IL MAR NERO

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Comitato scientificoM. Balard (Sucy-en-Brie), L. Bianchi (Roma), Sir J. Boardman (Oxford), A. A. M. Bryer (Birmingham), F. Coarelli (Perugia), D. Deletant (London), R. Étienne (Paris), M. Gras (Roma), E. Greco (Napoli–Atene), K. Hitchins (Urbana, Illinois), H. Inalcık (Ankara), A. Ivantchik (Mosca–Bordeaux), S. P. Karpov (Mosca), A. La Regina (Roma), M. Luni (Urbino), L. Marangou (Joannina), J.-P. Morel (Aix-en-Provence), M. Özdoğan (Istan-bul), G. Pistarino (Genova), A. Savvides (Atena), W. Schuller (Konstanz), B. Teržan (Ljubljana–Berlin), P. P. Toločko (Kiev), J. Touratsoglou (Atene), G. R. Tsetskhladze (Melbourne), G. Veinstein (Paris), M. Verzar-Baas (Trieste).

RedazioneV. Ciocîltan, O. Cristea, A. RobuBulevardul Aviatorilor 1 – 011851 Bucureşti - RO

In copertina: Codex Voss. Lat. F. 23, fols. 75v-76r (Biblioteek der Rijksuniversiteit, Leiden).

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IL MAR NEROAnnali di archeologia e storia - Annales d’archéologie et d’histoire - Jahrbuch für Archäologie und Geschichte - Journal of Archaeology

and History - Anales de Arqueología e Historia

Direttori: Şerban Papacostea e Alexandru Avram (Bucarest, Romania)

VIII ° 2010/2011

Edizioni Quasar di Severino Tognon s.r.l., Roma

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Mélanges d’archéologie et d’histoire ancienne à la mémoire de Petre Alexandrescu

édités par

ALEXANDRU AVRAM et IULIAN BÎRZESCU

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ALEXANDRU AVRAM (Bucarest/Le Mans) et IULIAN BÎRZESCU (Bucarest), Notre maître Petre Alexandrescu (1930-2009) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Liste des travaux de Petre Alexandrescu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

*MARIA ALEXANDRESCU VIANU (Bucarest), Considérations sur le culte d’Aphrodite à Histria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23ALEXANDRU AVRAM (Bukarest/Le Mans), IULIAN BÎRZESCU (Bukarest), MONICA MăRGINEANU CÂRSTOIU (Bukarest) und KONRAD ZIMMERMANN (Rostock), Archäologische Ausgrabungen in der Tempelzone von Histria, 1990-2009 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39FLORINA PANAIT-BÎRZESCU (Bucharest), A New List of Priests of Dionysos Karpophoros from Histria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103JOHN BOARDMAN (Oxford), A Scythian Maenad on the Black Sea . . . . . . . . . . . 113OCTAVIAN BOUNEGRU (Iaşi), Le commerce en Méditerranée orientale. Le témoignage de Philostrate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117JAN BOUZEK (Prague), Phoenicians and the Black Sea (II) . . . . . . . . . . . . . . . . . .125BRIGITTE FREYER-SCHAUENBURG (Kiel), Asklepios, die Buchrolle und das Ei. Zu einem Asklepiostorso auf Samos und weiteren Repliken des Typus Amelung . . . 133CHRISTIAN HABICHT (Princeton), The Eponyms of Cyzicus . . . . . . . . . . . . . . . .171ALAN JOHNSTON (London/Athens), Curiouser and Curiouser, from Histria? . . . .181VASILICA LUNGU (Bucarest) et PIERRE DUPONT (Lyon), Nouveaux frag-ments Hadra d’Istros et Tomis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187FLORIAN MATEI-POPESCU (Bucharest), The Roman Auxiliary Units of Moesia . . 207JUTTA MEISCHNER (Berlin) und ERGÜN LAFLI (Izmir), Der Fischer am Meer. Römische Brunnenlandschaften . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231KEES NEEFT (Amsterdam), A Corinthian Aryballos by the PRK Painter in Bucharest 239MANFRED OPPERMANN (Halle an der Saale), Nymphenkult im Ostbalkanraum zwischen Donau und Rhodopen während der Römerzeit . . . . . .249CONSTANTIN C. PETOLESCU (Bucarest), Bellum Bosporanum . . . . . . . . . . . . . .277ADRIAN ROBU (Paris/Bucarest), Traditions et rapprochements onomastiques dans les cités grecques de la mer Noire : quelques exemples tirés du « monde mégarien » . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281GOCHA R. TSETSKHLADZE (Melbourne), The Greeks in Colchis Revisited . . . .295

Abréviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

Normes pour la rédaction des articles destinés à la revue Il Mar Nero . . . . . . . . . .313

SOMMARIO

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In his first Corpus Vasorum (1965), Petre Alexandrescu published a Corinthian aryballos from the collection of the Bucharest Archaeological Institute, the premises of his research. Realizing his restricted working conditions, he was wise enough to ask the advice of more experienced colleagues. Thus, for the Corinthian pottery, he apparently has consulted R. Hopper for the first volume, D. A. Amyx for the second. In hindsight, Hopper may not seem an obvious choice. However, having brought the publication of the Corinthian material from Payne’s Perachora excavations to a satisfactory conclusion and written a follow-up on Necrocorinthia, he may have ap-peared a suitable option at the time. Unfortunately yet no shame, Hopper could not help him on as regards the aryballos.

I think that even Amyx may not have been able to provide more than the obvious comment either. Fourteen years after his death, myself approaching the end of my career, I feel permitted to evaluate his contribution to the study of Corinthian pottery. A classical scholar with an M.A. in Latin, Amyx has taught Latin at the University of Chicago from 1939 until 1942 and written a dissertation on Eretrian black-figure vase-painting. His endeavours in Corinthian pottery started in 1943 with the publi-cation of the Corinthian Vases in the Hearst Collection.

After Payne’s untimely death in 1936, a successor devoting himself to the study of Corinthian pottery was greatly needed. However, Amyx’s conditions were not quite favourable. W.W.II left him little time for research, e.g. impeding his travel-ling through Europe. The war waged, European museums were in disarray for a long time. Then, Berkeley, where he took a professorship in 1946, was far away from where the action was, Europe. Moreover, Amyx and his wife took full care of a mentally disabled daughter. They always travelled the three of them. Also, in hindsight, his method was not a felicitous one. Paying him a visit in 1983, he kind-ly invited me to work in his office, where I found myself perplexed at the small number of photographs in his possession. Apparently, he conceived of ‘painters hands’ by means of existing publications, mainly elaborating concepts developed by others (Payne, Benson, Seeberg). Armed with this knowledge, he scrutinized museums and storerooms, taking very few, if any, pictures. His work reveals the drawbacks. Thus, unable to see and check that he had already listed them, he men-

A CORINTHIAN ARYBALLOS BY THE PRK PAINTER IN BUCHAREST

Kees Neeft

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240 Kees Neeft

tions four alabastra in Syracuse twice1. Also, the method leads to static, isolated ob-servations, preventing to play with the material. He missed out on the tools essential to discover a logic in the decorational variables. Thus, insight in the developments of hands is mostly absent from his work. Having written an article on the ‘Herzegovina Painter’ in 1963, an aryballos by the ‘hand’ embellishing his mantelpiece, it will have been a great embarrassment to him that a young Dutchman should have come to tell him that his concept comprised four distinct hands2. Moreover, he was not re-ally interested in the rough and tumble that Corinthian pottery usually is. In short, a philologist and art-historian at heart rather than an archaeologist3.

Corinthian studies have been pestered by another problem. In his brilliant 1931 study, Payne has arranged the material according to period, vase shape, and decora-tion system, a logical method to come to grips with the massive material. This makes painters pop up fairly easily. However, with this system, detecting hands across shape borderlines will raise many problems4. The result is for painters to seem high-ly specialized, which would suggest that epidemics have respectively swept away all painters of small alabastra, all painters of komast aryballoi, etc. For the greater part, painters of Corinthian pottery are specialists, seldom crossing the boundaries of pot categories set by function and/or form. However, even the Dolphin Painter, a specialist recognizable in over 200 alabastra, did not only decorate aryballoi in the end, but probably also a concave pyxis, while the hand of the Painter of the Munich Pyxides is not only detectable on concave pyxides, but also on kotylai, and even ala-bastra5. Also, changes in popularity of shapes must have forced painters to try their luck on other vehicles.

