ERGASTERIA ΕΡ ΓΑΣΤΗΡΙΑ Premises and Processes of Creation in Antiquity Edited by Elena C. Partida and Constanze Graml ERGASTERIA Premises and Processes of Creation in Antiquity Edited by Elena C. Partida and Constanze Graml Archaeopress Archaeology Archaeopress Publishing Ltd 13–14 Market Square Bicester Oxfordshire OX26 6AD United Kingdom www.archaeopress.com ISBN 978-1-80327-825-4 ISBN 978-1-80327-826-1 (e-Pdf) © Archaeopress and the individual authors 2025 Cover designed by Petros Georgopoulos and Ilias Partidas Supported by the University of Regensburg Image-use permissions have been secured by the authors individually This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit https://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. This book is available direct from Archaeopress or from our website www.archaeopress.com In memory of my father, my inspirator E.C.P. Contents List of Figures and Tables������������������������������������������������������������������������������������������������������������������������������������� iii Chapter 1� ΕΡΓΑΣΤΗΡΙΑ: Premises and Processes of Creation in Antiquity� An Introduction ����������������������������1 Elena C. Partida and Constanze Graml Α SPATIAL APPROACH TO WORKPLACES: URBAN, RELIGIOUS, LITTORAL CONTEXT Chapter 2� Tales from the workshop and normative beauty ��������������������������������������������������������������������������������9 Gerhard Zimmer Chapter 3� Craft production and nuisance in the ancient Greek city: Spatial and functional approaches to urban industrial activities �����������������������������������������������������������������������������������������������������������������������������������42 Giorgos M. Sanidas Chapter 4� Dyeworks network around the Gulf of Corinth: A specialised seaside textile workshop in Late Classical-Hellenistic Helike ���������������������������������������������������������������������������������������������������������������������������������55 Dora Katsonopoulou Chapter 5� Workplaces in the southern sacred area at Olbia Pontica ����������������������������������������������������������������69 Alla V. Bujskikh Chapter 6� Handicraft activities in the small town of Fanum Martis: (Famars, northern France): Analysing and interpreting spatial organisation and production size �������������������������������������������������������������������������������79 Raphaël Clotuche, Sonja Willems, Jean-Hervé Yvinec, Marie Derreumeaux, Jennifer Clerget, Nicolas Tisserand, Bérangère Fort, Gaëtan Jouanin Chapter 7� Evocations of Apollo in northern Gaul and craftsmen engaged in his representation: The example of Fanum Martis ��������������������������������������������������������������������������������������������������������������������������������������92 Raphaël Clotuche and Damien Censier WORKSHOPS RELATED TO QUARRIES AND SCULPTURE Chapter 8� Ancient Greek quarries: Installations and workshops – extraction and sculpture techniques ���109 Georgia Kokkorou-Alevras Chapter 9� New evidence about the exploitation of Nisyrian millstone lava: and its use in Nisyrian workshops in antiquity �������������������������������������������������������������������������������������������������������������������������������������� 124 Eirene A. Poupaki Chapter 10� Heracles rock reliefs at quarries and construction sites in Roman Greece: An interpretative approach ������������������������������������������������������������������������������������������������������������������������������������������������������������� 135 Georgios Doulfis Chapter 11� Roman calcite alabasters in Tunisia ����������������������������������������������������������������������������������������������145 Ameur Younès Chapter 12� All about marble carving? In search of craftspeople of polychromy in the ancient Roman sculpture workshop ������������������������������������������������������������������������������������������������������������������������������������������� 163 Amalie Skovmøller i IN THE ATELIERS OF POTTERS AND COROPLASTS Chapter 13� The ‘Cracking the Code’ project: Stamna’s pithoi workshops – unveiling pottery heritage ������175 Gioulika Christakopoulou and Helene Simoni Chapter 14� The coroplast’s workshop and its production: Reflecting on the craft practices of the Archaic πλάστης in Magna Graecia ������������������������������������������������������������������������������������������������������������������� 200 Eukene Bilbao Zubiri Chapter 15� Localisation, distribution and nature of pottery production of the fourth-century BC ceramic workshops in Ano Petralona, Athens: A synthesis of the available archaeological evidence ����������214 Marilena Kontopanagou Chapter 16� Local knowledgescapes in pottery production: A new heuristic approach to the Iron Age pottery workshops between the Arno Valley and the Po Plain������������������������������������������������������������������������230 Raffaella Da Vela CONSTRUCTION SITES, OPEN-AIR WORKSHOPS AND BUILDING WORKFORCE Chapter 17� Athenian architecture abroad in the fifth century: Fashion or imperialism? ����������������������������248 Jacques des Courtils Chapter 18� More on Athenian architecture abroad: Xanthos as a case study ������������������������������������������������255 Laurence Cavalier Chapter 19� Contextualizing the scaffold: Workspace within cult space and the dynamics of construction sites at Delphi ����������������������������������������������������������������������������������������������������������������������������������������������������� 261 Elena C. Partida Chapter 20� Building procedures of the fortification at Kastraki on Milesian Agathonisi: Quarrying and construction sites as open-air provisional ergasteria ��������������������������������������������������������������������������������������� 280 Konstantinos Sarantidis REPAIR, RE-USE AND SPOLIA: CONCEPTS OF CHAÎNE OPERATOIRE Chapter 21� Less piety, more pragmatics: Some diachronic observations on the re-use of Greek funerary monuments��������������������������������������������������������������������������������������������������������������������������������������������������������� 296 Constanze Graml Chapter 22� The practicalities of spoliation: Tool marks, craftspeople, and building logic ���������������������������308 Anna M. Sitz Chapter 23� Learning by ���? And learning what? Possibilities and limitations of chaîne(s) opératoire(s)approaches using the example of the Elgin Lyre ���������������������������������������������������������������������������������������������� 326 Susanne Bosche ACADEMIC APPARATUS Abbreviations ����������������������������������������������������������������������������������������������������������������������������������������������������� 355 Bibliography ������������������������������������������������������������������������������������������������������������������������������������������������������� 357 Indices����������������������������������������������������������������������������������������������������������������������������������������������������������������� 410 Varia ......................................................................................................................................................................................410 Locorum ...............................................................................................................................................................................415 Personarum .........................................................................................................................................................................418 ii List of Figures and Tables Chapter 2 Figure 1: Figure 2: Figure 3: Figure 4: Marble copy of the Doryphoros from Pompeii............................................................................................................ 10 Athenian red-figure oinochoe from Capua, c. 470 BC ................................................................................................ 11 Fragment of a casting mould with fingerprints .......................................................................................................... 11 Soft-fired lumps of clay with fingerprints from kneading. From the Athena Promachos workshop on the south slope of the Acropolis in Athens......................................................................................................................... 11 Figure 5: Plan of the excavation at Amalias avenue in relation to the City Walls and Eridanos river ................................ 13 Figure 6: Building the casting pit for the experiment of the foundry institute of the RWTH ............................................. 14 Figure 7: Cross-section of the casting pit at Murlo, Tuscany .................................................................................................... 15 Figure 8: Wax model with pouring channels and drains............................................................................................................ 15 Figure 9: Filling of the wax model with tamped clay.................................................................................................................. 15 Figure 10: Experiment in Murlo, Tuscany: The innermost layer of fine clay is applied with a brush on the rear of the ‘praying boy’-wax model ......................................................................................................................................... 15 Figure 11: Experiment in Murlo, Tuscany: Heating and drying of the casting mould ............................................................ 16 Figure 12: Detail of the cast surface inside the shattered mould created by the foundry institute of the RWTH.............. 16 Figure 13: Detail of the Athenian red-figure Foundry Cup, dating to the early fifth century BC .......................................... 16 Figure 14: Area of the excavation at Amalias avenue ................................................................................................................... 16 Figure 15: Area of the excavation with casting pit 4 at Amalias avenue ................................................................................... 17 Figure 16: Sketch of the excavation with casting pits 2 and 3 at Amalias avenue ................................................................... 18 Figure 17: Area of the excavation with casting pit 4 at Amalias avenue ................................................................................... 18 Figure 18: Clay crucible after a successful smelting experiment of the foundry institute of the RWTH ............................. 19 Figure 19: Detail of the excavation plan at Amalias avenue illustrating the different building phases............................... 20 Figure 20: Plan of the workshop of Phidias at Olympia, showing a podium ............................................................................. 21 Figure 21: Plan of the ‘Promachos pit’ on the south slope of the Acropolis at Athens ........................................................... 22 Figure 22: Demetrias, Anaktoron. Reconstruction of the working installations...................................................................... 22 Figure 23: Experiment in Murlo, Tuscany: The uncovered raw cast of the head ..................................................................... 23 Figure 24: Experiment in Murlo, Tuscany: Wax model of the head with chaplets .................................................................. 23 Figure 25: Mould fragment from the workshop at Amalias avenue (X 6/OM 3718a) .............................................................. 24 Figure 26: Mould fragment from the workshop at Amalias avenue (X 2/336) ......................................................................... 24 Figure 27: Experimental cast, Aachen. Part of the lower leg of the ‘praying boy’ with chaplets .......................................... 24 Figures 28, 29: Funnel fragment from the workshop at Amalias avenue (X 2/ stroma 2/ OM 574a) ............................................ 25 Figure 30: Fragment of a support from the workshop at Amalias avenue (X 4/OM 3487 b/13.2.13) .................................... 25 Figures 31, 32: Funnel fragment from the workshop at Amalias avenue (X 2/OM 581-11) ............................................................ 26 Figures 33, 34: Funnel fragment from the workshop at Amalias avenue (X 2/ OM 382) ................................................................ 26 Figures 35, 36: Gate fragment from the workshop at Amalias avenue (X 4/ OM 3487c) ................................................................. 27 Figures 37, 38: Support with clay core from the workshop at Amalias avenue (X 4 / OM 3487,2) ................................................ 28 Figures 39, 40, 41: Three views of a lid from the workshop at Amalias avenue (X 2/OM 383)............................................................. 28 Figure 42: Lid with plug from the context of the workshop on the Acropolis south slope .................................................... 29 Figure 43: Reconstruction of a moveable crucible for melting bronze ...................................................................................... 29 Figure 44: Successful melting experiment with a crucible of clay and three bellow-pipes ................................................... 29 Figure 45: Fragment of a crucible from the workshop at Amalias avenue (X 2/ OM 581e) .................................................... 30 Figures 46, 47: Fragments of tuyères from the workshop at Amalias avenue .................................................................................. 31 Figures 48, 49: Two views of a bellow-mouth from the workshop at Amalias avenue (X 6/OM 3721 Kb) ................................... 32 Figure 50: Mouth of a tuyère from the workshop at Amalias avenue (X 2/135) ...................................................................... 32 Figures 51, 52: View and cross-section of a casting mould fragment from the workshop at Amalias avenue, mended of two pieces (X 4 / OM 2533st) .......................................................................................................................................... 32 Figures 53, 54: View and cross-section of a mould fragment for casting a convex fold (Faltenrücken), from the workshop at Amalias avenue (X 4/ 3480a)...................................................................................................................................... 33 Figures 55, 56, 57: Two views and cross-section of a mould fragment for casting a fold, from the workshop at Amalias avenue (X 4/ OM 3480 a) ................................................................................................................................................. 34 Figures 58, 59: Statue of Athena from the Hephaesteum, Athens ...................................................................................................... 34 Figure 60: Small piece-mould for the end of a fold, from the workshop at Amalias avenue (X 4 / OM 3487 ib) ................ 35 Figures 61, 62: View and cross-section of a mould fragment for a fold end, from the workshop at Amalias avenue (X 4 / OM 3492 B) ........................................................................................................................................................................ 35 Figures 63, 64: View and cross-section of a mould fragment for a fold end from the workshop at Amalias avenue (X 4/ OM 3492 B form no. 3) ..................................................................................................................................................... 36 Figures 65, 66: Mould fragment from the workshop at Amalias avenue, and print in plasticine (X 6 / OM 3718a)................... 36 Figures 67, 68: Mould fragment of a finger from the workshop at Amalias avenue (X 7/ OM 3631 b) ......................................... 37 Figure 69: Mould fragment from a working process from the workshop at Amalias avenue (X 2 / str. 4 – OM 581) ......... 37 Figures 70, 71: Fragment of a small mould from the workshop at Amalias avenue (X 7/ OM 3956i) ........................................... 38 Figures 72, 73: Lower side of small mould fragment with the imprint of a lip and the print of the mould in plasticine ......... 38 Figure 74: Plaster cast of the mouth of the Athena Lemnia ........................................................................................................ 38 iii Chapter 3 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Chapter 4 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figures 11, 12: Figure 13: Figure 14: Figure 15: Figure 16: Figure 17: Figure 18: Figures 19, 20: Figure 21: Figure 22: Chapter 5 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Chapter 6 Figure 1: Figure 2: Figure 3a: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Chapter 7 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Map with the ancient sites referred to in the text ..................................................................................................... 44 Athens, Agora: the ‘Rubble Structures’ with workshop remains east of the Panathenaia Street; fifthfourth century BC ............................................................................................................................................................ 48 Rhodes, evidence of ancient bronze-statue foundries with casting pits, from the late fourth to the late first century BC ................................................................................................................................................................ 49 Athens, concentration of workshops south of the sanctuary of Dionysus ............................................................. 51 Argos, evidence of ancient craft activities from the Archaic to the Hellenistic period ....................................... 53 The environs of the Helike search area including the 1988 sonar survey .............................................................. 56 Drone photo of the four-tank unit and surrounding structures .............................................................................. 58 Plastered channelling, detail.......................................................................................................................................... 58 Plastered conical immersion vat ................................................................................................................................... 58 Drone photo of the dyeworks building complex......................................................................................................... 59 Clay basin north of the four-tank unit ......................................................................................................................... 59 Storage area showing the pithoi arrangement ........................................................................................................... 59 Pithos with ancient repairs, details .............................................................................................................................. 60 Hellenistic pottery from the excavated building complex........................................................................................ 60 Black-glazed, West Slope and ivy-decorated pottery sherds from the excavated building complex................. 61 Stamped amphora handles from the excavated building complex ......................................................................... 61 Relief pottery with figural scene ................................................................................................................................... 61 View of the dyeworks complex from the east, showing the polygonal stone footing of the walls .................... 62 The room where stored lime was discovered, a consolidated sample remaining in situ ..................................... 62 Fragment of a big terracotta roof tile preserving traces of blue-green colour...................................................... 63 Conical and pyramidal loom weights from the excavated building complex ........................................................ 63 Specific plastered areas of the shallow tanks floors................................................................................................... 64 Stamped disc-shaped loom weights from the excavated building complex .......................................................... 64 Depiction of the flax plant on an inscribed vessel from the site of Kafizin in Cyprus.......................................... 66 The flax plant linum usitatissimum Linaceae .................................................................................................................. 67 Olbia plan showing the three sacred zones location: 1. Western temenos; 2. Eastern temenos; 3. Southern temenos ............................................................................................................................................................................... 70 Southern temenos: I. Late Archaic times. 1. Temple of Aphrodite; 2. Bothros; 3. Precinct; 4. Working place; II. Classical times. 