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Most ancient Greek pottery forms were made primarily for local use and are found almost exclusively near where they were produced. Practical, sharply defined, and well-proportioned shapes are another characteristic of Greek pottery. Figured decoration in a central band around the pot is a characteristic of most Greek fine wares. Later in the century two southern Italian regions start producing their own red-figure pottery.
Fine ware painted black, sometimes banded or with stamped or incised decoration, was another important and widely exported fabric made in Athens between the sixth and fourth centuries B.C. This stylistic sequence has been coordinated with securely dated monuments and the vases found in several finds with fixed historical dates so that most fine wares can be dated securely within a quarter of a century and some even within a decade.
The study of the iconography of mythological scenes not only illuminates the changing nature over time of different stories and characters, but it also provides insights into various aspects of Greek life.
Many vases, but not a large proportion of the total, have inscriptions, a few of which are some of the earliest known examples of Greek writing. Oh, I hope you feel better soon, Naomi, but I’m glad to hear you’re coming off of a vacation high! Ardmore, Berwyn, Bryn Mawr, Devon, Downingtown, Exton, Frazer, Gladwyne, Haverford, Lower Merion Township, Malvern, Merion Station, Narberth, Paoli, Philadelphia, Radnor, Rosemont, St. Although the details changed over time and varied in different areas, most of the same forms were used for centuries, and some are still with us today. It is characterized by figures painted black on the red-orange background of Attic clay with incision and added white and purplish red for details. Some vases are clearly connected with the theater and provide information about lost plays.

Although they provide some information on prices and names of shapes, the meaning of many is unclear or far from certain in respect to their role in the commercial process.
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A few fine wares, such as Corinthian and Attic, were widely distributed in the Mediterranean at different times and are exceptions.
The more important are large containers (amphorai, hydriai, and pelikai), small containers primarily for oil and perfume (alabastra, aryballoi, and lekythoi) or for small objects (lekanides and pyxides), drinking vessels (cups, kantharoi, and skyphoi), mixing vessels (dinoi, kraters, and stamnoi), jugs (oinochoai), storage vessels (pithoi), plates (pinakes), and ritual vessels (loutrophoroi and phialai). A variety of drawing techniques are developed, including outline, polychrome, incision, and black figure, and mythological pictures start in earnest. Early on, the Corinthian animal style is often imitated, but later it and the Orientalizing fillers disappear, and mythological and everyday life scenes are the norm. The two most important are West Slope ware on the mainland and in the east and Gnathian in the west. Beazley (1885–1970) was the first to use the methodology of the art critic Giovanni Morelli (1816–1891), who believed that artists had standard formulae for many of the minor elements of their drawing by which they can be recognized. Not only do they provide pictures of many of the stories from Greek and Roman literature, but in some cases they provide myths or versions of myths, which are otherwise unknown. Just about every aspect of Greek life is depicted, making the vases an extremely important source. The potting is so distinctive and fine in some cases that individual potters have been identified. Other regions developed their own black-figure pottery, the most important being Laconian, Boeotian, and Chalcidian. Figured scenes are found on some relief bowls, mold-made vessels produced in several locales, including Athens, Boeotia, the Peloponnese, Thessaly, Asia Minor, and Macedonia.

By comparing the details of drawing carefully, Beazley was able to isolate the many anonymous artists who decorated Attic black-figure, red-figure, and white-ground vases and to establish their stylistic relationships. For example, many scholars believe that the sudden popularity of scenes with Theseus in Athens at the end of the sixth century B.C. The evidence from these combined with that from studies of individual shapes and painters suggests that most pottery workshops were small, family affairs.
Some of the shapes, and perhaps many, are derived from metal prototypes, while a few are adaptations of foreign shapes or of vessels made from other materials such as wood, stone, and leather.
Similar work has been done for other fabrics, most notably by Arthur Dale Trendall for southern Italian red-figure pottery.
The Francois vase in Florence, the most famous of all Greek vases, with its 270 figures, 130 inscriptions, and 8 mythological friezes, is the best example and an important early source for myth. Other types of inscriptions provide useful information about prosopography and chronology: these include kalos names praising the beauty of young Athenian aristocrats on Athenian pottery (primarily between ca. There are also several important eastern Greek painted wares, such as Wild Goat and Fikellura.
In this manner the major artists and their characteristics and accomplishments have become known, and a firmer grasp on the development of Greek art has been gained. Still other depictions appear to reflect lost monuments, such as the Niobid krater in the Louvre, which was almost certainly inspired by largescale mural wall paintings.

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