tag:blogger.com,1999:blog-5986358401902132372024-02-19T01:47:10.618-08:00Jenny Mendes Boulder WorkshopJenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-598635840190213237.post-7329151248642214712017-05-23T05:13:00.000-07:002017-05-23T05:13:41.637-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1 class="m_1656623249516601700title">
Terra sigillata</h1>
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Roman red gloss <i>terra sigillata</i> bowl with relief decoration</div>
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<b>Terra sigillata</b> is a term with at least three distinct meanings: as a description of medieval medicinal earth; in archaeology, as a general term for some of the fine red <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Ancient_Roman_pottery&source=gmail&ust=1495627771853000&usg=AFQjCNExXJiCsJ2Hn6vyvtJbHZ8v2yQDpQ" href="http://wiki/Ancient_Roman_pottery" style="color: #1155cc;" target="_blank" title="Ancient Roman pottery">Ancient Roman pottery</a> with glossy surface <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Slip_(ceramics)&source=gmail&ust=1495627771853000&usg=AFQjCNGuuqiWLG4BNDKSxdOUsvLVE2uMCQ" href="http://wiki/Slip_(ceramics)" style="color: #1155cc;" target="_blank" title="Slip (ceramics)">slips</a>made in specific areas of the Roman Empire; and more recently, as a description of a contemporary <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Studio_pottery&source=gmail&ust=1495627771853000&usg=AFQjCNFaw4Z3nVTUj9C8vtVNJ4hrFNwPcA" href="http://wiki/Studio_pottery" style="color: #1155cc;" target="_blank" title="Studio pottery">studio pottery</a> technique supposedly inspired by ancient pottery. Usually roughly translated as 'sealed earth', the meaning of 'terra sigillata' is 'clay bearing little images' (Latin <i>sigilla</i>), not 'clay with a sealed (impervious) surface'. The archaeological term is applied, however, to plain-surfaced pots as well as those decorated with figures in <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Relief&source=gmail&ust=1495627771853000&usg=AFQjCNHTtxRLvo-PxCYQ2qNSdVm77oQwEw" href="http://wiki/Relief" style="color: #1155cc;" target="_blank" title="Relief">relief</a>.<br />
Terra sigillata as an archaeological term refers chiefly to a specific type of plain and decorated tableware made in Italy and in Gaul (France and the Rhineland) during the Roman Empire. These vessels have glossy surface <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Slip_(ceramics)&source=gmail&ust=1495627771853000&usg=AFQjCNGuuqiWLG4BNDKSxdOUsvLVE2uMCQ" href="http://wiki/Slip_(ceramics)" style="color: #1155cc;" target="_blank" title="Slip (ceramics)">slips</a> ranging from a soft lustre to a brilliant glaze-like shine, in a characteristic colour range from pale orange to bright red; they were produced in standard shapes and sizes and were manufactured on an industrial scale and widely exported. The sigillata industries grew up in areas where there were existing traditions of pottery manufacture, and where the clay deposits proved suitable. The products of the Italian workshops are also known as <b>Aretine ware</b> from <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Arezzo&source=gmail&ust=1495627771853000&usg=AFQjCNFkNzLlUKfKV6VBS3CuuN7uVncp8A" href="http://wiki/Arezzo" style="color: #1155cc;" target="_blank" title="Arezzo">Arezzo</a> and have been collected and admired since the Renaissance. The wares made in the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Gaul&source=gmail&ust=1495627771853000&usg=AFQjCNFUzmcnpZXwCRbZxrzFJa4dZatzcg" href="http://wiki/Gaul" style="color: #1155cc;" target="_blank" title="Gaul">Gaulish</a> factories are often referred to by English-speaking archaeologists as <b>samian ware</b>. Closely related pottery fabrics made in the North African and Eastern provinces of the Roman Empire are not usually referred to as terra sigillata, but by more specific names, e.g.<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/African_red_slip_ware&source=gmail&ust=1495627771853000&usg=AFQjCNHzoAwoGu_txn7JBYHgQGI5-w62Ww" href="http://wiki/African_red_slip_ware" style="color: #1155cc;" target="_blank" title="African red slip ware">African red slip wares</a>. All these types of pottery are significant for archaeologists: they can often be closely dated, and their distribution casts light on aspects of the ancient Roman economy.<br />
Modern "Terra sig" should be clearly distinguished from the close reproductions of Roman wares made by some potters deliberately recreating and using the Roman methods.<sup></sup> The finish called 'terra sigillata' by studio potters can be made from most <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Clay&source=gmail&ust=1495627771853000&usg=AFQjCNG84oPyO-UDF8ay2rPNFu_pAQV0KQ" href="http://wiki/Clay" style="color: #1155cc;" target="_blank" title="Clay">clay</a>, mixed as a very thin liquid slip and settled to separate out only the finest particles to be used as terra sigillata. When applied to unfired clay surfaces, "terra sig" can be polished with a soft cloth or brush to achieve a shine ranging from a smooth silky lustre to a high gloss. The surface of ancient terra sigillata vessels did not require this <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Burnishing_(pottery)&source=gmail&ust=1495627771853000&usg=AFQjCNEILgWU8ZhCca-AqHBWgpsZmlkf0A" href="http://wiki/Burnishing_(pottery)" style="color: #1155cc;" target="_blank" title="Burnishing (pottery)">burnishing</a> or polishing. Burnishing was a technique used on some wares in the Roman period, but terra sigillata was not one of them. The polished surface can only be retained if fired within the low-fire range and will lose its shine if fired higher, but can still display an appealing silky quality.<br />
<h2>
Medicinal earth</h2>
The oldest use for the term terra sigillata was for a <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Medicinal_clay&source=gmail&ust=1495627771853000&usg=AFQjCNEkvzt9FbjOYAWq-r8KhTk58_O-7Q" href="http://wiki/Medicinal_clay" style="color: #1155cc;" target="_blank" title="Medicinal clay">medicinal clay</a> from the island of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Lemnos&source=gmail&ust=1495627771853000&usg=AFQjCNHpRkNYlRF7VbhzKk1fxFHWFwU6Vw" href="http://wiki/Lemnos" style="color: #1155cc;" target="_blank" title="Lemnos">Lemnos</a>. The latter was called "sealed" because cakes of it were pressed together and stamped with the head of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Artemis&source=gmail&ust=1495627771853000&usg=AFQjCNF5pFeTwnOJhWZY_TEUTXlmonbzfA" href="http://wiki/Artemis" style="color: #1155cc;" target="_blank" title="Artemis">Artemis</a>. Later, it bore the seal of the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Ottoman_sultan&source=gmail&ust=1495627771853000&usg=AFQjCNH03N1c9JyxHySm83n1A8TbEwjkdw" href="http://wiki/Ottoman_sultan" style="color: #1155cc;" target="_blank" title="Ottoman sultan">Ottoman sultan</a>. This soil's particular mineralic content was such that, in the<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Renaissance&source=gmail&ust=1495627771853000&usg=AFQjCNFlh9awTYTM7FlxNWQQoMtLHGgvJg" href="http://wiki/Renaissance" style="color: #1155cc;" target="_blank" title="Renaissance">Renaissance</a>, it was seen as a proof against poisoning, as well as a general cure for any bodily impurities, and it was highly prized as a medicine and medicinal component.<sup>[<i><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Wikipedia:Citation_needed&source=gmail&ust=1495627771853000&usg=AFQjCNG1VwB_7hsQcMznML2raZ1nkRFgZg" href="http://wiki/Wikipedia:Citation_needed" style="color: #1155cc;" target="_blank" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (July 2016)">citation needed</span></a></i>]</sup><br />