It so happens that the aryballos Bucharest, Archaeological Institute 0453 is the work of such a hand, which I have named the PRK Painter, not so by way of an acrostichon of our first names, but after two lipless cups in Prague6.

1 CorVPAC, p. 26.2 C. W. Neeft, The Dolphin Painter and his Workshop, Bulletin Antieke Beschaving 52-53, 1977/8, pp. 133-158, esp. 151-158; CorVP, p. 324; CorVPAC, pp. 67-69.3 A mentality historically more characteristic of Europe, where classical archaeology had long been con-sidered merely a picture-book of classical texts, with its training steeped in the myopic maximizing of minimal evidence characteristic of the study of classical languages.4 Payne, e.g., did not notice that the kotyle NC 674 is by the same hand as the olpe London, B.M. 1860.2.1-18 (A 1352), which he declared ‘pseudo-Corinthian’. Amyx only saw in a very late stage that the olpe could be attributed to a hand who also decorated an aryballos in Natal (CorVP, pp. 684, 662, pp. 104, 340; CorVPAC, p. 33; C. W. Neeft, The Bayraklı Painter, Oudheidkundige Mededelingen uit het Rijksmuseum van Oudheiden te Leiden 77, 1997, pp. 121-134.5 For the Dolphin Painter, cf. CorVPAC, p. 26; for the Painter of the Munich Pyxides, cf. CorVP, pp. 136-137, 311 and kotylai from the Apollo sanctuary in Aegina Town, alabastra from Miletus, Aphrodite sanctuary, and Palermo, Fondazione Mormino 895, La collezione archeologica del Banco di Sicilia, 1992, p. 46, no. C15, ill.6 The name could be regarded a misnomer. Whereas Payne, under the influence of Attic pottery, labelled the shape a lipless cup, I, erroneously, used to call it a round kotyle as it shows more decorational simi-larity to this shape than to later cups. I would prefer maintaining the name of PRK Painter as it has been coined now by Stibbe, Antike Kunst 43, 2000, p. 6, no. 11 and the publication of no. 3.

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A Corinthian Aryballos by the PRK Painter in Bucharest 241

List of works(Rizzone, sub no. 11, connected nos. 11 and 13)

Small foot oinochoai1. Gela 25989, from Bitalemi sanctuary. Fr. II: panther and avian to right; III: ru-

minant to left and feline to right.2. S. Maria Capua Vetere 273844, from Capua, loc. Cappuccini, grave 1505. Fragm.

I: siren to right between feline and panther between regardant birds to right; II: feline facing doe, boar between panthers, the left one regardant, swan to right, regardant panther facing bull; III: lion facing ram, feline to right, regardant panther facing bull. AntK 43, 2000, p. 6, no. 4, pl. 4.1-6 [known to me from Stibbe’s photographs].

3. S. Maria Capua Vetere 251294, from Calatia, grave 296, no. 62. I: bird to left, panthers facing siren to left, owl to right; II: panther facing bull, panther and bird to left, lion facing goat, panther facing deer; III: panther facing goat, lion and swan to right, goat to left, lion facing boar. Donne di età orientalizzante dalla necropoli di Calatia, Naples [1996], p. 58, no. 13, frontispiece and pls. 14, 16 (reverse), fig. 28.

Lipless cups4. Prague, N.M. 47. Panther facing ram, regardant siren to right between birds

between panther and lion, bull and panther to left, regardant bird to right.5. Prague, N.M. 48. Panthers facing goat to left, lion facing boar, panther facing

ram, panther facing boar.

Kotylai 6. Aegina, Aphaia sanctuary K 408A-B. Frr. Avian to right; avian and feline to

left. 7. Sardes P96.40:10345. Fr. Feline to right. J. Snyder Schaeffer, N.H. Ramage and

C.H. Greenwalt Jr., The Corinthian, Attic, and Lakonian Pottery from Sardis, Sardes Exploration Monographs, 10, Cambridge, 1997, p. 49, Cor 113, pl. 17.