5. Temple of Aphrodite; 6. Cisterns; 7. Precinct; 8. Bothroi; III. Preserved parts of the city-grid ............................................................................................................................................................................. 71 Central part of the Late Archaic bronze/metal workshop. On the right, a Classical cistern ............................... 72 Early Classical ceramic kiln: 1. Level of destruction; 2. Foundation level; 3. South-Ionian bird-shaped plastic lekythos................................................................................................................................................................. 73 1: Western water cistern from the North; 2: Chian amphora; 3: base of Attic red-figure cup with dedication to Aphrodite .................................................................................................................................................. 74 1: Northern water cistern; 2: Attic black-glazed cup of the Delicate class; 3: shell of Emys orbicularis............... 75 1: Amphora body at the top of the northern water cistern and under ceramic kiln, from the west; 2: Ceramic kiln and oven from the latest period of the workshop’s lifespan, from the east ................................... 76 Stone moulds for the casting of lead votive objects: 1: Double-axe; 2: Herms. Lead items: 3: Female herm; 4: Male herm; 5-9: Bucrania; 10: Quadriga; 11: Earring; 12: Sword; 13: Nike and Heracles ................................... 78 Location of Fanum Martis in its Roman context ........................................................................................................... 80 Localities of various handicraft activities spread in the small Roman town during the second and up to the beginning of the fourth century AD....................................................................................................................... 82 Crushed bones discarded in a pool; 3b: Close-up view of the crushed bones ........................................................ 83 Intaglio in red jasper representing a modius with scales and bundles of wheat .................................................... 84 Lime-kiln situated in the eastern part of town ........................................................................................................... 85 Ritual obliteration (sealing) of a kiln flue by the deposition of a pot...................................................................... 86 Distribution of the Famars pottery production .......................................................................................................... 87 Spatial arrangement of pottery kilns ........................................................................................................................... 87 Chart of the locally produced main pottery types ..................................................................................................... 89 Potter’s stamp reading Nericcvs ..................................................................................................................................... 89 Location of the excavations (Technopôle and Rhonelle) at Fanum Martis ................................................................. 93 View of the lime kiln at the Technopôle ......................................................................................................................... 94 Head of a satyr .................................................................................................................................................................. 94 Head of Apollo .................................................................................................................................................................. 95 Unidentified life-size figures.......................................................................................................................................... 95 Fragments of a colossal statue of Apollo ...................................................................................................................... 95 Fragment of a dummy spear cast in bronze ................................................................................................................ 96 ‘Valenciennes Good-Stone’ mining zone and diffusion area .................................................................................... 96 iv Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Figure 14: Figure 15: Figure 16: Figure 17: Figure 18: Figure 19: Figure 20: Figure 21: Figure 22: Figure 23: Chapter 8 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Figure 14: Figure 15: Figure 16: Figure 17: Figure 18: Figure 19: Figure 20: Chapter 9 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Chapter 10 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Chapter 11 Figure 1: Figure 2: Figure 3: General plan of the excavation at Douchy-les-Mines (ZAC des Prouettes)............................................................. 97 Macroscopic view of limestone quarried at Douchy-le-Mines ................................................................................. 98 Stratigraphic section of the Douchy-les-Mines quarry face ..................................................................................... 99 Limestone quarrying systems and location of workshops ...................................................................................... 100 Quarried blocks and failed or aborted pieces ............................................................................................................ 100 Wall painting depicting architectural elements ....................................................................................................... 101 Representation of Apollo citharoedus .......................................................................................................................... 102 Representation of a maenad......................................................................................................................................... 103 Representation of a temple in plaster ........................................................................................................................ 103 Reconstitution of the Temple of Apollo based on archaeological data ................................................................. 104 View of the lime kiln on the Rhonelle ........................................................................................................................ 104 Drawn reconstruction of the cithara based on finds amid the temple debris ..................................................... 105 Bronze cymbal ................................................................................................................................................................ 105 Statue finger of Carrara marble ................................................................................................................................... 106 Furniture applique representing Attis and Cybele ................................................................................................... 106 Reconstruction of an ancient quarry by Τ. Koželj .................................................................................................... 111 Map of Naxos with the main quarry sites .................................................................................................................. 112 Smaller than life-size, unfinished kouros Κ 21, Naxos Archaeological Museum ................................................. 115 Unfinished kouros of Penteli........................................................................................................................................ 115 Unfinished marble kouros inv. ΜΠ 301, Archaeological Museum of Polygyros................................................... 115 Smaller than life-size unfinished kouros Κ 21, Naxos Museum .............................................................................. 115 Unfinished marble kouros, Archaeological Museum of Polygyros ........................................................................ 115 Unfinished kouros 17, Naxos Archaeological Museum ............................................................................................ 115 Unfinished kouros 17, Naxos Archaeological Museum ............................................................................................ 115 Unfinished kouros K 24, Naxos Archaeological Museum......................................................................................... 115 Unfinished kouros K 37, Athens National Archaeological Museum ...................................................................... 115 Unfinished kore inv. ΣΤΑ 1051 ..................................................................................................................................... 115 Unfinished colossal kouros in situ at Pharangi, Naxos ............................................................................................. 117 Unfinished colossus in situ at Phlerio, Naxos............................................................................................................. 117 Unfinished colossal Dionysus in situ at the Apollonas quarries, Naxos................................................................. 117 Unfinished kore inv. ΣΤΑ 1051, Archaeological Museum of Polygyros.................................................................. 117 Unfinished crouching lion-statue from Pentelicon.................................................................................................. 119 Unfinished lion-statue, from Vathy, Samos ............................................................................................................... 119 Unfinished sphinx-torso inv. 6529, Naxos, Naxos Archaeological Museum ......................................................... 119 Part of a building above the inscription Ὃρος ἱεροῠ Ἀπόλλωνος, Αpollonas quarries, Naxos......................... 119 Map of Nisyros island .................................................................................................................................................... 126 Fragments of ‘Olynthian’ handmills from Halasarna, carved in Nisyrian lava .................................................... 127 Traditional stone-built cottage (‘spiladhi’), Argos..................................................................................................... 128 Unfinished ‘Olynthian’ handmill, Argos..................................................................................................................... 129 ‘Olynthian’ handmill, Argos ......................................................................................................................................... 129 Series of wedge-holes, Argos........................................................................................................................................ 129 Quarry-front and extracted blocks left in situ, Argos ............................................................................................... 129 Pole-hole close to the quarry, Argos ........................................................................................................................... 130 Entrance to the underground quarry close to Agia Eirene ..................................................................................... 130 Tunnel/Gallery of underground quarry close to Agia Eirene ................................................................................. 131 Soft pyroclastic rock inside the underground quarry.............................................................................................. 131 Interior of the cave underneath the Drakospilo tower ............................................................................................ 132 Foundation of the Drakospilo tower ........................................................................................................................... 132 Map of places referred to in relation to Heracles reliefs or inscriptions .............................................................. 136 Corinth, the Isthmus. The Heracles relief in the middle ......................................................................................... 137 Corinth, the Isthmus. Heracles relief .......................................................................................................................... 137 Prosilion, Roman aqueduct of Gytheion. The eastern Heracles relief ................................................................... 138 Prosilion, Roman aqueduct of Gytheion. The western Heracles relief .................................................................. 138 Vatheia Mouzi. The site and Heracles relief .............................................................................................................. 139 Vatheia Mouzi. Heracles relief .................................................................................................................................... 139 Asopos. Part of the quarry, Heracles relief in the middle ........................................................................................ 140 Asopos. Heracles relief .................................................................................................................................................. 140 Thasos. Heracles relief................................................................................................................................................... 140 Location map of Roman towns and alabaster quarries in Tunisia ......................................................................... 147 Location map of Roman towns and alabaster quarries in northern Tunisia........................................................ 148 Geological sketch map of Jebel Oust ........................................................................................................................... 148 v Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Table 1: Table 2: Table 3: Table 4: Table 5: Table 6: Chapter 12 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Chapter 13 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Figure 14: Figure 15: Figure 16: Figure 17: Chapter 14 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Alabaster and grey limestone quarries in Jebel Oust. a: open-air quarry of alabaster and grey limestone; b: underground alabaster quarry ................................................................................................................................ 149 Alabaster varieties from Jebel Oust. a: first alabaster variety; b: second alabaster variety; c: third alabaster variety; d: fourth alabaster variety; e: fifth alabaster variety ............................................................... 150 Alabaster and grey limestone quarries in Jebel Rouas and Jebel Ben Klab. a: alabaster and grey limestone quarry; b: heap of rock debris in the quarry area; c: alabaster and grey limestone quarry; d: visible extraction marks ............................................................................................................................................................ 151 Alabaster varieties from Jebel Rouas. a: first alabaster variety; b: second alabaster variety; c: third alabaster variety; d: fourth alabaster variety ............................................................................................................ 152 Map of the alabaster quarries in Jebel Saïkha ........................................................................................................... 153 Alabaster quarries in Jebel Saïkha. a: view of the third alabaster quarry; b: marks of alabaster extraction in the second quarry; c: extraction traces of a column-shaft ................................................................................. 155 Alabaster varieties from Jebel Saïkha. a: first alabaster variety; b: second alabaster variety; c: third alabaster variety............................................................................................................................................................. 156 Alabaster varieties from Bou Gaba (rural site), Meninx and Gigthi. a: small alabaster blocks in the rural site of Bou Gaba; b: first alabaster variety (Meninx); c: second alabaster variety (Meninx); d: third alabaster variety (Meninx); e: fourth alabaster variety (Meninx); f: alabaster variety (Gigthi) ............................................. 157 Alabaster varieties from the Roman archaeological sites. a: first alabaster variety (Thuburbo Maius); b: second alabaster variety (Thuburbo Maius); c: alabaster variety (Oudhna); d: alabaster variety (Ziqua); e: first alabaster variety (Carthage); f: second alabaster variety (Carthage); g: alabaster variety (Dougga); h: two alabaster varieties (Bulla Regia) ............................................................................................................................ 158 Sizes of the underground quarries .............................................................................................................................. 150 Sizes of the quarries ...................................................................................................................................................... 154 Sizes of cut and pre-cut blocks and column-shafts .................................................................................................. 154 Data on the alabaster varieties from the quarries of Jebel Saïkha and from the visited ancient archaeological sites in the region of Medenine ........................................................................................................ 159 Data on the alabaster varieties from the quarries of Jebel Oust, Jebel Rouas, Jebel Ben Klab and from the visited archaeological sites of the ancient towns ..................................................................................................... 160 Distances between the quarries and the ancient archaeological sites .................................................................. 161 Portrait head of an unidentified Roman Youth, from Rome ................................................................................... 166 Sculptor Matthew Simmonds carving a detail of the Roman Youth with a point-chisel while comparing to the surface of the original........................................................................................................................................ 167 Special-effects maker Per Kapper, from Kappercreations, applying layers of paint onto the marble ............. 168 Painted marble copy of the Roman Youth ................................................................................................................. 168 Detail of the painted marble copy showing areas where Egyptian blue grains are visible to the bare eye as small, black spots....................................................................................................................................................... 168 Detail of the painted marble copy showing the glossy shine of the polished marble working its way through the painted layer adding lustre to the finish ............................................................................................. 168 Carnelian ring-stone...................................................................................................................................................... 170 Tripod pithoi or pithos-shaped vessels used for inhumations and cremations .................................................. 176 Tripod pithoi or pithos-shaped vessels used for inhumations and cremations .................................................. 177 The sealing of the pithos’s stomion .............................................................................................................................. 179 Strengthening the outer walls of the pithoi .............................................................................................................. 180 Pithos external offerings .............................................................................................................................................. 181 Typological classification of the pithoi from Stamna .............................................................................................. 182 Protogeometric/Geometric presence in Aetolia-Acarnania to date...................................................................... 184 Typological classification of the pithoi from Stamna .............................................................................................. 185 Distribution of burial clusters in Stamna. Shape and size vary based on a) the quantity of pithoi; b) the quantity of pithoi and their relative proportion in each category ........................................................................ 189 Tripod pithos .................................................................................................................................................................. 191 Storage pithoi ................................................................................................................................................................. 192 Pithoi with vertically positioned bases ...................................................................................................................... 