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Edited byMaia Costanza LentiniPhotographs F. Capizzi, A. Garozzo, F. MarcellinoDrawings outside the text by Pussia SicilianoEnglish translation of the text by M.C . Lentini: Peter Spring

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Table of Contents

Introduction

The Two Naxos Cities: a Fine Link

between the Aegean Sea and SicilyBy Maria Costanza Lentini

The Various Aegean Affinities

of the Early Pottery from Sicilian NaxosBy Nicolas J. Coldstream

The Emergence of the City-Stateof Naxos in the AegeanBy Vassilis Lambrinoudakis

Cycladic Naxian Late GeometricPottery and History

By Nota Kburou

New Evidence for the Topography

of Naxos in the Geometric PeriodBy Olga Philaniotou

Objects from Museum

of Sicilian NaxosBy M.C. Lentini

Objects from Museum

of Cycladic Naxos

Bv O. Philaniotou

p.2

p.3

p.9

p. 13

p.23

p.29

p. 35

p. 39

Cycladic Naxian Late Geometric pottery and history*by Nota Kourou

The great socio-political change of the 8th century in the Aegean is no doubt the riseof the city-state.l In the Cyclades city-states develop in every island, but in most cases agiven island is equated with a single city-state. This insular distribution ofcity-states,however, in no way increases the chances of clear stylistic demarcation of their arts andcrafts. Since in antiquity regional stylistic independence did not usually follow politicalautonomy, the individual city-state remains today the least visible unit in the archaeologyof ceramics.2

According to the pottery chart ofGeometric Greece side by side with theoriginal and creative styles of the period,which characterize some major city-states.like Athens or Corinth, there are severalother derivative ones, which also belong todistinct city-states. For example Boeotianpottery workshops closely follow their Atticand sometimes Euboean neighbours byconverting their inspiration into astraightforward and distinctive regionalstyle.3 In other cases, however, there is nota clearly distinguishable local style,although a number of derivative styles areproduced within one and the same region simultaneously; they offer a good internalvariety ofexternal influences and trends within the region, but they fail to speak for thecity-state with a characteristic style.

In the Late Geometric period stylistic variability is a typical element of potteryproduction of several Cycladic islands including Naxos. Potters and painters of Naxoswere apparently extremely skilled in using cuffent ceramic technology and paintingstyles.a There is a large variety of Naxian Late Geometric styles often closely related tocontemporary pottery production of other regions; on some of them the local tradition isfinely incorporated but without major effects in forming a coherent and representativeNaxian style promptly distinct from other regional styles.

Pottery production: clays, fabrics and techniqueThe problem of identifying Naxian Late Geometric pottery, however, is rather

smoothed when other techniqual aspects of the pot, like clay, glaze, slips or fabric aretaken into consideration. Naxian clays are very distinctive because they usually contain alarge quantity of golden mica and they are extremely rich in iron oxides, which result inrendering to the pot after firing a deep brick red colour. During the last decades Naxianclays have been analysed by several laboratory techniques including a petrographicmethod, which allowed a better understanding of pottery found at Naxos.s Fufihermore,the powerful technique of Instrumental Neutron Activation Analysis (INAA) has beenused along with several other techniques to analyse a considerable number of sherds fromexcavations at Naxos.6 The results of INAA indicate just one kind of clay to have beenused for the production of Naxian Geometric pottery excavated at Grotta and Aplomata,the two sites on the northern part of modern Naxos town; it is a clay very rich in ironoxides, thus brick red or dark brown in colour, which contains large particles of goldenmica. Very appropriately their results are not contradicting fabric identification presentedearlier by simple macroscopic observation by several scholars including the late Prof.Konloleon and J. N. Coldstream.T

By contrary petrographic analysis applied to a number of sherds from more than onesite on the island distinguishes three groups of pottery on grounds of clay. Group Icorresponds to the well known Naxian fabric with the brick-red or dark brown claycontaining a lot of large particles of golden mica;S group II represents a less familiarpottery group, which includes sherds that do not belong to a coherent stylistic grouplqtherefore, they may not represent local production or they may illustrate minorworkshops using clay beds other than those supplying the mainstream Naxian pottery.