8. Palermo MN, from Selinus, Malophoros sanctuary. Frr. Panther and ruminant to right. C. Dehl-von Kaenel, Die archaische Keramik aus dem Malophoros-Heiligtum in Selinunt, Berlin, 1995, p. 259, no. 1785, pl. 45; Talanta 36/37, 2004-2005, p. 328.

9. Corfù 17204. Goat to right between lion and panther.

Aryballos10. Bucharest, Archaeological Institute 0453. Lion and panther facing goat to

right, bird (?) to right. Coliu, no. 11, fig. 13; CVA 1, pl. 19.9-11; figs. 1-2.

Convex pyxides (without handles)11. Palermo, Fondazione Mormino 337. Panther facing goat, bird to right, panther

facing bull. La collezione del Banco di Sicilia, Palermo, 1992, p. 60, no. C71, ill.; fig. 3.12. Split, Archaeological Museum 188 a-b, from Salona (near Split). Goat to left

between panthers, doe and bird to right; lid: goat to right between panthers, the one to right crouching. L. Jelić, F. Bulić, S. Rutar, Vodja po Spljetu i Solinu, Zadar, 1894, pp. 12, 156, pls. 13-15; JHS 54, 1936, p. 186; B. Kirigin, Grcko-helenisticka zbirka

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242 Kees Neeft

u stalnom postavu Arheoloskog muzeja u Splitu/The Greek and Hellenistic Collection on Exhibit in the Archaeological Museum in Split, Split, 2008, pp. 32-33, ill. (with further literature); figs. 4-5. I owe my knowledge of this vessel to Dr B. Kirigin, who also provided the bibliography.

13. Athens, N.M., from Perachora. Panthers facing goat to right. T.J. Dunbabin (ed.), Perachora. The Sanctuaries of Hera Akraia and Limenia II. Pottery, Ivories, Scarabs, and other Objects from the Votive Deposit of Hera Limenia, Oxford, 1962, p. 179 no. 1837, pl. 73.

Krater14. Lacco Ameno 170293, from Gosetti dump. Handle plate fr. Feline to right.

StyleLions are usually found as part of threesomes, where they commonly go to right7.

Their posterior mane borders curve forwards to the front. The anterior borders have similar curves on the Bucharest aryballos (no. 10) and the Corfù kotyle (no. 9). On no. 3, the Calatia oinochoe, however, the lower anterior mane border continues as snout border, the upper mane border being rendered with a loose line. With the lat-ter system, only one big, often unincised, tooth is indicated in upper and lower jaws, with the former there are many teeth (or lip ripples) in the upper, one big incised tooth in the lower jaw8.

Panther heads are not very distinctive. Their ears are standard heart shape, only at times rendered carefully (nos. 2, 10, 8, 12 – with the last two with one ear only –, figs. 2, 5), mostly sloppily by two half-circles for both inner and outer ears. The fore-heads may show a small reversed arc with one (no. 10, fig. 2), two (no. 12, fig. 4), or no horizontal lines (nos. 3, 13) above it to demarcate the head from the frieze border, or it may show a row of small curved lines above two lines (no. 9), an M (nos. 2-3, 8, 11), or nothing at all (no. 3). Eyes have slanting, almost vertical tear-ducts. The mane around the head is indicated with a series of small strokes, at times almost indistin-guishable from the muzzle renderings, especially at the right side of the head. The heads are demarcated towards the necks by single lines.

Feline shoulders generally show strong lips; on nos. 39, 8 and 14, however, the feline shoulders have no lips at all. The shoulder front lines curve far backwards, ending in loops, with single, similarly slanting, elongated S’s under them. Belly-lines have round anterior finals with another curved line in front of them, which may con-tinue into the trailing foreleg (no. 10, fig. 2; no. 12, fig. 4). The groin ending is one of the painter’s hallmarks. Here, the painter adds two (or one, in small or later (?) works, figs. 1, 4 goat, cf. also the bull on no. 11) slightly concave, slanting lines, resting on top of a convex arc which borders the leading hind leg, making it the yonder one10.

