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Ancient Roman pottery

Ancient Roman pottery encompasses the wide array of ceramic vessels produced across the Roman Republic and Empire from approximately the late 3rd century BCE to the 5th century CE, primarily using local clays fired in kilns to create functional items for storage, cooking, transport, and dining, as well as finer decorative pieces that highlight technological and artistic advancements.^[1] These ceramics, found in vast quantities throughout the Mediterranean and beyond, reflect the empire's expansive trade networks, economic systems, and cultural exchanges, with production ranging from small-scale local workshops to large industrial operations in regions like Italy, Gaul, and Hispania.^[2] A key category is terra sigillata, also known as Samian ware, a glossy red fine tableware first developed in Italy around the 1st century BCE and later mass-produced in Gaul on an industrial scale using moulds for decorated forms, then exported widely across the empire for elite and everyday dining.^[3]^[4] This ware, characterized by its smooth red slip and stamped maker's marks, served as a status symbol while enabling precise dating of sites due to its chronological variations. In contrast, coarse wares dominated utilitarian needs, including thick-walled cooking pots, storage jars, and mortaria (gritted mixing bowls), often handmade or wheel-thrown from local clays and produced in standardized shapes for efficiency in households throughout provinces like Britain.^[2] Transport amphorae represent another cornerstone, tall two-handled jars wheel-thrown in massive quantities from the late Republican period onward, primarily in Italy, the eastern Mediterranean, and North Africa, to carry commodities such as olive oil, wine, and fish sauce, with many stamped to indicate origin, potter, and contents for commercial tracking.^[1] Archaeological evidence, including shipwrecks laden with thousands of these vessels, underscores their role in sustaining the empire's economy and food supply chains from the 2nd century BCE through the late Imperial era. Overall, Roman pottery's evolution—from imported Greek influences in the Republic to provincially adapted forms in the Empire—provides invaluable insights into social hierarchies, technological innovation, and the integration of diverse regions under Roman rule.^[1]

Overview and Historical Development

Definition and Chronology

Ancient Roman pottery encompasses the diverse range of ceramic objects produced and utilized across the territories of the Roman Republic and Empire, dating from approximately the 6th century BCE to the 5th century CE. These artifacts include wheel-thrown, mold-made, and hand-built vessels, lamps, tiles, and other utilitarian and decorative items, primarily fashioned from clay and fired in kilns to create durable earthenware. While much of the production focused on everyday needs such as storage, cooking, and table service, pottery also served ritual, economic, and artistic purposes, reflecting the technological and cultural integration within Roman society.^[5]^[6] The chronological development of Roman pottery aligns closely with the political phases of Roman history, beginning in the Republican era (509–27 BCE). During this period, production was heavily influenced by Etruscan traditions in central Italy, where early forms drew from indigenous hand-building methods and initial adoption of the potter's wheel from Greek colonists around the 7th–6th centuries BCE. The potter's wheel enabled greater efficiency and symmetry in vessel forms during the Republican period. Pottery remained largely local and varied, with black-gloss wares imitating Attic styles emerging as a hallmark of elite consumption.^[6] The Imperial period (27 BCE–284 CE) represented the zenith of Roman pottery production, driven by territorial expansion that standardized manufacturing and facilitated mass distribution across provinces from Britain to Syria. Centralized workshops, particularly in Gaul and Italy, produced vast quantities of fine wares, exemplified by terra sigillata, a glossy red-slipped tableware that symbolized Roman technological prowess. This era saw innovations in molding and stamping for decorative reliefs, alongside a boom in amphorae for trade, underscoring pottery's role in the empire's economy.^[7] In the Late Antique period (284–476 CE), Roman pottery exhibited increasing regionalism amid political fragmentation and economic shifts, with production centers adapting to local resources and tastes. Fine ware output declined in traditional hubs, giving way to coarser, wheel-thrown forms and new glazed styles in the eastern provinces, influenced by Byzantine and Sassanian contacts. Despite the empire's fall in the West, pottery continued to evolve, bridging classical traditions with medieval developments until around the 5th century CE.^[8]^[9]

Influences and Evolution

The development of ancient Roman pottery was profoundly shaped by pre-Roman cultural exchanges, particularly during the Republican period (c. 509–27 BCE). Etruscan bucchero, a distinctive black, glossy ware produced from the 7th to 5th centuries BCE, influenced early Roman ceramic traditions through its imitation of metal vessels and burnished surfaces, which Romans adapted in their impasto nero and early fine wares as Etruria was incorporated into Roman territory.^[10] Concurrently, Greek black-figure and red-figure techniques, involving silhouetted figures incised or reserved against a glossy black background, were adopted via Etruscan intermediaries and direct imports from Greek colonies in southern Italy, leading to the production of painted wares like Campanian and Apulian red-figure pottery in the 4th–3rd centuries BCE.^[11] These influences introduced refined wheel-throwing methods and figural decoration, transitioning Roman potters from coarse, hand-built impasto to more sophisticated tablewares.^[12] As the Republic gave way to the Empire (27 BCE onward), Roman pottery evolved from these painted styles toward glossy slipped surfaces, marking a technological and aesthetic shift that prioritized mass-produced, uniform fine wares over intricate decoration. This transition culminated in the invention of terra sigillata around 30 BCE at Arretium (modern Arezzo), where a fine red slip was applied and fired to create a shiny, durable finish, effectively replacing the labor-intensive painted motifs of earlier Hellenistic-influenced wares with a simpler, more efficient gloss that evoked luxury metalwork.^[13] Post-conquests in the eastern Mediterranean, Roman potters adapted Eastern sigillata forms, such as the platters and bowls of Eastern Sigillata A (produced from c. 140 BCE near Antioch), incorporating their thin-walled, red-slipped designs into imperial production to meet diverse regional demands.^[14] Regional evolutions further diversified Roman pottery, with African Red Slip Ware (ARS) emerging in North African workshops around the mid-1st century CE as a direct successor to Italian terra sigillata. Initially copying Italian shapes like Dragendorff 29 bowls from Arezzo, ARS producers in Carthage applied a bright orange-red slip to evolve into distinct forms, such as large shallow dishes (Hayes 50), dominating Mediterranean tableware by the 2nd century CE and supplanting Italian imports across the empire.^[15] This adaptation reflected broader imperial integration, where local innovations built on central Italian prototypes to enhance functionality and trade efficiency. Coarse wares, meanwhile, largely persisted from Iron Age traditions with minimal stylistic change.^[15]

