, in, Wefers, S. et al. (Hrsg.) KunstHandWerk. Beiträge der 26. Tagung der AG Eisenzeit gemeinsam mit der Keltenwelt am Glauberg und der hessenARCHÄOLOGIE im Landesamt für Denkmalpflege Hessen in Bad Salzhausen – 3.-6. Oktober 201, Beiträge zur Ur- und Frühgeschichte Mitteleuropas 84, 2018
In 2000, the preventive excavation at Olad
(Szombathely; Vas County, Hungary) led to the
discover... more In 2000, the preventive excavation at Olad
(Szombathely; Vas County, Hungary) led to the
discovery of a sunken-pit house dating from the
LT B2 or the B2/C1 period. Its filling yielded a
bowl with stamped pattern composing doublepalmettes
(or two antithetical peltas) framed by
a dog-tooth pattern. The same die was used on
an omphalos bowl from Koroncó (Győr-Moson-
Sopron County) ca. 100 km away. The pelta-like
palmettes might have been borrowed from the
repertory of the Waldalgesheim style and are
Eastern Celtic elements in the art of LT stamped
pottery. The occurrence of impressions on a
ceramic made by the same die and found at considerable
distance is evoquing several questions
concerning pottery production (one or two kiln
sites, wandering potters, die transfer etc.). The
decoration of the Early La Tène pottery indicates
a zone of intensive exchange of goods and ideas
ranging from the Eastern fringes of the Alps to
the Northern part of the Great Hungarian Plain.
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Ancient Pottery
Year: 2017
Series: Corpus Vasorum Antiquorum - Hongrie
ISBN: 978-88-913-1281-5
ISBN: 978-88-913-1283-9 (PDF)
Binding: Hardcover
Pages: 202, 250 ill. B/N, 64 tav. f.t
Size: 23 x 32 cm
This paper revisits the vases attributed to and around the Lotus-Cross Painter and intends to give a new apprehension of this hand. The reconsideration of previously published finds proves that the Painter of Louvre E 649 is identical to the Lotus-Cross Painter and helps in the clarification of hands working around this painter. The Lotus-Cross Painter is apprehended as a potter-painter and a specialist of red-ground globular oinochoai. As a result of this investigation several phases of his stylistic development can also be distinguished. The distribution of his vases suggests special ties to Etruria, especially to Cerveteri highlighting the particular position of the city in the import of Corinthian pottery into Etruria and revealing a particular local demand answered by the Lotus-Cross Painter. The examination of other hands classed around him by D.A. Amyx yielded also interesting results. One of them is identified with the Dionysios Painter. The unity of the secondary decoration and the stylistic relationships between the Lotus-Cross, the Dionysios Painter and other vase painters around them, such as the Brommer Painter (?) allow the reconstruction of a workshop specialized
in red-ground vases, mainly globular oinochoai and trefoil olpai. In this workshop we can distinguish two main painters: the Dionysios Painter and the Lotus-Cross Painter. They represent two main streams within the workshop. The Dionysios Painter seems to be more skilled and worked in a very fine, decorative style. Around this personality
several fine olpai can be grouped. The Lotus-Cross Painter represents a plainer style with some close followers around him – for ex. the Brommer Painter (?) –. Other works from this workshop attest the influence of both painters.
Video Version of the poster:
https://youtu.be/155zXG9eyg4
Poster Abstract:
https://www.chnt.at/advanced-documentation-methods-in-studying-the-black-figure-style-of-corinthian-vase-paintings/
This lavishly illustrated book marks the rebound of the researches on the Greek and Etruscan vases in the collection of the museum of Boulogne-sur-Mer. The long term objective is a publication of the entire collection. This catalogue presents a selection of vases, some of them are well known, but there are many which are published here the first time.
(Szombathely; Vas County, Hungary) led to the
discovery of a sunken-pit house dating from the
LT B2 or the B2/C1 period. Its filling yielded a
bowl with stamped pattern composing doublepalmettes
(or two antithetical peltas) framed by
a dog-tooth pattern. The same die was used on
an omphalos bowl from Koroncó (Győr-Moson-
Sopron County) ca. 100 km away. The pelta-like
palmettes might have been borrowed from the
repertory of the Waldalgesheim style and are
Eastern Celtic elements in the art of LT stamped
pottery. The occurrence of impressions on a
ceramic made by the same die and found at considerable
distance is evoquing several questions
concerning pottery production (one or two kiln
sites, wandering potters, die transfer etc.). The
decoration of the Early La Tène pottery indicates
a zone of intensive exchange of goods and ideas
ranging from the Eastern fringes of the Alps to
the Northern part of the Great Hungarian Plain.