7 With the exception of no. 5 where a lion faces a boar only and for no. 4, where the lion goes to left.8 Unfortunately, I was not permitted to photograph the name-pieces.9 That is, five out of eight.10 Apart from the kotyle NC 689, discussed below, only one lion on the broad-bottomed oinochoe Taranto 52900, from Cortivecchie, grave 33 (2.6.1943) by the Nîmes Painter shows this detail, see ASAtene 37-38

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A Corinthian Aryballos by the PRK Painter in Bucharest 243

There is not much interest in details in legs and paws. His most elaborate system for the trailing foreleg shows two horizontal lines above three vigorous, slanting lines, bordered by one slanting line at the bottom. When decorated, paws show an S and a vertical arc, the reverse of it, or two S’s, this triplet being another hallmark of the painter’s style. With the hind legs and some trailing forelegs, the ankles are marked with a transversal line above, usually, a smoother and more curved version of chevron. Hindquarters show three incisions to indicate the muscles11. They are either elongated S-lines or simple big curves. When rendered, hip-bone markings number two.

The painter very well varies the ruminants, rendering goats, does, bulls, and boars, yet no rams, showing certain predilection for does. They show the same type of shoulder12, belly-line, groin, and hindquarters as felines. Hip-bone markings are always present. As is common practice, the painter is even less interested in render-ing details in the legs with ruminants than with felines. Only the goat on no. 9 has markings in its leading hind leg. As regards the heads, eyes nearly always13 have tear-ducts, there are two contra-arcs in front of the jaw incisions. Goats have some pairs of transversal articulations in their horns and three forehead furrows (fig. 2, 4). The incision demarcating the head from the neck continues all the way down to the muzzle (figs. 2, 4). Jaws can be quite angular, beards are bushy. Muzzles usually have two lines for their borders and a single line for their mouths14. The other ruminants usually have single lines for their muzzle borders, for the noses the same chevron-like squiggles as found in feline ankles, and single small S’s for the mouths.

As to filling-ornaments, leaf-rosettes, often a simple, crossed variety, were the rule, complemented with some dots or an occasional ‘echoing’ blob or centered ro-sette (nos. 5, 9-10). Even rarer are longitudinal blobs with pairs of faintly curved lines (nos. 8-9), blobs with two or three strongly curved lines (no. 8) or one pair of faintly curved lines and a squiggle, or a kind of bow-tie rosette (no. 9), all on kotylai from probably the painter’s later works.

The Bucharest aryballos (figs. 1-2) shows a red band flanked by a line for its frieze border, a very rare, if not unique, type of decoration with this shape15. The same type, but with two lines, is found on kotylai nos. 6-716 and on the two convex pyxides with-out handles (nos. 11-12, fig. 3-5). On the Malophoros kotyle (no. 8), the painter ren-ders two lines flanked by band as frieze borders and on the Corfù kotyle (no. 9) two thin bands, the standard decoration with figured kotylai. Again, the frieze borders as found on the Aphaia and Sardes kotylai are rare with kotylai. They are found on a

(N. S. 21-22), 1959-1960, fig. 113; CorVP, p. 131.4. Cf. also the s.f. oinochoe in Vulci, from scavi Bongiovi, grave 41.11 Two with slighter works, e.g. lid p. 13.12 The lip may be shorter, however, cf. the bull on no. 11.13 Not so with no. 9.14 However, two lines for the mouth and a small curved line for the nose with no. 9.15 A band (black, not red) flanked by a line is only attested on the MC aryballos Taranto 107625, from Via Sardegna, grave 3 (16.8.1957).16 On the Aphaia kotyle, the red paint seems to have been applied directly on the clay, possibly with a guiding line at top and bottom; on the Sardes kotyle, however, on a black band (cf. the feline’s belly).

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kotyle in Leiden (NC 696) and one in Tunis (NC 689), both dated by Payne to the Early Corinthian period. The Leyden kotyle does not otherwise show any similarities to the PRK Painter’s oeuvre. The Tunis kotyle (NC 689) seems to be a bit earlier. Its handle-zone is decorated with careful vertical zigzags bordered towards the handles by a butterfly flanked by three bars. The lion to left shows the same type of groin incision as with the PRK Painter’s works, its lion to right has the same fanning lip ripples as the lion on the Bucharest aryballos. The frieze border type found with these four Early Corinthian kotylai has by and large failed to persevere17. The PRK Painter, too, turned to the customary two thin bands with the Middle Corinthian Corfù kotyle (no. 9).

