Terra sigillata: Ein Beitrag zur Geschichte der griechischen und römischen by Hans Dragendorff. Publication date Publisher A. Marcus. Dragendorff: H. Dragendorff, Terra Sigillata, Bon- ner Jahrbiicher 96 () Hermet: F. Hermet, La Graufesenque (). Ludowici: W. Ludowici. Hans Dragendorff, “Terra sigillata. Ein Beitrag zur Geschichte der griechischen und römischen Keramik”, Bonner Jahrbücher 96 (),
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Siphoning off the topmost layers of slip, which contain the smallest clay particles, produces terra sigillata. Over the long period of production, there was obviously much change and evolution in both forms and fabrics.
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During the second half of the 2nd century, some Lezoux workshops making relief-decorated bowls, above all that of Cinnamus, dominated the market with their large production. Fashions in fine tablewares were changing. There dfagendorff ancient authority for the use of samia vasa to describe pottery with a polished surface in literary usage Pliny, Nat.
The footring is low, and potters’ stamps are usually bowl-maker’s marks placed in the interior base, so that vessels made from the same, or parallel, moulds may bear different names. AD 41—54; Nero, reg.
The archaeological term is applied, however, to plain-surfaced pots dragendordf well as those decorated with figures in relief. Two standard ‘plain’ types made in considerable numbers in Central Gaul also included barbotine decoration, Dr. Closely related pottery fabrics made in the North African and Eastern provinces of the Roman Sigillwta are not usually referred to as terra sigillata, but by more specific names, e.
The centres of production were in the Roman provinces of Africa ProconsularisByzacena and Numidia ; that is, modern Tunisia and part of eastern Algeria.
Online books Resources in your library Resources in other libraries. The latter was called “sealed” because cakes of it were pressed together and stamped with the head of Artemis.
Liste wichtiger Terra-Sigillata-Gefäßformen – Wikipedia
Since the 18th century Samian ware pots have been found in sufficient numbers in the sea near Whitstable and Herne Bay that local people used them for cooking. For undisturbed deflocculated slip settling in a transparent container, these layers are usually visible within 24 hours.
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Pottery production continued, but in the 3rd century, it reverted to being a local industry. World Ceramic TraditionsLondonpp.
The oldest use for the term terra sigillata was for a medicinal clay from the island of Lemnos. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the sigillara of such historical works.
Terra sigillata: Ein Beitrag zur Geschichte der griechischen und römischen …
Loeschcke in his study of the Italian sigillata excavated at the early Roman site of Haltern. These were usually decorated with floral and foliate designs of wreaths and scrolls at first: It now appears as a result of this recent work that this is not the case and that the colour of the glossy slip is in fact due to no more than the crystal size of the minerals dispersed within the matrix glass.
This soil’s particular mineralic content was such that, in the Renaissanceit was seen as a proof against poisoning, as well as a general cure for any bodily impurities, and it was highly prized as a medicine and medicinal component. But the real strength of the Rheinzabern industry lay in its extensive production of good-quality samian cups, beakers, flagons and vases, many imaginatively decorated with barbotine designs or in the ‘cut-glass’ incised technique.
The ware is then burnished with a soft cloth before the water in the terra sigillata soaks into the porous body or with a hard, smooth-surfaced object. The modern parallel of the English term ‘china’ may be an apt one: Burnishing was a technique used on some wares in the Roman period, but terra sigillata was not one of them. The matrix itself does not contain any metallic ions, the haematite is substituted in aluminium and titanium while the corundum is substituted in iron. While the decoration of Arretine ware is often highly naturalistic in style, and is closely comparable with silver tableware of the same period, the designs on the Gaulish products, made by provincial artisans adopting Classical subjects, are intriguing for their expression of ‘ romanisation ‘, the fusion of Classical and native cultural and artistic traditions.
The two principal decorated forms were Dragendorff 30, a deep, cylindrical bowl, and Dragendorff 29, a carinated ‘keeled’ shallow bowl with a marked angle, emphasised by a moulding, mid-way down the profile.
Small, localised attempts to make conventional relief-decorated samian ware included a brief and unsuccessful venture at Colchester in Britain, apparently initiated by potters from the East Gaulish factories at Sinzig, a centre that was itself an offshoot of the Trier workshops. That picture must itself be seen in relation to terr luxury tablewares made of silver.
Ettlinger is the current reference system for Arretine, and Hayes and for the late Roman material. When a vessel is a classic samian form and decorated in relief in the style of a known samian potter, but finished with black slip rather than a red one, it may be classed as black samian.