- Richard Daniel De Puma –
15 Boitani 1983. See also, Maria Helena Marchetti, “La produzione del bucchero a Veio: alcune
considerazioni” in Naso (ed.) 2004: 17–27.
16 Petrizzi 1986: 211–214, nos. 576–595. Most of the vases are not “true” bucchero, but a very
close approximation called buccheri a superfi cie bruno-marrone. Petrizzi dated this tomb circa
675–650 bc. See also, Daniela Locatelli, “Tarquinia” in Naso (ed.) 2004: 50–56, pl. 1.
17 Cristofani and Martelli 1983: 265, no. 45. Note that the decorative motifs are exactly like
those found on most bucchero examples.
18 The word implies a notched wheel-like device (roulette) that could be rolled into the leather-
hard clay to produce dotted lines before fi ring. Regter (2003: 24) has shown that “fans” were
more likely made with a simpler notched blade, probably of wood. However, I suspect that
impressed decoration consisting of longer lines and other (non-fan) motifs could have been
made (more easily) with a roulette, as well as (very carefully) with a notched blade (see Regter
2003, fi g. 6, b.5).
19 Martelli 1994, 763.
20 The relief designs on the wide handles of Nikosthenic amphoras were produced with matrices
that have not survived. These are probably the same kind of matrices, perhaps made of wood,
used to impress the friezes on contemporaneous Caeretan red impasto pithoi and braziers. For
more on these, see Pieraccini 2003: 182–188; Serra Ridgway 2010: 129–134.
21 Cristofani and Martelli 1983: 43–44, fi g. 6; 264–265, no. 42.
22 Sciacca and Di Blasi 2003: 52–61, nos 14 and 15 (fragmentary) with comparisons.
23 Rome, Museo di Villa Giulia inv. 61544: Canciani and von Hase 1979, no. 9; Cristofani and
Martelli 1983, no. 19.
24 Canciani and von Hase 1979, no. 28, pl. 19, 2. This silver kotyle shows the distinctive dotted
fan patterns so common on bucchero sottile vessels. See also, the fragmentary example no. 29,
pl. 18, 4–5.
25 Rasmussen 1979: 117.
26 De Puma 2009: 306, Table I, nos 10–12; Sciacca and Di Blasi 2003: 79–80, Fig. 13.
27 The Chigi vase was found in 1881 at Monte Aguzzo, near Veii, and is now in the Villa Giulia,
Rome, inv. 22679.
28 For a recent interpretation, see Warden 2009.
29 For these interpretations, see Rizzo 2001; Belelli 2002–2003; Bonfante and Bonfante 2002:
134–136; Riva 2010: 63–71. My own preference is that it represents a folded cloth thanks to
the fringes and hems, details not likely to appear on a ship’s sail or the Golden Fleece.
30 Serra Ridgway 2010.
31 For related vases, see Bruni 1989; Camporeale 1991: 93–95, no. 83; Perkins 2007: 16, no.
- For bucchero associated with Tarquinia, see Daniela Locatelli, “Tarquinia” in Naso (ed.)
2004: 49–89.
32 University of Iowa Museum of Art, Iowa City inv. 1970.57: De Puma 1974.
33 See, most recently, Barbara Belelli Marchesini, “Appunti sul bucchero vulcente” in Naso (ed.)
2004: 91–147. A number of closely related parallels may be added now to the list I published
in 1974: see Pellegrini 1989, 81–83, nos 261–264, pls LIV–LV and Belelli Marchesini in
Naso (ed.) 2004, 97–101, pl. 4, 1–3 and pl. 6, 1–4.
34 University of Iowa Museum of Art inv. 1971.249, unpublished. For a closely related example,
see University of Pennsylvania Museum of Archaeology and Anthropology inv. L–64–539, on
loan from the Philadelphia Museum of Art (original inv. no. 14–335): Turfa 2005: 39, Fig.
25; 198–199, no. 201.
35 Sometimes these handles can become very ornate with multiple sculptural elements. See, for
example, Berkin 2003: nos 22–23, 29–36, fi gs. 13–17, pls 6–11. For the Mistress of Animals
motif, see Valentini 1969.