192 Entry of the deceased into the pithos after the removal of its wall ...................................................................... 193 Small, handcrafted vessel Π170/1, with rope ornament and impressed decoration .......................................... 195 Pithos with plastic decoration ..................................................................................................................................... 195 Pithos with impressed decoration .............................................................................................................................. 196 Pithos 45/99 that bear signs of repairs....................................................................................................................... 198 Greek poleis of Magna Graecia during the Archaic period ....................................................................................... 202 Kourotrophoi from Poseidonia and Tarentum ............................................................................................................. 204 Clothed and naked dedicants from Metapontum and Poseidonia ......................................................................... 205 Female type adapted into two variants from Metapontum .................................................................................... 206 Female types from Locri................................................................................................................................................ 206 Female figurines with mortise-and-tenon system or related, from Croton and Metapontum ......................... 207 vi Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Chapter 15 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Figure 14: Figure 15: Figure 16: Figure 17: Figure 18: Figure 19: Figure 20: Figure 21: Figure 22: Figure 23: Chapter 16 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Table 1: Table 2: Chapter 17 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Chapter 18 Figure 1: Figure 2: Chapter 19 Figures 1, 2: Figure 3: Figure 4: Figure 5: Figure 6: Enthroned female type with hand-made headdress from Metapontum .............................................................. 207 Female figurines in a warlike gesture and representing a potnia theron from Sybaris and Metapontum ........ 208 Acroteria from Tarentum ............................................................................................................................................... 209 Female figurine in a warlike gesture and enthroned female figurines from Poseidonia ................................... 210 Female mixed-technique figurines from Locri .......................................................................................................... 211 The area of Ano Petralona in Athens, west of the Hills to be linked by routes for visitors ............................... 215 Athens. The spread of different archaeological sites excavated in the area of Ano Petralona ......................... 216 Athens, the ‘odos dia Koiles’. View from the East........................................................................................................ 217 The Koile Fountain, Ano Petralona ............................................................................................................................. 219 The Munich hydria depicting a workshop scene, attributed to the Leagros Group ........................................... 219 Junction of Dimofontos and Dorieon streets, Ano Petralona. General view of the excavated walls ................ 221 15 Dorieon street, Ano Petralona. A bronze-casting workshop.............................................................................. 221 Junction of Dorieon and Troon streets. View of the cisterns ................................................................................. 222 111-113-115 Dimophontos street, Ano Petralona ..................................................................................................... 223 36 Dryopon street, Ano Petralona. Plan of the excavation with an ancient road running to the South ......... 223 36 Dryopon street, Ano Petralona. Ancient road surface and retaining-wall ...................................................... 224 6 Tellou street, Ano Petralona. Ground-plan of part of the excavation ................................................................ 224 6 Tellou street, Ano Petralona. Vitrified clay pieces ................................................................................................ 225 6 Tellou street, Ano Petralona. Miniature situla ........................................................................................................ 225 159 Trion Hierarchon street, Ano Petralona. Plan of the excavation .................................................................... 225 159 Trion Hierarchon street, Ano Petralona. Kiln 2, with shattered vases in situ ............................................... 226 159 Trion Hierarchon street, Ano Petralona. Clay ring with the letter E (epsilon)............................................. 226 159 Trion Hierarchon street, Ano Petralona. Kernos A 21872 ................................................................................ 227 159 Trion Hierarchon street, Ano Petralona. Kernos A 21877 ................................................................................ 227 159 Trion Hierarchon street, Ano Petralona. Kernos bowl A 21882....................................................................... 227 10 Valavani street, Ano Petralona. Vases from the workshop area........................................................................ 228 Junction of Aioleon and Psamathis streets, Ano Petralona. General view of the unearthed walls .................. 228 Junction of Aioleon and Psamathis streets, Ano Petralona. Loom-weight with the letters ‘ΓΛΥΚ’ stamped on it .................................................................................................................................................................................. 229 Pottery workshops in the Apennines and the surrounding plains between the ninth and the fifth century BC ...................................................................................................................................................................................... 232 Infrastructural embedding of pottery workshops in their socio-natural networks. View of the Reno Valley from the plateau at Marzabotto ..................................................................................................................... 236 Several workshops north of the Apennines were located in the Secchia Valley, which was rich in raw materials and constituted a natural route toward the Apennines ....................................................................... 236 Distribution map of the vacuolated pottery, strigilated and impressed pottery ................................................ 238 Knowledgescapes as ‘ResourceComplexes’ ................................................................................................................... 242 Diachronic evolution of knowledgescapes in pottery workshops ............................................................................. 243 Workshops in the region of the Northern Apennines (seventh to fifth centuries BC), with bibliography and particular features: (k) number of kilns, (ph) phases, (O) round kilns, (R) rectangular kilns, (Y) walltrace deviating the kiln mouth, (C) stone closing the front of the kiln mouth, (H) cylindrical stand, (•) perforated floor, (D) dolium fragments as structural parts, (U) working pit in front of the kiln mouth, (W) simultaneous work at different, adjacent kilns, (p) system of water-pipes or channel, (T) roofed area, (X) cleansing rituals ............................................................................................................................................................. 234 Distribution of impressed (X), vacuolated (v) and strigilated (s) pottery, with bibliography ........................... 239 Delos, Temple of the Athenians: T-clamp .................................................................................................................. 250 Argos, Heraeum, South Stoa: orthostates of the east wall ...................................................................................... 251 Argos, Heraeum, South Stoa: T-clamp of the north wall ......................................................................................... 252 Argos, hypostyle hall: orthostates of the south wall................................................................................................ 252 Argos, hypostyle hall: T-clamp of the south wall ..................................................................................................... 252 Thasos, Temple of Athena: T-clamp in the foundations .......................................................................................... 253 T-dowel: Nereid monument, block no. 631 ................................................................................................................ 258 Fragment of an Ionic capital from Limyra and drawing of an Ionic capital from the Erechtheum ................. 259 East pediment of the Siphnian treasury, Delphi ....................................................................................................... 264 Triangular pillar drums, Delphi ................................................................................................................................... 265 Proposed 3D rendering of the Apollo temple under construction, by John Goodinson..................................... 267 Plan of the sanctuary of Apollo at Delphi .................................................................................................................. 268 Proposed 3D reconstitution of niche (atlas *230) and the Siphnian treasury under construction, by John Goodinson ....................................................................................................................................................................... 268 vii Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Figure 13: Figure 14: Figure 15: Chapter 20 Figure 1: Figure 2: Figure 3: Figures 4, 5: Figures 6, 7: Figures 8, 9, 10: Figure 11: Figure 12: Figure 13: Table 1: Table 2: Table 3: Chapter 21 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Locality of niche (atlas *230) in Apollo sanctuary, Delphi. St Elias cemetery and buttressed wall visible in the background .............................................................................................................................................................. 269 ‘Agia Barbara’ between Delphi and Chrisso. Aerial view of the excavated site .................................................... 270 ‘Agia Barbara’ between Delphi and Chrisso. View of polygonal retaining-wall ................................................... 270 Trail connecting Kirrha with the Apollo sanctuary, passing by the Mycenaean citadel at Chrisso and Agia Barbara.................................................................................................................................................................... 271 Ancient buttressed wall at the modern St Elias cemetery, Delphi ........................................................................ 272 Topographical diagram of the acropolis at Molykreion .......................................................................................... 273 Aerial view of the stoa beside the temple at Molykreion ........................................................................................ 273 Sites discussed in the paper, plotted on Google Earth map .................................................................................... 274 Unfinished column-drum at Kirrha ............................................................................................................................ 276 Topographical plan of the fortification at Kastraki on Agathonisi ........................................................................ 283 Photo and drawing of the inv. K644 incised roof-tile from Kastraki on Agathonisi ............................................ 284 Isometric restoration proposal of the tower and the fortification on terrace 1 at Kastraki, based on the architectural remains and the incised drawing on the roof-tile inv. K644. View from the southwest ............ 284 Carved wedge-holes at Kastraki, 4: series of wedge-holes on terrace 1, and 5: wedge-holes positioned at right angles on terrace 2 ............................................................................................................................................... 287 Carved pole-holes at Kastraki, 6: terrace 1, and 7: terrace 2 ................................................................................... 288 Artificially leveled surfaces, 8: terrace 2, 9: terrace 3, and 10: quarried shoreline ............................................. 290 Kastraki from above in 2010. Notable is the artificial rectangular shape of terrace 1........................................ 292 Terrace 3. South fortification wall section sampling and stone quantification: exterior face and interior face ................................................................................................................................................................................... 292 Terrace 1. Tower’s north wall sampling and stone quantification ........................................................................ 293 Stone classification ........................................................................................................................................................ 286 Stone quantification ...................................................................................................................................................... 289 Labour estimate.............................................................................................................................................................. 291 The funerary monuments discovered at the Sacred Gate in the Kerameikos at Athens, in situ........................ 299 Wall 8 of the temenos walls of the Artemis Soteira sanctuary in the Kerameikos at Athens showing the immured body of a funerary lekythos ........................................................................................................................ 300 Palmette stele of the Koroibos precinct in the Kerameikos at Athens .................................................................. 300 Architrave of the Korallion relief, kept in the Kerameikos Museum in Athens ................................................... 301 Grave stele of Krito and Timarista, kept in the Archaeological Museum of Rhodes ........................................... 301 Grave stele of Krito and Timarista, detail .................................................................................................................. 302 The so-called Charon relief with its foundation exposed........................................................................................ 302 The Hydrophoros relief, with rubble-stone foundation, overlaying a stone cist grave ..................................... 303 The so-called Albani rider relief .................................................................................................................................. 304 Diagram of the outlined in the text potential chaînes opératoires while re-using funerary monuments ..... 305 Chapter 22 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Figure 7: Figure 8: Figure 9: Figure 10: Figure 11: Figure 12: Plan of Labraunda .......................................................................................................................................................... 312 Labraunda. Interior of Andron A with marked find-spot of block M02 (I.Labraunda 137).................................. 313 Labraunda. Top view of block M02 (I.Labraunda 137) ............................................................................................... 313 Labraunda. Side view of block M02 (I.Labraunda 137) showing the quarrying channel ..................................... 314 Labraunda. Close-up view of the quarrying channel on block M02 (I.Labraunda 137) ........................................ 314 Labraunda. Aerial view of Andron A and the Oikoi .................................................................................................. 315 Labraunda. Collapse of the Oikoi dome ...................................................................................................................... 315 Burdur Museum. Baptistery from Uylupınar ............................................................................................................ 316 Burdur Museum. Inscribed spolia (I.Mus. Burdur 184) in the baptistery from Uylupınar................................... 316 Claros. Column-drum with cavity opened by diggers for metal clamps, who missed the spot ........................ 318 Claros. Column-drum with cutting for metal wedge ............................................................................................... 318 Claros. Column-drum re-cut on two sides into a cubic shape, with visible guideline for the continuation of the re-cutting ............................................................................................................................................................. 319 Figure 13: Corycian Cave (Cilicia) Clifftop Temple-Church. Ground plan ............................................................................... 320 Figure 14: Corycian Cave (Cilicia) Clifftop Temple-Church. View to the east ......................................................................... 321 Figures 15, 16, 17: Corycian Cave (Cilicia) Clifftop Temple-Church. View of the northeast anta ...................................................... 322 Chapter 23 Figure 1: Figure 2: Figure 3: Figure 4: Figure 5: Figure 6: Today’s exhibition of the Elgin Lyre, kept in the British Museum, London ......................................................... 327 Reconstruction of the Elgin Lyre by the team led by Conrad Steinmann ............................................................ 329 Visualisation of a chaîne opératoire as a simple ‘chain’ with chain-links representing single work-steps and/or components ....................................................................................................................................................... 330 Visualisation of a chain-link as Assoziator (without relation between lower-graded Assoziators) ........................ 333 Visualisation of a chaîne opératoire as a simple ‘chain’ with chain-links related to preserved and lost components .................................................................................................................................................................... 336 Visualisation of a chaîne opératoire as a simple ‘chain’ with chain-links embedded into a web of external relations ........................................................................................................................................................................... 341 viii Figure 7: Figure 8: Figure 9: Drawing of the connection between the yoke and the left-side arm .................................................................... 342 Visualisation of three ramified forms of a chaîne opératoire with ramifications realised by the contact points of the chain-links (a), by extension factors/external web (b), and both the above (c) ......................... 343 Visualisation of a chaîne opératoire as a simple ‘chain’ with extensional webs around the single chainlinks, several chain-links tying them together and the whole chain ................................................................... 