Im Rahmen einer Notgrabung im Jahr 2000 kam in Olad, dem nördlichen Stadtteil von Szombathely, Westungarn, eine latènezeitliche Siedlungsgrube, wohl der Rest eines Grubenhauses, zutage. Das Gebäude kann an das Ende der Frühlatènezeit oder an die Übergangsphase der Früh- zur Mittellatènezeit datiert werden (LT B2 oder B2/C1). An der Sohle der Grube lag ein Bodenfragment einer Schüssel, die mit einem einzigartigen Stempelmotiv verziert ist. Der Stempel, der auf den ersten Blick an das, in den ostkeltischen Gebieten regelmäßig vorkommende Leiermotiv erinnert, besitzt
eine Doppelpalmetten/Pelta-artige Form. Für ihn lässt sich ein passender Vergleich im Fundmaterial der La Tène-Kultur in Ungarn anführen: Das Vergleichstück kam etwa 100 km entfernt, in einem Skelettgrab in Koroncó, bei Győr zum Vorschein. Für die Verzierung der Schüssel aus Koroncó und der Schüssel aus Olad wurde der gleiche Stempel verwendet. Dieser wurde, beim Grabfund in Koroncó jedoch so flach in die Tonmasse eingedrückt, so das Motiv bislang nicht eindeutig identifiziert werden konnte.
Classical Archaeology
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Riding with the East Wind: Celtic spurs. Spurs found in Celtic contexts are studied. First, the different types are described ; their constituent
materials, decoration, chronology and distribution are detailed. Their use is then discussed in relation to the contexts of their discovery. The identity of their users, and the question of how many spurs were worn, are addressed. Similarities and differences in the use of spurs in the eastern
and western Celtic domains are considered. In the eastern Celtic zone, where spurs would have reappeared earlier, both the fact that there are
significant numbers of them, and their contexts of discovery suggest that the specific training of horses with spurs was much more common
here. They were also used by larger and more socially-varied groups within society than was the case in the west, where their use seems to have
been more tightly restricted to the elite.
Roman Pottery
Year: 2017
Series: Corpus Vasorum Antiquorum - Hongrie
ISBN: 978-88-913-1281-5
ISBN: 978-88-913-1283-9 (PDF)
Binding: Hardcover
Pages: 202, 250 ill. B/N, 64 tav. f.t
Size: 23 x 32 cm
This paper revisits the vases attributed to and around the Lotus-Cross Painter and intends to give a new apprehension of this hand. The reconsideration of previously published finds proves that the Painter of Louvre E 649 is identical to the Lotus-Cross Painter and helps in the clarification of hands working around this painter. The Lotus-Cross Painter is apprehended as a potter-painter and a specialist of red-ground globular oinochoai. As a result of this investigation several phases of his stylistic development can also be distinguished. The distribution of his vases suggests special ties to Etruria, especially to Cerveteri highlighting the particular position of the city in the import of Corinthian pottery into Etruria and revealing a particular local demand answered by the Lotus-Cross Painter. The examination of other hands classed around him by D.A. Amyx yielded also interesting results. One of them is identified with the Dionysios Painter. The unity of the secondary decoration and the stylistic relationships between the Lotus-Cross, the Dionysios Painter and other vase painters around them, such as the Brommer Painter (?) allow the reconstruction of a workshop specialized
in red-ground vases, mainly globular oinochoai and trefoil olpai. In this workshop we can distinguish two main painters: the Dionysios Painter and the Lotus-Cross Painter. They represent two main streams within the workshop. The Dionysios Painter seems to be more skilled and worked in a very fine, decorative style. Around this personality
several fine olpai can be grouped. The Lotus-Cross Painter represents a plainer style with some close followers around him – for ex. the Brommer Painter (?) –. Other works from this workshop attest the influence of both painters.
Video Version of the poster:
https://youtu.be/155zXG9eyg4
Poster Abstract:
https://www.chnt.at/advanced-documentation-methods-in-studying-the-black-figure-style-of-corinthian-vase-paintings/
This lavishly illustrated book marks the rebound of the researches on the Greek and Etruscan vases in the collection of the museum of Boulogne-sur-Mer. The long term objective is a publication of the entire collection. This catalogue presents a selection of vases, some of them are well known, but there are many which are published here the first time.