1. Sherd of a closed vase from Grotta. NaxosMuseum no B. 1799.2. Sherd of a closed vase from Aplomata. NaxosMuseum no 2151.

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Group III includes a variety of occasional fabrics, i.e. it represents a group of varia.l0Thus even after this formidable petrographic analysis by Mme Gautier we are again leftprincipally with just one kind of distinct Naxian clay. It must be stated though that thesampled pottery came from the main sites known at the wider area of the modern capitalof the island, earlier known as Naxia, later called Chora and today simply Naxos. Potteryfrom other, major inland sites, like Tsikalario, has not been analysed;rr thus, clay analysisrefers exclusively to pottery from Naxia, which no doubt was the main settlement andport of ancient Naxos.

Another distinctive element of Naxian Geometric pottery is the shiny black glazeused by most Naxian workshops already from the Protogeometric period.r2 Later, duringthe Middle Geometric period, it gets a kind of iridiscent hue, which in combination withthe charactersitic dark and micaceous clay create a very distinctive pottery class.Although knowledge of other Cycladic pottery groups of the Geometric period is still farfrom complete, Naxian clay and glaze can in a few cases make identification of certainhighly disputable vases almost unmistakable.r3 The fabric of Naxian vases of theGeometric period is usually very hard because kiln temperatures were rather high,frequently ranging over 800o C according to tested sherds.ra

Most painters of this period make use of a white slip, the application of whichbecomes more common towards the end of the Middle Geometric period. Analyticaltechniques used for the study of Naxian slipped wares have shown that there is a varietyof Naxian slips related to distinct styles, thus implying a number of separate smallworkshops or individual potters or painters in the Late Geometric period.ls

The Atticizing traditionYet, there had been a long tradition of impressive regional conformity before this.l6

The Middle Geometric II period, which corresponds with the first half of the 8th centuryBC, is almost everywhere in the Aegean the time of the greatest uniformity for potterystyles; most Naxian potters of this period follow Attic trends very closely. Large, belly-handled amphorae with metopal sets of concentric circles on their belly, like the so-calledKontoleon amphora,lT imply an impressive familiarity with the products of somecontemporary pottery workshops in Attica.l8 It is interesting to note, however, that theAtticizing trend was followed equally close by potters who used a white slip as the baseof their decoration, and by those who did not.

As a rule the more conservative Naxian workshops of the Middle Geometric periodoften managed to incorporate a few traditional elements on an otherwise fully Atticizingpot. For e.g. they may have used a non-Attic shape and have it decorated in an Atticmanner. A good example of this trend is the small amphoriskos of the type with handlesfrom neck to shoulder, which is basically a Euboean shape, but on Naxos it is combinedwith a panel decoration on its shoulder, which is a typically Attic element.le

Non-Attic influence is not absent from Atticizing Naxian Middle Geometric stylesand its source may range from Euboea to the Argolid or Corinth in the Peloponese. Thevery characteristic large and deep skyphos for example is a typical Middle Geometric IINaxian shape having direct Peloponesian models.20 As a matter of fact it is this type ofdivergence from Attic styles that creates a coherent Atticizing Naxian style in the MiddleGeometric II period.

The variety of Late Geometric stylesBy the mid-eighth century, however, the Middle Geometric II Atticizing koine

vanishes and Naxian workshops develop their new styles mostly under other, non- Atticinfluence. Yet, elements betraying the endurance of Attic tradition on certain Naxian LateGeometric workshops are not entirely missing. Social or other factors strong enough tobreak down the long-established regional ceramic tradition largely depending on Atticstyles, were apparently slow to take effect.