Production and Materials

Raw Materials and Sourcing

The primary raw materials for Ancient Roman pottery were clays selected for their plasticity, purity, and firing properties, with fine clays predominantly sourced from volcanic regions in central and southern Italy. These included illitic clays rich in potassium and iron, often derived from weathered pyroclastic deposits associated with volcanic centers like the Phlegraean Fields near Naples and the Alban Hills in Lazio. Such clays, characterized by their fine particle size and mineral composition including quartz, feldspars, and volcanic glass fragments, were ideal for producing high-quality tablewares due to their ability to achieve a smooth texture after refinement. Clays for fine wares were refined through levigation, a process of suspending in water and allowing coarser particles to settle, isolating the finest illitic fractions for slips. In the Arezzo region of central Italy, for instance, K-rich illitic clays with 10-15% iron content were exploited for terra sigillata production, providing the base for the distinctive red slips. Pozzolana-rich soils, volcanic ashes and tuffs from areas like Pozzuoli, contributed to the geochemical signature of these materials, enhancing durability when incorporated.^[16]^[17] Coarse clays, used for utilitarian vessels, were typically obtained from alluvial deposits in the provinces, such as riverine sediments in Gaul and Hispania, which provided abundant, coarser-grained materials with higher sand and silt content. In Narbonese Gaul, clays from Rhone Valley alluvium supported large-scale production of everyday wares, while in Hispania, deposits along the Guadalquivir and Ebro rivers supplied iron-rich, calcareous clays suitable for amphorae and storage pots. These regional sources allowed for localized manufacturing, reducing transport costs for bulk items, though their variability in composition required adjustments during preparation.^[18]^[19] To improve workability and final strength, potters incorporated additives known as tempers, including sand, quartz grit, or chamotte—crushed fired pottery fragments—which prevented cracking during drying and firing by reducing shrinkage. Sand and grit, often locally sourced from riverbeds or beaches, added structural integrity to coarse fabrics, while chamotte was preferred in fine wares to maintain uniformity without introducing impurities. For terra sigillata slips, iron oxides naturally present in the clays or added deliberately produced the characteristic red hue through oxidation during firing, with hematite crystals forming in the surface layer.^[20]^[21]^[16] Sourcing logistics involved both local exploitation and long-distance trade, as evidenced by isotopic analyses of strontium (Sr) and neodymium (Nd) ratios, which trace clay origins to specific geological formations. Geochemical and isotopic analyses trace clay origins to local geological formations, with production techniques transferred from Italy enabling similar fine wares in provinces like Gaul and Hispania using regional volcanic or illitic clays. This transport, while efficient, strained resources; pottery kilns required vast quantities of wood fuel, leading to localized deforestation and soil erosion in high-production areas like central Italy and North Africa. These materials were briefly processed and fired in oxidizing kilns to transform the clays into durable ceramics.^[22]^[23]^[24]

Manufacturing Techniques and Kilns

Roman potters employed a variety of shaping techniques depending on the type of vessel and its intended use, with wheel-throwing being predominant for achieving symmetry in fine wares such as terra sigillata.^[25] This method involved centering a lump of prepared clay on a fast-spinning potter's wheel, typically foot- or stick-operated, to pull up walls and refine forms into uniform shapes like bowls and plates.^[26] For coarse wares, such as storage jars and cooking pots, hand-building methods like coiling were more common, where ropes of clay were stacked and smoothed to build vessel walls, allowing for robust, irregular forms suited to utilitarian needs.^[27] Relief decoration on terra sigillata, particularly in Arretine and South Gaulish varieties, utilized mold-pressing techniques to create intricate designs. Potters threw a plain bowl on the wheel to match the exterior profile of the desired mold, then pressed it into a clay mold stamped with motifs using poinçons (stamping tools) for patterns like figures, animals, or floral elements; the resulting mold was filled with clay slip to form the vessel.^[26]^[25] Prior to firing, surfaces were often decorated through slipping—a process of applying a fine clay suspension, similar to those used in raw material preparation, to create a smooth, glossy red coating after oxidation.^[25] Additional techniques included incising lines with tools for simple patterns, stamping motifs into wet clay, and rouletting with wheeled devices to produce repeating ridges or dots on both fine and coarse wares.^[25] Firing was conducted in updraught kilns, characterized by a separate firebox below a ware chamber, allowing hot gases to rise through perforations in the floor for even heat distribution.^[28] These kilns, often oval in plan with dimensions around 3 m by 2.5 m, featured brick arches supporting the chamber floor, niches for airflow, and a stoking hole for fuel insertion, constructed from local clay and mudbricks without stone reinforcement.^[28] At major production sites like La Graufesenque in southern Gaul, large-scale updraught kilns enabled mass firing, with examples capable of processing up to 40,000 vessels per cycle through multi-stage oxidizing atmospheres reaching 900–1100°C to vitrify slips and harden bodies.^[29] Archaeological remains, including ash layers and collapsed structures with waster sherds, confirm these designs supported efficient, high-volume operations for terra sigillata export across the empire.^[29]^[28]