In 1580, a miner named Adreas Berthold traveled around Germany selling Silesian terra sigillata made from a special clay dug from the hills outside the town of Striga, now <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Strzegom&source=gmail&ust=1495627771853000&usg=AFQjCNG3U6yA4eg8KQr4F1Kj1jBThBvIZg" href="http://wiki/Strzegom" style="color: #1155cc;" target="_blank" title="Strzegom">Strzegom</a>, Poland, and processed into small tablets. He promoted it as a panacea effective against every type of poison and several diseases, including plague. Berthold invited authorities to test it themselves. In two cases, physicians, princes and town leaders conducted trials involving dogs who were either given poison followed by the antidote or poison alone; the dogs who got the antidote lived and the dogs who got the poison alone died. In 1581, a prince tested the antidote on a condemned criminal, who survived.<sup></sup><br />
In 1588 English ethnographer and translator <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Thomas_Harriot&source=gmail&ust=1495627771853000&usg=AFQjCNHmEmvP30FMdMcKHgeWRAFOjOp6kw" href="http://wiki/Thomas_Harriot" style="color: #1155cc;" target="_blank" title="Thomas Harriot">Thomas Harriot</a> wrote in <i>A Briefe and True Report of the New Found Land of Virginia</i> that <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Algonquians&source=gmail&ust=1495627771853000&usg=AFQjCNHbfr44tKHpbaGZBL7Bj6YIyRP-yw" href="http://wiki/Algonquians" style="color: #1155cc;" target="_blank" title="Algonquians">Algonquians</a> of the mid–Atlantic region treated various sores and wounds with<i>wapeih</i>, a kind of terra sigillata that English surgeons and physicians found to be of the same kind "of vertue and more effectuall" than the contemporary European sort.<sup></sup><br />
<h2>
Roman red gloss pottery</h2>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:201005151401_NE_CSM_Aretinische_TS.jpg&source=gmail&ust=1495627771853000&usg=AFQjCNHHq2yAU-5UB3n6m70xmw6mFm4wmg" href="http://wiki/File:201005151401_NE_CSM_Aretinische_TS.jpg" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="290" id="m_1656623249516601700B6015676-DB03-4963-8BB4-931B39BF604F" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.3&disp=emb&attbid=ANGjdJ9SnryxikdhCKAqzCcjjNVR1EXUuGA9gIPUn2KxueqvqjWup41g3B6ykKGgrs8tiV6KDMjtIMUkMoLP2btfJ5ifj2Av9aLAcPb_aE6YKSW5S5WtJZmF838LCdY&sz=w520-h580&ats=1495541371827&rm=15af21d781f3b77a&zw&atsh=1" width="260" /></a><div>
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A decorated Arretine vase (Form Dragendorff 11) found at Neuss, Germany</div>
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In archaeological usage, the term <i>terra sigillata</i> without further qualification normally denotes the Arretine ware of Italy, made at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Arezzo&source=gmail&ust=1495627771853000&usg=AFQjCNFkNzLlUKfKV6VBS3CuuN7uVncp8A" href="http://wiki/Arezzo" style="color: #1155cc;" target="_blank" title="Arezzo">Arezzo</a>, and Gaulish samian ware manufactured first in South <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Gaul&source=gmail&ust=1495627771854000&usg=AFQjCNGzBW0gwjumHvuv_aSwF2w6JhUCYA" href="http://wiki/Gaul" style="color: #1155cc;" target="_blank" title="Gaul">Gaul</a>, particularly at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/La_Graufesenque&source=gmail&ust=1495627771854000&usg=AFQjCNEXdvPzETGegDfcCvbJPGTkqWQHiQ" href="http://wiki/La_Graufesenque" style="color: #1155cc;" target="_blank" title="La Graufesenque">La Graufesenque</a>, near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Millau&source=gmail&ust=1495627771854000&usg=AFQjCNHkqDGjQJdXatU9IFdl214PZWMmWQ" href="http://wiki/Millau" style="color: #1155cc;" target="_blank" title="Millau">Millau</a>, and later at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Lezoux&source=gmail&ust=1495627771854000&usg=AFQjCNHXSJzOfXD7dbXm-4TmYo_YbbX-eA" href="http://wiki/Lezoux" style="color: #1155cc;" target="_blank" title="Lezoux">Lezoux</a> and adjacent sites near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Clermont-Ferrand&source=gmail&ust=1495627771854000&usg=AFQjCNHTqvEg5DEZknYCsoUNt8DdjWlq5w" href="http://wiki/Clermont-Ferrand" style="color: #1155cc;" target="_blank" title="Clermont-Ferrand">Clermont-Ferrand</a>, and at east Gaulish sites such as <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Trier&source=gmail&ust=1495627771854000&usg=AFQjCNHMzc1eK1LdBgM1fbyGuKpCsvW6iw" href="http://wiki/Trier" style="color: #1155cc;" target="_blank" title="Trier">Trier</a>, Sinzig and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Rheinzabern&source=gmail&ust=1495627771854000&usg=AFQjCNFs-7igklEGQ5gyUwIxrTCXiyrmzw" href="http://wiki/Rheinzabern" style="color: #1155cc;" target="_blank" title="Rheinzabern">Rheinzabern</a>. These high-quality tablewares were particularly popular and widespread in the Western Roman Empire from about 50 BC to the early 3rd century AD.<sup></sup><sup></sup> Definitions of 'TS' have grown up from the earliest days of antiquarian studies, and are far from consistent; one survey of Classical art says:<br />
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<i>Terra sigillata</i> ... is a Latin term used by modern scholars to designate a class of decorated red-gloss pottery .... not all red-gloss ware was decorated, and hence the more inclusive term 'Samian ware' is sometimes used to characterize all varieties of it.<sup></sup></blockquote>
- whereas Anthony King's definition, following the more usual practice among Roman pottery specialists, makes no mention of decoration, but states that terra sigillata is 'alternatively known as samian ware'. However, 'samian ware' is normally used only to refer to the sub-class of terra sigillata made in ancient Gaul. In European languages other than English, terra sigillata, or a translation (e.g. <i>terre sigillée</i>), is always used for both Italian and Gaulish products.<sup></sup><sup></sup> Nomenclature has to be established at an early stage of research into a subject, and antiquarians of the 18th and 19th centuries often used terms that we would not choose today, but as long as their meaning is clear and well-established, this does not matter, and detailed study of the history of the terminology is really a side-issue that is of academic interest only. Scholars writing in English now often use "red gloss wares" or "red slip wares", both to avoid these issues of definition,<sup></sup> and also because many other wares of the Roman period share aspects of technique with the traditional sigillata fabrics.<br />
Italian and Gaulish TS vessels were made in standardised shapes constituting services of matching dishes, bowls and serving vessels. These changed and evolved over time, and have been very minutely classified; the first major scheme, by the German classical archaeologist <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Hans_Dragendorff&source=gmail&ust=1495627771854000&usg=AFQjCNFp0Z9ibd0AnGprrF3R7-Y1wV95HQ" href="http://wiki/Hans_Dragendorff" style="color: #1155cc;" target="_blank" title="Hans Dragendorff">Hans Dragendorff</a> (1895), is still in use (as e.g. "Dr.29"),<sup></sup> and there have been many others, such as the classifications of Déchelette, Knorr, Hermet, Walters, Curle, Loeschcke, Ritterling, Hermet and Ludowici, and more recently, the <i>Conspectus</i> of Arretine forms and Hayes's type-series of African Red Slip and Eastern sigillatas.<sup></sup> These reference sometimes make it possible to date the manufacture of a broken decorated sherd to <span class="aBn" data-term="goog_1084948429" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">within 20 years</span></span> or less.<br />