At the beginning of the Late Geometric period the great innovators in Athens, theDipylon Painter and the Hirschfeld Painter, were both applying a sophisticatediconography in their repertoire, which was rarely imitated outside Attica.2l However,battle scenes or shipwrecks, which were the major subjects of these Attic workshops inLate Geometric I, do occur on vases from Naxos, but they are not frequent.22 Deplorably,the Late Geometric ceramic sequence at Naxos can be attained only by stylistic analysis,since no detailed stratified sequence for this period has been unearthed, so far. Yet,

musical scenes (fig. 1) in full silhouette on typically Naxian slipped vases suggest that afew Naxian potters kept contacts with Attica to the end of Attic Late Geometric 1.23

In general, however, Naxian styles draw apart from Attic and from each other at theend of the Middle Geometric period. Thus soon afterwards a number of individual stylesappear in the ceramic centres of Naxos. The most important among them, both in terms ofstylistic and technological quality, as well as in terms of the social history of Sth centuryAegean, is the so-called Naxian Cesnola workshop.2a Early products of this workshopmust go back to the middle of the 8th century to judge from the sherds of a closed vasewith plastic ridge on the neck (fig.2), and they reflect elements of Attic iconographyrather than Euboean. This is not the place to elaborate on the subject, but the similarity ofthe sacred tree of this Naxian vase with that on an Attic kantharos found in Cyprus should

be stressed.2s Early works of the Naxian Cesnola workshop often exhibit an impressivelygood knowledge of the iconography of the main group of vases in the Cesnola style,which are attributed to Euboea, like the Cesnola Collection's vases in the MetropolitanMuseum of New York.26 The usual subject, the horse at the manger (fig. 3), remainsextremely common on early, as well as on later Naxian works.27 We have arguedelsewhere that the so far called Cesnola Workshop is in fact a style followed by severalworkshops in and out of Euboea, possibly a kind of koine shared by several areas in theAegean and finally transplanted in the West.28 The Cesnola style is applied at Naxos onvases made with the typical local Naxian micaceous brick red clay mostly covered with avery distinctive in terms of quality and technology slip in a light reddish colour.

The major inspiring center for Naxian ceramic industry in the Late Geometric periodis Euboea. Most Naxian potters of that period follow the unadventurous Euboean bird-styles rather very closely.2e Although the excavated material at Naxos is mostlyfragmentary (fig. a), there is little doubt that almost every bird-type known in Euboeanpottery has been used by Naxian painters as well.

Birds are extremely common in Greek pottery Late Geometric in general, but inNaxian workshops they are extensively used even on a pottery group, which otherwisefollows the non-pictorial Aa or Ab Cycladic group of the Delos-Rheneia find attributed toParos.30 In Naxian workshops these styles are imitated both in slipped and unslippedwares (fig.5) and they have a consistent character quite independent of Attic. They arebasically devoid of figure drawing, but sometimes birds appear in combination withcircles or wheels, which form the trademark of this class of vases (fig. 6).

A distinct group of Naxian vases, apparently the products of a single workshopstrictly confined to the production of slipped wares is a late pottery class, i.e. dating tothe very end of Late Geometric. They consist of basically small size vases in the samefabric and style as the small and medium size amphorae from Delos-Rheneia betterknown as Bb group.3r They consist in a dull local style devoid of iconographic subjectsexcept perhaps of birds or floral designs set heraldically in metopes. The potters of thisclass of vases are apparently well acquainted with other contemporary or earlier stylesusing similar iconography, but they paint their vases in a debased style with a routinedrawing, which in no way can be compared with the allure of former bird styles. The Bbworkshop seems to have been a small, rather short-lived production, which stops short atNaxos ca 700 BC. However, either the same potter or one of his apprentices presumably

3. Sherd of a closed vase from Grotta. NaxosMuseum no 6055.4. Sherd of a small skyphos from Kaminaki. NaxosMuseum no 1125 5.

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moved to Crete according to a number of amphorae of this distinctive class, which havebeen found at the cemeteries of Knossos and they are made in local Cretan clay (fig.7).32

Pottery styles and historyThe variability of Naxian Late Geometric pottery production and the absence of a

characteristic local style at the same time can hardly be interpreted as a simply oddphaenomenon of an otherwise dynamically emerging city-state. Tradition remains alwaysa decisive factor for any kind of intellectual achievement, but art as an expression ofcurrent ideology it is irrevocably related to social stratification and culture. It has beenargued that "perhaps style is held to represent social structure",3:6u, even if this is notexactly the case at least social relations are reflected directly or indirectly in the art ofany stratified community. In every community artistic perceptions are shaped to a largeextent by contemporary social and political conditions directed by economic interests.