Fine Wares

Terra Sigillata

Terra sigillata, a hallmark of Roman fine pottery, refers to a class of high-quality, wheel-thrown tableware characterized by its smooth fabric and glossy red slip, produced primarily for elite dining and display. Known in Britain as Samian ware, it encompasses several regional varieties distinguished by fabric, slip quality, and decorative styles: Italian sigillata (Arretine ware), South Gaulish, and Central Gaulish. These varieties share a common aesthetic but reflect local adaptations in production and form, with Italian types featuring more angular profiles influenced by metal prototypes, while Gaulish examples emphasize fluid, decorated shapes.^[30]^[31] The typology of terra sigillata forms was systematized by Heinrich Dragendorff in 1895, providing a chronological framework based on vessel shapes and ornamentation that remains foundational for classification. Representative forms include Dragendorff 27, a small hemispherical cup with a simple everted rim suitable for drinking, prevalent in first-century contexts, and Dragendorff 29, a larger carinated bowl with a sharp angle at the shoulder, often decorated with molded reliefs in friezes depicting mythological or vegetal motifs, which evolved from earlier Arretine kraters. These forms highlight the ware's versatility, from plain utilitarian dishes to ornate pieces mimicking silverware, with decorated variants more common in Gaulish production.^[30] Production of Italian terra sigillata centered at Arretium (modern Arezzo) in Etruria, beginning around 40 BCE during the late Republic and peaking in the early Imperial period through the mid-first century CE. Workshops there utilized pale buff clays with an orange-red slip applied thinly to wheel-thrown or mold-made vessels, often stamped with potters' names like Nicephorus or L. Calidius Strigo for quality control and branding. This center exported widely across the Empire, but output declined by the late first century CE as Gaulish rivals gained dominance due to superior gloss and scale.^[31] In Gaul, the South Gaulish variety from La Graufesenque (near Millau, Aveyron) became the preeminent production hub from the late Augustan era (late first century BCE) through the second century CE, with peak activity between AD 40 and 100. The fabric is hard and pinkish-brown with fine limestone inclusions, covered by a glossy red slip (occasionally marbled yellow variants around AD 40–75), and vessels often bear stamped marks from over 600 identified potters, such as Cinnamus, Doeccus, or groups like the Iulii (e.g., C. Iulius Celer, active AD 50–75) and Flavii (e.g., Flavius Avitus, AD 69–96), indicating organized workshops and commercial export to sites like Britain. Central Gaulish production at Lezoux followed, sustaining the tradition into the third century with similar stamping practices reflecting Romanized and indigenous naming conventions.^[32]^[33] The distinctive metallic sheen of terra sigillata arises from a fine clay slip, rich in iron oxides, applied to the leather-hard body and fired at high temperatures (around 1000–1050°C) to sinter the slip into a vitreous layer. Potters at key centers like La Graufesenque and Arretium controlled slip composition through deflocculation and sieving for ultra-fine particles, achieving optimal vitrification; Gaulish producers excelled in this, yielding a brighter, more durable gloss than northern Italian variants. Firing typically involved an initial oxidizing phase for body hardening, a reducing stage to develop the red hue via iron reduction, and a final oxidizing reheat to fix the shine without cracking, though strictly oxidizing atmospheres were emphasized in some Gaulish modes for consistent color.^[34]^[35] By the second century CE, terra sigillata production began to wane across major centers, with La Graufesenque shifting to regional workshops and overall output fragmenting due to economic pressures and competition from cheaper alternatives. This decline coincided with the rise of lead-glazed ceramics in limited contexts, such as early first-century experiments at Lezoux where some Dragendorff 29 forms received lead glazes, though these did not broadly supplant the red-slip tradition until later regional adaptations in the third century.^[36]

Other Fine Tablewares

Other fine tablewares in ancient Roman contexts encompassed a range of non-sigillata ceramics designed for dining and display, characterized by their refined forms and regional variations that catered to elite preferences. These vessels, produced across the empire from the late Republic onward, often featured delicate constructions and slips that evoked luxury, serving as alternatives to the more standardized terra sigillata. Unlike the glossy red sigillata, these wares emphasized diversity in color, thinness, and occasional painted elements, reflecting local traditions and imports in high-status settings.^[37]^[14] Thin-walled wares, originating in Italy during the 2nd–1st century BCE, exemplify early Roman innovation in fine tableware, with walls reduced to extreme thinness for an elegant, lightweight feel. These small vessels, such as carinated cups and beakers, were wheel-thrown from fine clays and typically left plain or lightly slipped, though some bore simple barbotine or dotted motifs. Produced in central Italian workshops like those near Cosa, they were exported widely and used in elite dining services, often imitating the slender profiles of metal prototypes to convey sophistication without the weight or cost of silver.^[37] In the eastern provinces, Eastern Sigillata wares provided another category of fine tablewares, distinguished by their orange-red slips applied over fine, calcareous fabrics. Eastern Sigillata A, manufactured in northern Syria around the late 2nd century BCE to the 2nd century CE, included forms like open bowls, plates, and cups with a glossy, self-slipped surface that enhanced their table appeal. Eastern Sigillata B, from workshops near Tralles in western Asia Minor during the 1st–2nd centuries CE, featured similar platters and dishes with rouletted or stamped decoration, while Eastern Sigillata C, primarily produced in western Asia Minor (e.g., Pergamon and Çandarli) with some activity in Cyprus, from the 1st century BCE, offered comparable red-slipped vessels adapted to local tastes. These eastern variants shared basic throwing and firing techniques with Italian sigillata but diverged in slip tone and regional motifs.^[14]^[38]^[39]^[40] Decoration on these fine tablewares was generally subdued compared to sigillata's molded reliefs, prioritizing functionality with occasional painted elements for added elegance. Motifs in black or brown paint over white-slipped backgrounds appeared on some thin-walled and eastern vessels, depicting simple geometric patterns or foliage to mimic high-end metalware designs. Overall, these wares underscored the Roman emphasis on refined, accessible luxury for banqueting, with forms scaled to imitate precious metal services in villas and military elite contexts.^[37]

Coarse Wares

Cooking and Household Pottery

Cooking and household pottery in ancient Rome encompassed a range of utilitarian coarse wares designed primarily for food preparation, storage, and serving in domestic environments, characterized by their robust construction to withstand repeated use over open hearths. These vessels were essential for everyday life, reflecting the practical needs of Roman households across the empire, from urban insulae to rural villas. Unlike finer tablewares, these items prioritized functionality over aesthetics, often produced locally to meet widespread demand. Common forms included casseroles, jars (such as dolia for storage and ollae for cooking), and matching lids, all featuring thick walls that provided excellent heat retention and resistance to thermal shock during boiling or baking. Casseroles, typically shallow and wide-mouthed, were used for stewing or baking breads and vegetables, while jars varied in size from small cooking pots to large storage amphorae-like forms adapted for household use. A notable regional variation was Pompeian red ware from Campania, which included specialized cooking pots with incurved rims and pedestal bases for stability over flames, produced in significant quantities during the late Republic and early Empire. These forms were often handmade or wheel-thrown, with simple rolled or modeled handles for easy manipulation. The fabrics of these wares were typically composed of coarse, grit-tempered clays sourced from local riverbeds or alluvial deposits, which enhanced durability and prevented cracking under high temperatures. These clays were often left unglazed, resulting in a porous surface that absorbed flavors but allowed for the accumulation of soot marks from direct exposure to hearth fires, a common indicator of their intensive use in cooking. The tempering materials, such as quartz sand or crushed pottery (grog), varied by region but consistently aimed to improve thermal properties and reduce breakage. Firing techniques for these coarse clays involved low-temperature oxidation in updraught kilns, adapted to achieve a hard, reddish-brown finish suitable for domestic wear. The evolution of Roman cooking and household pottery showed strong continuity from pre-Roman Samnite traditions in central Italy, where similar thick-walled jars and casseroles were used for communal cooking, transitioning seamlessly into the Republican period with minimal stylistic changes. By the Imperial era, particularly after the 1st century CE, production became more standardized due to expanding trade and centralized workshops, leading to uniform vessel shapes across provinces while retaining local fabric variations. This standardization facilitated mass production in areas like Gaul and Britain, where imported Italian forms influenced indigenous pottery traditions. Archaeological evidence from sites like Pompeii and Ostia illustrates this shift, with increased vessel uniformity correlating to urban growth and dietary changes under Roman rule.