352 ix x Chapter 1 ΕΡΓΑΣΤΗΡΙΑ Premises and Processes of Creation in Antiquity An Introduction The globalised state of modern, industrialised production systems was challenged in multiple ways during the pandemic years – as was the production of this book, too. Everyone was accustomed to a nearly instant and, irrespective of seasonality, availability of raw materials and final products, taking for granted the unhindered transfer of both goods and professionals/ specialists involved in their development; all of a sudden, with the whole world almost put on pause, the modern just-in-time-production, relying on a prompt transportation system, reached its limits. During the same period, the incident with the container ship ‘Ever Given’, which carried goods from China to the Netherlands in order to supply the whole of Europe but, instead, blocked the Suez Canal for six full days, demonstrated anew the tight-knit economic global networks: other container vessels were caught up in a traffic jam waiting in the Mediterranean and the Red Sea or had to re-chart their route, circumnavigating the African continent.1 Thereby the chains of production were affected at a global level, production rates were reduced and certain products, such as the pharmaceutical ones, became scarce commodities. On a smaller scale, the state of seclusion (‘under house arrest’) incited people to focus on home production. In Germany, for example, the habit of making pastries grew so excessive that the purchase of flour had to be limited to a certain amount per capita and yeast was sold out for many weeks. By contrast, in Greece the unprecedented purchase rate of bicycles and rackets via the internet shows a sudden turn to physical exercise, apparently as a means of evading or escaping the imposed seclusion. Having not foreseen such circumstances, our call for papers, publicised in January 2020 with the aim to explore the multiple facets of production and production sites in antiquity, received additional and unexpected food for thought, especially due to this exceptional worldwide experience. The contributions compiled in this collective volume provide a kaleidoscopic insight into different aspects 1 Cf. contemporary with the incident articles in the Washington Post <https://www.washingtonpost.com/world/2021/03/31/suezshipping-crisis-coronavirus/> (latest accessed 30 January 2023) and by the Rotterdam School of Management, Erasmus University <https://www.rsm.nl/discovery/2021/opinion-suez-blockage/> (latest accessed 30 January 2023). ERGASTERIA (Archaeopress 2025): 1–7 of creation, artistry, craftsmanship, manufacture and processing in antiquity. The comprehensive bibliography assembled at the end of the volume bears witness to the wide range of topics discussed and the various approaches attempted. Effortlessly this book brings forward the interlacing and intersection of evidence, as well as the confluence of observations, which automatically enhance the validity of an interpretation. Instead of summarising all contributions in a linear fashion, which would recreate the sequence of the table of contents, we prefer to outline/delineate here our quests and considerations while preparing this book, and to allow the keynote benefit from each author’s perspective to interlock and intertwine. It becomes obvious that every author’s multifaceted optics yield a proportionate amount of remarks and conclusions; as a whole, these eventually empower our further understanding. Setting out to shed light on ancient production, our knowledge is certainly patchy, since the topic is vast in its complexity. Production did not take place only in specialised workshops or worksites, but also within the walls of a household, since self-sufficiency in at least some aspects was necessary. On the other hand, craftsmanship on a trading scale or for public use would be expected to be reflected in the size of the respective production places, without necessarily meaning that their remains would be more durable or traceable in archaeological terms. Ateliers of renowned creators, such as the one of Phidias at Olympia are rare finds and illuminate the process of creation at a given time, for a particular and widely known end-product. The same cannot be asserted for Scopas’ or Exekias’ workplace – much less for the sheds of anonymous craftsmen, who nevertheless created masterpieces in all sorts of materials. Although they all originated from a certain cultural background and were nurtured in a certain regional tradition, they were also exposed to and receptive of influences, as we shall see. Regardless of their fame or recognition,2 craftsmen 2 Among the recent writings of our erudite teacher, Andrew F. Stewart, was his approach to the ancient sculptor’s social standing, the recognition/reputation and reimbursement he may have earned, and the change to his social rank entailed by the acquisition of land Elena C. Partida and Constanze Graml reflect contemporary society, being in dialogue with its values, its symbolism and evolution, and eventually expressing all the above. The authors of this volume converge in discerning a dialectic relation between tradition and innovation, with the introduction of new techniques, ideas and styles being a catalyst in making progress.3 endurance and permanence given out by the artefacts created inside them. The fact that such workshops produced ritual vases alongside tableware, considered together with the frequent multi-functionality of a workshop’s components, suggests the lack of ‘labels’ and – instead – the flexibility and adaptability of both the artisans and their installations. The case of a polyvalent and, at the same time, specialised workshop is highlighted by Alla V. Bujskikh at Olbia Pontica, where an openair production space operated for almost two centuries within a sanctuary. Three workshops successively replaced each other on the same spot, involving different handicraft activities and probably serving rituals pertinent to the worship of Aphrodite. It is always intriguing to view craftsmen and artists in their social and geopolitical setting. For instance, the Achaean goldsmiths and the stonecutters who specialised in funerary stelae represent not only the artistic production in Late Hellenistic Patras and Dyme but, furthermore, the cultural background of the Achaean League, a famous political and military confederation. Moreover, the two specialties are likely to have collaborated in a ‘post mortem honour’ industry. The vegetal scrolls carved on grave stelae and typifying them as a local West Greek production recur in golden diadems from funerary context in the same area. Reasonably the stone moulds for this motif were crafted by the same indigenous stonecutters/ sculptors. Those ateliers in Achaea were succeeded in the Roman Republic and Imperial period by local industries of glasswork (probably fabricating also window panes), mosaics and sarcophagi, as suggested by particular motifs, designs and unparalleled forms. The whereabouts of their facilities are gradually being discovered. On the other hand, cases of large-scale production of foodstuff, pharmaceuticals, clothing or building material, which did not require a ‘head of design’-artist (much less a master developer), are also very scarcely known; for this reason, the discovery of ancient ‘processing quarters’, e.g. for fish sauce in Andalusia4 or flour production in southern France5 shed some light on the sophistication of these workplaces in terms of ergonomics and economics. Turning now to an urban setting, spaces of production were not always separated in districts defined as ‘industrial’. Nor were they always marginal. In Paros, boundary stones demarcated a cluster of workshops6 in a sort of a suburban quarter distinct from the settlement. In Miletus, in the late sixth century BC, a metallurgical and a potters’ workshop were installed on the acropolis of Kalabaktepe, whereas, at the harbour, the area of the temple of Athena has yielded storage spaces along with traces of a goldsmith’s workshop.7 Clazomenae saw a bronze-foundry and an oil-mill operating at the same time in the city centre, near a river.8 The term Kerameikos, used in ancient Athens and Selinus eloquently shows the designation of an urban district to pottery production. With regard to the use of urban space and the legal aspects of landownership in ancient Athens, Gerhard Zimmer elaborates on an Athenian atelier/worksite probably of some master bronze-sculptor. The sophisticated work installations and tools unearthed below modern Amalias avenue in Athens attest to the fact that material culture forged the advance of immaterial civilisation and the advance of knowledge. Bronze foundries in fifth-century BC Athens were the birthplace of subtle notions regarding beauty and aesthetics, proportions and harmony, rules and norms which perfected the statuary, as well as its impact. The mastery of modelling in bronze evolved from coping with constraints and obstacles throughout the work in the foundries. In this respect, bronze casters should be ranked as creators. If indeed, as usually postulated, workshops within religious premises were provisional modest shacks made of perishable material, the possibilities of their preservation and, consequently, of a fair reconstitution of their original appearance is minimised. Often the only traces left behind are stone flakes, abort or unfinished products, and very seldom architectural remnants of the building itself. The supposedly (often) ephemeral nature of workplaces contrasts the sense of property (Stewart 2019). Although Andrew’s untimely departure bedimmed our hearts, his excellence in understanding and reconstructing the Past will continue to illuminate our path in this direction. On the ‘Meisterforschung’ (Meister, αρχιτεχνίτης, μάστορας), methodological advantages and limitations, with emphasis on the role of every artist/craftsman within the society, expressing societal values, etc.: Borbein 2005. 3 Particularly on the values established through creation processes, see Hochscheid and Russell 2021. 4 Cf. at Baelo Claudia: Bernal-Casasola et al. 2021. 5 Cf. at Barbegal watermill complex: Leveau 2007. Obviously advantageous for a workplace was its proximity either to the source of material or to overland or maritime routes, which would facilitate its distribution. Transportability of raw materials in itself formed part of a wide operational network (réseau 6 7 8 2 Papadimitriou 2018. Verčík 2017. Cevizoğlu and Ersoy 2016. An Introduction opératoire). About the shipping of purple dye across significant distances and possibly through the agency of travelling professionals, experts in dyeing, we learn from inscriptions of the second/third century AD, which also illustrate the distinguished social status of purple workers.9 In Hierapolis of Phrygia, an individual named Marcus Aurelius, son of Alexandros Moschianos, was commemorated on his gravestone as ‘a member of the civic council and purple dealer’ (πορφυροπώλης).10 The dyeing installation at late Classical/Hellenistic Helike, presented by Dora Katsonopoulou, profited from its vicinity to the shore of the Corinthian Gulf, especially since it represents a professional and commerce-oriented industry, rather than a family enterprise, and therefore it affected the economy of the entire society. analyses of clay are being conducted.11 Established also near a cemetery at the end of the Classical/beginning of the Hellenistic period was a workshops’ quarter at Xobourgo (Tenos in the Cyclades), equipped with a pottery kiln, metallurgical pits, probably a stoa and other constructions.12 Early on, in the Aegean islands a studio of sculptors or stonecutters could be set up literally on the site of a marble quarry. This brings us to the very beginning of creation, namely the extraction of material, ranging from volcanic stone for the manufacture of mills on Nisyros in the Dodecanese (presented by Eirene Poupaki), to alabaster in Tunisia for architectural elements (investigated by Ameur Younès). Studies on the premises of quarries and other infrastructural worksites reveal also traces of cult13 via relief representations of Heracles (perhaps an allegoric visual connotation of the ‘heroic’ power required for the extraction and manoeuvring of stone blocks) besides aspects of management and administration. The subsumption of quarries under governmental control in the Roman period hints at their evaluation as a natural source with repercussions upon the accomplishment of public works (Georgios Doulfis in this volume). As regards the actual process of creation and the synthesis of the workforce, quarries in the Cyclades – already in the Archaic period – were manned with specialised stonecutters and sculptors, who carved the marble volumes to an advanced degree, prior to their ultimate refinement (Georgia KokkorouAlevras in this book). In terms of spatial arrangement, Giorgos M. Sanidas explores how a workshop’s location with reference to the overall site-plan brings forward parameters, such as the nuisance generated, for example, by a bronze foundry, which could be intolerable, depending on its operational duration but, mostly, on what it neighboured. Obviously the planting of a shoemaker’s atelier and shop near a street in the Athenian Agora caused no nuisance from a sensorial perspective. Interlaced with the location of an atelier, and decisive as to whether this could be afforded within urban environs (intra urbem), is the noise, the smell, the fumes and other annoying or unhealthy side-effects of the fabrication process. That the craftsmen made progress in situ, while inventing ways to overcome obstacles in the process of making is inferred from the ‘blueprint’, the guidelines for quarrying in northern Gaul (Raphaël Clotuche, Damien Censier and Sabine Groetembril in this volume). Cuttings and marks in those openair workshops indicate a methodical planning of the activity, credited to the input of skilful and experienced quarrymen. The subsequent change of technique with the quarrymen working at different levels/floors enabled them to choose from the stone vein and to cut out blocks of the desired consistency and dimensions. Nevertheless, the possible localities of workshops seem to be unlimited and, to a certain extent, determined by the purpose and needs they met. The Late Classical pottery kiln excavated in the valley of ancient Dyme in Achaea was established within a short distance from two necropoleis of the Classical/Late Classical period. An ensemble of red-figure vases of the fifth and fourth century BC, found as grave-offerings in these two cemeteries, is considered by the excavator Vassilis Argiropoulos to have been produced by a local Achaean workshop active in the countryside of Dyme, near the borderline with Elis. Moreover, these vases bear recognisable influence from South Italian ceramic workshops and especially those of Apulia with a tradition in red-figure vase-painting. To verify the plausible assumption that these funerary vases (from the outset meant to furnish graves) were fabricated in the aforementioned kiln, archaeometric and laboratory The backstage of the erection of a colossal sculpture is elucidated, when we take into account the excessive amount of work accomplished at the quarry. Georgia Kokkorou-Alevras walks us through the entire procedure, also comparing between techniques implemented in different periods. We actually watch an artefact evolve through the creator’s eyes. Examples of what a sculptor faced in case of faulty material, 9 The overall importance of textile production is reflected in the administrative/managerial texts, often also with religious connotations, already in the Bronze Age; see Michel and Nosch 2010, whose edited volume covers the Bronze Age Near East and eastern Mediterranean. 10 Gambash et al. 2022. We are thankful to Gil Gambash for willingly allowing us access to his team’s research when libraries were out of reach, due to the covid-19 crisis. 11 In the Geology Department of Patras University. Argiropoulos 2017: 55-57; Argiropoulos 2021: 231-234. 12 Kourou 2023 and 2024. 13 As we are writing this, a brand new publication is released on the topic: Gatto and Van Haeperen 2023. 3 Elena C. Partida and Constanze Graml for instance, and how this could have impeded the completion of his work, provokes the reader’s empathy for the craftsman and thus adds a sentimental dimension to our book. Unfinished/ἡμίεργα sculptural works preserve marks and guidelines analogous to those we observe on architectural blocks. So, this essential first treatment by stonecutters within the confines of a quarry, which was much more advanced than a preliminary roughening, may be extrapolated on the shaping of architectural elements, too. Subtle technical details, such as the double incision outlining the bodyform, suggest that figures were sketched by incision before the carving process commenced. Indicative of the diligent preparatory work is the sketching of a statue’s outline on the rock-face of the quarry before the marble piece/block was even extracted, no different from the aforementioned ‘blueprint’, which guided the cutting of blocks at the quarry of Famars (Raphaël Clotuche, Damien Censier and Sabine Groetembril in this volume). realise that adjustments were made as required and solutions were improvised on the spot. Likewise adaptive were the craftsmen in the Roman town Fanum Martis in Gaul (Famars in northern France), who – confident in the quality of their raw materials, fabrics and techniques – developed a management system efficient enough to meet the demands of regional, as well as long-distance, trade. Their advanced level of production control and specialisation (analysed by Raphaël Clotuche, Sonja Willems, JeanHervé Yvinec, Marie Derreumeaux, Jennifer Clerget, Nicolas Tisserand, Bérangère Fort and Gaëtan Jouanin) is ascribed to a long-standing tradition, originally brought to the north by Mediterranean potters. Primarily due to its variety in productions, Fanum Martis evolved into a centre of processing and distribution, with a pivotal role in the economy of northern Gaul. Handicraft activities were dispersed across the urban tissue, with no particular sector allocated to a specific craft. Differently laid out but equally active commercially, mutatis mutandis, was the potters’ quarter at Ano Petralona in Classical Athens (illustrated by Marilena Kontopanagou). It consisted of clusters of workshops within a short distance from the urban centre of public life. Its location in proximity to the city walls14 and the harbour, therefore to transportation routes, facilitated the circulation of its products across a broad market beyond the city, as far as the Greek colonies. Open-air workshops, that is, the workshops of the stonemasons who carried out large-scale public projects, such as the building of temples or fortifications, have so far been overshadowed by the respective monuments’ grandeur. Particularly the interaction of artists, architects and workforce in general, traceable especially in major sanctuaries, adds a new dimension to the exchange and dissemination of ideas and technical expertise. Throughout the centuries, the mobility of craftspeople – including builders and other specialities – propelled the diffusion of knowledge, the improvement of techniques, the evolution of ‘the making’. By juxtaposing the architectural setting and spatial arrangement at Delphi to epigraphic testimonies and material comparanda also from other Classical sanctuaries, Elena C. Partida unfolds the immense potential of worksites operating in parallel, their interlocking, cases of merged crews, and the meticulous pre-planning in a major temenos. Considering that monumentality was a common denominator in public, religious, civic or military building programs, the need for a detailed drawing up of the ergonomics in advance was intense. The logistics of a different large-scale building operation, namely the erection of defensive walls on Agathonisi in the Dodecanese, is analysed in depth by Konstantinos Sarantidis, who starts from calculations about the necessary manpower, the timeline and budget, also taking into account the available building material, the volume and extent of construction, the levelling of the terrain, etc. Quantitative estimates of this sort allow us to trace the organisation of an open-air stonemasons’ workshop. Preparation was an entire process, which preceded the materialising process. By approaching the building procedures at different sites, however, we Is it possible for a workshop to reflect the current society even if no physical remains of the actual working place have been preserved? Going back to the early historical phases (the Protogeometric period), a variety of pithoi from the settlement of Stamna in Aetolia, presented by Gioulika Christakopoulou and Helene Simoni, attest to the existence of multiple techniques and specialised knowledge in producing ceramics of the particular typology. The pithoi seem to have evolved from storage vessels to funerary containers (coffins), being adapted to demand. Besides the production structure of this early settlement, the pithoi reveal facets of the concurrent cultural background: their possession by specific individuals indicates resource management, while the transition in their use implies some significance to be set against religion and society in Iron Age western Greece. Moving further west, in a colonial ambience, we are transferred to a workshop of terracotta figurines in Archaic Magna Graecia,15 featuring the typical 14 Noteworthy at this point is the recent work by Vincenzo Capozzoli (2024), who traces the layout of demes in relation to the city walls, even the enigmatic ones, traceable via indirect testimonies rather than physical finds. 