The radical shift of Naxian pottery, therefore, from the Middle Geometric Atticizingkoine to a number of individual derivative Late Geometric styles, implies that the strucfureof Naxian society and the state of affairs in the Aegean experience drastic changes towardsthe middle of the 8th century. This is hardly surprising in view of the great turnabout insocial, economic and political conditions at that time brought about by the appearance ofthe city-state in the Aegean. A changing society is dominated by anticipation, strain andclashes amid opposing groups pursueing different socio-political goals and the newlyestablished city-state requires fresh policies to achieve its complex economic interests.

In a premonitary society such as that of Geometric Naxos struggle for power andeconomic hegemony of the rich, fertile island must have taken the form of dispute overland exploitation and the newly emerging commercial interests between certain socialgroups of local aristocracy or other marginal groups.3a Therefore, alliances inside andoutside the island were significant and inevitable.3s Such new relationships, partnershipsor even leages assumingly made during the Sth century, can be detected today in thevariety of trends followed by Naxian potters. Ceramic influence is established merely bydirect or indirect contact and the multivarried inspiration of Naxian Late Geometric stylesimplies fresh associations.

The emergence of the city-states in the Aegean apparently caused reevaluation ofpolitical orientations and tensions. On the other hand the colonisation movement offeredthe necessary outlet in the anticipation of lands or commercial profit and consequentlypower for aspiring citizens. By the 8th century communications and travelling had greatlyimproved both in frequency and in scale of distances. In the Aegean the leading power indistant travelling still remained Euboea.36 By then Phoenicians had been well establishedin the West and Carthage was an important port and apparently a rising commercial forcein Central Mediterranean.3T Thus, along with the growth of the city-state system the "lureof the West" starts and spreads in the Aegean.38

According to the evidence at hand prospectors from Greece were visiting the coastsof Italy and Sicily well before the middle of the 8th century.3e The first explorativemissions were apparently attempted as private rather than ethnic or state enterprises.a0Chevron cups and pendant semicircle skyphoi found at the coasts of Italy and Sicilysuggest that it was not Euboeans alone that had developed an interest for travells and theWest.ar By the early Sth century Corinthians had started to follow the example ofEuboeans in long distance travels. Fragments of a large Attic or Atticizing Cycladicamphora of a late 9th or early 8th century date has been found in a Late Geometriccontext at the Fusco cemetery in Syracuse;42 another amphora of the same type has beendiscovered in an early 7th century context at Gela.a3 The type is very common in Naxianworkshops of the late 9th and early 8th century and it is well represented in thecemeteries of Grotta and Plithos;4 its presence in the West indicates that they whotransferred them knew well the Aegean and the Cyclades and they had started visiting theWestern waters and the coasts of Sicily at least early in the Sth century, presumably inmissions which still were not directed by the city-state.

Initiative for state controlled travells in the West must be credited to Euboeans, whoafter having founded Pithecussae and Cumae succesfully and thus having established goodcontacts with Campania and Etruria, turned to the coasts of Sicily.as In these undertakingsEuboeans recruited other islanders from the Cyclades and the story of Thoukles, the oikistof Sicilian Naxos, as narrated by ancient authors implies direct involvement of a group ofNaxians albeit under the control of Chalkis.a6 In a period of change and strong competition

5. Sherd of a closed vase from Kaminaki. NaxosMuseum no B. 1734 (a). Sherd of a closed vase fromKaminaki. Naxos Museum no B. 8427 (b).

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alliances become frail and inconsistent and dissidents or disillusioned Naxians wouldeasily turn to new and promising projects far beyond their island.