Mortaria and Grinding Wares

Mortaria were specialized coarse ware vessels in the form of deep, hemispherical or conical bowls, typically featuring a prominent flange or hooked rim, a pouring spout, and an interior surface embedded with abrasive grits such as flint, quartz, or iron slag to facilitate grinding. These design elements allowed for efficient pounding and mixing of ingredients, with diameters generally ranging from 15 to 30 cm and thin walls that distinguished them from heavier stone mortars.^[41] The flange provided a gripping point during use, while the spout enabled the easy removal of ground pastes or liquids.^[42] Production of mortaria became concentrated in Britain and Gaul starting from the 1st century CE, coinciding with Roman expansion and the establishment of local workshops to meet demand in military and civilian contexts.^[43] Key centers included Mancetter-Hartshill in Britain, where output began in the early 2nd century AD (c. AD 100), and sites in northern Gaul such as those near the Rhine, with potters often stamping vessels for identification.^[43]^[44] Fabrics varied regionally but commonly featured white-grained bodies with red rims, achieved through the use of iron-rich clays fired in oxidizing conditions, sometimes incorporating shared coarse clay sources from local deposits.^[43] Manufacturing involved wheel-throwing the body, adding the flange and spout, and pressing in the grits before a final firing in updraught kilns at temperatures around 900–1000°C.^[43] The primary function of mortaria was grinding and mixing foodstuffs, as evidenced by use-wear patterns and organic residue analysis revealing processing of grains into flour, spices, and other ingredients. Lipid residues frequently indicate plant-based fats and occasional dairy products, suggesting roles in preparing porridges, cheeses, or emulsions, while some examples show traces consistent with fish sauce components like garum production through spice grinding. Typologies such as those developed by Gillam classify regional forms, including early hooked-flange types (Gillam 236–240) in Britain and later flanged variants (Gillam 289–301) in northern provinces, reflecting adaptations to local preferences and materials.^[45] These vessels underscore a practical adaptation of Roman culinary technology to provincial settings, with their specialized abrasion distinguishing them from general mixing bowls.

Amphorae and Transport Vessels

Amphorae served as the primary transport vessels in the ancient Roman world, designed for the bulk shipment of liquid and semi-liquid commodities across extensive trade networks. These tall, two-handled jars, typically made from coarse earthenware, were optimized for stacking in ship holds and carts, with capacities varying by type and region to suit specific goods like olive oil, wine, and fish sauce (garum). Their robust construction allowed them to withstand long-distance voyages, from Mediterranean ports to frontier outposts, and they were often sealed to preserve contents during transit.^[46] The typology of Roman amphorae evolved from earlier Punic forms introduced in the 3rd century BCE, which featured ovoid bodies and low handles attached to the shoulders, reflecting Carthaginian influences in the western Mediterranean. By the late Republic, Roman adaptations incorporated taller necks and more standardized shapes for efficiency, progressing through early Imperial globular designs to the cylindrical forms dominant in the late Roman period (3rd–5th centuries CE), which facilitated easier pouring and storage. This development is documented in key classifications, including Heinrich Dressel's 19th-century system based on shape and fabric from Monte Testaccio dumps, and the Peacock-Williams framework, which integrates petrographic analysis to link forms to production origins.^[47]^[48]^[49] Prominent examples include the Dressel 20, a globular amphora produced in Baetica (modern Andalusia, Spain) from the 1st century CE onward, primarily for olive oil export. With an average capacity of 60–65 liters (ranging from 40–80 liters), it featured a thickened rim, solid foot, and two loop handles rising above the shoulder, enabling secure stacking and transport of up to 70 liters of oil per vessel in some standardized production runs. In contrast, the Gauloise 4, manufactured in Gaul (particularly Narbonensis) during the 1st–3rd centuries CE, was a flatter-based type suited for wine, with capacities typically between 26 and 37 liters, its lighter walls (10–12 kg empty) reflecting regional adaptations for overland and riverine shipment.^[50]^[51]^[52] Amphorae were sealed post-firing with materials like pine pitch for waterproofing interiors against leakage, or cork and clay plugs for the mouth, ensuring the integrity of perishable contents such as wine, olive oil, and fish sauce during extended journeys. Handle stamps, impressed before or after firing, often bore the names of workshops (figlinae), magistrates, or producers, allowing traceability of origins— for instance, Dressel 20 stamps from Baetican sites like Axati indicate specific olive oil sources. These vessels were fired in large-scale kilns to produce uniform batches, supporting the empire's demand for reliable transport containers.^[53]^[54]^[55]

Other Ceramics

Lamps and Lighting

Ancient Roman ceramic lamps served as essential oil-burning devices for illumination in domestic, public, and ritual settings, typically fueled by olive oil with a fibrous wick inserted into a nozzle. These lamps were predominantly mold-made from terracotta, allowing for mass production and intricate decorations that enhanced their aesthetic and cultural appeal. Production involved pressing clay into two-part plaster molds to form a decorated discus (the top reservoir area) and a base, followed by firing in kilns; the fabrics were generally fine-grained with a red slip coating for a polished finish, often in hues like light red (2.5YR6/6). A prominent early type was the volute-nozzled lamp, exemplified by Loeschcke Type I, which emerged in central Italy during the late 1st century BCE and persisted into the early 1st century CE. These lamps featured a circular body, a triangular nozzle flanked by scroll-like volutes, and a central filling hole on the discus, sometimes with a ribbon handle; they marked the first widespread mass-produced Roman pottery lamps, evolving from Hellenistic precedents. Decorative motifs on the discus, such as gladiators in combat or deities like Augustus and Sol, catered to popular tastes and symbolized imperial or religious themes, making them suitable for both everyday use and votive offerings. From the 2nd century CE, African cylindrical lamps, particularly those from North African workshops in regions like Tunisia, introduced a distinct style with elongated, barrel-shaped bodies and prominent relief scenes on the discus. Classified under types like Bussière E I 4 or Loeschcke VIII variants, these mold-made lamps often had a heart-shaped or rounded nozzle, red slip (e.g., 10R5/6), and elaborate decorations depicting gladiators, deities such as Serapis or Isis, or mythological narratives like Europa and the bull, reflecting local cultural influences and export-oriented production. The wick rested in the nozzle's channel, drawing oil from the reservoir to produce steady light, while the motifs' mass-market appeal supported their distribution across the empire. The shared use of two-part molds in lamp production paralleled techniques for terracotta figurines.