15 On the topic, and artisanal production in general, see the just published volume edited by De Cazanove et al. 2023b. 4 An Introduction in Lycia Laurence Cavalier is able to ‘read’ that their architects were familiar with Athenian techniques, which they consciously implemented alongside their own indigenous modes. Their motivation could simply be a matter of taste. combination of the mould technique with manually crafted/shaped parts. Eukene Bilbao Zubiri brings forward the richness and diversity of practices employed by the coroplasts, which allow us to grasp the plurality in expression, but also in the synthesis of the population. The perseverance or co-existence of traditions, the codification of the imagery/iconography with religious connotations and, eventually, the different trends, stylistic influences and mixed techniques are taken to mirror cultural processes in a multicultural society. Local traditions and knowledge seem to reflect sociocultural belonging and, in this respect, workshops clearly demonstrate how they fit into a multifaceted ‘lived world’ (after the all-encompassing German term ‘Lebenswelt’). Adaptive reuse is a big chapter in the history of construction, approachable from the viewpoint of aesthetics, as well as logistics and ergonomics. To some extent, recycling depended on circumstances, as it could take place hastily under pressure or at leisure. A piece could be put to use analogous to its original function, or immured, or otherwise repurposed. By studying such decisions and ‘gestures’, we gain a glimpse into what may have happened in grandiose ancient sanctuaries and necropoleis. Apparently they did not turn into openair museums, treated as untouchable and unchangeable revered places. On the contrary, they remained vivid by adapting to (or serving) current conditions. In the present volume, the space, the setting that enveloped the makers is consistently taken into account; all the different settings examined – in different geographical areas – manifest how the premises of creation may affect creation itself. In each case, the natural or built environment was differently exploited and adjusted to the particular needs. Artisans always made the best of it. Raffaella Da Vela’s extensive study of the Etruscan pottery production on both sides of the Apennines builds on the theoretical framework of local knowledge combined with the setting, and introduces the term ‘knowledgescapes’. The mountainous region is perceived as a contact zone rather than a barrier, while the craft is perceived as a social or societal constituent. Due to the multiple encounters fostered by this contact zone, the craft was susceptible or rather open to technical innovation. Local knowledgescapes are thought to define dynamic networks of material and immaterial resources, in turn related to the sociocultural dynamics. In the ergasteria of the northern Apennines, tradition and innovation were part of a daily routine comprising production, crafts and social values. Investigating the chaîne opératoire and its applicability to objects in secondary use, Constanze Graml concentrates on the re-use of Greek funerary monuments and illustrates that their deconstruction and re-employment in different settings, where they could be visible or not, was quite common. While dealing with pragmatics, namely the actual, physical handling of the marble furnishing of Greek funerary monuments, Graml raises matters of ethics and sentimentalism, touching upon grief, remembrance and religious beliefs. In addition to her conclusion that adaptability and a practical mentality predominated against wasting ready-made and re-usable material, she manages to absolve/exonerate the reworking and repurposing of a sepulchral monument. In the light of this, any assumption-based attempt to characterise such a practice as religious misconduct should be treated with scepticism and caution, given the absence of contemporaneous testimonies. Instead, Christian values unconsciously extrapolated by scholars are likely to have shaped the perception of re-use as supposedly sacrilegious. The socio-historical setting/context also had an impact upon artisans. Underlying factors, usually stemming from politics and military coalitions, could instigate but also disturb or even disrupt a creative process. In his reconstitution of the ambitious building program on the island of Thasos in North Aegean, Jacques des Courtils demonstrates that the spread of a certain fashion – in this particular case, Athenian architectural practices – was occasionally conscious, deliberate and fostered by interstate relations or alliances. So, the dissemination of techniques and traditions did not always result from the role of itinerant craftsmen as ‘carriers’. Unfortunately on Thasos political grudge eventually led to the abandonment of a worksite. By comparison, the radiance of the reputable Athenian achievements in architecture is imprinted upon worksites of Asia Minor in a... smoother manner. From specific traits on sepulchral monuments of Xanthos Should we reckon with teams of masons specialised in selecting, trimming and adapting spolia? To what extent was this planned rather than a rescue operation? As regards the spoliation and management of spolia, was the edict by Majorianus realistic and enforceable? Along the lines of aesthetics, were the re-employed spolia concealed or on display creating some particular pattern16 and therefore visual impact? The above questions represent a modern mind’s concern (if not obsession) with the hidden meaning behind re-use, whereas the stonemasons actually involved in it would 16 As in the Castle of Patras, where the immured spolia were on display and almost recreating courses of the source-building, interspersed with column-drums. 5 Elena C. Partida and Constanze Graml probably be preoccupied with practical issues of moving, cutting and re-shaping older blocks. An entire building project could be designed around the available spolia. Based on her observations of different sites in Late Roman Asia Minor, Anna M. Sitz shows that decisions concerning the exploitation of spoliated material were made ad hoc, without necessarily conforming to legal pronouncements. Instead, local conditions affected the motivations and methods of spoliation. Whereas aesthetic factors could be a priority in large-scale projects, it appears that, in smaller-scale projects, the builders gravitated towards utility. Although one might assume that such ‘informal’ reworking operations did not require much competence and specialisation, on the contrary, the traces of workmanship on the spolia reveal the craftsmen’s know-how and skill. recently, samples taken from a marble centaur head belonging to the Parthenon sculptural programme19 (today in the National Museum of Denmark) were analysed, to explain the traces of a brown coating. In particular, the aim was to determine whether this brown film could have been developed by some biological organism such as lichens, bacteria, algae or fungi, or whether it was the remains of some paint layer. The samples were subjected to a number of different analyses20 but no sort of biological trace was detected, except perhaps a bird’s egg that had broken on the marble in antiquity. Even less probable is that the marble surface had been painted. The existence of a local workshop of sculpture at Epidaurus in the Roman period is inferred from the large number of re-used and reshaped sculptural pieces of that era.21 Interestingly in this corpus there is no reference to colour traces, even though there is evidence for the gilding of parts of statuettes, including votive reliefs. What appeared to be the traces of a reddish-brown or sometimes purple pigment eventually turned out – by chemical analyses – to be the binding agent (a sort of glue) between the marble surface and the attached thin golden sheets. The polished surface of the marble was meant to simulate the texture of the ivory body-parts of chryselephantine statues. This was the aesthetic effect they wished to achieve. A different approach of the chaîne opératoire is attempted by Susanne Bosche, who juxtaposes work to work processes, namely the concept of chaîne opératoire. Having her theoretical approach projected against the example of the Elgin Lyre, Bosche discusses various discrepancies between the purely theoretical concept on the one hand, and the sensory, knowledgebased approach (applied in material studies) on the other. Her paper’s backbone is the oscillation between three levels, namely, a highly theoretical one, which includes formal descriptive concepts, a theoretical but content-charged level with concepts related to a ‘general reality’ and a third level of a ‘historical reality.’ The application of paint layers on ancient sculpture is revisited here by Amalie Skovmøller, who conducts an experiment on the potential reconstitution of polychromy on a Roman portrait. Moreover, seeking the whereabouts of a painter’s actual workshop, Skovmøller proposes that an encaustic painter was based in a sculptor’s workshop unearthed at Aphrodisias. So, the two specialists worked in the same premises, if not also in co-ordination. Tightly associated both with production ex novo and cases of re-usage is the aspect of aesthetics, which surfaces often in the pages of this book. The aesthetic impact of ancient sculpture would be different, if parts of the stone surface had been coloured, to accentuate details of a figure’s garment, for instance. It would be entirely different, however, if the total surface of a marble statue was painted, and dramatically different, if the face, too, was colourful. Raised already by early archaeologists,17 and apparently encouraged by the extant Egyptian statuary of painted limestone, the matter has been vividly debated ever since.18 Most Under publication is the special issue ‘Polychromy in Ancient Sculpture and Architecture’ of the Heritage journal, edited by Joanne Dyer (<https://www.mdpi.com/journal/heritage/special_issues/ polychromy_sculpture_architecture>, last accessed 20 March 2024), in which, among other important case studies, the above-mentioned projects contribute. 19 On the detection of traces of Egyptian blue on pedimental statues of goddesses from the Parthenon, held at the British Museum, see https://www.archaeology.org/issues/544-2403/digs/12133-ddgreece-parthenon-paint-job?fbclid=IwAR3HZdGKYKnBIQn2huJXYh lcuDrIbbDCaCtkJjsl3npTidkKXsLfqjy4STM>, accessed 13 March 2024. 20 Including protein analysis and Laser Ablation Inductively Coupled Plasma Mass Spectrometry. In 1851 the German chemist Justus von Liebig determined that the brown film contained oxalates, i.e. salts of the oxalic acid. This was confirmed by later analyses, though where it originated from could not be resolved. Members of the research team: Kaare Lund Rasmussen (Physics, Chemistry and Pharmacy, University of Southern Denmark), Frank Kjeldsen and Vladimir Gorshkov (Department of Biochemistry and Molecular Biology at University of Southern Denmark), Bodil Bundgaard Rasmussen (former Head of the Antiquities Collection at the National Museum of Denmark), Delbey Thomas (Cranfield University), Ilaria Bonaduce (Università di Pisa), <https://lnkd.in/dWf7hwTe>, accessed 30 January 2023. 21 Katakis 2002. 17 On Hellenistic funerary monuments, in particular, see Abramitis and Abbe 2019. 18 As concerns cultic environs of the Roman period in particular, Vicky Jewell (Jewell 2024) draws attention to polychromy in temples of Mithras, by examining the way colours were perceived by ancient writers and how this may have contributed to a haptic-visual experience of Mithraic ritual spaces. By ‘seeing colour in Classical art’, Jennifer Stager (Stager 2022) contributes to the discussion. Other currently conducted projects cover areas/cultures beyond the Greco-Roman Mediterranean world: the Tracking Colour Project, housed at the Ny Carlsberg Glyptotek Copenhagen (<http:// trackingcolour.com/>, last accessed 20 March 2024) and the project ‘PolyChroMon Colours Revealed – Polychromie römerzeitlicher Monumente der Donauprovinzen’, under the auspices of the Austrian Academy of Sciences (<https://www.oeaw.ac.at/oeai/forschung/ altertumswissenschaften/antike-religion/polychromon>, last accessed 20 March 2024). 6 An Introduction The manifold approach of ancient workplaces finally offers insight into possible future research. The alabaster quarries illustrate the rich geology of Tunisia (Ameur Younès in this volume) and we can only envisage the optical effect of such a colour spectrum on the respective buildings. It would be interesting to explore whether these varieties have been recognised beyond Tunisia, and whether their exploitation had perhaps started in earlier times. If inaugurated in the Roman Imperial period, should these quarries be ascribed to an initiative of the Roman authorities, or some local elite class?22 and geographically – is addressed on occasion of new finds from Greece, North Africa, the Black Sea, Italy and Central Europe. For the realisation of this book we heartily thank all contributors, our dear colleagues and teachers, who willingly responded to our proposal, entrusted us with the outcome of their research, collaborated with us throughout the reviewing and editing process, and endured every challenge posed by the pandemic and its aftermath. For the book-cover’s artistic design, we are grateful to Petros Georgopoulos and Ilias Partidas. We are indebted to the University of Regensburg for kindly, willingly and generously funding the Open Access publication of this volume. Last, but not least, we sincerely thank Professor David Davison and Mike Schurer of the Archaeopress, for yet another impeccable co-operation. Evidence of an ancient military workshop of the Sassanid era, AD 224 to 651, was found in a mountainous region of northern Iran,23 in September 2023. Measuring 80m by 100m, the cave’s entrance is said to be one of the largest natural ones in the world. Its identification as perhaps an arms-making installation is induced from the metal melting furnace and the variety of weapons, ranging from arrowheads, daggers and harpoons to half-made swords. Obviously, scope for new discoveries is infinite. Bibliography As we had hoped while setting out the aims of this endeavour, a broad range of topics – both thematically For the works cited above, please refer to the bibliography compiled at the end of the volume. The Editors Elena C. Partida and Constanze Graml March 2024 22 The publication on Marmor Numidicum (Beck, D.M. 2024. Simitthus 6: Marmor Numidicum. Gewinnung, Verarbeitung und Distribution eines antiken Buntmarmors. Wiesbaden: Reichert Verlag) may shed light on our queries, but was not yet available to us while writing our introductory section. 23 Announced online by the Archaeology Information Network. 7 Chapter 4 Dyeworks network around the Gulf of Corinth: A specialised seaside textile workshop in Late Classical-Hellenistic Helike Dora Katsonopoulou Abstract Geoarchaeological research and excavations of the Helike Project in the Helike Delta on the southwest shore of the Gulf of Corinth, under the direction of the author, have brought to light the remains of an unknown Late Classical-Hellenistic settlement in the western part of the Helike coastal plain, implying the city’s revival after the catastrophic earthquake of 373 BC. Among the excavated buildings, the excellently preserved remains of a dyeworks stand out. The workshop consists of a central four-tank unit of pebbled floors connected with an admirable system of plastered channels, surrounded by a number of stone, clay and plastered basins associated with dyeing activities. Heating facilities, working and storage spaces flank the main workshop area occupying the southern part of a major building complex at this location. The discovery of specially constructed equipment and specialised production areas, and the presence of implements and mordants/detergents used in textile industry suggest that a number of activities related to textile production took place in the workshop besides dyeing itself. The dyeworks seems to represent a large-scale production industry, its products intended primarily for consumption outside Helike’s region and operated most probably under the management of a private association. Given the advantage of Helike’s location on the southwest shore of the Gulf of Corinth and its key role in cultural exchange of goods and ideas since early times, the workshop in Helike, being the only one located near the sea among a network of Late Classical-Hellenistic dyeworks around the Gulf of Corinth, demonstrates the importance of coastal places in textile manufacture. Περίληψη Οι γεωαρχαιολογικές και ανασκαφικές έρευνες του Ερευνητικού Προγράμματος Αρχαίας Ελίκης (The Helike Project) στο Δέλτα της Ελίκης, στη νοτιοδυτική όχθη του Κορινθιακού κόλπου, υπό την διεύθυνση της συγγραφέως, έφεραν στο φως τα ερείπια ενός άγνωστου υστεροκλασικού-ελληνιστικού οικισμού, στο δυτικό τμήμα της παραλιακής πεδιάδας της Ελίκης, γεγονός που υποδηλώνει την αναβίωση της πόλης μετά τον καταστροφικό σεισμό του 373 π.Χ. Από τα ανεσκαμμένα κτίσματα ξεχωρίζουν τα άριστα διατηρημένα κατάλοιπα ενός εργαστηρίου βαφής και παραγωγής υφασμάτων. Το εργαστήριο αποτελείται από μια κεντρική μονάδα τεσσάρων δεξαμενών με βοτσαλωτά δάπεδα που συνδέονται μεταξύ τους μέσω ενός αξιοθαύμαστου συστήματος επιχρισμένων με κονίαμα αγωγών και περιβάλλονται από μια σειρά κατασκευών από πέτρα, πηλό και κονίαμα, οι οποίες συνδέονται με δραστηριότητες βαφής. Εγκαταστάσεις θέρμανσης, χώροι εργασίας και αποθήκευσης, πλαισιώνουν τον κύριο χώρο του εργαστηρίου που καταλαμβάνει το νότιο τμήμα ενός μεγάλου κτιριακού συγκροτήματος σε αυτή τη θέση. Η ανακάλυψη ειδικών κατασκευών και εξειδικευμένων χώρων παραγωγής, όπως επίσης η παρουσία εργαλείων και στερεωτικών ουσιών/απορρυπαντικών που χρησιμοποιούνται στην βιομηχανία του υφάσματος, υποδηλώνουν ότι στο εργαστήριο λάμβαναν χώρα μια σειρά από δραστηριότητες που σχετίζονται με την παραγωγή υφαντουργικών προϊόντων εκτός από την ίδια την διαδικασία της βαφής. Το συγκεκριμένο εργαστήριο στην Ελίκη φαίνεται να αντιπροσωπεύει μια βιομηχανία παραγωγής μεγάλης κλίμακας, της οποίας τα προϊόντα προορίζονταν κυρίως για κατανάλωση εκτός της περιοχής της και λειτουργούσαν πιθανότατα στο πλαίσιο ιδιωτικής διαχείρισης. Δεδομένης της πλεονεκτικής θέσης της Ελίκης στη νοτιοδυτική ακτή του Κορινθιακού κόλπου και του ρόλου-κλειδί που η πόλη κατείχε στην ανταλλαγή πολιτιστικών αγαθών και ιδεών από τα πρώιμα χρόνια, το εργαστήριο στην Ελίκη, που είναι και το μόνο που βρίσκεται κοντά στη θάλασσα ανάμεσα σε ένα δίκτυο υστεροκλασικών-ελληνιστικών εργαστηρίων βαφής γύρω από τον Κορινθιακό κόλπο, καταδεικνύει την ιδιαίτερη σημασία που είχαν οι παράκτιες πόλεις στη βιομηχανία του υφάσματος. Keywords: Gulf of Corinth; dyeworks; Classical-Hellenistic Helike; textiles; crafts ERGASTERIA (Archaeopress 2025): 55–68 Dora Katsonopoulou Figure 1: The environs of the Helike search area including the 1988 sonar survey. Asterisks indicate the principal Helike sites: V stands for the Late Classical-Hellenistic site in Eliki/Valimitika and R for the Early Bronze Age site in Rizomylos. Adapted from the Greek Army Geographic Service 1:50,000 map (after Katsonopoulou 2011a: 64, fig. 1). Introduction conducted (Figure 1). The results showed no ruins of a city on or under the seafloor, so we shifted the search to the adjacent broad coastal plain between the Selinous (west) and the Vouraikos (east) rivers.3 A re-examination of ancient sources4 suggested that the city was submerged in a lagoon, not in the sea. Accordingly, extensive bore-hole drilling in the Helike Delta yielded evidence of ancient occupation within an area of about 2sq.km, ranging in date from the Neolithic to the Late Byzantine times.5 The results also suggested that a lagoon intermittently occupied part of the delta during the Holocene.6 Helike, the capital city of ancient Achaea on the southwest shore of the Gulf of Corinth was founded in the Bronze Age, and destroyed by an earthquake and tsunami in 373 BC.1 Since Helike was reportedly submerged by the combined earthquake/tsunami phenomenon, most of the previous efforts to locate it concentrated on the sea, with inconclusive results.2 To resolve the question of whether the ancient site lay in the sea or on land, the Helike Project launched a longterm multidisciplinary research program in 1988. First, a systematic sonar survey of 8sq.km of the seafloor southeast of Aigion, to a depth of 100m, was 1 2 3 Katsonopoulou 1991; Soter and Katsonopoulou 1998: 82-88, figs. 8-10; Soter and Katsonopoulou 1999. 4 Katsonopoulou 1995. 5 Maniatis et al. 1995; Soter and Katsonopoulou 2005. 6 Soter and Katsonopoulou 2011. Katsonopoulou 2005a. Katsonopoulou 1991; Marinatos 1960. 