Most of the forms that were decorated with figures in low relief were thrown in pottery moulds, the inner surfaces of which had been decorated using fired-clay stamps or punches (usually referred to as <i>poinçons</i>) and some free-hand work using a <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Stylus&source=gmail&ust=1495627771854000&usg=AFQjCNG0jFmiLIdSllEkvv2um_9q7V0btQ" href="http://wiki/Stylus" style="color: #1155cc;" target="_blank" title="Stylus">stylus</a>. The mould was therefore decorated on its interior surface with a full decorative design of impressed, intaglio (hollowed) motifs that would appear in low relief on any bowl formed in it. As the bowl dried, the shrinkage was sufficient for it to be withdrawn from the mould, in order to carry out any finishing work, which might include the addition of foot-rings, the shaping and finishing of rims, and in all cases the application of the slip. <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Barbotine&source=gmail&ust=1495627771854000&usg=AFQjCNFbry6r6A22KZANENbwqXMZ2FmYog" href="http://wiki/Barbotine" style="color: #1155cc;" target="_blank" title="Barbotine">Barbotine</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Appliqu%25C3%25A9&source=gmail&ust=1495627771854000&usg=AFQjCNH2SVnkBKVqOUo-ttiRU5_jhAV25w" href="http://wiki/Appliqu%C3%A9" style="color: #1155cc;" target="_blank" title="Appliqué">appliqué</a> ('sprigged') techniques were sometimes used to decorate vessels of closed forms.<sup></sup> Study of the characteristic decorative <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Motif_(visual_arts)&source=gmail&ust=1495627771854000&usg=AFQjCNHKAEaj04ub80WpjkDQ7CqcG2t7nQ" href="http://wiki/Motif_(visual_arts)" style="color: #1155cc;" target="_blank" title="Motif (visual arts)">motifs</a>, combined in some cases with name-stamps of workshops incorporated into the decoration, and also sometimes with the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Cursive&source=gmail&ust=1495627771854000&usg=AFQjCNG9TgdiYtPZdByZwpyTv-UgqWXNaA" href="http://wiki/Cursive" style="color: #1155cc;" target="_blank" title="Cursive">cursive</a> signatures of mouldmakers, makes it possible to build up a very detailed knowledge of the industry. Careful observation of form and fabric is therefore usually enough for an archaeologist experienced in the study of sigillata to date and identify a broken <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Sherd&source=gmail&ust=1495627771854000&usg=AFQjCNFbP7tXY1AxGdZATM7OSmL9vK2Uyg" href="http://wiki/Sherd" style="color: #1155cc;" target="_blank" title="Sherd">sherd</a>: a potter's stamp or moulded decoration provides even more precise evidence. The classic guide by Oswald and Pryce, published in 1920 <sup></sup>set out many of the principles, but the literature on the subject goes back into the 19th century, and is now extremely voluminous, including many monographs on specific regions, as well as excavation reports on important sites that have produced significant assemblages of sigillata wares, and articles in learned journals, some of which are dedicated to Roman pottery studies.<sup></sup><sup></sup><br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:La_Graufesenque_samian_kiln.jpg&source=gmail&ust=1495627771854000&usg=AFQjCNGwIgYUMzM6I3xW_5XcQoG41paa9w" href="http://wiki/File:La_Graufesenque_samian_kiln.jpg" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="180" id="m_16566232495166017003F55D969-2E7B-4700-B83A-5E16DFDC1594" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.4&disp=emb&attbid=ANGjdJ9OSISNeCoU68-Ljz7WkyIC6kPAbSf-j0B8T7V0cWkattEROI5ZAbCOS1Iy-XbxuaNnRDJbntSaMYtavWdjyKVSJSJYGdtdVbPRwEumEHq_01jsKfHfCtt39QM&sz=w540-h360&ats=1495541371828&rm=15af21d781f3b77a&zw&atsh=1" width="270" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:La_Graufesenque_samian_kiln.jpg&source=gmail&ust=1495627771854000&usg=AFQjCNGwIgYUMzM6I3xW_5XcQoG41paa9w" href="http://wiki/File:La_Graufesenque_samian_kiln.jpg" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
The remains of the <i>grand four</i> ("big <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Kiln&source=gmail&ust=1495627771854000&usg=AFQjCNFhEIA2q2haBhDLFKWuX1AE81AIsw" href="http://wiki/Kiln" style="color: #1155cc;" target="_blank" title="Kiln">kiln</a>") at La Graufesenque</div>
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The motifs and designs on the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Relief&source=gmail&ust=1495627771854000&usg=AFQjCNHkzkHQwY6R1QVkytuRucDLXz5vXg" href="http://wiki/Relief" style="color: #1155cc;" target="_blank" title="Relief">relief</a>-decorated wares echo the general traditions of Graeco-Roman decorative arts, with depictions of deities, references to myths and legends, and popular themes such as hunting and erotic scenes. Individual figure-types, like the vessel-shapes, have been classified, and in many cases they may be linked with specific potters or workshops. Some of the decoration relates to contemporary architectural ornament, with <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Egg-and-tongue&source=gmail&ust=1495627771854000&usg=AFQjCNGI0FwjmJ-MQIzRjGv6haB9RWTbGA" href="http://wiki/Egg-and-tongue" style="color: #1155cc;" target="_blank" title="Egg-and-tongue">egg-and-tongue</a> (ovolo) mouldings, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Acanthus_(ornament)&source=gmail&ust=1495627771854000&usg=AFQjCNEb7HEpXtU2oWzH2X5uIU4q2fhljA" href="http://wiki/Acanthus_(ornament)" style="color: #1155cc;" target="_blank" title="Acanthus (ornament)">acanthus</a> and vine <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Scrollwork&source=gmail&ust=1495627771854000&usg=AFQjCNFgdGRaawWcmyKAHEFdbGB0licarA" href="http://wiki/Scrollwork" style="color: #1155cc;" target="_blank" title="Scrollwork">scrolls</a> and the like. While the decoration of Arretine ware is often highly naturalistic in style, and is closely comparable with silver tableware of the same period, the designs on the Gaulish products, made by provincial artisans adopting Classical subjects, are intriguing for their expression of '<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Romanization_(cultural)&source=gmail&ust=1495627771854000&usg=AFQjCNG5HemqwY9xU0DNJWsisD_0OjNZKg" href="http://wiki/Romanization_(cultural)" style="color: #1155cc;" target="_blank" title="Romanization (cultural)">romanisation</a>', the fusion of Classical and native cultural and artistic traditions.<br />
Many of the Gaulish manufacturing sites have been extensively excavated and studied. At <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/La_Graufesenque&source=gmail&ust=1495627771854000&usg=AFQjCNEXdvPzETGegDfcCvbJPGTkqWQHiQ" href="http://wiki/La_Graufesenque" style="color: #1155cc;" target="_blank" title="La Graufesenque">La Graufesenque</a>in southern Gaul, documentary evidence in the form of lists or tallies apparently fired with single kiln-loads, giving potters' names and numbers of pots have long been known, and they suggest very large loads of 25,000–30,000 vessels. Though not all the kilns at this, or other, manufacturing sites were so large, the excavation of the <i>grand four</i> (big kiln) at La Graufesenque, which was in use in the late 1st and early 2nd century, confirms the scale of the industry. It is a rectangular stone-built structure measuring 11.3 m. by 6.8 m. externally, with an original height estimated at 7 metres. With up to nine 'storeys' within (dismantled after each firing), formed of tile floors and vertical columns in the form of clay pipes or tubes, which also served to conduct the heat, it has been estimated that it was capable of firing 30,000–40,000 vessels at a time, at a temperature of around 1000 °C.<sup></sup><br />