The band flanked by two lines was more successful as a lower frieze border with convex pyxides. It was probably the Royal Library Painter, a wayward personality, who started the fashion. In order to reduce the height available for the frieze with broad-bottomed oinochoai, convex pyxides type A, and even kotylai, he inserted a line and band above the chequers forming the lower frieze border18. The fashion was adopted on convex pyxides without handles type B19, the type the PRK Painter decorated and probably manufactured. Here, the chequers are retained as upper borders, but dropped as lower borders. When, in full MC, the convex pyxis with handles comes into being, it has this system for its usual decoration. The bands are black, grow taller over time, with one or two lines flanking them.

In all, the PRK Painter has a quite consistent style, neither showing the intro-duction of new ways to render details nor the very clear degeneration owing to di-minished efforts or failing eye-sight20. Only the Gosetti handle-plate (no. 14) shows a spasmodical rendering which, if not provoked by the unusual shape, may hint at an early date of the krater within the painter’s oeuvre. On the other end of the timescale, the Corfù kotyle (no. 9) looks like the latest piece so far known, not only because of the loose rendering befitting the mass production of kotylai in MC, but especially because of the development of the frieze border type. His great consisten-cy suggests that the painter, as far as recognized now, has not long been active. The style points to the late Early Corinthian and probably the beginning of the Middle Corinthian period. He clearly threw himself into a number of shapes (lipless cups, convex pyxides, krater) which entered the potter’s repertory right then. This interest may have been provoked by a reduced demand for his original products, e. g. ala-bastra and aryballoi. However, the Bucharest aryballos stands alone as a completely isolated specimen in its own right. I have a feeling that tall closed vessels are his realm, unfortunately an area in need of more study and evidence.

17 A red line flanked by a black one is found in the Painter of Béziers 71’s oeuvre (Béziers 71, Sudbury C 45, and Syracuse 34992, all unpublished; related, Karlsruhe B 758, CVA 1, pl. 40.8) and in the oeuvre of the Painter of Taranto 28221 (Taranto 28221, from Corso Piemonte, grave 1, 13.1.1984; Taranto 14671, from contr. Masseria Tesoro, grave 36, 1.5.1907).18 Broad-bottomed oinochoai (CorVP, p. 128.21; also Madrid, Museo Arqueológico 10792, CVA 1, pl. 4.4), convex pyxides type A (CorVP, p. 127.19-20), kotylai (CorVP, p. 127.10, 15). At least the band with the Kassel kotyle (CorVP, p. 127.15) is red.19 For the types of convex pyxides without handles, see CorVP, pp. 448-449.20 More evidence may show that the absence of markings in panther foreheads and ruminant legs should be considered a degeneration and later feature.

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A Corinthian Aryballos by the PRK Painter in Bucharest 245

The end of the Early Corinthian is a very interesting period, not only because of the introduction of new shapes (see above, add exaleiptra, plates, and bowls), the re-establishment of the innate Corinthian tradition of frieze decoration and of rumi-nants faced by felines, and the search of new ways to render groin and legs, but also as regards the markets for Corinthian pottery. The PRK Painter, as we now know him, has an uncommon distribution. So far, his products have been found in Campania (nos. 2-3, 14), Sicily (nos. 1, 8, 11), the Adriatic Coast (nos. 9, 12), Central Greece (nos. 6, 13), and Asia Minor (no. 7). This distribution is partly due to the shapes he decorated, Corinthian oinochoai and hydriae making very popular grave-gifts in the bay of Naples at the time, partly to the fact that Corinth will have a reduced market soon afterwards in Asia Minor, Campania, and possibly the Dalmatian Coast.

AcknowledgementsMy thanks are due to Prof. A. Avram and Dr. I. Bîrzescu for their invitation to

contribute to this venue; Dr. Bîrzescu also kindly provided the photographs of the Bucharest aryballos. Dr. P. Dotto, Palermo, and Dr. B. Kirigin, Split, kindly permitted me to illustrate material in their charge. The correction of the English text lay in the hands of Mr. J. J. M. Schepers, Amsterdam.