Towards the middle of the 8th century, the rising of the Panhellenic sanctuary atDelos starts in the Aegean. Naxos, which seems to have been at the time the chiefsupplier of the Delian sanctuary, apparently gets full control of the sanctuary and itspolitics among Ionian Greeks. Patronage of Delos must have played a significant part instabilising political power in the newly established city-state of Naxos. Religious controlof the Delian sanctuary in practice meant authority and power over Ionians in theAegean, who by then must have been under the economic hegemony of Euboeans.Therefore, relations between the two islands get very complicated and open to misuseand manipulation attempts by certain social groups who shared common economic and

political interests in both islands. The Euboean styles that mostly had an appeal on Naxoswere those that reflected more or less closely an iconography directly related withnobility, i.e. the Cesnola and the bird styles.aT Euboean horse breeding nobility (i.e.'utfto06rot) and rich Naxian landowners (the so-called fioxtiE) were both based onagriculture and cattle breeding economy and they assumingly shared an interest for birdsand horses reflected in the iconography of a few select pottery workshops.a8 Thus, and atthe risk of oversimplifying, it can be argued that the absence of a coherent regional styleat Naxos on the one hand and the variety of good quality Late Geometric potteryworkshops on the other suggest a population with a varried social and culturalbackground and a society of conflicting interests and possibly tensions.aq

* On the event of the "Gemellaggio" of Sicilian Naxos with Naxos in the Cyclades I would like to congratulatethe twinning communities for establishing a league based on a historical fact concerning their culture. Also,I would like to thank the organisers, the Mayor of Giardini and my dear friend Mariacostanza Lentini inparticular, for inviting me to participate to the Gemellaggio seminar with this paper. I wish to extend mywarmest congradulations to Prof.ssa Paola Pelagatti, who is suitably honoured on this occasion for hervaluable work on colonial as well as on metroplitan aspects ofthe the 8th and 7th centuries BC.

1 Cf L. H. Jeffrey, Archaic Greece: the City States c. 700-500 BC (London 19'16).I. Morris, Burial and ancientsociety. The rise of the Greek ciry-state (Cambridge 1987)- J.-M. Bertrand, Citds et royaumes du mondegrec: espace et politique (Paris 1997). E. Scheid-Tissinier,L'Homme grec aux origines de Ia citd (Paris

1999). M.)oxetrtroglorl, 116).19. EvaE runog apyaiou d,),r1vmot xpdrouE (Athens 1999).2 Cf J. Whitely, Style and Society in Dark Age Greece, The changing face of a pre-literate society 1100-7008C.

(Cambridge 1991). M. Shanks, Art and the Early Greek State (Cambridge 1999).3 Cf J.N. Coldstream, Greek Geometric Pottery, (London 1968), 196.a For Naxian Late Geometric pottery styles cf. H.Walter-Karydi, "Geometrische Keramik aus Naxos", AA 1972,

386-421; V. Lambrinoudakis, "Les ateliers de cdramique G€ometrique et Orientalisante de Naxos.Perspective pour I'analyse arch6ometrique" in: Les Cyclades (CNRS, Lyon 1983), 165-200; N.Kourou,"Local Naxian Workshops and the Import-Export pottery Trade of the island in the Geometric Period" in:H.A.G. Brijder (ed),Ancient Greekand Related Pottery, Proceedings of the International Vase Symposium(Amsterdam 1984), 107- 113; Eadem, "Euboea and Naxos in the Late Geometric Period: the Cesnola Style"in: M. Bats- B. d'Agostino (eds), Euboica: L'Eubea e Ia presenTa Euboica in Calcidica e in Occidente, Attidel Convegno lnternazionale di Napoli, 13-16 Nov. 1996, Collection J. Bdrard 16- AION 12 (1998),167 ff.

5 CfR. Dalongeville-G. Rougemont (eds), Reclrerches dans les Cyclades. Resultats des travaux de la RCP 583,(Lyon 1993), l55ff.

6. Sherd of a deep skyphos from Grotta. NaxosMuseum no 63'79.7. Cretan amphorae after Naxian models. FromKnossos, Fortetsa cemetery. Herakleion Museum no14865 and 14863.

27

b Cf A.Grimanis- A.A. Katsanos- V.Kilikoglou- N.Kourou- Y.Maniatis - D.Panakleridou - M.Vassilaki Grimani,"An Interdisciplinary Approach to Geometric Pottery from Naxos: Provenance and Technological Studies"in: Y.Maniatis (ed), Archaeometry, (Elsevier 1989), 169 ff.