A 2005 work has shown that the slip is a matrix of mainly silicon and aluminium oxides, within which are suspended sub-microscopic crystals of haematite and corundum. The matrix itself does not contain any metallic ions, the haematite is substituted in aluminium and titanium while the corundum is substituted in iron. The two crystal populations are homogenously dispersed within the matrix. The colour of haematite depends on the crystal size. Large crystals of this mineral are black but as the size decreases to sub-micron the colour shifts to red. The fraction of aluminium has a similar effect. It was formerly thought that the difference between 'red' and 'black' samian was due to the presence (black) or absence (red) of reducing gases from the kiln and that the construction of the kiln was so arranged as to prevent the reducing gases from the fuel from coming into contact with the pottery. The presence of iron oxides in the clay/slip was thought to be reflected in the colour according to the oxidation state of the iron (Fe[III] for the red and Fe[II] for the black, the latter produced by the reducing gases coming into contact with the pottery during firing). It now appears as a result of this recent work that this is not the case and that the colour of the glossy slip is in fact due to no more than the crystal size of the minerals dispersed within the matrix glass.<sup></sup><br />
<h3>
Forerunners</h3>
Arretine ware, in spite of its very distinctive appearance, was an integral part of the wider picture of fine ceramic tablewares in the Graeco-Roman world of the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Hellenistic&source=gmail&ust=1495627771854000&usg=AFQjCNGZdURwKYNrXGl1lv4F6jocW9YIDQ" href="http://wiki/Hellenistic" style="color: #1155cc;" target="_blank" title="Hellenistic">Hellenistic</a> and early Roman period. That picture must itself be seen in relation to the luxury tablewares made of silver. Centuries before Italian terra sigillata was made, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Black-figure_pottery&source=gmail&ust=1495627771854000&usg=AFQjCNF6WSU0dRGUu8IOOtuDaveu88iYAA" href="http://wiki/Black-figure_pottery" style="color: #1155cc;" target="_blank" title="Black-figure pottery">Attic painted vases</a>, and later their regional variants made in Italy, involved the preparation of a very fine clay body covered with a slip that fired to a glossy surface without the need for any polishing or burnishing. Greek painted wares also involved the precise understanding and control of firing conditions to achieve the contrasts of black and red.<sup></sup><br />
Glossy-slipped black pottery made in <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Etruria&source=gmail&ust=1495627771854000&usg=AFQjCNGo0W2cYGusM49z6FxHb3VMuFFBwQ" href="http://wiki/Etruria" style="color: #1155cc;" target="_blank" title="Etruria">Etruria</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Campania&source=gmail&ust=1495627771854000&usg=AFQjCNEbCJXsH-qzHZzdhnbqxUVe_G6vVQ" href="http://wiki/Campania" style="color: #1155cc;" target="_blank" title="Campania">Campania</a> continued this technological tradition, though painted decoration gave way to simpler stamped motifs and in some cases, to applied motifs moulded in relief.<sup></sup> The tradition of decorating entire vessels in low relief was also well established in Greece and Asia Minor by the time the Arretine industry began to expand in the middle of the 1st century BC, and examples were imported into Italy. Relief-decorated cups, some in lead-glazed wares, were produced at several eastern centres, and undoubtedly played a part in the technical and stylistic evolution of decorated Arretine, but Megarian bowls, made chiefly in Greece and Asia Minor, are usually seen as the most direct inspiration.<sup></sup>These are small, hemispherical bowls without foot-rings, and their decoration is frequently very reminiscent of contemporary silver bowls, with formalised, radiating patterns of leaves and flowers.<sup></sup> The crisp and precisely profiled forms of the plain dishes and cups were also part of a natural evolution of taste and fashion in the Mediterranean world of the 1st century BC.<br />
<h3>
Arretine ware</h3>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Arretine_ware_poin%25C3%25A7on.JPG&source=gmail&ust=1495627771854000&usg=AFQjCNHRRwy_nCwchHkagCNdGIMNFwexxQ" href="http://wiki/File:Arretine_ware_poin%C3%A7on.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="304" id="m_16566232495166017003AF6C87E-C7B7-43E7-8A2D-FEF189547148" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.5&disp=emb&attbid=ANGjdJ-ewKrr6B4I8DR_0b3isYOueTZ4CyKeIW3fTzc_oy_5X6k3yk7VQy216EAaT8uDgBu0qhXCetaq4E3ucMkgIBzp5Bk9EBeusRbXO12XoAYg3r25--C98a4qm3A&sz=w380-h608&ats=1495541371830&rm=15af21d781f3b77a&zw&atsh=1" width="190" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Arretine_ware_poin%25C3%25A7on.JPG&source=gmail&ust=1495627771854000&usg=AFQjCNHRRwy_nCwchHkagCNdGIMNFwexxQ" href="http://wiki/File:Arretine_ware_poin%C3%A7on.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
An Arretine stamp used for impressing a mould</div>
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Arretine ware began to be manufactured at and near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Arezzo&source=gmail&ust=1495627771854000&usg=AFQjCNH1-LQuVnnZkHoBxge2iwotkpxtCg" href="http://wiki/Arezzo" style="color: #1155cc;" target="_blank" title="Arezzo">Arezzo</a> (Tuscany) a little before the middle of the 1st century BC. The industry expanded rapidly in a period when Roman political and military influence was spreading far beyond Italy: for the inhabitants of the first provinces of the Roman Empire in the reign of the Emperor Augustus (<i>reg.</i> 27 BC – AD 14), this tableware, with its precise forms, shiny surface, and, on the decorated vessels, its visual introduction to Classical art and mythology, must have deeply impressed some inhabitants of the new northern provinces of the Empire. Certainly it epitomised certain aspects of Roman taste and technical expertise. Pottery industries in the areas we now call north-east France and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Belgium&source=gmail&ust=1495627771854000&usg=AFQjCNFVYoIYawukIGBEwoyRYc1Y0AKiLQ" href="http://wiki/Belgium" style="color: #1155cc;" target="_blank" title="Belgium">Belgium</a>quickly began to copy the shapes of plain Arretine dishes and cups in the wares now known as Gallo-Belgic,<sup></sup>and in South and Central Gaul, it was not long before local potters also began to emulate the mould-made decoration and the glossy red slip itself.<br />
