UNITED
STATES
OF AMERICA
BY
PRINCETON ACADEMIC
PRESS, LAWRENCEVILLE,
NEW
JERSEY
FOR BOB
PREFACE
T HE HELLENISTIC POTTERY of the
Agora
has been the
organizingprinciple
of
my
life for
the
past
twenty years,
and its
study
has been an education for me. I would like to thank
Homer A.
Thompson
and T. Leslie
ShearJr.
for
entrusting
such
important
material to me for
publication; they
did this when I was at a
very early stage
in
my
career,
and it was an act of
faith and a vote of confidence for which I am
very grateful.
I owe thanks as well to the
many
Greek
colleagues
in the
Archaeological
Service who have
supportedmy
work and
particularly
to
Maro
Tsoni-Kyrkou,
who held direct
responsibility
for the
Agora duringmany
of the
years
when
this workwas in
progress.
Successivesecretariesof the
Agora
Excavations,
Lucy Krystallis,
Helen
Townsend,
Margot Camp,
andJanJordan,
arranged
for access to the
pottery,
fielded
requests
for
photography,
and
provided good
conversationat the
quiet
teas of
mid-winter.
Steven
Koob,
Alice
Paterakis,
and
Olympia Theophanopoulou
of the conservation staff
cleaned, repaired,
and reconstructed
many
of the
pots.
The
guards
of the excavation
helped willingly
with the
time-consumingprocess
of retrievaland
storage.
The illustrationsof an
archaeological publication
are as
important
as the
text,
and I have
had an
army
of
helpers
in the
preparation
of the
photographs
and
drawings published
in this
volume.
Many
of the
photographs
come from the
Agora
archive: the
photographers
known
to me are Alison
Frantz,
Eugene VanderpoolJr.,
Robert K. Vincent
Jr.,
and
Craig
and Marie
Mauzy;
the
printing
is the work of
Kyriaki
Moustaki. I am
particularly
indebted
to
Craig
for
rephotographing
hundreds
of
pieces
with
remarkablygood
cheer
and
for
always managing
to
produce
the crucial
photograph
in the nick of time
(as
well as for
fixing
the
bathroom,
rewiring
broken
lamps, repairing my
water
heater,
and
doing any
number of mundane tasks that made
my
work
infinitely easier).
The
plan
of the
Agora
was drawn
by
Richard
Anderson,
who has
a remarkable tolerance for research into the excavation trivia of
yesteryear.
The rest of the
drawings
were made
by
a
variety
of artistsand
draftspeople
who have workedat the
Agora during
the last
sixty years. Many
of them I have never
met,
but I owe thanks to them all. Some are
identified
only by
initialsin the
Agora
records,
and
tracking
down their identities has constituted
a small research
project
in
itself.
The
first,
and master of
them
all,
was Piet
de
Jong,
who
in
1932 or 1933 did
drawings
of
several
Hellenistic
pots
for Homer
Thompson's
1934
article,
as
well as severalfine watercolors. Other artistsinclude Rhoda Herz
(1952),
Marian Welker
(1948,
1955 or
1956),
M.
R.Jones (1958),
Iro Athanassiadou
(1959, 1963),
Nina Travlou
(1960-1962),
Aliki
Halepa
Bikaki
(1961),
C.
Polycarpou (1962),
Helen Besi
(1972-1973),
Chris
Pfaff(1979),
Helen Townsend
(1980),
Elizabeth Safran
(1983), Lynn
A. Grant
(1980-1982),
Tina
Najbjerg
(1989-1991),
Elizabeth
Langridge
(1990-1991),
and
Sylvie
Dumont
(1992).
Much of the
inking
and some of the
drawing
is the work of the author.
Because the illustrationswere drawn
by many
hands over
many years,they
are not uniformin
style
or conventions.
Although
the
majority
were drawnwith the crosssection on the
right,
whole
series of illustrationswere done in
reverse,
with the cross section on the left. Often these have
been reinked or
mechanically
reversed,
but when
such
a
drawing
includes surface decoration I
[ Pobierz całość w formacie PDF ]