56 Dyeworks network around the Gulf of Corinth Since 2000, the systematic excavations of the Helike Project have brought to light in the zone between the Selinous and Kerynites rivers, architectural remains and associated finds dating from the Early Bronze Age, the Mycenaean, Geometric, Classical, Hellenistic, Roman, and Late Byzantine periods.7 Among them, the discovery of an unknown settlement revived a few decades after the catastrophic earthquake of 373 BC, was most unexpected. Excavations carried out in the western part of the Helike plain, revealed remarkable architectural remains and a cemetery site of the postearthquake Helike settlement. In one of the excavated sites (Figure 1: V), the unique remains of a dyeworks installation were unearthed. Greek sources, should be considered as providing further information about dyeing: Pliny’s Natural History and Dioskourides’ Greek Herbal. These literary sources are supplemented by epigraphical and papyrological data, principally the Papyrus Leidensis and the Papyrus Holmiensis of the third century AD. The picture of dyeing technology drawn from historical sources is complemented by evidence from modern comparative information and from the archaeological record. Natural dyeing processes are the same today as they were in Classical and Hellenistic Greece, and modern accounts on the availability of dyestuffs are very useful, since a number of plants used by ancient dyers still grow in Greece nowadays. In terms of archaeology, since evidence of dyes and textiles in the archaeological record is difficult to find, due to environmental conditions, excavation of sites related to dyeing activity (especially sites where the specially constructed equipment used for dyeing is preserved) can shed light on dyeing processes and the organisation of dyeing industry. In general, dye workshop areas have been mostly neglected until recently, with some exceptions, such as the settlement areas at Isthmia and Mycenae. Dyeing in antiquity Textiles played an important role in Classical and Hellenistic Greece, used not only to provide warmth and ornament but also to indicate wealth and status (coloured textiles, in particular). Especially for women, textiles were a valuable form of property since they were produced by them within a household8 intended for household use, but also serving as parts of dowries or for festivals and other events. In fact, textiles were second only to metals in value, and sometimes they may have been prized over metals. The Helike dyeworks The widespread use and importance of coloured clothing indicate that dyeing was socially and economically important. Papyrus texts and inscriptions provide information on the occupation and the active role of the dyer (βαφεύς, βάφισσα for a female dyer mentioned in two papyri of the fourth century AD) and of the dye workshops (βαφεῖα) in ancient economy. There is even reference to the professional occupation of the linen specialist – λινεψός/λινοπλυτής – associated with flax/linen processing.9 The whole industry of dyeing includes a number of other elements on which it was depended: additives such as mordants/detergents, dye recipes, specification of hues, sampling, thus demonstrating the importance and complexity of the craftsmanship. The architectural remains The first indications of a dyeworks site in Helike came to light during the 2003 excavation campaign of the Helike Project, when parts of two pebbled-floor tanks were unearthed in the Romanos Field, on the borders of the modern villages of Eliki/Valimitika near the Selinous River, in the western part of the Helike plain (Figure 1: V). The discovery led to a systematic excavation of this site from the next season (2004) onwards. The ongoing work brought to light, at a depth of 2.5-3m below ground, the well-preserved remains of a dyeworks installation and associated structures. The Helike workshop consists of a central four-tank unit (Figure 2) surrounded by well-made stone walls, preserved at a height of about 0.50-0.55m. Two large shallow rectangular tanks and two deep cisterns, all with pebbled floors, are connected via an admirable system of plastered channels used for emptying liquids from the shallow into the deep tanks (Figure 3). The deep cisterns are built of impressive plastered walls, 1.80m high, and they contain circular sumps at one corner to collect significant quantities of liquids.10 A low partition element, originally plastered, divides the shallow tanks into two different activity spaces, thus accommodating different processes running in parallel. In one of the rooms east of the four-tank unit, another Literary sources provide a great deal of information on dyeing activities in Classical and Hellenistic Greece although they cannot be considered specific sources about the dyeing technology. For example, the scientific works of Aristotle and his pupil Theophrastus contain references to dyes and dyeing processes; Herodotus occasionally hints at specific elements relating to dyeing and textile production; similar references are found in plays and poetry. Two other later sources of the first century AD, relying though heavily on earlier 7 Katsonopoulou 1998; 2002; 2005b; 2011a; 2016; Katsonopoulou and Katsarou 2017; Katsonopoulou and Koukouvelas 2019. 8 Foxhall and Stears 2000. 9 Ruffing 2008; Wipszycka 1965. 10 57 Kormann and Katsonopoulou 2024. Dora Katsonopoulou Figure 2: Drone photo of the four-tank unit and surrounding structures (© The Helike Project, Dora Katsonopoulou). constructed of fired clay and flat terracotta tiles (Figure 2), were found. In this area, a unique element rarely preserved in dye workshops came to light: a large amount of hydrated lime stored in a small room, near the tank unit. In close proximity, another rare plastered structure was uncovered, consisting of two semi-elliptical shaped basins equipped with round sinking holes in their centre, apparently for collecting residues (Figure 2). Between this structure and the related northern deep tank, a square-shaped platform with raised plastered edges, paved with terracotta tile fragments, may have served for the placement of device related to the dyeing processes. Two other platforms of the same type have been Figure 3: Plastered channelling, detail (© The Helike Project, Dora Katsonopoulou). shallow pebbled-floor tank of smaller size, and a small square room attached to its eastern side were excavated (Figure 2). A large array of specific equipment related to dyeing technology set around the main unit, are worth mentioning. A conical plastered vat, 0.70m deep, open on top and framed by a broad flat plastered rim, partly preserved, was revealed close to the edging of the southern deep cistern (Figure 4). Nearby, two basins bordered with cobblestones and a small hearth of round shape, Figure 4: Plastered conical immersion vat (© The Helike Project, Dora Katsonopoulou). 58 Dyeworks network around the Gulf of Corinth Figure 5: Drone photo of the dyeworks building complex (© The Helike Project, Dora Katsonopoulou). northern part revealed more rooms, as well as working and storage spaces. In one of these rooms, another unique clay structure was discovered. It consists of two parallel clay partitions framing a deep clay basin, connected on the west side to a flattened area made of clay that served as a heating place for the activities that took place here (Figure 6). With these activities was probably associated a large storage area next to the clay structure room, where three big pithoi (storage jars – one of gigantic dimensions) were unearthed (Figure 7). One of them preserves an impressive number of repairs in antiquity, implying a specific function of the preserved in the middle of the central unit, along the tanks. The four-tank unit and surrounding spaces form the southern part of a building complex excavated to date in an area of 1000sq.m (Figure 5). Excavations in the Figure 7: Storage area showing the pithoi arrangement (© The Helike Project, Dora Katsonopoulou). Figure 6: Clay basin north of the four-tank unit (© The Helike Project, Dora Katsonopoulou). 59 Dora Katsonopoulou transport vessels (including stamped amphorae handles (Figures 11, 12), and spindle-shaped perfume bottles/unguentaria. A special category of relief decorated pottery (Figure 13) represents scenes from Greek mythology and religion. Other clay finds include oil lamps (black and red glazed), and loom weights of conical, pyramidal and disc-shaped types. Metal finds contain iron, lead and bronze items such as nails, needles, and jewellery. Exceptional finds include a headless Tanagra figurine, gold and lapis lazuli beads, and some fragments of coloured glass pottery. The same chronological spread as indicated by the pottery is suggested by the corpus of bronze coins found in the building complex,11 representing a large Figure 8: Pithos with ancient repairs, details (© The Helike Project, Dora Katsonopoulou). Figure 9: Hellenistic pottery from the excavated building complex (© The Helike Project, Dora Katsonopoulou). vessel probably related to storage of exceptional dyeing materials (Figure 8). number of places from the Peloponnese, Attica and the Saronic Gulf, to Macedon, the Cyclades and Ptolemaic Egypt. Finally, the same dating is suggested by the architecture12 of the site using polygonal masonry in the earliest construction phase of the building, confined to the eastern part of the workshop’s installations (Figure 14). Furthermore, the long-lasting use and gradual expansion of the workshop is evidenced by a number of Dating the dyeworks The large amounts of pottery recovered from the excavated building indicate that the workshop was in use for a period of over two centuries, from c. 340/30 to 100/80 BC. The rich assemblage includes plain, black and red glazed, West Slope and relief decorated vases (Figures 9, 10), cooking, serving, storage and 11 12 60 Weir 2016. Katsonopoulou and Partida 2023. Dyeworks network around the Gulf of Corinth Figure 10: Blackglazed, West Slope and ivy-decorated pottery sherds from the excavated building complex (© The Helike Project, Dora Katsonopoulou). Figure 13: Relief pottery with figural scene (© The Helike Project, Dora Katsonopoulou). large quantity of lime, used as mordant by ancient dyers to make dyes colourfast and to attain the desired hues in colour, was found stored in a room with a small entrance near the western wall of the central tank unit (Figures 2, 15). Other mordanting substances found include large quantities of potash recovered from the central unit areas, and halite (NaCl) detected in mortar samples taken from the deep tanks and analysed by physicochemical methods.13 Alum was a widely used basic mordant in textile industry, available only in certain parts of the ancient world. The Cycladic islands, Melos in particular, were well-known sources of alum in the Classical and Hellenistic periods.14 Other sources of Figures 11, 12: Stamped amphora handles from the excavated building complex (© The Helike Project, Dora Katsonopoulou). amendments, additions and modifications required by the growing activities of the facility. Special finds, implements A most rare find related to mordanting in the process of dyeing was discovered in the Helike dyeworks. A 13 14 61 Troumpouki, Facorellis and Boyatzis 2024. Pittinger 1975. Dora Katsonopoulou Figure 14: View of the dyeworks complex from the east, showing the polygonal stone footing of the walls (© The Helike Project, Dora Katsonopoulou). alum or otherwise ‘the fuller’s earths’ were the islands of Kimolos and Samos. Further afield, alum was also produced in Cyprus, the Near East and Egypt.15 Of particular interest are fragments of big terracotta roof tiles, found in the destruction layer covering the floors of the shallow basins of the tank unit. A few among them preserve some substance of blue green colour in their inner surface (Figure 16). Chrysoula Kardara reports the finding of big tile fragments in the dyeworks at Rachi near Isthmia, used as pressing implements to squeeze the dye out of the dyed material for reuse.16 Squeezing out the excess dye solution was an important stage of the dyeing process, especially when expensive dyes were involved. The process required a surface for the dyed textile to be squeezed on, implements to squeeze out the liquid, and the equipment where the Figure 15: The room where stored lime was discovered, a consolidated sample remaining in situ (© The Helike Project, Dora Katsonopoulou). 15 16 62 Forbes 1955. Kardara 1961: 265. Dyeworks network around the Gulf of Corinth drying of hung-up dyed material. This method required firstly the use of weights to hold the dyed fabric taut, so that it would not wrinkle, and secondly a floor appropriate to catch the water from the drying textile.17 Drip-drying could have taken place in designated plastered areas of the shallow basins floors (Figure 18), the channel arrangement used to collect the liquid in a way similar to the process of squeezing out the excess dye from the dyed fabric. Furthermore, the discovery of a significant number of loom weights in the Helike building complex suggests that weaving was an activity combined with dyeing. The different places where the loom weights were discovered within the building, along with their types (conical, pyramidal and disc-shaped), suggest that weaving was intended to cover the textile needs of the household but also that specialised textile production was performed in this workshop, as shown especially Figure 16: Fragment of a big terracotta roof tile preserving traces of blue-green colour (© The Helike Project, Dora Katsonopoulou). Figure 17: Conical and pyramidal loom weights from the excavated building complex (© The Helike Project, Dora Katsonopoulou). by the stamped examples (Figures 19, 20). The absence of tools for spinning indicates that this activity, being a portable process, took place elsewhere, and that spun fibres of wool or linen were brought into the workshop ready-made for weaving and dyeing. squeezed-out liquid would be collected. Besides using simple containers linked to squeezing areas to collect excess dye, it appears that, at organised sites, equipment was constructed especially for this purpose. In Helike, the arrangement of shallow/deep tanks with related channelling apparently served this process; after being dyed, the textile was spread out on the shallow tank floors with big tiles laid upon it, to press the excess liquid out; the liquid was subsequently collected into the deeper basins. Dyeing and cleaning processes Materials to be dyed should first be cleaned from impurities, especially the grease contained in large quantities in wool, or the colouring impurities and wax in flax (for linen). Wool, usually dyed before spinning, was the commonest fibre used in dyeing, produced from the hairy covering of sheep and occasionally of goats. A number of conical or pyramidal clay loom weights (Figure 17) found in the excavated areas around the four-tank unit, may have been related to a significant after-dyeing activity. Besides being a tool for weaving, loom weights were probably used in the process of drip- 17 63 Monaghan 2013: 70-71. Dora Katsonopoulou Figure 18: Specific plastered areas of the shallow tanks floors (© The Helike Project, Dora Katsonopoulou). After it had been removed from the animal in a number of ways (moulting, plucking, shearing), it was cleaned from impurities and then washed. Fulling, the process of cleaning, involved washing the fibres or textiles in hot water, usually by adding detergent substances (‘fuller’s earths’).18 Linen produced from the fibres contained inside the long stems of the flax plant (linum usitatissimum Linaceae) (Figure 22) was the most widespread plant fibre. Flax, either as raw material or as yarn, or even as processed (spun and woven) linen fabric, constituted a valuable commodity, which was in high demand in antiquity. Although generally believed to have been imported into Classical Greece primarily, if not exclusively, from the Black Sea and Egypt, the island of Amorgos in the Cyclades is associated with flax and linen in literary sources. In the case of Achaea, it is noteworthy that the neighbouring land of Elis is mentioned as a place of flax cultivation of both the finest and coarser fibres (Pausanias 6.26.6). To obtain the fibres from the flax plant, an intensive laborious process was required, the most important stage of which was ‘retting’; this involved the immersion of stalks in water to facilitate the removal of stems attached to the fibres.19 This method was faster than the much slower process of Figures 19, 20: Stamped disc-shaped loom weights from the excavated building complex (© The Helike Project, Dora Katsonopoulou). 18 19 64 Forbes 1964. Monaghan 2013: 35. Dyeworks network around the Gulf of Corinth ‘dew retting’, which involved the exposure of stalks to the dew by spreading them out on the ground.20 also some animal (especially kermes) were harvested and processed between spring and early autumn. On the other hand, the busiest periods for agricultural activities were between late May and early July (harvest), and from September to November (vintage, ploughing).22 High-summer season (July-August) being the least busy time for agriculture, was apparently the best time for dyeing activity, inasmuch as warm weather is beneficial to dyeing and drying and more people would be available to carry out the various tasks involved. In Helike, the presence of specially constructed equipment, implements, and mordants/detergents suggests that, besides the dyeing process, which was mainly operated by immersion (vats), fermentation and boiling methods, cleaning/bleaching processes also took place here. The tank unit arrangement was appropriate for both the fulling of wool and the ‘retting’ of flax. The same areas were suitable for a number of important after-dyeing processes, such as squeezing the excess dye out for reuse, rinsing, and drying including the drip-drying of hung dyed fabric. A further activity combined with dyeing and cleaning was the weaving. The potential of a dyeworks’ facilities to be used at different times or seasons for other activities, besides dyeing, is another factor to be considered in the overall organisation of a textile production site; all the more so, because the multi-functionality eventually links the organisation of the workshop with the issue of craftsmen specialisation, namely with the availability of dyers, fullers, laundrymen, tanners, as well as of the implements, tools and equipment used by these specialists. Organisation and management The Helike workshop meets most (six out of eight) of the criteria that characterise a site as a dyeworks;21 in fact, some hold a top position on the scale of importance. The most solid, however, indication that dyeing activity did take place here emerges from the combined presence of more than one features clearly related to dyeing, considering that some of the equipment and ingredients might also be associated with other activities, such as fulling, tanning, wine or oil production, which also involve large quantities of liquids. This kind of an industrial site most probably operated under the control of a private union/association, i.e. the type of enterprises that flourished in the Hellenistic period, especially in the years after Alexander the Great. Adequate evidence on how such an enterprise was managed is provided by the famous Kafizin texts inscribed on pottery vessels found in the Nymphaeum of Kafizin, in the region of ancient Idalion in Cyprus. Apart from the inscriptions, human heads and the flax plant are depicted on some vessels (Figure 21). The inscriptions dated to the late third century BC23 are of great importance. They record a flax and linseed company operating under the authority of a man named Zenon, and another man named Onesagoras as the general manager. The company’s main occupation was the cultivation of flax, exploitation on an industrial scale, and probably the production and trade of linen.24 This commercial model may apply particularly to flax processing, as fibres collected from various cultivation places could be brought into a central retting place, where skilled craftsmen in the appropriate installations would carry out the necessary process. In the case of our workshop, flax cultivated in the neighbouring land of Elis could reach the Helike facilities to be processed for obtaining the fibres and/or dyeing in the form of spun thread or as a woven fabric. In the organisation of the dyeing activity, the availability of dyestuffs (plant or animal based), fibres, and mordants/detergents was a factor that could have a key influence on the dyeing process of the workshop. As concerns dye-producing plants, certain dyes required the supply of dyestuffs from areas outside the immediate region, over a wide range of distant places. To obtain them, weather conditions and the time of the year suitable for travel should be taken into account. The problem of availability of dyestuffs could be solved in some way, as in most cases it was not necessary to use them as soon as they had been produced; the majority of them was dried and could be kept for later use. As concerns fibres, once produced they could be used by dyers at any time of the year. Finally, the substances used in the dyeing process would have been produced at any time but their availability could be affected by seasonal factors. Access to sources of exotic dyestuffs or the acquisition of ‘earth’ and other ingredients from the islands for a dyer in the Peloponnese, for example, was heavily dependent on the trading season between spring and autumn, when the weather was most suitable for sailing or travel over long distances. The same period was suitable for dye production, as well, since the majority of dye-producing plants but Other contemporary dyeworks in the Gulf of Corinth A number of sites around the Gulf of Corinth, contemporary with the complex of Helike and with 22 20 21 23 Hill 1952. Monaghan 2013: 74. 