The most recognisable decorated Arretine form is Dragendorff 11, a large, deep goblet on a high pedestal base, closely resembling some silver table vessels of the same period, such as the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Warren_Cup&source=gmail&ust=1495627771854000&usg=AFQjCNF_8VpTUJ-b4jOYf7eUJUrGrj4FqA" href="http://wiki/Warren_Cup" style="color: #1155cc;" target="_blank" title="Warren Cup">Warren Cup</a>. The<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Iconography&source=gmail&ust=1495627771854000&usg=AFQjCNFh-BhS3IW0ph460-OkYWuDo87rtA" href="http://wiki/Iconography" style="color: #1155cc;" target="_blank" title="Iconography">iconography</a>, too, tended to match the subjects and styles seen on silver plate, namely mythological and genre scenes, including erotic subjects, and small decorative details of swags, leafy wreaths and ovolo (<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Egg-and-tongue&source=gmail&ust=1495627771854000&usg=AFQjCNGI0FwjmJ-MQIzRjGv6haB9RWTbGA" href="http://wiki/Egg-and-tongue" style="color: #1155cc;" target="_blank" title="Egg-and-tongue">egg-and-tongue</a>) borders that may be compared with elements of Augustan architectural ornament. The deep form of the Dr.11 allowed the <i>poinçons</i> (stamps) used making the moulds of human and animal figures to be fairly large, often about 5–6 cm high, and the modelling is frequently very accomplished indeed, attracting the interest of modern art-historians as well as archaeologists. Major workshops, such as those of M.Perennius Tigranus, P. Cornelius and Cn. Ateius, stamped their products, and the names of the factory-owners and of the workers within the factories, which often appear on completed bowls and on plain wares, have been extensively studied, as have the forms of the vessels, and the details of their dating and distribution.<sup></sup><br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Arretine_mould.JPG&source=gmail&ust=1495627771854000&usg=AFQjCNGxlbhBxfRmawHEienapZI1LpvSKQ" href="http://wiki/File:Arretine_mould.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="173" id="m_16566232495166017003FE9D07F-7EF1-4049-B13C-296132CDAF47" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.6&disp=emb&attbid=ANGjdJ82cXcSBXcKz9jRJfslOudQrlIMLJv44FlRNgO1ZVPm01CWTFKGbP4AVEORUqHhHyo1Dsxncw9aoXANNnmlmsyv70fpyjHa1UEDu32EXQBuaGUTiH4oYeZ7bD4&sz=w460-h346&ats=1495541371831&rm=15af21d781f3b77a&zw&atsh=1" width="230" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Arretine_mould.JPG&source=gmail&ust=1495627771854000&usg=AFQjCNGxlbhBxfRmawHEienapZI1LpvSKQ" href="http://wiki/File:Arretine_mould.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
Mould for an Arretine Dr.11, manufactured in the workshop of P. Cornelius</div>
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Italian sigillata was not made only at or near Arezzo itself: some of the important Arezzo businesses had branch factories in <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pisa&source=gmail&ust=1495627771854000&usg=AFQjCNG2Z98FRGfQVz1j8Yxmi0CYi4lB7g" href="http://wiki/Pisa" style="color: #1155cc;" target="_blank" title="Pisa">Pisa</a>, and by the beginning of the 1st century AD, the Ateius and Rasinius workshops had set up branch factories at La Muette, near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Lyon&source=gmail&ust=1495627771854000&usg=AFQjCNG1h8cicA2yGTKdUPmAUwBxH5bLbg" href="http://wiki/Lyon" style="color: #1155cc;" target="_blank" title="Lyon">Lyon</a> in Central Gaul.<sup></sup> Nor were the classic Arretine wares of the Augustan period the only forms of terra sigillata made in Italy: later sigillata industries in the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Po_Valley&source=gmail&ust=1495627771854000&usg=AFQjCNE1D_GSw8jMJj0yVqvc8peqidX9iw" href="http://wiki/Po_Valley" style="color: #1155cc;" target="_blank" title="Po Valley">Po Valley</a> and elsewhere continued the tradition. The history of sigillata manufacture in Italy is succinctly summarised in Hayes 1997, pages 41–52.<br />
In the Middle Ages, examples of the ware that were serendipitously discovered in digging foundations in Arezzo drew admiring attention as early as the 13th century, when <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Restoro_d%2527Arezzo&source=gmail&ust=1495627771854000&usg=AFQjCNG-xTUgg9dm5X6_giPjGZDLAc0vLQ" href="http://wiki/Restoro_d%27Arezzo" style="color: #1155cc;" target="_blank" title="Restoro d'Arezzo">Restoro d'Arezzo</a>'s massive encyclopedia included a chapter praising the refined Roman ware discovered in his native city, "what is perhaps the first account of an aspect of ancient art to be written since classical times".<sup></sup> The chronicler <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Giovanni_Villani&source=gmail&ust=1495627771854000&usg=AFQjCNHQJEYdIPXRhyxrPfh43JbrhVPQDQ" href="http://wiki/Giovanni_Villani" style="color: #1155cc;" target="_blank" title="Giovanni Villani">Giovanni Villani</a> also mentioned the ware.<sup></sup><br />
The first published study of Arretine ware was that of Fabroni in 1841,<sup></sup> and by the late 19th and early 20th centuries, German scholars in particular had made great advances in systematically studying and understanding both Arretine ware and the Gaulish samian that occurred on Roman military sites being excavated in Germany. Dragendorff's classification was expanded by other scholars, including S. Loeschcke in his study of the Italian sigillata excavated at the early Roman site of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Haltern&source=gmail&ust=1495627771855000&usg=AFQjCNHTP46SsQZUeVwQvwZfWHEcsJQJWA" href="http://wiki/Haltern" style="color: #1155cc;" target="_blank" title="Haltern">Haltern</a>.<sup></sup> Research on Arretine ware has continued very actively throughout the 20th century and into the 21st, for example with the publication and revision of Oxé-Comfort and the <i>Conspectus</i> of forms, bringing earlier work on stamps and shapes up to date.<sup></sup> As with all ancient pottery studies, each generation asks new questions and applies new techniques (such as analysis of clays) in the attempt to find the answers.<br />
<h3>
South Gaulish samian ware</h3>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:South_Gaulish_samian_Dr_29_2.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNEccQiIrkoGKqOFZfBd7QXPMAm6cw" href="http://wiki/File:South_Gaulish_samian_Dr_29_2.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="147" id="m_16566232495166017002C82A1A1-EB7B-45F8-A638-5F76FDD0D7E5" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.7&disp=emb&attbid=ANGjdJ-5fXwwZlnM9mprlWdK8WfxX-iDpuUAjwdS0gNDpbzUwGezwiWc2Esf0TCjfQTaDMge3A2OZJt173GrUXE2xoPUK-QVUNVoDww_ljihAHg6lxIHkiR-QO2EJzE&sz=w540-h294&ats=1495541371832&rm=15af21d781f3b77a&zw&atsh=1" width="270" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:South_Gaulish_samian_Dr_29_2.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNEccQiIrkoGKqOFZfBd7QXPMAm6cw" href="http://wiki/File:South_Gaulish_samian_Dr_29_2.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
South Gaulish Dragendorff 29, late 1st century AD</div>
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Sigillata vessels, both plain and decorated, were manufactured at several centres in southern France, including <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Bram,_Aude&source=gmail&ust=1495627771855000&usg=AFQjCNFit-5DCSDvTRTVKX3KBbyslA42jw" href="http://wiki/Bram,_Aude" style="color: #1155cc;" target="_blank" title="Bram, Aude">Bram</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Montans&source=gmail&ust=1495627771855000&usg=AFQjCNGZbj6XhOGf131LGpQp3xKjBVoAXg" href="http://wiki/Montans" style="color: #1155cc;" target="_blank" title="Montans">Montans</a>, La Graufesenque, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Le_Rozier&source=gmail&ust=1495627771855000&usg=AFQjCNEj9EyxshXWGPv2AZ_OvWEAM8NC8g" href="http://wiki/Le_Rozier" style="color: #1155cc;" target="_blank" title="Le Rozier">Le Rozier</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Banassac&source=gmail&ust=1495627771855000&usg=AFQjCNHvZ2NWW8MZRFRafbyjib2CWPbfdA" href="http://wiki/Banassac" style="color: #1155cc;" target="_blank" title="Banassac">Banassac</a>,<sup></sup> from the late 1st century BC: of these, La Graufesenque, near Millau, was the principal producer and exporter. Although the establishment of sigillata potteries in Gaul may well have arisen initially to meet local demand and to undercut the prices of imported Italian goods, they became enormously successful in their own right, and by the later 1st century AD, South Gaulish samian was being exported not only to other provinces in the north-west of the Empire, but also to Italy and other regions of the Mediterranean, North Africa and even the eastern Empire. One of the finds in the ruins of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pompeii&source=gmail&ust=1495627771855000&usg=AFQjCNHazFic2d80ElHgYVGqsmL_AevnRA" href="http://wiki/Pompeii" style="color: #1155cc;" target="_blank" title="Pompeii">Pompeii</a>, destroyed by the eruption of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Vesuvius&source=gmail&ust=1495627771855000&usg=AFQjCNFTp4ky85fV5kOmipUVpuRsRe9jbA" href="http://wiki/Vesuvius" style="color: #1155cc;" target="_blank" title="Vesuvius">Vesuvius</a> in August AD 79, was a consignment of South Gaulish sigillata, still in its packing crate;<sup></sup> like all finds from the Vesuvian sites, this hoard of pottery is invaluable as dating evidence.