Terracotta Figurines

Terracotta figurines in ancient Rome encompassed a variety of mold-made clay sculptures primarily intended for votive, decorative, or toy purposes, emerging prominently from the 1st century BCE onward. Common types included votive statuettes representing deities such as Fortuna, often depicted with attributes like a cornucopia or rudder to symbolize fortune and prosperity, as well as theatrical masks inspired by comic and tragic performances, and animal figures like horses, birds, or fantastical creatures used in ritual or playful contexts. These figurines reflected the syncretic religious and cultural influences of the expanding Roman world, blending Hellenistic styles with local traditions.^[56]^[57] Production techniques for these figurines involved multi-mold casting, where clay was pressed into two-part or multi-piece molds to create hollow or solid forms, often incorporating air holes to facilitate drying and even firing in kilns at relatively low temperatures around 600–800°C. Slipping techniques, similar to those used in fine wares like terra sigillata, were applied to smooth the surface before firing. Major production centers included Rome, where workshops catered to urban demand for religious and theatrical items, and Gaul, particularly in regions like the Rhineland and Tongeren, where local potters mass-produced series of figurines using imported molds or archetypes for export across the empire. This serial manufacturing allowed for affordable replication, making such objects accessible to a broad social spectrum.^[56]^[58]^[59] Culturally, terracotta figurines served significant roles in domestic and funerary spheres, frequently placed in household shrines (lararia) for personal devotion or in graves as grave goods to accompany the deceased into the afterlife. Ranging in size from 5 to 30 cm, they were often painted post-firing with mineral-based pigments in reds, blues, and whites to enhance details like clothing, facial features, or attributes, though much of this color has faded over time. Votive examples, such as those of Fortuna, were dedicated in sanctuaries to seek divine favor, while masks and animal figures might adorn altars or serve as toys for children, underscoring their integration into everyday Roman life and belief systems.^[56]^[60]^[58]

Architectural Ceramics

Architectural ceramics in ancient Rome encompassed a range of fired clay products essential for construction, including floor tiles, roof tiles, and structural elements. Bipedales were large square floor tiles, typically measuring around 60 cm per side, used to cover heated floors in public and private buildings. Tegulae served as overlapping roof tiles, featuring raised side flanges that allowed them to interlock with curved imbrices for waterproofing; these were produced in standardized rectangular shapes, often approximately 60 cm long by 40 cm wide. Antefixae, placed at the lower ends of roof tile rows, provided decorative terminations, frequently molded with motifs like palmettes or theatrical masks to adorn eaves while preventing water infiltration.^[61]^[62]^[63] Production of these ceramics involved shaping clay mixtures into molds, drying, and firing in kilns at temperatures around 800–1000°C to achieve hardness and weather resistance. Standardization emerged during the late Republic and intensified under imperial edicts, with common brick sizes including the bipedalis at roughly 60 cm square and smaller variants like the tetradorum near 30x30 cm, facilitating modular construction across the empire. Many pieces bore impressed stamps, such as those of legionary units (e.g., LEG II AUG) or private figlinae workshops, aiding in identification of origin and quality control; imperial oversight from the 2nd century CE further regulated production to ensure uniformity. Coarse clays, often mixed with sand for added durability, were commonly sourced and adapted for these robust building components.^[64]^[65]^[66] These materials found widespread use in structural applications, particularly in walls where fired bricks formed facings for opus caementicium concrete cores, providing both aesthetic finish and load-bearing support. In hypocaust heating systems, stacks of smaller bricks (laterculi or pilae) elevated floors, with bipedales or tegulae placed atop to allow hot air circulation beneath, a technology prominent in baths and villas from the 1st century BCE onward. The evolution from sun-dried mud bricks, vulnerable to moisture, to fired variants occurred by the 2nd century BCE, influenced by Hellenistic techniques and enabling more ambitious architecture in humid climates.^[62]^[61]^[65]

Trade, Distribution, and Economy

Production Centers and Workshops

The production of ancient Roman pottery was concentrated in several key regional centers, each specializing in particular types of wares based on local resources and market demands. In central Italy, Arezzo (ancient Arretium) emerged as a primary hub for fine terra sigillata during the late Republic and early Empire, with output peaking from around 30 BCE to 30 CE using local calcareous-illitic clays fired at 850–1000°C under oxidizing conditions.^[16] Archaeological evidence from sites like Santa Maria in Gradi and Cincelli includes workshop remains and fragments linked to prominent operations, such as those of Marcus Perennius and Ateius, identified through potter's stamps like those of Mera Bargathes and Creseni.^[16] Similarly, Ostia served as a significant center for amphorae and coarse wares, with waster deposits indicating local manufacturing tied to the port's logistical needs for transport vessels.^[67] In the northwestern provinces, Trier (Augusta Treverorum) became a major production site for Rhenish wares in the 2nd and 3rd centuries CE, producing fine black-slipped beakers and cups with rouletted or barbotine decoration using regional clays.^[68] Evidence for these centers derives primarily from waster heaps—accumulations of deformed or overfired vessels discarded near kilns—and inscriptions such as ownership stamps on moulds and finished products, which reveal workshop identities and production scales. For instance, 19th-century excavations at Arezzo uncovered extensive waster deposits alongside mould fragments bearing names like Tigrani and P. Corne, confirming organized manufacturing sequences.^[16] At Ostia, waster sherds of sigillata and amphorae fragments point to on-site firing facilities supporting the rapid turnover required for trade-related pottery.^[67] In Trier, waster heaps and stamped diagnostics from the Mosel Valley further attest to specialized facilities exporting to Britain and the Rhine frontier.^[68] Roman pottery workshops were typically organized around familia urbana units, comprising urban household slaves and freedmen under a master's oversight, which facilitated skilled division of labor in clay preparation, forming, and decoration. These operations often involved both enslaved and free artisans, with evidence from stamps indicating hierarchical roles, as seen in the Perennius workshop at Arezzo where slave potters like Bargathes signed products.^[16] Workshops expanded horizontally by adding kilns rather than vertically, maintaining small to medium scales with 10–50 workers per site to manage seasonal demands tied to clay availability and firing cycles.^[69] At peak periods, Gaulish production centers like La Graufesenque achieved remarkable output, with estimates of up to 1.5 million terra sigillata vessels annually, underscoring the industry's capacity for mass production across the Empire.^[70] Such scales relied on efficient kiln designs, often updraught types with multiple chambers, as evidenced at these sites.^[70]