24 65 Foxhall 1998: 109-113. Mitford 1950: 1980. Nosch 2014. Dora Katsonopoulou period and specifically the second century BC, have been interpreted as dyeworks on account of the site’s construction arrangements, which suggest textile-making activities. Evidence for dyeing processes was found in a number of buildings containing cement tanks and channels leading to drains, hearths, pebble and plastered floors sloping toward sumps at corners, basins of cement floors laid on a cobble foundation and sides made from tiles covered with cement.27 These installations chronologically coincide with the later phase of the Helike establishment and share many similar features in terms of equipment and tanks arrangement. Figure 21: Depiction of the flax plant on an inscribed vessel from the site of Kafizin in Cyprus (after Mitford 1980: pl. VII, inscr. no. 266K20). comparable features, have been identified as dyeworks: Mycenae and Rachi near Isthmia in the neighbouring Corinthia, and Khostiai in Boeotia, on the other side of the Gulf. The existence of a dyeworks network around the Gulf indicates the flourishing of textile production industry in this region, in the Late Classical/Hellenistic times. Khostiai The dyeworks excavated in a terraced area outside the southern wall of the ancient acropolis of Khostiai in Boeotia, consists of one building containing three rooms facing onto a courtyard. The special equipment related to dyeing activities includes a number of vats and channels cut into the bedrock, several circular pits and a deep cistern.28 Especially some structures coated with plaster and an arrangement of shallow and deep cisterns recall the Helike specialised areas for squeezing liquid out of dyed material and/or drip-drying. Rachi The settlement on the Rachi hill, overlooking the sanctuary of Poseidon at Isthmia, dates from c. 360 to c. 240 BC,25 thus coinciding with the earliest phase of the Helike dyeworks. Evidence for dyeing activity was found in a number of the settlement’s houses, which contained rectangular tanks coated with plaster, vats, rock-cut cisterns, circular basins, semi-elliptical plastered and terracotta basins with sumps, and channels cut out of the bedrock leading from rectangular tanks to circular basins. Rachi displays common features with Helike in terms of facilities and equipment but also in terms of implements used to squeeze out liquid from dyed textile for reuse. A type of construction that seems to have been used in similar ways in all four dye workshops identified within the region of the Gulf is the type of basins with raised edges and sumps. Repercussions on economy and further conclusions Building remains in the Citadel House Area and the North-West Complex on the southwestern slopes of the acropolis of Mycenae, dated to the Hellenistic Generally, craft production in Classical and Hellenistic Greece is considered to have been small-scale, intended for local consumption and lacking central organisation. Small-scale production was carried out within the domestic premises by domestic personnel (family members and domestic slaves), aiming primarily at a household’s subsistence and not intended for sale outside it. Archaeologically, this type of production cannot be easily identified, as it does not require specialised equipment or production areas. The same applies to the category of household industry, which again is mainly house-oriented; any sale for profit outside it would be limited to a very small market, thus providing no appreciable income for the house. The difference becomes obvious, when we turn to the 25 27 A brief report on another site near Corinth, at the location of Anaploga, mentions ‘an industrial establishment’ dated to the fourth century BC and comparable to the dyeing works at Isthmia.26 The site has but briefly been reported and therefore cannot be compared with the identified dyeworks sites discussed here. Mycenae 26 Kardara 1961: 263. Robinson 1963: 79. 28 66 Bowkett 1995. Fossey 1981; Fossey and Morin 1986. Dyeworks network around the Gulf of Corinth Figure 22: The flax plant linum usitatissimum Linaceae (https://www.biodiversitylibrary.org/pageimage/303594). 67 Dora Katsonopoulou model of workshop industry and its two categories of medium or large-scale production type. In this kind of industry, levels of craft production could be differentiated according to specific features, such as the size of the production areas, and the presence of specially constructed equipment. Medium-scale production could be carried out in a domestic setting by domestic personnel (as in the case of small-scale production) but would require a specialised production area and equipment, and most probably specialised labour. The workshop’s products would not be limited for consumption within the household alone, but would also be intended for sale, thus providing substantial income for the house economy. Corinth, Messenia in south Peloponnese, Megaris, to the Saronic Gulf, Attica, the Aetolian League, Macedon, Ptolemaic Egypt and the Cyclades (Delos). Furthermore, the presence of luxury items (gold, lapis lazuli, coloured glass) and of a large number of commercial amphorae suggests trade relations and contacts with a wide network of regions both to the West (Italy and Magna Graecia), and to the Aegean and further to the east. The advantageous location of Helike, on the southwest shore of the Corinthian Gulf, favoured maritime travelling and trade already since the prehistoric times. Contacts with the East date as early as the middle of the third millennium BC, as indicated by the pottery including the unique depas amphikypellon cup and luxury items from the excavations of the Early Helladic settlement at Helike (Figure 1: R).29 In the early historical times, before the end of the eighth century BC, the foundation of a colony at Sybaris in South Italy opened up new maritime trade routes and contacts with the western markets. Through Helike, the oldest coastal commercial centre in the area, Corinthian products reached the interior of Achaea as early as the second half of the eighth century BC; the same is suggested for products from the east Mediterranean, as shown by the early seventh-century Phoenician metal models of clay vessels recovered from a number of Achaean sites.30 In the early Classical period, the presence of the most celebrated marble of the ancient world, the Parian, in the highland territory of Helike (modern Mamousia, Figure 1) for the construction needs of a sizeable temple and its sculptural decoration,31 suggests that Helike continued to be the principal commercial centre in the region of northwestern Peloponnese and the Gulf of Corinth. Thus, its location is placed along the maritime routes network for the export and diffusion of the Parian marble to the West.32 Almost primarily for off-site sales were intended the products of a large-scale production workshop, the operation of which would require an organised location with permanent facilities, specially constructed equipment and production areas, a larger workforce and highly skilled craftsmen. This production model was intended for a larger number of consumers, and it would be a major source for a household’s subsistence, operated by central management responsible for the overall planning of the workshop, as well as for the production of a certain product or a range of products, including their promotion into the markets. Such a type of a dyeing industry is easier to identify in the archaeological record. The textile workshop unearthed at Helike seems to belong to the category of a large-scale production site; its products were intended for consumption outside it, aiming at wider markets. The presence of this model at Helike is suggested by a number of features revealed in the excavated areas of the building: (a) the specially constructed equipment and specialised production areas, (b) the presence of mordants/substances including rare ones (lime) related to dyeing activities, (c) the presence of pressing/hanging implements related to afterdyeing processes, (d) the large size (tanks and cisterns of large volumetric capacity) and specific arrangement of the installations to attain higher productivity and transaction of simultaneous production processes on an industrial scale, (e) the permanent character of the facilities, (f) the long-lasting use and gradual expansion of the workshop’s premises. Naturally, coastal towns and harbours are the places where travellers and traders usually meet, exchanging goods and attaining connections and contacts. The Helike dyeworks, being the only one positioned near the sea among its contemporaries around the Gulf of Corinth, apparently played a key-role in the economy of the region and over a wider area, thus demonstrating the importance of coastal locations in textile manufacture and cultural exchange. Bibliography The intended consumption outside the workshop is probably evidenced by the large corpus of coins found in the excavated site, representing a great number of cities from the neighbouring regions of Sicyon and For the works cited in this article, please refer to the bibliography compiled at the end of the volume. 29 Katsonopoulou and Katsarou 2017. Papadopoulos 2001. 31 On the temple’s sculptures see Katsonopoulou 2018: 108-109; Kanellopoulos and Kolia 2011: 152-157; Mastrokostas 1985. 32 Katsonopoulou 2018: 107-110. 30 68 Academic apparatus 354 Abbreviations Epigraphical Corpora and Editions CIL = Corpus Inscriptionum Latinarum. Berlin: BerlinBrandenburgische Akademie der Wissenschaften, viewed 19 February 2024, <https://cil.bbaw.de/ hauptnavigation/das-cil/baende>. FHG = Fragmenta Historicorum Graecorum, viewed 19 February 2024, <https://www.dfhg-project.org/>. I.Labraunda = Crampa, J. 1969–1972. Labraunda. Swedish Excavations and Researches 3. Vol. 1 and 2: The Greek Inscriptions. Lund: Gleerup and Stockholm: Swedish Research Institute in Istanbul. I.Mus. Burdur = Horsley, G.H.R. 2007. The Greek and Latin Inscriptions in the Burdur Archaeological Museum. London: The British Institute of Archaeology at Ankara. ID = Inscriptions de Délos. 7 vols, 1926-1972. Plassart, A. (ed.) 1950 Vol. 6 [1]: nos 1-88; Coupry, J. (ed.) 1972 Vol. 7 [2]: nos 89-10433; Durrbach, F. (ed.) 1926 Vol. 1 [3], nos 290-371; Durrbach, F. (ed.) 1929 Vol. 2 [4], nos 372-509; Durrbach, F. and P. Roussel (eds) 1935 Vol. 3 [5], nos 1400-1496; Roussel, P. and M. Launey (eds) 1937 Vol. 4 [6], nos 1497-2219; Roussel, P. and M. Launey (eds) 1937 Vol. 5 [7], nos 2220-2879. Paris: Académie des Inscriptions et Belles-Lettres. IG = Inscriptiones Graecae. Berlin: Berlin-Brandenburgische Akademie der Wissenschaften, viewed 19 February 2024, <http://telota.bbaw.de/ig/>. Lindos II = Blinkenberg, C. 1941. Lindos. Fouilles et Recherches, 1902-1914. Vol. II: Inscriptions 1-2. Berlin: De Gruyter. OGIS = W. Dittenberger (ed.) 1903-1905. Orientis Graeci Inscriptiones Selectae. Leipzig: Hirzel. Paton, W.R. (ed.) 1915. The Greek Anthology (with an English translation). London: William Heinemann. P. = Papyrus, viewed 19 February 2024, <https://papyri. info/>. SEG = Supplementum Epigraphicum Graecum, viewed 19 February 2024, <https://scholarlyeditions.brill. com/sego/>. SIG = W. Dittenberger (ed.) 1915-1924. Sylloge Inscriptionum Graecarum. Leipzig: Hirzel. TL = Kalinka, E. (ed.) 1901. Tituli Lyciae, lingua lycia conscripti (Tituli Asiae Minoris I). Vienna: Österreichische Akademie der Wissenschaften. TM = Trismegistos, viewed 24 February 2024, <https:// www.trismegistos.org/tm/detail.php?quick=5876>. online edition, viewed 26 October 2023: <doi:https:// www.degruyter.com/database/overbeck/html>. DNP = Cancik, H., H. Schneider and M. Landfester (eds) Der Neue Pauly, online edition, viewed 26 October 2023, <https://referenceworks.brillonline.com/ browse/der-neue-pauly>. LGPN = Lexicon of Greek Personal Names Database, viewed 26 October 2023, <https://www.lgpn.ox.ac.uk/>. LIMC = Lexicon Iconographicum Mythologiae Classicae, online edition, viewed 26 October 2023, <https:// weblimc.org/>. RE = Paulys Realencyclopädie der classischen Altertumswissenschaft, online edition, viewed 26 October 2023, <http://de.wikisource.org/wiki/RE>. Großes Lexikon der Bestattungs- und Friedhofskultur = Zentralinstitut für Sepulkralkultur Kassel (ed.). Großes Lexikon der Bestattungs- und Friedhofskultur. Wörterbuch zur Sepulkralkultur. 2002. Volume 1: Volkskundlich-kulturgeschichtlicher Teil: Von Abdankung bis Zweitbestattung, 2005. Volume 2: Archäologisch-kunstgeschichtlicher Teil: Von Abfallgrube bis Zwölftafelgesetz, 2010. Volume 3: Praktisch-aktueller Teil: Von Abfallbeseitigung bis Zwei-Felder-Wirtschaft, 2020. Volume 4: Medienkultureller Teil: Von Absurdes Theater bis Zombie, 2016. Biographischer Teil: von Abraham a Sancta Clara bis Johannes Zwingli. Frankfurt am Main: Fachhochschulverlag. Der Verlag für angewandte Wissenschaft. Varia A.D.R.A. = Association pour la Diffusion de la Recherche sur l‘Antiquité APC = Association des Publications Chauvinoises ARC = Archaeological Review from Cambridge ASCSA = American School of Classical Studies at Athens ASMOSIA = Association for the Study of Marble and Other Stones in Antiquity BAR = British Archaeological Reports BIAMA = Bibliothèque d’Archéologie Méditerranéenne et Africaine CISAM = Centro italiano di Studi sull’alto medioevo di Spoleto CNRS = Centre national de la recherche scientifique CSIC = Consejo Superior de Investigaciones Científicas CTHS = Comité des travaux historiques et scientifiques CUEM = Cooperativa Universitaria Editrice Milanese S.C.R.L. DAPCAD = Direction d’Archéologie Préventive de la Communauté d’Agglomération du Douaisis ERIAC = European Roma Institute for Arts and Culture IFPO = Institut français du Proche-Orient Lexica DNO = Kansteiner, S., K. Hallof, L. Lehmann, B. Seidensticker and K. Stemmer (eds) 2014. Der neue Overbeck. Die antiken Schriftquellen zu den bildenden Kunsten der Griechen, vols I-V, Berlin: De Gruyter, 355 Abbreviations Inrap = Institut national de recherches archéologiques préventives MOM = Maison de l’Orient et de la Méditerranée PUL = Presses universitaires de Louvain PULIM = Presses Universitaires de Limoges PUN-Édulor = Presses universitaires de Nancy-Éditions universitaires de Lorraine PUR = Presses universitaires de Rennes SFECAG = Société Française d’Étude de la Céramique Antique en Gaule UPMC = Université Pierre et Marie Curie (Paris VI) TENDED&query=labraunda+notebook+1948&aq= %5B%5B%7B%22A_FQ%22%3A%22labraunda+not ebook+1948%22%7D%5D%5D&aqe=%5B%5D&af=% 5B%5D&pid=alvin-record%3A294187&c=4#alvinrecord%3A294187>. Notebook Oikoi I, 1950–1951 (Labraunda Notebook 29). I. Dahlén and L. Käll. 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Annales: Histoire, Sciences Sociales 68: 927–968 [617– 657 for English translation]. 409 Indices building teams 310–311, 320, 324–325 building techniques 248 burial customs 178, 232, 297 VARIA A C acanthus 323 acanthus-scroll 323 acculturation 233 acroterion 209, 259 aesthetic(s) 6, 9–10, 94, 167, 173, 181, 184, 189, 192, 261–262, 298, 308, 310, 324 Agora v, 3, 19, 34, 45, 47–48, 50–52, 116, 169–170, 192, 195, 218, 220, 226, 228–229, 251, 265, 267, 298, 305, 317 Amphictyony/ Amphictyons 250, 268–269, 275, 278 amphiprostyle 249, 253, 258, 260 anakalypsis (gesture) 257 anthemion (palmette) ix, 260, 299–300, 303 architect(s) 249, 254, 270, 275–276, 279 architecture ii, 5–6, 20, 60, 101, 104, 109, 112, 248–249, 251–258, 260, 262, 265, 279, 281, 285, 298, 309, 324–325, 338 architectural landscape 261, 266, 275 Attic/Athenian architecture 248–254, 255–260 Cycladic architecture 248, 265 artisans 2, 5, 24, 26, 42, 45, 52, 78, 181, 200, 235, 245, 261, 263, 266, 269, 275, 279 axe v, 25, 27, 78, 310 carpenter(s), carpentry 118, 133–134, 276, 278, 309 cart(s) 269, 273, 275, 277–278 cart-route 269, 273, 275, 277–278 carving ii, vii, 4, 94, 99, 109–110, 112–114, 116, 118– 122, 124, 129, 131–134, 141, 145, 151, 156, 159, 162–164, 167, 169–173, 197, 264, 277, 285, 310, 313, 324 caryatids 258–259, 264 casting iv, v, viii, 9–41, 48–49, 52, 77–78, 204, 221, 278 chaîne opératoire ix, x, 5–6, 9, 92, 120, 200–201, 204–206, 212, 242–243, 280, 282, 291, 293, 297, 303, 326–330, 332–337, 339–353 chalk 97, 171 glauconious 97 ‘Good-Stone of Valenciennes’ (Bonne-pierre de Valenciennes) 97 chelys 326–327, 336, 341–342, 345–346, 350 chipping (stone, marble) 270, 272 marble chipping 270 chisel vii, 81, 93, 112, 114, 116, 167, 172, 291, 313, 316, 318 claw-chisel 93, 112, 291 flat chisel 112, 116, 291 gradine 93, 112 point-chisel vii, 112, 167, 313, 318 city walls iv, 4, 13, 42, 47, 49–50, 52, 202, 216–218, 220, 306, 310 clamps ix, 248–249, 251, 253–254, 256–257, 277–279, 317–318, 321 (double) T-clamps 248–249, 251, 253–254, 256 dovetail 253, 256 colonisation 232–233, 245 conglomerate 20, 265, 269, 332, 345 construction i, ii, viii, 4–5, 10, 20–22, 24–25, 40, 51, 60, 66, 68, 72, 76, 80–81, 84, 88, 99, 101–103, 105–106, 122, 133, 135–136, 142–144, 146, 162, 165, 169, 175, 180–181, 194–195, 197–199, 209, 216–218, 222, 233, 235, 246–255, 257, 259, 261–263, 266– 269, 272–273, 275–282, 285–288, 291–294, 298, 306, 308–311, 313, 317, 321, 323–325, 327–329, 333, 336, 340–341, 346–347, 351 contractor(s) 250, 276 coroplast, coroplath ii, 200–201, 203 crew 263, 293 B Basilica 128, 156, 317, 319–320, 322–323 beam-holes/beam-sockets 308, 321–323 bichromy 265 bird-carrier 205 blueprint 3–4, 98 breccia 265 brick-yards 272 building ii, iii, iv, v, vi, 2, 4–6, 9–14, 17–23, 26–27, 32, 43, 45, 50, 52, 54–55, 59–61, 63–64, 66, 68, 71–72, 76–77, 80, 84–86, 92, 94, 101, 103–104, 106, 110, 119, 121–122, 128, 133–134, 142, 148, 155, 159, 161–162, 203, 214–215, 220–221, 228, 233, 247–251, 253–255, 257, 259–262, 264–267, 269– 270, 272, 275–282, 285–287, 293–294, 298–299, 304–306, 308–314, 317–321, 323–325, 335, 346 building accounts 266, 270, 275–277, 287 building crews 261 building process/procedures/programs ii, 4, 13, 261–262, 266, 278–281 410 Indices crust 211–212 cult, cultic ii, 3, 6, 43, 69–71, 77–78, 85, 107, 109–110, 121–122, 141–144, 200, 206, 208, 212, 228–229, 232, 250, 252, 261, 272, 278, 286, 303 culture, cultural 1–2, 4–5, 11, 18, 24–38, 54–55, 68, 70– 71, 73, 110, 115, 117, 123, 127–132, 137–140, 165, 173, 184, 194, 197, 200, 203, 208–212, 215–217, 219, 221–233, 235, 241–246, 255–256, 261–262, 264–265, 272, 276, 296–297, 301–302, 304, 316, 330, 335, 351, 353 cultural hubs 231–232, 241, 246, 261–262 219–220, 222, 224, 233, 235–237, 241, 243–246, 266, 317 fiscal 42, 52 flakes (stone, marble) 2, 270, 272, 313 flax v, 57, 63–67, 84 foot 26, 80, 116, 183, 202, 241, 250, 259, 286, 324 Attic foot 26, 250, 259 fortification(s) ii, ix, 12–13, 42, 80–81, 84–85, 88, 101, 104, 136, 183, 217, 279–280, 282–288, 291–294, 306, 308, 310 foundry, foundries iv, 2–3, 11–14, 16–17, 19–21, 24–27, 29–30, 34–40, 48–49, 278 frieze 103, 257, 259, 263, 314, 323–324 funerary, sepulchral ii, ix, 2–6, 13, 140, 175–176, 178–184, 190, 193–198, 215, 220, 229, 232, 238, 255–256, 258, 296–307, 310, 338 D demolition, demolition team 71, 84, 103, 269, 310–311, 317, 324 demoulding 201, 207 deposit 201–202, 220, 229, 314 disassembly 317, 319 disjecta membra 259 dismantling 86, 101, 317, 321 divination 262 dowels 172, 249, 257, 277–278, 317 ‘Dragon Houses’ 110, 122, 143 dump (production dump) 27, 37, 101, 106, 202 dyeing 3, 42, 47, 50, 55, 57–58, 60–63, 65–66, 68 dynamics ii, 5, 79, 200–201, 203–204, 211–212, 242, 245–246, 261–262, 266, 281, 296 G geological fault 263 glutinarius 81, 83 graffiti, graffito 39, 72, 89, 316–317, 324 grave marker 298–301, 304, 306 guidelines 3–4, 178, 275, 279 guilloche pattern 257, 260 H Halos 267 hydriaphoros 303 Hydrophoros ix, 302–303 hypostyle viii, 248, 251–252 E earthquake 49, 55–57, 262–263, 266, 277, 298, 323 echinus 257, 259, 264 economy 3–4, 43, 57, 66, 68, 91, 96, 112, 263, 311 construction economy 311 embodiment 326, 347 emic approach 231 engineering 137, 141, 264, 276, 330 entrepreneur(s) 319 erasure 300, 316–317 ergonomics 2, 4–5, 236, 243 extraction i, vii, 3, 81, 91, 95–99, 109–110, 118, 120, 122, 125, 129, 131–133, 146, 151–155, 165–166, 173, 204, 272, 286, 290 I ideological 281, 309 ideological appropriation 309 imbrex 209 immaterial, immaterial resources 2, 5, 230, 233, 241–246, 351 immersion v, 58, 64–65, 122 immigrant (artisans/craftsmen) 244 impression 25, 113, 204, 251, 331, 346, 349–350 Ischegaon 266–267, 276 itinerant (artisans/craftsmen) 5, 212, 260, 278 F K fasciae 259 figurine(s) viii, 60, 201, 205, 207, 210, 221 a leggio 211 bird-carrier 120, 205 dedicant 205, 244 enthroned viii, 201–202, 206–207, 209–211, 213 potnia theron (mistress of animals) viii, 208 protomai (busts) 211, 213 symposiasts (participants in feasting) 209 warlike gesture viii, 208, 210 fire, firing 14, 17–18, 20–26, 28, 35, 38, 42–43, 47–48, 50–52, 71–72, 76, 85, 110, 176, 181, 201–205, 212, karstic 231, 319 kiln v, vi, viii, 3, 47, 52, 69, 72–74, 76, 83–86, 88, 90–91, 93–94, 104, 202–203, 214, 218–220, 222, 224, 226–227, 233–234, 236–237, 241, 245, 323 knowledge 1–2, 4–6, 9, 14, 22, 27, 54, 81, 164–165, 175–176, 184, 200, 205, 211, 213, 230–231, 233, 235–238, 241–246, 259, 277, 279–281, 287, 306, 328, 331–332, 334, 336, 340–342, 344–346, 348–351 knowledge layers 235 knowledge transfer 230, 233, 235, 242 411 Indices indigenous knowledge 231 traditional ecological knowledge 230–231, 235 knowledgescape 230–247 170–171, 203, 244–245, 277–278, 311, 317–318, 321 metallurgy 26, 42 metalworker 277 metic(s) 39, 41, 302 mobility 4, 46, 230, 233, 238, 241, 244, 246, 261, 266, 275, 279 model iv, 9, 13–15, 23, 35–36, 38–40, 65, 68, 98, 172, 181, 197–198, 201, 245, 250, 259, 282, 293, 297, 328, 335, 340–341, 346, 349–350, 352–353 montage 277, 279 mortise, mortise-and-tenon vii, 94, 205–207, 209, 256 mould iv, 5, 9, 11, 13–14, 16–30, 32–40, 52, 90, 106, 201–208, 210, 219 mounting 20, 277 music 164, 327, 336, 338 musical instruments 326, 338, 342, 345, 350 L labour ix, 68, 83, 85, 110, 114, 118, 120, 133, 141, 163– 164, 168, 172, 181, 197, 261, 275–277, 281–282, 287, 291, 298, 337, 348 organisation of labour 281 labourmen 261, 275–276, 285 landscape 105, 243, 261–262, 265–266, 275, 278, 298, 309 architectural landscape 261, 266, 275 lapis siphnius 269 law, legislation 40, 43, 45, 50, 52, 54, 217, 298, 303, 307, 310, 316–317 lewis 249 lime v, vi, 58, 61–62, 68, 83–85, 92–94, 103–104, 311–313, 317, 323 lime kilns 92, 103, 311–312 lime production 84 limestone vi, vii, 6, 92–95, 97–98, 100–101, 114, 138, 145–146, 149–152, 155, 161, 171, 178, 189, 256–257, 262, 265, 276–277, 285, 320 literacy 230, 244–245 locus 262 logistics 4–5, 275, 281–282, 303 lyre, Elgin lyre iii, ix, 6, 92, 326–329, 331–342, 344–346, 350, 352–353 N naiskoi 253, 298 naopoioi 250, 275 nuisance i, 3, 42–43, 45–47, 