7 Cf N.M. Kontoleon, Arclr. Eph. 1945- 47, 2; J.N. Coldstream, ac (supra n.3),172.8 Cf J. Gautier in: R. Dalongeville-G. Rougemont (eds), oc (supra n. 5), 196.e Cf J. Gautier in: R. Dalongeville-G. Rougemont (eds), oc (supra n.5),197 .10 J. Gautier in: R. Dalongeville-G. Rougemont (eds), oc (supra n. 5), 198.rr For the Tsikalario site cf Chr. Doumas, Arcft. Delt.. 18, 1963,2'19-280; Ph. Zapheiropoulott, Arch. DeIt.. 20,

1965, 5 15- 522; eadem, Arch. Delt.21, I 966, 390- 395; eadem, "La necropoli geometrica di Tsikalario aNaxos", Magna Grecia XYIll, 1983, lff.

12 Cf N. Kourou, "Local Naxian Workshops and the Import-Export pottery Trade of the island in the GeometricPeriod" (supra n.4), 109.

13 Cf N. Kourou, oc (supra n. 12),54 f f p1.33.1a Cf A. Grimanis et al., oc (supra n. 6), 174.rs For the slips cf E. Aloupi, @uor1 xai pmeoqoeEoloyia ruw l3acpdv oe aByt[c xegaperzd (D. Phil. thesis

Univ. of Ioannina 1993). For the small workshops cf N. Kougou, AvaoxaEtg Na$ou. To N6rtoNexporurpdo rrlE NdEou xard Tn ftaplrelxi 1t€eio6o (Athens 1999), (in Greek with extensive Englishsummary), 124 ff.

16 Cf N. Kourou, oc (supra n. l5).t7 Cf N.M. Kontoleon, oc (supra n. 7), figs 1-3; N. Kourou, oc (supra n. 15), col. pl. V.18 Cf N. Kourou, "A new Geometric Amphora in the Benaki Museum: The Intemal Dynamics of an attic Style"

in: O. Pallagia (ed), Greek Offerings. Esscys on Greek Art in honour of John Boardman (Oxford 1997),43 tf.le Cf N. Kourou, "A propos d'un atelier g6ometrique naxien", in: F. Blond6-J. Y. Peneault (eds), Zes ateliers de

potiers dans le monde grec aux dpoques giometrique, archaique et classique, BCH Suppl. XXilI (1992)131ff and f igs. 11-12.

20Cf N.Kourou,oc(supran. 15),57ff p l . 18.2r Cf J.N. Coldstream, oc (supra n. 3), 29ff (The Dipylon Painter) and 41ff (The Hischfeld Painter).22 Cf V. Lambrinoudakis, oc (supra n.4),172 fig.25.23V. Lambrinoudakis,ASAtene 45, 1983, ll6 frg. 19.2a Cf N. Kourou, "Euboea and Naxos in the Late Geometric period: the Cesnola Style" in: M. Bats- B.

d'Agostino (eds), Euboic a. (cf supra n. 4), 167 tr.2s Cf J. N. Coldstream, "A Figured Attic Geometric Kantharos from Kition", RDAC, 1994, 155 ff.26 Cf N. Kourou, oc (supra n.24),170 frg. l.27 Cf N. Kourou, oc (supra n. l8), 172 fig. 8.28 Cf Cf N. Kourou, oc (supra n. 18). For some very characteristic vases in this style made in the West cf e.g.

M. Martelli, In Ceramica degli Etruschi (Novara 1987), fig. l9; G. Bailo Modesti-P- Gastaldi-B.d'Agostino, Prlna di Pithecusa. I piii antichi materiali greci del golfu di Salerno (Pontecagnano-Napoli1999), pI .5,3 and f ig. 19.