Trade Networks and Economic Role

Roman pottery, particularly amphorae used for transporting liquids like wine and olive oil, was distributed extensively through Mediterranean sea routes that connected production centers in Italy, Spain, and North Africa with ports across the empire, facilitating the movement of bulk goods over long distances. These maritime networks were vital for inter-regional exchange, with ships carrying amphorae from Baetica in Spain to Gaul and the eastern provinces, as evidenced by the widespread distribution of Dressel 20 amphorae. Overland routes supplemented sea trade, especially along the Rhine River, where northern wares such as Arretine terra sigillata reached frontier forts and settlements in Germania, demonstrating the integration of road and river transport systems into the broader distribution framework. Shipwreck evidence, such as the Grand Congloué site off Marseilles, underscores the scale of these operations; excavations revealed cargoes of approximately 4,000 amphorae from two vessels dated to the 2nd–1st centuries BCE, highlighting the risks and volumes involved in maritime commerce. In the 1st century CE, Roman shipwrecks off southern Gaul often comprised primarily Italian and Spanish wine amphorae like Dressel 2–4, indicating that these vessels formed the bulk of cargo, with pottery occupying a significant portion of hold space to stabilize and fill shipments of perishable goods. Beyond primary cargoes, pottery served as a trade filler in holds, where fine tablewares and cooking pots accompanied bulk commodities like grain or metals, effectively subsidizing transport costs by utilizing otherwise empty space and enabling diversified commerce. This practice contributed to the economic viability of long-distance voyages, as lower-value ceramics helped offset expenses for higher-value items. The economic role of Roman pottery extended to state revenue through the portorium, a customs duty typically levied at 2.5% (quadragesima) on imported goods including fine wares, collected at ports like Ostia to fund imperial infrastructure and military needs.^[71] Such levies integrated pottery into the fiscal system and encouraged standardized production for export. Furthermore, pottery trade played a key part in monetizing rural economies by linking agricultural production—such as olive oil in Baetica, supported by over 70 kiln sites—with urban markets, allowing rural producers to participate in cash-based exchange networks through state contracts and commercial distribution. Stamps on amphorae occasionally traced these origins, aiding in the reconstruction of supply chains.

Cultural and Symbolic Aspects

Roman pottery played a central role in reflecting and reinforcing social stratification within ancient Roman society. Fine wares, such as terra sigillata with its distinctive red glossy surface, were primarily employed in elite banquets and dining settings to display wealth and sophistication, often featuring molded relief decorations of mythological scenes or figures that impressed guests and underscored the host's status.^[72] In contrast, coarse earthenware vessels, produced in large quantities for practical purposes, were ubiquitous in the households of lower classes and slaves, serving basic needs like cooking and storage without the ornamental flair associated with higher social echelons.^[73] This dichotomy in pottery types highlighted class divisions, where elites accessed imported or specialized fine tableware, while slaves and laborers relied on locally made, utilitarian coarse pots often produced under exploitative conditions.^[74] Gender roles in pottery production further illuminated social dynamics, with evidence indicating a division of labor that complemented male and female contributions in various tasks.^[73] These practices integrated pottery deeply into everyday Roman life, where vessels were essential in kitchens for food preparation—such as mortaria for grinding spices—and in baths for personal hygiene items like oil containers, while breakage patterns reveal a typical use-life for tableware varying from 1 to 30 years depending on type and region before discard or reuse.^[73]^[75] Pottery even extended to tombs, where grave goods mirrored household assemblages, providing continuity between daily routines and funerary rituals. Certain pottery forms served as overt status symbols, particularly customized amphorae bearing tituli picti—painted inscriptions detailing contents, origins, and owners—which allowed villa proprietors to assert economic prowess and personal branding through labeled transport vessels filled with wine or oil from their estates.^[76] These inscriptions, often naming the villa owner or merchant, transformed utilitarian containers into markers of elite identity and control over trade resources.^[77] Trade networks briefly enabled broader access to such luxury items, but their primary role remained in signifying social hierarchy within domestic spheres.^[73]

Artistic and Religious Contexts

Ancient Roman pottery served as a canvas for artistic expression, particularly through molded reliefs and painted decorations that drew heavily from Greek vase-painting traditions.^[78] These vessels often featured mythological scenes, such as depictions of gods and heroes, reflecting the cultural reverence for classical narratives. For instance, Italian terra sigillata bowls from the 1st century BCE to the 1st century CE commonly portrayed episodes like the Fall of Phaethon or Alexander slaying a lion, using intricate reliefs to narrate epic tales on everyday tableware.^[79] This influence from Greek art is evident in the adoption of figural motifs, where Roman potters simplified and localized Hellenistic styles to suit mass production, prioritizing narrative clarity over the finer detailing of Attic pottery.^[80] Mythological iconography extended to smaller objects like oil lamps and terracotta figurines, where deities such as Venus (Aphrodite) appeared in intimate, devotional contexts. Roman lamps from the 1st to 4th centuries CE, produced in workshops across the empire, frequently molded scenes of Venus alongside other gods like Serapis, blending Greco-Roman and provincial elements to evoke themes of love, fertility, and protection.^[81] These motifs not only adorned functional items but also hinted at personal piety, with Venus symbolizing beauty and divine favor in domestic settings. On sigillata ware, Venus appeared in scenes with gladiators, underscoring the pottery's role in conveying cultural ideals of heroism and sensuality.^[82] In religious practices, Roman pottery played a vital role in rituals, particularly through votive deposits and libation vessels that facilitated offerings to deities. At sanctuaries like Aquae Sulis in Bath, Britain, excavators uncovered numerous pottery fragments in the hot springs, interpreted as deliberate votive offerings from the 1st to 4th centuries CE, where worshippers relinquished vessels to invoke healing or divine intervention from Sulis Minerva.^[83] Libation bowls, known as paterae, were essential for pouring wine, milk, or honey during sacrifices; while often made of metal, ceramic versions were also used, their shallow forms allowing precise ritual gestures at altars across the empire. These ceramics, often plain or minimally decorated, embodied the act of surrender in worship, transforming mundane objects into sacred mediators between humans and gods. Symbolism in Roman pottery frequently incorporated color to enhance ritual and artistic meaning, with red hues evoking blood and life force in offerings. The glossy red slip of terra sigillata ware, achieved through iron-rich clay and firing techniques, mirrored the vital red of sacrificial blood, aligning with broader Roman associations of the color with vitality, power, and divine appeasement in ceremonies.^[84] This chromatic choice amplified the pottery's role in blood-related rituals, such as animal sacrifices, where red vessels or pigments signified renewal and purification. By the 4th century CE, the rise of Christianity led to a marked decline in figurative mythological motifs on pottery, as imperial policies and cultural shifts suppressed pagan imagery in favor of abstract or Christian symbols. In regions like Sagalassos in Asia Minor, late Roman fine wares transitioned from shared pagan-Christian iconography to predominantly non-figural designs, reflecting the empire-wide Christianization that marginalized depictions of gods like Venus by the late antique period.^[85] This evolution marked pottery's adaptation to a monotheistic framework, where once-vibrant mythological narratives gave way to simpler, symbolic forms suited to emerging religious norms.