49–52, 54, 261, 277–278 O offering 165, 193, 198–199, 204–205, 213, 268, 281, 339 oolitic 146, 265 open-air, outdoor ii, vii, 2–5, 17, 69, 72, 96–98, 121, 125, 127, 130, 132–136, 141, 146, 148–150, 152, 157, 161, 203, 220, 247, 267, 269, 276, 280, 286, 317–318 M P manpower 4, 261, 266, 275–276, 278–280, 293 marble ii, iv, vi, vii, 3–6, 10, 26, 68, 84, 92, 101, 104, 106, 109, 112–115, 118–119, 122, 133, 142–143, 145, 153, 163–173, 218, 226, 248–249, 252–254, 257, 262–266, 270, 272–273, 275–276, 285, 288, 291, 298, 303, 308–319, 323–324, 338 Docimium 166 Luna 142, 166 Parian 68, 116, 166, 257, 266 Pentelic 248–249, 254, 265, 276, 303 Proconnesian 318 Sivec 167 masonry 60, 128, 220, 258, 263–264, 266–267, 272–273, 285, 288, 313, 334 irregular 156–157, 160, 178, 258, 285–286, 288 opus vittatum mixtum 93 trapezoidal 72, 74, 258, 285, 288 memory 135, 144, 235, 261–262, 297, 306–307, 348 collective memory 261–262 lieu de mémoire 307 mnemonic 297, 303 social memory 235 merge, merging crews 261–262 metal v, ix, 7, 9, 12, 24–26, 28–29, 33, 35, 37–38, 60, 68–69, 71–72, 77–78, 84, 90, 118, 125, 146, 166, paint(ing) vii, 6, 92, 164–171, 173, 226–227, 300, 329 paradigm 250 patron 143–144, 169, 172, 252, 256 Peloponnesian War 39, 46, 218, 258 Penteli, Pentelicon vi, 110, 113, 115, 118–120, 288 peri-urban/suburban 2, 42–43, 46, 48, 50, 52, 54, 231, 233, 244, 246, 256 Persian invasion, Persian Wars 216, 249, 252, 278, 298, 304 pick 81, 112–114, 133, 152, 318 light pick 112–113 pigment(s) 6, 50, 166, 171 pinakes 212, 298 plaque(s) 258, 326 plaster(ing) iv, vi, 10, 38, 66, 103, 105, 172, 283, 312, 326, 331–332, 341 plastic (creation, decoration) v, vii, 72–73, 116, 185– 188, 195, 199–200, 205, 209, 211–212, 237 point vii, 4, 10, 23, 25–27, 29–30, 32–33, 37–38, 41, 52, 88, 113–114, 116, 130, 137, 139, 142–143, 163, 165, 167, 169, 171–172, 194, 200, 212, 250, 256, 265, 272, 283–287, 291, 293, 310, 312–313, 318, 327–328, 330–332, 334–340, 342, 345–346, 348–351, 353 412 Indices polis, poleis vii, 42–43, 45–46, 50, 52–54, 70, 72, 78, 128, 200–204, 207–212, 244, 275, 304, 306, 317 politics, political 2, 5, 39–40, 43, 45, 54, 110, 134, 180, 216, 244, 248, 251, 253–254, 261–262, 267, 269, 278–279, 309 polychrome, polychromy ii, 6, 163–167, 170–173 poros (stone) 249, 265–267, 273, 275–276, 298 marly poros 265 portrait vii, 6, 166–167, 170, 172, 258, 264 potter v, 30, 85–86, 88–89, 91, 182, 201, 203, 219, 229, 238, 244 pottery 2–3, 5, 11, 21–22, 39, 42, 51, 60–61, 65, 68–69, 79–80, 84–89, 91, 175, 184, 197, 199, 214–215, 218–222, 226–233, 235–239, 241–246 impressed/stamped 60–61, 63–64, 72–73, 189, 194–196, 199, 229, 238–239, 241, 245–246, 249 strigilated 238–239, 241 vacuolated 237–239, 241 with plastic decoration 195 pottery production 2, 5, 69, 80, 84–87, 214–215, 219, 222, 230–231, 233, 238, 241–242, 244–246 prytaneia 250 punch 313 Pylaea 268–269, 273 Pythian Games 265, 275 S Samian Ware 90 sanctuary, sanctuaries v, viii, ix, 2, 4–5, 13, 20, 43, 48, 50–52, 66, 71, 77, 106, 110, 113–114, 119–122, 128, 141, 169, 201–204, 206–208, 210, 228, 235, 245, 248–251, 253, 256, 260–269, 271–273, 275–278, 286, 293, 298–300, 302–304, 306, 308, 311, 313, 317–319, 337 scaffold(ing) ii, 261, 277–278 setting 1–2, 4–5, 7, 26, 54, 68, 98, 142, 170, 215, 251, 262, 265–266, 323 shipwreck 318–319 Mahdia shipwreck 127 Majorca shipwreck 127 site-plan(ning) 3, 269 sketch(ing) iv, vi, 18, 110, 148 smith(ing) 309, 338 metalsmith 121–122 smoothing 112, 116, 118, 120–121, 204, 209 social anthropology 231 socio-natural network 230–246 space, spatial i, ii, v, 2–5, 8, 14, 17, 19, 42–43, 46–48, 50, 52, 54, 69, 70, 77, 79, 84, 87, 99, 101, 103, 106, 110, 121, 125, 163–165, 168–173, 178, 181, 184, 196, 198–199, 201–203, 212, 215, 218, 224, 231, 233, 236, 241–242, 246, 261–262, 265–267, 272, 275, 282, 296–297, 302, 306, 310, 314, 318, 323, 334–336, 339 specialised, specialisation i, 1–6, 52, 55, 63, 65–66, 68, 72, 77, 88, 90–91, 109–110, 124, 163, 166, 169– 170, 172, 175, 181, 200–201, 203, 215, 228–229, 235, 244, 260–261, 263, 266, 275, 277, 279, 281, 305–306, 313, 324, 350 specification 57, 197 spolia, spoliation ii–iii, ix, 5–6, 107, 128, 295, 298, 308–311, 313, 315–321, 323–325 steatite 269 stone(s) v, vi, vii, viii, ix, 2–3, 6, 20, 26, 39–40, 55, 57, 62, 71, 77–78, 80–81, 84, 95–100, 103–104, 109–110, 112, 114, 118, 120–122, 124–125, 127–132, 134, 145–146, 150, 165–166, 168, 170, 173, 178, 189, 196, 216, 218, 220, 234, 236, 248–249, 256–257, 263, 265, 272–273, 276, 282, 285–294, 298–300, 302–308, 310–319, 323–324, 328, 345 stone masons(s) 40, 110, 120, 306 stone resources 311 stratigraphy 258, 269 stuccoing 272 Q quarry, quarries 3–4, 7, 86, 92, 95–100, 108–114, 116–122, 124–125, 127–136, 138–156, 159–162, 165–166, 169, 172, 214, 217, 262, 272, 275–278, 285–288, 291–293, 307, 310–311, 318, 324 quarrying channel(s) 313–314 quarrymen 3, 99, 110, 113, 120–122, 135, 141, 143, 146, 152–153, 161, 261, 282, 285, 293 R recycling 5, 296–297, 309–310, 317, 319 regional identities 200–213, 262 relief 3, 60–61, 93–94, 109, 118, 135–143, 181, 183, 189–190, 194–195, 205, 257, 263, 273, 298–306, 316, 339 funerary, grave 299, 302–303, 305, 381 votive 301, 303 remodelling 72, 77, 169, 251, 265–266, 269, 278 replica 327, 333, 337, 341 research history 298, 337 resources 5, 115, 117, 123, 133, 196, 199, 230–231, 233, 241–244, 246, 281, 287, 290, 294, 311, 325, 332 restoration ix, 101, 169, 263, 265–267, 284 retting 64–65 reuse, re-use ii, 5, 62, 65–66, 122, 189, 267, 295–311, 314, 317, 319–320, 323–324 ritual v, 2, 6, 86, 90, 200, 203, 213, 226, 238, 241, 262, 265, 267, 297, 304, 307 riverine 231, 236 T Tabula Peutingeriana 232 Tanning 42, 47, 50, 65, 81 Tax, Taxation 52, 54, 275 template 32, 250 tenon vii, 205, 207, 209, 256 413 Indices theory of science 326, 328 titanolithos 265 tool iii, 27, 63, 113, 130, 133, 152, 191, 204, 308, 310, 313, 315–316, 330, 334–335, 337, 348–350, 352–353 tortoise 285, 326, 328–329, 331, 333, 336–337, 340–342, 346 torus 257, 259 traction 276–277 transportation 1, 4, 29, 99, 109–110, 121, 142, 181, 217–218, 220, 241, 269, 272, 276, 278, 285–286, 290, 292, 294, 306, 338 treasury, treasuries viii, 114, 249, 263–269, 272–273, 275, 277 triskeles 258 V vista 262, 266 votive v, 6, 13, 77–78, 121, 135, 142, 201–202, 210, 218, 226, 232, 261–263, 265, 267, 269, 275, 278–279, 301, 303 W wagon 218, 276 waste 12, 15, 25–28, 30, 36, 43, 45, 50, 54, 71, 77, 84–85, 97, 101, 120–121, 153, 203, 221, 310 waste management 310 wedge(s) vi, ix, 129–130, 133, 146, 286–287, 318 workforce ii, 3–4, 32, 68, 247, 254, 261, 266, 275, 278, 281–282, 294 workshop(s) i, ii, iv, v, viii, 2–4, 6–7, 9–41, 47–48, 50, 52, 55, 57, 60, 63, 65, 68–69, 71–73, 76–77, 90, 121– 122, 124, 134, 163–166, 168–173, 175, 180–181, 184, 190, 196, 199–201, 209, 212, 214–215, 219– 222, 224, 228–229, 233, 235–237, 241–246, 249, 255–260, 272, 275, 278, 297, 305–306, 309–311, 317, 323, 330–332, 334–335 worksite(s), working site(s) 2, 5, 27, 43, 250, 261, 263, 266, 272, 275–276, 280, 287, 304 U unfinished vi, ix, 2, 4, 109–110, 112–122, 129, 172, 266, 272, 276, 279, 305 urban i, 2–4, 8, 12, 42–43, 45–52, 54, 77–79, 81, 91–92, 99, 154, 156, 161–162, 201, 204, 210, 231, 233, 235, 237, 241, 243–245, 278, 286, 293, 298, 310–311, 313, 317, 319, 323 urban elite 310 414 Indices LOCORUM Central Europe Asia Minor Bavay 79–80, 88–90, 95, 99–100, 106 Bourlon 89 Britannia 91 Brohltal (Germany) 143 Cambrai 80, 88, 99 Colijnsplaat 100 Douchy 95–100 Dyle river 80 Famars i, 4, 79–81, 84, 87–90, 92–93, 95–96, 99–100, 106–107 Fanum Martis i, 4, 79–80, 83, 91–94, 102–103, 106 Gaul (Gallia Belgica, modern France, Belgium, Netherlands), Gauls i, 3–4, 79, 83–84, 88–92, 101, 107, 143, 262 Heure river 80 La Rhonelle (Famars) 93, 101, 103, 106 Lezoux 90 Mont Houy 80, 86 Norroy-lès-Pont-à-Mousson 143 Nouvelles 106 Noyon 89 ‘pea garden’ (Famars) 101 Petit-Enghien 89 Pont-sur-Sambre 88–90 Rhine river 88, 90–91 Rhonelle river 101 Scheldt river 80, 90, 96, 100 Selle river 96–97 Technopôle (Famars) 84–86, 88–90, 93–94 Tongres/Tongeren 81, 90, 100 Tournai 80, 84 Wörth (Germany) 143 Aizanoi 317 Alabanda 133 Anazarbos 323–324 Aphrodisias 6, 163–164, 166, 169–173, 310, 323 Bithynia 142 Caria 134, 169 Cilicia 308, 319–323 Claros 308, 311, 316–319, 324, ix Clazomenae 2 Corycian Cave (Clifftop Temple-Church) 308, 319–322, 324 Ephesus 43, 46, 169, 317, 319 Göktepe 166–167, 169 Gordion 341 Halicarnassus 113, 169 Harpyies piller (Xanthos) 256 Heraclea at Latmus / Heraclea Latmia (ad Latmum) 133, 311 Heroon of Pericles (Limyra) 255, 258, 260 Hierapolis (Phrygia) 3, 263, 267, 277, 310, 324 Inscribed Pillar (Xanthos) 256–257 Ionia 248 Kalabaktepe, temple of Athena 2 Labraunda 308, 311–316, 318–319, 324, ix Lagina 316 Limyra 255, 258–260, viii Lycia 5, 255–258, 260 Lydia 277 Miletus 2, 70, 114, 116, 119, 275, 280, 293, 316 Mylasa 133, 265, 311, 313 Myndos 133 Nereid monument (Xanthos) 255, 257–260 Pergamum, Pergamenes 263, 275–276 Phrygia 3, 263 Priene 46, 275 Sagalassos 310, 317 Sömek, Silifke 136 Xanthos 5, 255–259 Cyprus Cyprus 62, 65–66 Idalion 65 Nymphaeum of Kafizin 65 Greece Balkans Aegean Islands Brač island (Croatia) 142 Cernavoda, Dobrudja (Romania) 142 Hajdučka Vodenica (Serbia) 143 Novae (Bulgaria) 142 Sirmium (modern Sremska Mitrovica) 142 Upper Moesia 143 Agathonisi 4, 133, 280, 283–284, 286 Agia Eirene 128, 130–131 Amorgos 64 Apollonas 110, 112, 114, 116–118, 121–122 Argos 45, 48, 52–53, 124–125, 127–130, 132–134, 201, 248, 251–254, 262–263, 275, 341 Avlaki 128–129, 131–132 Avlemonas 110, 121–122, 130 Cnidus 275 Cos 124–125, 127, 130, 132–134, 299 Cyclades 3, 60, 64, 68, 112, 249, 253, 265, 276 Delos 43, 45–46, 50, 68, 125, 133, 248–251, 253–254, 264, 267, 277, viii Black Sea Region Borysthenes 70, 72, 77–78 Histria 72 Olbia Pontica i, 2, 69–70 southern temenos (Olbia Pontica) 70–71 415 Indices Strymon river 301 Thermes (Xanthi) 136, 143 Xanthi 136, 143 Dodecanese 3–4, 124–125, 127–132, 134, 301–302 Emporio 128 Eretria 48, 50, 113 Euboea 110, 119, 122, 143 Gyali 125, 127 Halasarna (modern Kardamaina) 124–125, 127, 132–134, 299, 301, vi Kamiros 301 Karaviotis 129, 132 Karystos 110, 119, 122, 143 Kastraki 280, 282–288, 291–294 Kefalos peninsula 125, 133 Kimolos 62, 134 Koukounaries 119 Kythera 110, 121–122, 130 Lefkos Cape 132 Lindos 130, 136 Loutra 127 Mandraki 128, 134 Marmari 110, 119 Melanes 110, 112–114, 116, 118–122 Melos 61, 134 Naxos, Naxian(s) 48, 109–110, 112–120, 122, 237, 249 Nikia 127–128, 131, 134 Nisyros 3, 124–128, 131–134 Pacheia 131, 133–134 Palaiokastro 128, 131 Paloi 127 Paros, Parian(s) 2, 45, 68, 116, 119, 121–122, 135, 166, 248–249, 257, 266 Pergoussa 131, 133–134 Pharangi 116–117 Phlerio 116–117 Polyaigos 134 Rhodes, Rhodian(s) 14, 20, 40, 48–49, 52, 130, 132, 136, 255–256, 265, 277, 298, 301 Samos 40, 62, 113, 119, 255 Siphnos, Siphnian(s) 114, 263–265, 267–269 Styra 110, 119 Telos 124, 133 Tenos 3 Thasos, Thasian(s) 5, 43, 45–46, 116, 118, 135–136, 139–140, 142, 144, 153, 203, 248, 252–254, 265, 277, 279 Trapezina 129, 132 Xobourgo 3 Mainland Greece, Peloponnese Acarnania 136, 179, 183–184, 190, 194 Aetolia, Aetolians 4, 175, 179–180, 183–184, 190, 194, 197, 272, 278 Agia Barbara 269–271 Aigion 56 Alyzia 136 Amalias avenue (Athens) 2, 9, 11–14, 16–18, 20–28, 30–38, 40 Anagyrous 250 Anaploga (Corinth) 66 Ano Petralona (Athens) 4, 214–221, 223–229 Aphidnae 250 Arcadia 251, 262, 278 Archontochori 136 Argolid 194 Argos 45, 48, 52–53, 124–125, 127–130, 132–134, 201, 248, 251–254, 262–263, 275, 341 Asopos 110, 122, 138–142 Athens 2, 4, 9, 11–12, 17–19, 22, 24–39, 41–43, 46–48, 50–52, 54, 114–115, 122, 124–125, 127, 134–135, 138–139, 214–229, 248–251, 253–258, 260, 270, 279, 298–303, 307, 316, 326, 338–339, 351 Attica 46, 60, 68, 123, 190, 194, 220, 226, 248–249, 256–257, 260, 303, 317 Bassae 251, 257 Boeotians 275 Castalia (fountain, Delphi) 102, 275 Copais 141 Corinth, Corinthian, Corinthian(s) I, 3, 39, 42–43, 48, 50, 55–56, 65–66, 68, 101–102, 130, 135–137, 140–141, 143–144, 201, 204–206, 218, 255, 267, 272, 275- 276, 313 Corinthian Gulf 3, 68, 276 Cynosarges (Athens) 50 Delos, Delian League 43, 45–46, 50, 68, 125, 133, 248–251, 253–254, 256, 264, 267, 277 Delphi 4, 52, 54, 114, 248, 251, 261–270, 272, 275–279, 319, 344 Dyme 2-3 Eleusis 226, 251, 262, 338 Eleutherae 293 Elis 3, 64–65 Epidaurus 6, 272, 276–277 Erechtheum 33, 249, 257–260, 266, 338, viii Eridanos 12–13, 51, 299, iv Gytheion 137–138, 140–142 Helike i, 3, 55–66, 68 Hephaesteum (Athens) 12, 17, 34, iv Heraeum (Argos) 248, 251–252 Hymettus 51, 110, 122 Ilissos 50, 135, 249, 257, 306 Epirus, Ionian Islands, Macedon, Thrace Corfu 48, 190, 201, 264 Figaretto 201 Kassope 48, 52 Macedon 60, 68, 301 Mon Repos 201 Nestos river 301 Olynthus 43, 46–47, 51 Philippi 136, 139 416 Indices Italian Peninsula, Sicily Isthmia (Hexamilion) 57, 62, 66, 277–278, 311 Isthmus 50, 136–137, 139–143 Kalapodi 278–279 Kastri (Archontochori) 136 Kerameikos 2, 12–13, 19, 47, 50, 220, 226, 299–304, 306–307 Kerynites 57 Khostiai 66 Kirrha 269, 271, 275–277 Krissa 269 Laconia 110, 130, 135–140, 144 Larissa (Argos) 251 Laurium 52 Lebadea 265 Lechaion 276 Lycabettus 12 Megaris 68 Messenia 68, 181, 194 Molykreion 272–273 Mycenae 50, 57, 66, 196 Naupaktos, Naupaktian(s) 184, 190, 265 Olympia 1, 12, 20–21, 29–30, 263, 272 Pancrateion (Athens) 50 Parthenon 6, 43, 249, 257, 263, 276 Patras 2–3, 5, 316 Peloponnese 60, 65, 68, 137, 180, 190, 194, 204, 251, 257, 265, 276 Perachora 134 Phocis 194, 264–265, 272, 276, 279 Piraeus 45–46, 50, 114, 130, 216–218, 297, 338 Plataea 265 Pleistos river/valley 269 Prosilion (Gytheion) 136, 138–139 Prosymna 251 Rachi (Isthmus) 50, 62, 66 Sacred Gate (Kerameikos, Athens) 12–13, 299, 307, ix Saronic Gulf 60, 68, 194 Selinous river 56–57 Selinus 2, 46, 48, 237 Sicyon 68, 276 Smenos river 137 Sparta 114, 253, 339, 351 Stamna 4, 175–176, 178, 180–185, 188–190, 192–199 Sunium 249 Syntagma Square (Athens) 9, 12, 19, 39 Tanagra 60, 253 Tegea 278 Temple of Athena Nike (Acropolis, Athens) 249, 257, 259 Thebes 190 Thespiae 250 Thessalians 270 Thyia / Thyiae 269–270, 275, 278 Vari Cave 135 Vatheia Mouzi 138–139, 141–142, vi Vouraikos river 56 Apennines 5, 230–234, 236–238, 241, 243–244, 246 Apulia 3 Arno river 231 Campania 203, 210 Carrara 92, 104, 106, 142, 166 Como 269 Croton 203, 205, 207, 212, 275 Cumae 203 Epipolai (Syracuse) 293 Etruria / Etruscans 230–231, 244–245 Felsina (Bologna) 233, 238, 241, 243–244 Forcello di Bagnolo San Vito 233, 235–237, 241, 245 Francavilla Marittima 208 Halaesa 50 Incoronata 203–204 Italy 7, 50, 68, 101, 165–166, 169, 203, 211, 232, 269, 297, 303, 307 Ligurian 232 Locri 48, 201, 205–206, 211, 213, 344 Luna (modern Carrara) 142, 166 Magna Graecia 4, 68, 200–203, 212, 237 Marzabotto 233–237, 239, 241, 243–245 Messina 212 Metapontum 11, 202–213 Murlo 14–17, 20, 23 Ostia 39, 317 Pithecusae 203 Pompeii 10, 50, 170–171, 334–335, iv Poseidonia 203–205, 210–213 Reno river 244 Rhegium 203 Rome 50, 84, 142–144, 166, 171–172, 303, 309–311, 318, vii Saepinum (modern Travestere) 50 Selinus 2, 46, 48, 237 Siris 203, 212 Sybaris 45, 68, 202–204, 208–210, 212, viii Tarentum 200–201, 203–204, 209–213, vii Tivoli 169 Tyrrhenian 146, 231, 244 Umbria, Umbrian 232 Venice, Venetic/Venetian 232, 303 Near East and Levant Bīsotūn /Behistun, Iran 136 Doura-Europos 293 Sidon 257, 260 North Africa Alexandria 45, 54, 285, 323 Bou Gaba 155, 157, 161 Bulla Regia 156, 158–162 Carthage 156, 157–158, 160–162, 318 417 Indices Chemtou 146, 152 Dougga 152, 156, 158–162 Egypt 45–46, 60, 62, 64, 68, 165, 277, 323 Elfahs 146, 148–149, 153 Gigthi 156–157, 159, 161–162 Guebellat 149 Hill of Byrsa 157 Hmaïma es Sghira 155, 161 Jebel Ben Klab 149, 151–152, 160–162, vii Jebel Ouahchi 146 Jebel Oust 145, 146, 148–150, 152, 160–162 Jebel Rouas 148, 151–152, 160–162 Jebel Saïkha 152–153, 155–156, 159, 161–162 Mahdia 127, 146 Matmata 152, 155 Medenine 146, 152, 159, 161 Meninx 156–157, 159, 161–162 Merbah Grouz 155, 161 Monastir 146 Oudhna 156, 158, 160–162 Oxyrhynchus 323 Sejnane 146 Simitthus 7, 153 Thuburbo Maius 148, 156, 158–162 Tunisia 145–168 Zaghouan 146, 153 Ziqua 156, 157–158, 160–162 Euthydemos 299 Exekias 1 Georg Wilhelm Friedrich Hegel 165 Geta 142 Hecatomnid 133, 311–312, 314 Herodotus 57, 70, 218, 248, 250, 265, 269 Hippias 201 Homer 175, 218, 251, 269, 342 Idrieus (Hecatomnids) 312, 314 Kheriga (Gergis) or Kherei 256 Kleudamos 277 Korallion 300–301 Krito 301–302 Kuprlli 256 Leonardo Da Vinci 10, 164 Licinius 142 Majorian 310 Nericcus 89 Nero 135, 141, 143 Nicodamos 276 Onesagoras 65 Pantaleon 201 Passion 276 Pausanias 12, 64, 217, 269, 303 Peisistratus 51, 250, 253, 256 Pericles 254–255, 258–260 Phidias 1, 20–21, 48, 265, 272, 277 Philoxenus 201 Pliny 57, 127, 145, 232, 265, 269 Plutarch 217, 232, 276–277 Polycletus 9–10, 40 Praxiteles 303 Scopas 1 Septimius Severus 142, 167 Sosicles 40 Strabo 46, 124, 133, 263 Stratocles (stele of) 258 Telecles 40 Theodorus 40 Thrasyboulos 39 Thucydides 39–41, 46–47, 216, 218, 250, 253–254, 306 Tiberius 143 Timarista 301–302 Trajan 143 Valerius Valerianus 142 Vespasian 143 Zenon 65 PERSONARUM Historical Agathon 270, 300 Akidon 275 Alcamenes 9, 33, 39 Alcmaeonids 248, 266, 299 Alexander the Great 65, 256, 306 Anytos 50 Apollonius 201 Archedamos 135 Benedetto da Montevarchi 164 Benvenuto Cellini 164 Caligula 143 Calliteles 277 Caracalla 142, 319 Claudius 143 Cleon 50 Cypselus 267, 277 Daochus 270, 278 Dexileos (stele of) 257, 302 Dionysius 201 Domitian 143 Elyanas 257 Eprios Agatheinos 315 Erbinna 256–257, 259–260 Euainetos 278 Euterpidas 272 Divine/Mythical Amymone 102 Apollo i, 45, 70, 84, 92–95, 101–102, 104, 106–107, 110, 113, 121, 135, 233–237, 239, 245, 248, 250–251, 254, 263–269, 271, 275–277, 279, 293, 299, 308, 317–319, 324 Ares 136, 317 Asclepius 135, 272 418 Indices Athena 2, 11, 34, 38–39, 48, 70, 136, 248–249, 252–254, 256–257, 259, 263, 272, 275, 277–279 Attis 106–107, vi Caelestis 156, 162 Cernunnos 90 Charon 302, 306, ix Cybele 106, 135, 226, vi Daphne 94, 102 Ephialtes 121 Gorgon 202 Heracles / Heracles i, 3, 50, 78, 110, 135–144, 265 Hermes 273, 332–333, 336, 341–342, 346 Hygeia 136 Iris (statue of) 257, 324 Liber Pater 142 maenad 101–103 Mars 92, 107 Marsyas 92, 94, 104, 107 Mercury 90, 106–107 Midas 104 Mithras 6, 136, 143 Nehalennia 100 nymph 102 Otos 121 Pan 107, 135, 138 Poseidon 66, 102, 128, 218, 278 ‘Thracian rider’ / heros equitans 301 419 Ergasteria offers insights into aspects of creation, manufacture and processing in antiquity, viewing craftsmen and artists in their socio-cultural and geopolitical setting. New finds from Greece, North Africa, the Black Sea, Italy and Central Europe provide a trigger for discussion. Bronze foundries for life-size statues were the birthplace of proportions and harmony which imbued the perception of beauty, but could also be a source of nuisance. The mastery of modelling in any material evolved from coping with constraints in the course of manufacture, and craftsmen invented ways of overcoming obstacles. Polyvalent ateliers suggest the artisans’ adaptability, in addition to their specialisation. An investigation of the first step in the process, namely the extraction of material, reveals that quarries were manned with a specialised workforce (stonecutters, sculptors) who carved the marble volumes to an advanced stage, prior to their refinement. Meticulous preparation was also crucial in the field of logistics, particularly in large-scale public works, such as temples or fortifications. Interaction of artists with architects and the workforce in general can be primarily observed in sanctuaries, which became open-air workshops of stonemasons, carpenters etc. Accordingly, part of the book is devoted to construction-sites, the mobility of craftspeople who propelled the diffusion of knowledge, and the range of practices employed in individual settings thereby allowing us to grasp both the diversity of artistic expression and the composite population that it may reflect. The mountainous, littoral, urban or suburban space in which manufacturing took place is also taken into account, along with the socio-historical context, which had an impact upon artisans, as politics and military coalitions could instigate or disrupt a creative process. Cases of adaptive reuse are evaluated from the viewpoint of aesthetics, ergonomics, managerial issues concerning spolia, and the technical skills required. The book benefits from the intersection of the contributors’ perspectives, mirroring the multifaceted nature of the topic. Elena C. Partida is a Research Archaeologist at the Hellenic Ministry of Culture. She leads interdisciplinary studies on the architecture and sculpture of the Graeco-Roman world with emphasis on ancient Greek sanctuaries, the archaeology of Delphi, Achaea and Paros. Author of museum and open-air exhibitions, she is a member of the Campana Reliefs Network, co-director of the architectural investigation of the Temple of Zeus at Lebadea, and co-editor of the collective volume Listening to the Stones (Archaeopress 2019). Constanze Graml is currently a Lecturer on Classical Archaeology at the universities of Regensburg and Gießen, Germany. Her research interests centre on ancient Greek religion, sacred landscapes and digital archaeology, and she is currently conducting a study on the rock-cut reliefs of Philippi, ancient Macedon. She is a member of the Trochoeides Network on the study of the archaeology of pre-Classical Athens and co-editor of the associated conference proceedings Rethinking Athens before the Persian Wars (2019). Archaeopress Archaeology www.archaeopress.com