(Szombathely; Vas County, Hungary) led to the
discovery of a sunken-pit house dating from the
LT B2 or the B2/C1 period. Its filling yielded a
bowl with stamped pattern composing doublepalmettes
(or two antithetical peltas) framed by
a dog-tooth pattern. The same die was used on
an omphalos bowl from Koroncó (Győr-Moson-
Sopron County) ca. 100 km away. The pelta-like
palmettes might have been borrowed from the
repertory of the Waldalgesheim style and are
Eastern Celtic elements in the art of LT stamped
pottery. The occurrence of impressions on a
ceramic made by the same die and found at considerable
distance is evoquing several questions
concerning pottery production (one or two kiln
sites, wandering potters, die transfer etc.). The
decoration of the Early La Tène pottery indicates
a zone of intensive exchange of goods and ideas
ranging from the Eastern fringes of the Alps to
the Northern part of the Great Hungarian Plain.
Im Rahmen einer Notgrabung im Jahr 2000 kam in Olad, dem nördlichen Stadtteil von Szombathely, Westungarn, eine latènezeitliche Siedlungsgrube, wohl der Rest eines Grubenhauses, zutage. Das Gebäude kann an das Ende der Frühlatènezeit oder an die Übergangsphase der Früh- zur Mittellatènezeit datiert werden (LT B2 oder B2/C1). An der Sohle der Grube lag ein Bodenfragment einer Schüssel, die mit einem einzigartigen Stempelmotiv verziert ist. Der Stempel, der auf den ersten Blick an das, in den ostkeltischen Gebieten regelmäßig vorkommende Leiermotiv erinnert, besitzt
eine Doppelpalmetten/Pelta-artige Form. Für ihn lässt sich ein passender Vergleich im Fundmaterial der La Tène-Kultur in Ungarn anführen: Das Vergleichstück kam etwa 100 km entfernt, in einem Skelettgrab in Koroncó, bei Győr zum Vorschein. Für die Verzierung der Schüssel aus Koroncó und der Schüssel aus Olad wurde der gleiche Stempel verwendet. Dieser wurde, beim Grabfund in Koroncó jedoch so flach in die Tonmasse eingedrückt, so das Motiv bislang nicht eindeutig identifiziert werden konnte.
Please write for pdf!
Riding with the East Wind: Celtic spurs. Spurs found in Celtic contexts are studied. First, the different types are described ; their constituent
materials, decoration, chronology and distribution are detailed. Their use is then discussed in relation to the contexts of their discovery. The identity of their users, and the question of how many spurs were worn, are addressed. Similarities and differences in the use of spurs in the eastern
and western Celtic domains are considered. In the eastern Celtic zone, where spurs would have reappeared earlier, both the fact that there are
significant numbers of them, and their contexts of discovery suggest that the specific training of horses with spurs was much more common
here. They were also used by larger and more socially-varied groups within society than was the case in the west, where their use seems to have
been more tightly restricted to the elite.
Moulds and potters’ marks are primary sources for our understanding of the relief decorated terra sigillata production.
In this paper the Gallo-roman terra sigillata moulds (for relief decorated bowls and goblets) from the collection of the Louvre are presented together with a signed fragment from a relief decorated terra sigillata bowl from Lezoux. Among the moulds several potters’ centres are represented: La Graufesenque, Les Martres-de-Veyre, Lezoux and Rheinzabern ranging chronologically from the Trajanic to the Antonine periods. These finds allow a better understanding of workshop activities, individual potter’s style and enrich the repertory of motifs and dies used by the decorators. The bowl fragment reveals the name of a Trajanic Lezoux potter Genialis. Based on this fragment, we can hitherto name a previously anonymous Lezoux potter (Potter X-5) and characterise better
his activity as one of the early workshop leaders “advertising” himself by large marks stamped into the decoration.
Among the different approaches proposed by R. Reece for the study of Roman cemeteries, this work focuses on grave treatment and grave furnishing. The funerary practices are thus apprehended through the study of the structure of the tombs and the selection and treatment of the grave goods and human remains. The main objective was to propose a synthesis of the published finds which could serve as a basis for future research.
The analysis consists of a documentary review of the published data (presented in the catalogue and numerous tables) as complete as possible, accompanied by a detailed analysis of the latest information available to highlight trends regarding the entire province, and the peculiarities seen at a regional level. Many graphics and maps support this analysis.