Modern Study and Preservation

Archaeological Methods and Typology

Archaeological methods for studying ancient Roman pottery emphasize careful excavation and analytical techniques to preserve contextual information and material integrity. Stratigraphic digging, which involves the systematic removal of soil layers to record the vertical and horizontal distribution of artifacts, is fundamental to understanding pottery deposition and site chronology.^[86] This approach allows archaeologists to associate sherds with specific phases of Roman occupation, minimizing disturbance to fragile ceramics.^[87] Residue analysis complements excavation by identifying organic traces absorbed into pottery fabrics during use. Gas chromatography-mass spectrometry (GC-MS) is widely employed to detect lipid biomarkers, such as fatty acids from olive oil or animal fats, revealing dietary practices and vessel functions in Roman households.^[88] For instance, GC-MS has identified wine residues in amphorae, providing evidence of trade commodities.^[89] Petrography, involving thin-section microscopy of ceramic fabrics, enables sourcing of clays and inclusions to trace production origins, distinguishing regional workshops like those in Gaul from Italian ones.^[90] Typological classification systems standardize the identification and dating of Roman pottery forms and fabrics. The National Roman Fabric Reference Collection (NRFRC), developed by the Study Group for Roman Pottery and including Oxford fabrics, provides a benchmark for describing over 200 fabric types based on mineralogy and texture, facilitating comparisons across sites.^[91] Digital resources like the Potsherd Atlas of Roman Pottery offer searchable databases of forms, such as Dragendorff types for terra sigillata, aiding in precise chronological attribution from the 1st to 4th centuries CE.^[92] Amphorae stamps, often integrated into these typologies, support dating through epigraphic evidence.^[93] Post-depositional alterations pose significant challenges to accurate analysis, as burial environments can chemically modify pottery compositions. In acidic soils, elements like calcium and potassium may leach out, altering fabric profiles and complicating petrographic sourcing.^[94] Lead, present in some glazed Roman wares, can also migrate into surrounding soils, potentially contaminating residues and requiring careful sampling to distinguish original from secondary deposits.^[95] These processes underscore the need for multi-proxy analyses to account for taphonomic biases.^[96]

Conservation and Recent Discoveries

Conservation efforts for ancient Roman pottery emphasize non-destructive and minimally invasive techniques to preserve fragile artifacts while revealing hidden features. X-radiography, a longstanding method since the 1930s, allows conservators to detect internal voids, inclusions, and manufacturing defects without damaging the ceramic, providing insights into production techniques such as coiling or wheel-throwing.^[97] This approach is particularly valuable for Roman vessels, where voids can indicate structural weaknesses exacerbated by burial conditions.^[98] For pottery recovered from shipwrecks, desalination is a critical step to remove soluble salts that cause deterioration like flaking and powdering through crystallization cycles. Studies on late-Roman cooking ware from submarine sites, such as Pantelleria in Sicily, have tested methods including water immersion with mechanical stirring, which proved most effective in extracting salts while preserving pore structures, as confirmed by SEM-EDS analysis.^[99] This technique facilitates safe recovery and long-term musealization of amphorae and tableware from Mediterranean wrecks.^[100] Advanced digital tools like 3D scanning enable virtual reconstruction of fragmented Roman pottery, allowing archaeologists to identify rotation axes and generate accurate profiles for typological analysis. Applied to thousands of sherds from ancient sites, this method supports non-contact documentation and reassembly, enhancing preservation by reducing physical handling.^[101]^[102] Recent archaeological work in the 2020s has uncovered significant pottery assemblages from Vesuvius-buried sites, including the 2023 discovery of intact vessels at the Civita Giuliana villa near Pompeii, which reveal details of daily Roman life and trade, and a 2025 find of a nearly 2,000-year-old Egyptian ceramic vessel in a Pompeii canteen indicating long-distance imports.^[103]^[104] In 2025, excavations at Bremenium Roman fort in northern England yielded Roman pottery, including an amphora from northern Spain, alongside military artifacts, shedding light on provincial trade and daily life.^[105] These finds, preserved by the A.D. 79 eruption or provincial contexts, sometimes exhibit altered surface colors due to pyroclastic exposure or burial, offering clues to post-depositional taphonomy.^[106] Innovative biomolecular analyses have transformed understandings of Roman pottery contents. A 2025 study used shotgun DNA sequencing on residues from amphorae at the Adro Vello site in northwestern Iberia to confirm the use of European sardines (Sardina pilchardus) in garum production, dating to the 2nd–4th centuries A.D., highlighting continuity in Atlantic fish trade networks despite acidic fermentation challenges.^[107]^[108] Climate change poses escalating threats to coastal Roman sites, where rising sea levels, extreme storms, and erosion endanger pottery deposits. In the Middle East and North Africa, up to 34% of Roman harbors and settlements, such as those in eastern Libya, may face flooding or erosion by 2100, with 2025 studies indicating that 80% of UNESCO World Heritage sites, including Roman-era ruins like Carthage, are already experiencing climate stress from rising salinity and intensified storms.^[109]^[110]^[111]^[112] New evidence underscores sub-Saharan African influences on the Roman world through 4th-century C.E. trade routes, with artifacts like gold, ivory, and spices reaching the empire via Garamantian intermediaries, potentially inspiring decorative motifs on imported North African pottery adapted in Roman workshops.^[113] Recent analyses of Saharan sites reveal Roman ceramics exchanged southward, suggesting reciprocal cultural exchanges that extended pottery styles beyond the Mediterranean.^[114]