<br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Roman_pottery_South_Gaulish_samian_ware.jpg&source=gmail&ust=1495627771855000&usg=AFQjCNHOZ78u4XM6uf-jJR_H5gAAItRwow" href="http://wiki/File:Roman_pottery_South_Gaulish_samian_ware.jpg" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="166" id="m_165662324951660170065A5610C-486B-4B24-BE58-387E46ED8DDF" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.8&disp=emb&attbid=ANGjdJ-s1eR58Puav9w-Y2bVQULnvmkUHYY5RWc3_uXTsqo823e3IDnc6jFbf0vo6i6oOzkfpCe1xJGF0PVrdV8CvJbhBsRm6rRSLD6i8rTppPW3e6L2oTODLtSWAmE&sz=w500-h332&ats=1495541371832&rm=15af21d781f3b77a&zw&atsh=1" width="250" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Roman_pottery_South_Gaulish_samian_ware.jpg&source=gmail&ust=1495627771855000&usg=AFQjCNHOZ78u4XM6uf-jJR_H5gAAItRwow" href="http://wiki/File:Roman_pottery_South_Gaulish_samian_ware.jpg" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
South Gaulish plain forms, showing standardisation of size</div>
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South Gaulish samian typically has a redder slip and deeper pink fabric than Italian sigillata. The best slips, vivid red and of an almost mirror-like brilliance, were achieved during the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Emperor_Claudius&source=gmail&ust=1495627771855000&usg=AFQjCNHXwAara_1jbxioMUmxnFpEVn9Z_w" href="http://wiki/Emperor_Claudius" style="color: #1155cc;" target="_blank" title="Emperor Claudius">Claudian</a> and early <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Nero&source=gmail&ust=1495627771855000&usg=AFQjCNG96-6nfV3SUOVGyXbiw7E1lKNe1g" href="http://wiki/Nero" style="color: #1155cc;" target="_blank" title="Nero">Neronian</a>periods (Claudius, <i>reg</i>. AD 41–54; Nero, <i>reg</i>. AD 54–68). At the same period, some workshops experimented briefly with a marbled red-and-yellow slip, a variant that never became generally popular.<sup></sup> Early production of plain forms in South Gaul initially followed the Italian models closely, and even the characteristic Arretine decorated form, Dragendorff 11, was made. But many new shapes quickly evolved, and by the second half of the 1st century AD, when Italian sigillata was no longer influential, South Gaulish samian had created its own characteristic repertoire of forms. The two principal decorated forms were Dragendorff 30, a deep, cylindrical bowl, and Dragendorff 29, a carinated ('keeled') shallow bowl with a marked angle, emphasised by a moulding, mid-way down the profile. The footring is low, and potters' stamps are usually bowl-maker's marks placed in the interior base, so that vessels made from the same, or parallel, moulds may bear different names. The rim of the 29, small and upright in early examples of the form, but much deeper and more everted by the 70s of the 1st century, is finished with rouletted decoration,<sup></sup> and the relief-decorated surfaces necessarily fall into two narrow zones. These were usually decorated with floral and foliate designs of wreaths and scrolls at first: the Dr.29 resting on its rim illustrated in the lead section of this article is an early example, less angular than the developed form of the 60s and 70s, with decoration consisting of simple, very elegant leaf-scrolls. Small human and animal figures, and more complex designs set out in separate panels, became more popular by the 70s of the 1st century. Larger human and animal figures could be used on the Dr.30 vessels, but while many of these have great charm, South Gaulish craftsmen never achieved, and perhaps never aspired to, the Classical naturalism of some of their Italian counterparts.<br />
In the last two decades of the 1st century, the Dragendorff 37, a deep, rounded vessel with a plain upright rim, overtook the 29 in popularity. This simple shape remained the standard Gaulish samian relief-decorated form, from all Gaulish manufacturing regions, for more than a century. Small relief-decorated <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Beaker_(archaeology)&source=gmail&ust=1495627771855000&usg=AFQjCNEzBJ9Y4oiYwMjFW8FnBHCJk3st4A" href="http://wiki/Beaker_(archaeology)" style="color: #1155cc;" target="_blank" title="Beaker (archaeology)">beakers</a> such as forms Déchelette 67 and Knorr 78 were also made in South Gaul, as were occasional 'one-off' or very ambitious mould-made vessels, such as large thin-walled flagons and flasks.<sup></sup> But the mass of South Gaulish samian found on Roman sites of the 1st century AD consists of plain dishes, bowls and cups, especially Dr.18 (a shallow dish) and Dr.27 (a little cup with a distinctive double curve to the profile), many of which bear potters' name-stamps, and the large decorated forms 29, 30 and 37.<br />
A local industry inspired by Arretine and South Gaulish imports grew up in the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Iberia&source=gmail&ust=1495627771855000&usg=AFQjCNFedTFLRrrJkqJhpo7YfxdjBZdtfQ" href="http://wiki/Iberia" style="color: #1155cc;" target="_blank" title="Iberia">Iberian</a> provinces in the 1st century AD. <i>Terra sigillata hispanica</i> developed its own distinctive forms and designs, and continued in production into the late Roman period, the 4th and 5th centuries AD. It was not exported to other regions.<br />
<h3>
Central Gaulish samian ware</h3>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Central_Gaulish_samian_Dr.30.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNGGRr6OT1Ah7nnqSLNJ55ym-Bcr-Q" href="http://wiki/File:Central_Gaulish_samian_Dr.30.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="196" id="m_1656623249516601700E188C5F1-6B31-4659-9FF9-9B2CBA885F0B" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.9&disp=emb&attbid=ANGjdJ9o4KUtNJ8DbLFJwSuO4UVViSHpLBzV8Db-ofm3_yEwg6wFr1EzUoetlLbXpFJwJJMZlgUaC-lCjDvPnHbcKPOxYko2XbbfebBcWeWXYC7-iahiyrfopi39fB4&sz=w460-h392&ats=1495541371834&rm=15af21d781f3b77a&zw&atsh=1" width="230" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Central_Gaulish_samian_Dr.30.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNGGRr6OT1Ah7nnqSLNJ55ym-Bcr-Q" href="http://wiki/File:Central_Gaulish_samian_Dr.30.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
Central Gaulish Dr.30, stamped by Divixtus</div>