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Figs. 1-2. Bucharest, Archaeological Institute 0453.

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A Corinthian Aryballos by the PRK Painter in Bucharest 247

Fig. 3. Palermo, Fondazione Mor mi no 337.

Fig. 5. Split, Archaeological Museum 188.

Fig. 4. Split, Archaeological Museum 188.

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AA Archäologischer Anzeiger. Berlin.AAPhStudArch Acta Antiqua Philippopolitana, Studia Archaeologica, Sofia,

1963.AÉ L’Année épigraphique. Paris.AJA The American Journal of Archaeology. Boston.AM Mitteilungen des Deutschen Archäologischen Instituts,

Athenische Abteilung. Athènes.ANRW Aufstieg und Niedergang der römischen Welt. Geschichte und

Kultur Roms im Spiegel der neueren Forschung, Berlin – New York, 1970 sqq.

ARV D. Beazley, Attic Red-Figure Vase-Painters, Oxford, 1956, 21963.

ASAtene Annuario della Scuola Italiana di Atene e delle Missioni Italiane in Oriente. Padoue.

AvP Altertümer von Pergamon. Berlin.BCH Bulletin de correspondance hellénique. Athènes - Paris.BSA Annual of the British School at Athens. Londres.Bull. ép. « Bulletin épigraphique », dans Revue des études grec-

ques. Paris.CIG A. Boeckh et alii, Corpus Inscriptionum Graecarum I-IV,

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Moscou–Leningrad, 1965.CorVP D. A. Amyx, Corinthian Vase-Painting of the Archaic Period,

Berkeley – Los Angeles – London, 1988.CorVPAC C. W. Neeft, Addenda et Corrigenda to D. A. Amyx, Corinthian

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CQ Classical Quarterly. Oxford.CRAI Comptes rendus de l’Académie des Inscriptions et Belles-

Lettres. Paris.CVA Corpus Vasorum Antiquorum, Paris, 1922 sqq.

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EA Epigraphica Anatolica. Bonn.GMJuB Godišnik na muzeite ot južna Bălgarija. Plovdiv. GMPO Godišnik na muzeite v Plovdivski okrăg. Plovdiv.GNAMP Godišnik na Narodnija archeolgičeski muzej Plovdiv.

Plovdiv.HASB Hefte des archäologischen Seminars Bern. Berne.Histria VII P. Alexandrescu, avec le concours de l’architecte Anişoara

Sion et d’A. Avram et la collaboration de Maria Alexandrescu Vianu, A. Baltreş, I. Bîrzescu, N. Conovici, P. Dupont, Cristina Georgescu, M. Măcărescu, K. Zimmermann, Histria VII. La Zone Sacrée d’époque grecque, Bucarest – Paris, 2005.

Histria IX Maria Alexandrescu Vianu, Histria IX. Les statues et les re-liefs en pierre, Bucarest – Paris, 2000.

Histria XII Monica Mărgineanu Cârstoiu, Histria XII. Architecture grec-que et romaine. Membra disiecta. Géométrie et architecture, Bucarest, 2006.

IAI Izvestija na Bălgarskija archeologičeski institut. Sofia.IAD Izvestija na Bălgarskoto archeologičesko družestvo. Sofia. IDR Inscripţiile Daciei romane, Bucarest, 1975 sqq.IDRE C. C. Petolescu, Inscriptiones Daciae Romanae externae –

Inscriptions externes concernant l’histoire de la Dacie (Ier–IIIe siècles) I-II, Bucarest, 1996-2000.

IG Inscriptiones Graecae, Berlin, 1903 sqq.IGBulg G. Mihailov, Inscriptiones Graecae in Bulgaria repertae, vol. I-V,

Sofia, 1956-1997) ; I2, Sofia, 1970.IGDOP L. Dubois, Inscriptions grecques dialectales d’Olbia du Pont,

Hautes études du monde gréco-romain, 22, Genève, 1996.IGR R. Cagnat et alii, Inscriptiones Graecae ad res Romanas perti-

nentes I, III-IV, Paris, 1906-1927.I.Kalchedon R. Merkelbach, F. K. Dörner et S. Şahin, Die Inschriften von

Kalchedon, Inschriften griechischer Städte aus Kleinasien, 20, Bonn, 1980.