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Amphorae often carried painted inscriptions (tituli picti) added after firing, which give details concerning the names of shippers, the point of origin, the ...Missing: labels villa symbols
[77]
(PDF) Amphorae [villa Voerendaal] - Academia.edu
... amphorae. Stamps do not represent merchants or owners, as those names were added later in the form of tituli picti (painted inscriptions). The study of ...
[78]
[PDF] An introduction to the study of terra sigillata treated from a ...
... study of such details of technique, form, decoration and design occurring in Terra Sigillata as can be of assistance for dating purposes. No attempt is made ...
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Pottery - Greek, Roman, Ceramics | Britannica
Oct 17, 2025 · The patterns, too, were often influenced by metalwork and include floral and foliate motifs, mythological scenes, and scenes from daily life.
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Roman Imperial Ceramic Oil Lamp - Arizona State Museum
Ceramic lamps were either hand modeled, thrown on a wheel, or cast in molds with relief or “plastic” decoration. They were slipped (coated with an additional ...Missing: functions | Show results with:functions
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File:OHM - Terra sigillata.jpg - Wikimedia Commons
Fragment of Terra sigillata ( 2nd century AD ) made by the Ancient Roman potter Helenius from Rheinzabern ( Germany ), showing godess Venus between gladiators.Missing: scenes | Show results with:scenes
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Water from the Earth (Chapter 5) - The Sanctuary at Bath in the ...
Jan 7, 2020 · Here, I will propose that much of the votive deposition should be understood as using the waters to harness and control feelings of loss or ...
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https://www.cambridge.org/core/books/sanctuary-at-bath-in-the-roman-empire/water-from-the-earth/EEB835A3299D664BCF9318A70E5F5C54
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Ancient Color | Using Red - University of Michigan
Their inscriptions were painted red to make them easier for those passing by to read them. Even Roman cemeteries were colorful! Funerary inscription; Wall ...
[85]
From pagan to christian: Religious iconography in material culture ...
Aug 7, 2025 · After a period characterised by a common iconographic repertoire shared by pagans and Christians alike, in which the Christian impact on ...
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[PDF] Corinth Excavations - Archaeological Manual
Stratigraphic excavation is the isola- tion and identification of different deposits and features and the careful removal of each of these separately in the.Missing: petrography | Show results with:petrography
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[PDF] Toolkit for finds: pottery - Chartered Institute for Archaeologists
Full pottery analysis is often preceded by an appraisal/assessment stage. Assessment is an intermediate stage between excavation and analysis/reporting and is ...
[88]
Tracing culinary practices in the western provinces of the Roman ...
Jun 13, 2024 · This study aims at reconstructing foodways in the north-east (NE) of the Iberian Peninsula, focusing on lipid residue analysis of utilitarian vessels.
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From the inside out: Upscaling organic residue analyses of ...
The investigation of organic residues associated with archaeological pottery using modern analytical chemical methods began in the 1970s.
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Thin-Section Petrography in the Use of Ancient Ceramic Studies
The potential of thin-section petrography for the analysis of ancient ceramic materials, such as pottery vessels, figurative objects and building materials ...<|control11|><|separator|>
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The National Roman Fabric Reference Collection: a Handbook
A national reference collection for pottery of the Roman period has been discussed since 1972, when it was proposed by Dame Kathleen Kenyon.
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Potsherd - Atlas of Roman Pottery
Gloucester pottery fabric type series: data on pottery fabrics dating to the Roman, medieval and post-medieval periods from Gloucester and the surrounding ...Highgate Wood Roman pottery... · Introduction · Publications · Sources
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Roman Amphoras in Britain - Internet Archaeology
Sep 11, 1996 · This paper is a survey of the principal classes of amphoras circulating in Britain during the Roman period (1st c. BC - 4th c. AD). The form, ...
[94]
Post-Depositional Chemical Alterations in Archaeological Ceramics
... postdepositional changes (leaching processes) can occur in pottery sherds during burial. ... leached down in to the soil. In hot, dry weather they are ...Missing: challenges | Show results with:challenges
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[PDF] Post-Depositional Elemental Alterations in Pottery - SOS Iruña-Veleia
If we further assume that the Ca is not leached only as Ca, but as CaCO3, we can calculate the effect of this leaching on the other concentrations to be about 5 ...Missing: challenges | Show results with:challenges
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A contribution to the study of post-depositional alterations of pottery ...
Aug 5, 2025 · This process reports the leaching of K and Rb from the matrix, with a subsequent enrichment of Na because of analcime crystallization (Buxeda ...Missing: challenges | Show results with:challenges
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(PDF) X-Radiography of Archaeological Ceramics - Academia.edu
This chapter summarizes the history, theory and methodology of ceramic X-radiography. Particular emphasis is placed upon the two most common uses of ceramic ...
[98]
Use of Computerised X-ray Tomography in the Study of the ... - MDPI
This work will review and discuss the use of computerised X-ray tomography (CXT) for analysing ancient, manufactured items, like stone building materials, ...
[99]
Different methods for soluble salt removal tested on late-Roman ...
This paper deals with the comparative evaluation of different procedures of salt extraction designed for archaeological ceramics from submarine burial ...
[100]
https://doi.org/10.1016/j.culher.2013.07.011
[101]
3D scanning technology as a standard archaeological tool for ...
3D scanning technology, and newly developed software to optimally identify the rotation axis of wheel-produced ceramics, were used as practical tools for ...Missing: virtual | Show results with:virtual
[102]
https://doi.org/10.1016/j.jas.2007.08.008
[103]
A New Archaeological Initiative Scouring Pompeii's Suburbs Has ...
Mar 23, 2023 · A collection of pottery is the latest find at Civita Giuliana, a large villa on the outskirts of Pompeii that has been targeted by looters.Missing: Oplontis color variations
[104]
The mysterious Pompeian red: when the fury of Vesuvius changes ...
Oct 22, 2024 · However, it is important to clarify that the famous "Pompeian red" already existed before the eruption and was a pigment used by Roman artists.Excavations of Oplontis, Villa of Poppea (Torre Annunziata ...ANCIENT HISTORY | Oplontis - FacebookMore results from www.facebook.comMissing: pottery 2020s
[105]
Roman Atlantic garum: DNA confirms sardine use and population ...
Jul 2, 2025 · This study aims to determine whether shotgun sequencing of DNA extracted from small bones retrieved from these residues can identify the fish ...
[106]
https://www.facebook.com/groups/6072554022805834/posts/8766925963368613/
[107]
Full article: Climate change and coastal archaeology in the Middle ...
Climate change threatens coastal archaeology through storm flooding (extreme sea-level: ESL), long-term sea-level rise (SLR) and coastal erosion.
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https://doi.org/10.15184/aqy.2025.73
[109]
The Roman Empire in West Africa - World History Encyclopedia
Mar 7, 2018 · The Romans had a robust and dynamic network of connections to Sudanic and Sub-Saharan Africa. Slaves, gold, foodstuffs, and spices were transported from ...
[110]
Saharan and trans-Saharan contacts and trade in the Roman era
Oct 7, 2017 · The following post offers a brief discussion of Saharan and trans-Saharan contacts in the Roman era along with a distribution map of Roman finds made beyond ...