- Laura Ambrosini –
Etruria (Martelli), or even an Ionic product imported into Etruria (Hemelrijk). Martelli
includes the belly amphora in her Chanenko Group.^28 This group comprises also small
neck amphorae.
THE BLACK-FIGURE POTTERY^29Despite the formidable competition of imported fi gured ceramics, a production of
Etruscan black-fi gured pottery is emerging. Among the masters, in the fi rst place, is the
Ionizing Paris Painter who founded in Vulci the so-called Pontic workshop around 550
bc or shortly after.
The Pontic Group operates in Vulci between 550/540 and about 520 bc. The Pontic
vases were initiated by a Greek immigrant from Ionia, since their style is pure Ionian.
Most of the vases are amphorae with myth and animal friezes, following the model of
the Attic “Tyrrhenian” amphorae, vases for the élites of the major Etruscan cities of
the Tyrrhenian coast (Caere and Vulci). We can distinguish different groups: Pontic
Ceramic^30 (Paris Painter,^31 Amphiaraos Painter,^32 Tityos Painter,^33 Silenus Painter^34 and
the Bibliothèque Nationale 178 Painter), La Tolfa Group,^35 Ivy Leaf Group,^36 Micali
Painter and his school.^37
One of the themes most frequently represented by the Paris Painter is a horseback
race. In the fi rst phase of his activities the Corinthian infl uence is stronger and the themes
are generic fi les of human fi gures or animalistic ornaments, while later episodes related
to the world of myth and heraldic groups of animals in secondary positions appear. The
Amphiaraos Painter and the Tityos Painter are more eclectic and closer to Etruscan taste.
In works by the Amphiaraos Painter (530–520/515 bc) the fi gures are disproportionate
and often overfl owing, mythological scenes are very rare, the animal repertoire is varied.
The Tityos Painter uses dynamic pattern, with quick drawing of fi gures, almost sketches.
He is particularly inclined to decorate vases with mythological scenes, especially with the
myths of Heracles. The Painter of Bibliothèque 178 (530–510 bc) in the fi rst part of the
last quarter of the sixth century bc painted vases with narrative scenes in which he inserts
decorative animals. The Painter of Silenus (530–515/510 bc), a student of the Paris
Painter, favors Dionisiac themes, although the ambush of Troilus by Achilles appears on
only two vases, as also the sacrifi ce of Polyxena.
The Ivy Leaf Group (540–520 bc), localized at Vulci, takes its name from the large
leaves of ivy held in the hands of leading fi gures. According to a recent hypothesis of
L. Bonfante they would reproduce leaves of cloth, wood or other materials carried in
procession during ceremonies.^38 This group shows a strong Attic infl uence (Amasis
Painter and Nikosthenes) and includes about fi fty vases, almost all amphorae (all
of type B), characterized by extreme rigidity of the fi gures, and an overabundance
of phytomorphic decoration. Often there are animals and imaginary creatures.
A local echo of the North-Ionian narrative vein occurs in the Tolfa Group.
The Tolfa Group (530–510 bc) (Fig. 52.11) consists of neck-amphorae (typical shape
of Caere), decorated with large metopes on the shoulder and body. The themes are simple:
human (or riders on seahorses or horses, newts, winged fi gures) or zoomorphic (panthers,
horses, deer, Chimeras, Sphinxes, griffi ns, Sirens), and the only mythological episode is
Achilles’ ambush of Troilus. In this group, during the third quarter of the sixth century
bc, there are two Painters: (Painter A or the Fat Painter or the Lotus Painter; and Painter
B or the Thin Painter or the Painter of Group B). The workshops appear to be localized