Many general trends, common to the western provinces of the Roman Empire, were detected, but also many particularities linked to the regional nature of the funerary practices and the economic and social situation of the communities. Some of these particularities reflect more profound cultural differences due to the unequal penetration of Mediterranean funerary practices into the territory of the province. They reflect the somewhat 'artificial' formation of the Gallia Lugdunensis, which incorporated tribes belonging to different cultural spheres (sharing particularities with Aquitania and the Belgic Gaul or more exposed to the Mediterranean influences).
https://www.archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={BC947F14-16E6-4DB6-8546-2795CEC11BD7}
Cette étude vise à donner une présentation des pratiques funéraires romaines en Pannonie durant le Haut-Empire. Parmi les différentes approches pour l’étude des cimetières romains, ce travail porte sur le traitement des tombes et leur mobilier. Les pratiques funéraires sont ainsi appréhendées à travers l'étude de la structure des tombeaux, la sélection et le traitement des mobiliers funéraires et des restes humains. L'objectif principal est de proposer une synthèse des découvertes publiées pouvant servir de base aux recherches à venir. L’analyse consiste en une revue documentaire (présentée dans le catalogue et détaillée au sein des tableaux) aussi complète que possible des données publiées, accompagnée d’une analyse détaillée des informations aujourd’hui disponibles, afin de mettre en évidence les tendances concernant toute la province, mais aussi les particularités régionales et locales. L'analyse est accompagnée par de nombreux graphiques et des cartes. Bien sûr, des tendances générales, communes aux provinces occidentales de l'Empire romain, ont pu être détectées, mais également de nombreuses particularités liées à la situation économique et sociale des communautés, aux différents groupes de population en Pannonie et à l'histoire politique et militaire de la province.
Après la Ier Guerre mondiale pour remédier à sa situation économique difficile, il a cherché en 1921 et 1922 à vendre sa collection avec une partie de sa bibliothèque en Hongrie et aussi sur le marché américain par l’intermédiaire de son frère, Árpád Gerster, vivant à New York et de Jenő Boros, engagé dans des affaires commerciales hungaro-américaines. C’est au cours de ses négociations infructueuses avec le Musée de Brooklyn qu’il a réalisé un dossier composé d’aquarelles et de photographies. Les parties qui en sont conservées et les brouillons ont permis de reconstruire l’état originel de la collection et les provenances d’une bonne partie de ces objets. Ils ont montré, en fait, qu’il avait reçu certaines œuvres en cadeau, tandis que d’autres objets provenaient selon toute vraisemblance de tombes détruites par la construction du Canal ; il en a acquis d’autres encore à Corinthe même et dans son voisinage, durant son séjour en Grèce.
Plusieurs collections similaires à celles de Gerster ont été formées en Corinthie au cours du XIXe siècle, surtout dans la période suivant l’indépendance, notamment celles de l’architecte André Louis Couchaud (1813, Genève – 1849, Lyon) au Musée des Beaux Arts de Lyon, de Sir Arthur Hill conservée à Reading, de Sir John Dorney Harding (1809 – 1868) à Bristol et de François Chaix de Verninac dispersée dans plusieurs musées du Midi. La collection de Béla Gerster s’en distingue car la documentation préparée par Gerster et ses correspondances nous donnent non seulement des renseignements précis sur l’origine des œuvres mais elles représentent également un témoignage direct de la manière dont Gerster voyait sa collection et quelles étaient ses motivations lors de sa formation.
der Alpen und den nordöstlichen Hängen des Bakonygebirges prägt bis heute der Fluss Arrabo (dt. Raab, ungar. Raba). Damit teilt er, der tektonischen Gliederung folgend, den transdanubischen Raum in
diagonaler Linie. Die im Itinerarium provinciarium Antonini Augusti beschriebene verkehrstechnische Infrastruktur der Pannonia romana orientierte sich zwangsläufig an diesen naturräumlichen Gegebenheiten.
Straßen erster Ordnung waren zum einen die von der Donau im Bereich der Thebener Pforte gen Süden in das italische Mutterland (caput adriae) strebende Bernsteinstraße, zum anderen die der Donaugrenze
(ripa) von Vindobona (Wien) nach Byzantion (Konstantinopel)
folgende Heerstraße. Ausgerichtet auf den Lauf der Arrabo, querte eine
in den Quellen unprätentiös als »A Sabaria Bregetione« beschriebene weitere Reichsstraße die kleineTiefebene. Keine 50 Meilen nordöstlich der claudischen Kolonie Savaria (Szombathely), knapp 20 Meilen vor Erreichen der Militärgrenze auf Höhe des Limeskastells Arrabona (Győr), verzeichnet das antoninische Straßenverzeichnis die Stadt Mursella. Bereits seit dem 16. Jh. lokalisierten zeitgenössische Kartographen diese Ansiedlung inmitten der kleinen Tiefebene am Ufer der Raab. Bestätigung erfuhr diese Annahme durch die seit dem 19. Jh. erhaltenen Berichte über Altertümer, die sich beim Sandgraben auf der Kuppe des Dombiföld-Hügels fanden.