2e Cf For Euboean Late Geometric pottery cf basically the pottery from Eretria: A. Andreiomenou, Arch. Eph.1975,206 ff; eadem, Arch. Eph. 1917 , I 28ff; eadem, Arch. Eph. 1981,84ff; eadem, Arch. Eph.1982, I6lff;eadem, Arch. Eph. l98l,84ff; eadem, Arch. Eph. 1983,l6lff;

30 For these groups cf J. N. Coldstream, oc (supra n. 3), 176ff.3t Cf Ddlos XV, pt. XXXN-XXXV.32 Cf N. Kourou, "H Nolrax{ flaqouoi,n oro Aryo[o xor rn Meooysr,o xaro 14 leorperglxrj efioxli" in: I.

flqopnovng (ed), Ilqaxttxct rou A ndvEI).ivtou 2uve6p[ou H Na(og 6ta ptoou roy Al(bya% (Athens1994),326 frg. 17.

33 Cf M. Shanks, oc (supra n. 2), 15,3a Cf S. Voutsaki, "Value and Exchange in Pre-Monetary Societies: Anthropological Debates and Aegean

Archaeology" in: C. Gillis- Chr. Risberg-B. Sjdberg (eds), Trade and Production in Premonetary Greece:Aspects of Trade, Proceedings of the Third Internationtl Workshop (Athens 1993), 7ff.

35 Cf S. and A. Shenat, "The Growth of the Mediterranean economy in the early first millenium BC" , WorldArc hae o lo gy 24,3 (Febr. 1 993), 36 1 -378.

36 Cf M. R. Popham, "Precolonisation: early Greek contact with the East" in: G. R. Tsetskhladze-F. De Angelis(eds),The Archaeology of Greek Colonisation, Essays dedicated to Sir John Boardman (Oxford 1994), 1l-35.

37 Cf M. E. Aubet, The Phoenicians and the West (Cambridge 1993).38 Cf D. Ridgway, "The Lure of the West, 900-700 BC: A Closer Look" in: R. Docter-E. Moormann (eds),

Proceedings of the XVth International Congress of Classical Archaeology, Amsterdam, July 12-17 , 1998(1999),32sff.

3e Cf N. Kourou- N. Stampolidis, "A propos d'une amphore g6ometrique pansue du type d trois m6topes de cerclesconcentriques. R6consideration d'un cadre th6orique", BCII l2O (1996),705 ff and in particular 715-716.

a0Cf N.Kourou,oc(supran.32).Forthecharacterof ethnic ident i ry inthisper iodcf J.M.Hal l , Ethnic ident i tyin Greek antiquiry (Cambridge 1997).

4' CfJ.- P. Descoeudres-R. Kearsky, "Greek Pottery at Veii:Another Look",8SA 78 (1983),9ff. Pre-colonial,Greek finds in the West are usually found isolated or in small numbers thus the complicated issue of theircarriers has often been raised. Yet, later colonial evidence though suggests that from the beginning there wascompetition between Greeks and Phoenicians in the West. Cf D. Ridgway, "Phoenicians and Greeks in theWest: a view from Pithekoussai" in: G. R. Tsetskhladze-F. De Angelis (eds\,The Archaeology of GreekColonisation, Essays dedicated to Sir John Boardman (Oxford 1994),35 ff; J.-P. Crielaard, "How the Westwas won: Euboeans vs Phoenicians", Hamb. Beitr. Arch.18-19, l99l-92.

a2 Cf G. Vallet-F. Ytllud,,BCH 76 (1952),331 ftg.7.a3 Cf G. Fiorentini-E. De Miro, ASAA NS 45 (1983), 75 fig.25.a Cf F. Zafeiropolou, AS,4A NS 45 ( I 983), 132 frg. 29.as Cf A. Snodgrass, " The Growth and Standing of the Early Western Colonies" in: G. R. Tsetskhladze-F. De

Angelis (eds), oc (supra n.41), l-10.a6 cf N. Kourou, oc (supra n. 32).4? Cf J.-P, Crielaard, "Nalolxl,errc E0polo: Socio-Economic Aspects of Euboean Trade and Colonization",

ArchEub.M el . 30, 1992-9345ft.a8 Cf A. Mele, 1/ commercio greco arcaico. Prexis ed emporie, Cahiers du Cente Jean BCrardIY,(Naples

1979\."17 and85.ae Cf also V. Lambrinoudakis's paper in this volume reaching the same conclusion from another point of view.

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