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The principal Central Gaulish samian potteries were situated at Lezoux and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Les_Martres-de-Veyre&source=gmail&ust=1495627771855000&usg=AFQjCNH83Z68mnf38UaPApoiLw6EkFqwew" href="http://wiki/Les_Martres-de-Veyre" style="color: #1155cc;" target="_blank" title="Les Martres-de-Veyre">Les Martres-de-Veyre</a>, not far from <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Clermont-Ferrand&source=gmail&ust=1495627771855000&usg=AFQjCNF0A8H1Qoeg2S_LXAEmWONqvB49MQ" href="http://wiki/Clermont-Ferrand" style="color: #1155cc;" target="_blank" title="Clermont-Ferrand">Clermont-Ferrand</a> in the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Auvergne_(province)&source=gmail&ust=1495627771855000&usg=AFQjCNHm6WXZBV6_OztDCJ5PFber6o-IAQ" href="http://wiki/Auvergne_(province)" style="color: #1155cc;" target="_blank" title="Auvergne (province)">Auvergne</a>. Production had already begun at Lezoux in the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Emperor_Augustus&source=gmail&ust=1495627771855000&usg=AFQjCNEmG9CtAGQ904kFqODlrMdJDCtaUw" href="http://wiki/Emperor_Augustus" style="color: #1155cc;" target="_blank" title="Emperor Augustus">Augustan</a> period (Augustus, <i>reg</i>. 27 BC–AD 14), but it was not until the reign of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Trajan&source=gmail&ust=1495627771855000&usg=AFQjCNElhPFNiAtHRhV7biecm3oFx862Jw" href="http://wiki/Trajan" style="color: #1155cc;" target="_blank" title="Trajan">Trajan</a> (AD 98–117), and the beginning of a decline in the South Gaulish export trade, that Central Gaulish samian ware became important outside its own region. Though it never achieved the extensive geographical distribution of the South Gaulish factories, in the provinces of Gaul and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Roman_Britain&source=gmail&ust=1495627771855000&usg=AFQjCNH1xpR_Ej34qw_y-XRnb04woIdg0w" href="http://wiki/Roman_Britain" style="color: #1155cc;" target="_blank" title="Roman Britain">Britain</a>, it was by far the most common type of fine tableware, plain and decorated, in use during the 2nd century AD. The quality of the ware and the slip is usually excellent, and some of the products of Les Martres-de-Veyre, in particular, are outstanding, with a lustrous slip and a very hard, dense body.<sup></sup> The surface colour tends towards a more orange-red hue than the typical South Gaulish slips.<br />
Vessel-forms that had been made in South Gaul continued to be produced, though as the decades passed, they evolved and changed with the normal shifts of fashion, and some new shapes were created, such as the plain bowl with a horizontal flange below the rim, Dr.38. <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Mortarium&source=gmail&ust=1495627771855000&usg=AFQjCNE6ugV29Pa2B9tiusMvqRV699ibxA" href="http://wiki/Mortarium" style="color: #1155cc;" target="_blank" title="Mortarium">Mortaria</a>, food-preparation bowls with a gritted interior surface, were also made in Central Gaulish samian fabric in the second half of the 2nd century (Dr.45). There is a small sub-class of Central Gaulish samian ware with a glossy black slip, though the dividing line between black terra sigillata and other fine black-gloss wares, which were also manufactured in the area, is sometimes hazy. When a vessel is a classic samian form and decorated in relief in the style of a known samian potter, but finished with black slip rather than a red one, it may be classed as black samian.<br />
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Roman_pottery_Central_Gaulish_samian_jar.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNG5TzRr8GDZU6efBUi2AgmDgKC_aA" href="http://wiki/File:Roman_pottery_Central_Gaulish_samian_jar.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="256" id="m_165662324951660170084BF2C5E-A9AA-4A28-BEA4-BF52EB1C43C6" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.10&disp=emb&attbid=ANGjdJ9txfxlN9LbXLMickKx9QGgjD0sUbMUkDcVeBDS_Csf5ajuYiub0tu1i3xBnUSUq2Dwg2d4YwIRz67Ca4MPyMEUEoLlR63QxN29h9xzs3IWos3uZYC7q8iRP0g&sz=w460-h512&ats=1495541371835&rm=15af21d781f3b77a&zw&atsh=1" width="230" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Roman_pottery_Central_Gaulish_samian_jar.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNG5TzRr8GDZU6efBUi2AgmDgKC_aA" href="http://wiki/File:Roman_pottery_Central_Gaulish_samian_jar.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
Central Gaulish samian jar with 'cut-glass' decoration</div>
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Though the Central Gaulish forms continued and built upon the South Gaulish traditions, the decoration of the principal decorated forms, Dr.30 and Dr.37, was distinctive.<sup></sup> New human and animal figure-types appeared, generally modelled with greater realism and sophistication than those of La Graufesenque and other South Gaulish centres. Figure-types and decorative details have been classified, and can often be linked to specific workshops<sup></sup> Lezoux wares also included vases decorated with <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Barbotine&source=gmail&ust=1495627771855000&usg=AFQjCNHTP9PAHMJd44OhoSQU9ti_YRB_YA" href="http://wiki/Barbotine" style="color: #1155cc;" target="_blank" title="Barbotine">barbotine</a> relief, with appliqué motifs, and a class usually referred to as 'cut-glass' decoration, with geometric patterns cut into the surface of the vessel before slipping and firing. Two standard 'plain' types made in considerable numbers in Central Gaul also included barbotine decoration, Dr.35 and 36, a matching cup and dish with a curved horizontal rim embellished with a stylised scroll of leaves in relief.<br />
During the second half of the 2nd century, some Lezoux workshops making relief-decorated bowls, above all that of Cinnamus, dominated the market with their large production.<sup></sup> The wares of Cinnamus, Paternus, Divixtus, Doeccus, Advocisus, Albucius and some others often included large, easily legible name-stamps incorporated into the decoration, clearly acting as brand-names or advertisements.<sup></sup> Though these vessels were very competently made, they are heavy and somewhat coarse in form and finish compared with earlier Gaulish samian ware.<br />
From the end of the 2nd century, the export of sigillata from Central Gaul rapidly, perhaps even abruptly, ceased. Pottery production continued, but in the 3rd century, it reverted to being a local industry.<br />
<h3>
East Gaulish samian ware</h3>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Rheinzabern_samian_vase.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNERkpEThhK9wwWJRw9Gv8-qaVJznw" href="http://wiki/File:Rheinzabern_samian_vase.JPG" style="color: #1155cc;" target="_blank"><img alt="" class="CToWUd" height="243" id="m_16566232495166017000020F739-1D27-4B1E-B875-2832B1C844D7" src="https://mail.google.com/mail/u/0/?ui=2&ik=b6abcdd91d&view=fimg&th=15af21d781f3b77a&attid=0.1.11&disp=emb&attbid=ANGjdJ-NumpMQ-eH2JuX3tLkShEo7bq4LknE5nu-Dsb3HvfR_Y0xGaIbxzj7heLKjpdWzH1hj6u7zOgwaGn46DWIL0cv2kfjF_wRSKx7ziIuIPhGjJze1cm0LFnWHDc&sz=w380-h486&ats=1495541371836&rm=15af21d781f3b77a&zw&atsh=1" width="190" /></a><div>
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<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/File:Rheinzabern_samian_vase.JPG&source=gmail&ust=1495627771855000&usg=AFQjCNERkpEThhK9wwWJRw9Gv8-qaVJznw" href="http://wiki/File:Rheinzabern_samian_vase.JPG" style="color: #1155cc; width: 15px;" target="_blank" title="Enlarge"></a></div>
Rheinzabern barbotine-decorated vase, form Ludowici VMe</div>