I.Byzantion A. Łajtar, Die Inschriften von Byzantion I, Inschriften grie-chischer Städte aus Kleinasien, 58, 1, Bonn, 2000.

I.Kyzikos E. Schwertheim, Die Inschriften von Kyzikos und Umgebung I. Grabtexte, Inschriften griechischer Städte aus Kleinasien, 18, Bonn, 1980.

ILBulg B. Gerov, Inscriptiones Latinae in Bulgaria repertae. Inscriptiones inter Oescum et Iatrum repertae, Sofia, 1989.

ILJug. Anna et J. Šašel, Inscriptiones Latinae quae in Iugoslavia inter annos MCMLX et MCMLXX repertae et editae sunt, Situla, 19, Ljubliana, 1978 ; iidem, Inscriptiones Latinae quae in Iugoslavia inter annos MCMII et MCMXL repertae et editae sunt, Situla, 25, Ljubliana, 1986.

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Abréviations 311

ILNovae V. Božilova, J. Kolendo, L. Mrozevic, Inscriptions latines de Novae, Poznań, 1992.

ILS H. Dessau, Inscriptiones Latinae selectae I-V, Berlin, 1892-1916.IMJuIB Izvestija na muzeite ot jugoiztočna Bălgarija. Stara

Zagora – Burgas.IMS Inscriptions de la Mésie supérieure, Belgrade, 1976 sqq.INMV Izvestija na narodnija muzej Varna. Varna.InscrIt Inscriptiones Italiae, Rome, 1931 sqq.ISM I D. M. Pippidi, Inscripţiile din Scythia Minor greceşti şi latine

I. Histria şi împrejurimile, Bucarest, 1983.ISM II I. Stoian, Inscripţiile din Scythia Minor greceşti şi latine II.

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III. Callatis et son territoire, Bucarest – Paris, 1999.IstMitt Istanbuler Mitteilungen. Deutsches Archäologisches

Institut, Abteilung Istanbul. Istanbul.IVAD Izvestija na Varnenskoto archeologičesko družestvo.

Varna.JDAI Jahrbuch des Deutschen Archäologischen Instituts.

Berlin.JHS The Journal of Hellenic Studies. Londres.LGPN P. M. Fraser, Elaine Matthews et alii (éds), A Lexicon of Greek

Personal Names, Oxford, 1987 sqq. LIMC Lexicon iconographicum mithologiae classicae I-VIII, Zurich,

1981-1999.MAMA Monumenta Asiae Minoris Antiqua, Manchester, 1928 sqq.Michel, Recueil Ch. Michel, Recueil d’inscriptions grecques, Bruxelles, 1900.OGIS W. Dittenberger, Orientis Graeci inscriptiones selectae I-II,

Leipzig, 1903-1905.ÖJh Jahreshefte des Österreichischen Archäologischen

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Prosopographia Imperii Romani (Saec. I. II. III), editio altera, Berlin, 1933 sqq.

PME H. Devijver, Prosopographia militiarum equestrium quae fuerunt ab Augusto ad Gallienum I-V, Louvain, 1976-1993 ; VI (edd. Segolena Demougin et Maria-Theresa Raepsaet-Charlier), Louvain, 2001.

RA Revue archéologique. Paris.RE G. Wissowa et alii, Realencyclopädie der classischen

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312 Abréviations

RMD M. M. Roxan et alii, Roman Military Diplomas, Londres, 1978 sqq.

RPh Revue de philologie, de littérature et d’histoire ancienne. Paris.

SbNUNK Sbornik na narodni umotvorenija, nauka i knižnina. Sofia.SCIV(A) Studii şi cercetări de istorie veche (şi arheologie).

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tertia, I-IV, Leipzig, 1915-1924.VDI Vestnik drevnej istorii. Moscou.ZPE Zeitschrift für Papyrologie und Epigraphik. Bonn.

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