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There were numerous potteries manufacturing terra sigillata in East Gaul, which included <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Alsace&source=gmail&ust=1495627771855000&usg=AFQjCNF0U7RUCmLHZ2pALMe33RmCuzpdXg" href="http://wiki/Alsace" style="color: #1155cc;" target="_blank" title="Alsace">Alsace</a>, the<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Saarland&source=gmail&ust=1495627771855000&usg=AFQjCNH9XTfds_jjSQzAiTCxHC2qlbYzyQ" href="http://wiki/Saarland" style="color: #1155cc;" target="_blank" title="Saarland">Saarland</a>, and the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Rhine&source=gmail&ust=1495627771855000&usg=AFQjCNGFUiQVmEoJwbkLgAnH2OhcXsYS-Q" href="http://wiki/Rhine" style="color: #1155cc;" target="_blank" title="Rhine">Rhine</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Moselle_(river)&source=gmail&ust=1495627771855000&usg=AFQjCNF2Cy2AypBaZoUyENyVoauToQDxhw" href="http://wiki/Moselle_(river)" style="color: #1155cc;" target="_blank" title="Moselle (river)">Mosel</a> regions, but while the samian pottery from <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Luxeuil&source=gmail&ust=1495627771855000&usg=AFQjCNFiUQ71COPDTHuc0LS8Uu6uE-Ugtw" href="http://wiki/Luxeuil" style="color: #1155cc;" target="_blank" title="Luxeuil">Luxeuil</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Laneuveville-devant-Nancy&source=gmail&ust=1495627771855000&usg=AFQjCNGGdCelOGebYLgzKztx4CBYKnVlVA" href="http://wiki/Laneuveville-devant-Nancy" style="color: #1155cc;" target="_blank" title="Laneuveville-devant-Nancy">La Madeleine</a>, Chémery-Faulquemont, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Lavoye&source=gmail&ust=1495627771855000&usg=AFQjCNGjPct8GmzwDTz71WAGIOvmB2cpiQ" href="http://wiki/Lavoye" style="color: #1155cc;" target="_blank" title="Lavoye">Lavoye</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Remagen&source=gmail&ust=1495627771855000&usg=AFQjCNHSKP1hyUxHUWLIEtlMwmgo2zgrSA" href="http://wiki/Remagen" style="color: #1155cc;" target="_blank" title="Remagen">Remagen</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Sinzig&source=gmail&ust=1495627771855000&usg=AFQjCNH1e4t1iRmLoFZFuictHBvkSNAGoQ" href="http://wiki/Sinzig" style="color: #1155cc;" target="_blank" title="Sinzig">Sinzig</a>, Blickweiler and other sites is of interest and importance mainly to specialists, two sources stand out because their wares are often found outside their own immediate areas, namely <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Rheinzabern&source=gmail&ust=1495627771855000&usg=AFQjCNHGCfPKXMuh6th6RpIPaYdcLX-OAg" href="http://wiki/Rheinzabern" style="color: #1155cc;" target="_blank" title="Rheinzabern">Rheinzabern</a>, near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Speyer&source=gmail&ust=1495627771856000&usg=AFQjCNHNmne0EWHhAKGLjv4wETcn9RMYLQ" href="http://wiki/Speyer" style="color: #1155cc;" target="_blank" title="Speyer">Speyer</a>, and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Trier&source=gmail&ust=1495627771856000&usg=AFQjCNHAqqurdzNEeif2zCRZ7EsERGgO3A" href="http://wiki/Trier" style="color: #1155cc;" target="_blank" title="Trier">Trier</a>.<sup></sup><br />
The Trier potteries evidently began to make samian vessels around the beginning of the 2nd century AD, and were still active until the middle of the 3rd century. The styles and the potters have been divided by scholars into two main phases, Werkstatten I and II.<sup></sup> Some of the later mould-made Dr.37 bowls are of very poor quality, with crude decoration and careless finishing.<br />
The Rheinzabern kilns and their products have been studied since Wilhelm Ludowici (1855–1929) began to excavate there in 1901, and to publish his results in a series of detailed reports.<sup></sup> Rheinzabern produced both decorated and plain forms for around a century from the middle of the 2nd century. Some of the Dr.37 bowls, for example those with the workshop stamp of Ianus, bear comparison with Central Gaulish products of the same date: others are less successful. But the real strength of the Rheinzabern industry lay in its extensive production of good-quality samian cups, beakers, flagons and vases, many imaginatively decorated with barbotine designs or in the 'cut-glass' incised technique. Ludowici created his own type-series, which sometimes overlaps with those of other sigillata specialists. Ludowici's types use combinations of upper- and lower-case letters rather than simple numbers, the first letter referring to the general shape, such as 'T' for<i>Teller</i> (dish).<br />
In general, the products of the East Gaulish industries moved away from the early imperial Mediterranean tradition of intricately profiled dishes and cups, and ornamented bowls made in moulds, and converged with the later Roman local traditions of pottery-making in the northern provinces, using free-thrown, rounded forms and creating relief designs with freehand slip-trailing. Fashions in fine tablewares were changing. Some East Gaulish producers made bowls and cups decorated only with rouletted or stamped decoration, and in the 3rd and 4th centuries, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Forest_of_Argonne&source=gmail&ust=1495627771856000&usg=AFQjCNH2XdGNld18Oc8ZuIbVk7zCnk-jjg" href="http://wiki/Forest_of_Argonne" style="color: #1155cc;" target="_blank" title="Forest of Argonne">Argonne</a> ware, decorated with all-over patterns of small stamps, was made in the area east of Rheims and quite widely traded.<sup></sup> Argonne ware was essentially still a type of sigillata, and the most characteristic form is a small, sturdy Dr.37 bowl. Small, localised attempts to make conventional relief-decorated samian ware included a brief and unsuccessful venture at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Colchester&source=gmail&ust=1495627771856000&usg=AFQjCNHVyXKx91P1ELxqtYafzc9qEbu_Og" href="http://wiki/Colchester" style="color: #1155cc;" target="_blank" title="Colchester">Colchester</a> in Britain, apparently initiated by potters from the East Gaulish factories at Sinzig, a centre that was itself an offshoot of the Trier workshops.<sup></sup><br />
<h3>
Eastern sigillatas</h3>
In the eastern provinces of the Roman Empire, there had been several industries making fine red tablewares with smooth, glossy-slipped surfaces since about the middle of the 2nd century BC, well before the rise of the Italian sigillata workshops. By the 1st century BC, their forms often paralleled Arretine plain-ware shapes quite closely. There were evidently centres of production in <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Syria_(Roman_province)&source=gmail&ust=1495627771856000&usg=AFQjCNHEntlcPtbXVqMn_1r0SysILdpOBA" href="http://wiki/Syria_(Roman_province)" style="color: #1155cc;" target="_blank" title="Syria (Roman province)">Syria</a>; in western Turkey, exported through<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Ephesos&source=gmail&ust=1495627771856000&usg=AFQjCNE8tsUlrEHEB8XbwOAPv-u1EigFyQ" href="http://wiki/Ephesos" style="color: #1155cc;" target="_blank" title="Ephesos">Ephesos</a>; <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pergamon&source=gmail&ust=1495627771856000&usg=AFQjCNEcJGCw6gUhlKDDJ7u-CfsXLE0B_Q" href="http://wiki/Pergamon" style="color: #1155cc;" target="_blank" title="Pergamon">Pergamon</a>; <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/%25C3%2587andarl%25C4%25B1&source=gmail&ust=1495627771856000&usg=AFQjCNFDfDVpbfn3nu20q7xgIWbhdDQehg" href="http://wiki/%C3%87andarl%C4%B1" style="color: #1155cc;" target="_blank" title="Çandarlı">Çandarlı</a>, near Pergamon; and on <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Cyprus&source=gmail&ust=1495627771856000&usg=AFQjCNFlatX8lWHfKoh2caELM0LO27ADVg" href="http://wiki/Cyprus" style="color: #1155cc;" target="_blank" title="Cyprus">Cyprus</a>, but archaeologists often refer to <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Eastern_sigillata_A&source=gmail&ust=1495627771856000&usg=AFQjCNFexsKMMIE-vD6DJ6e2PKaQmrgUmA" href="http://wiki/Eastern_sigillata_A" style="color: #1155cc;" target="_blank" title="Eastern sigillata A">eastern sigillata A</a> from Northern <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Syria_(Roman_province)&source=gmail&ust=1495627771856000&usg=AFQjCNHEntlcPtbXVqMn_1r0SysILdpOBA" href="http://wiki/Syria_(Roman_province)" style="color: #1155cc;" target="_blank" title="Syria (Roman province)">Syria</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Eastern_sigillata_B&source=gmail&ust=1495627771856000&usg=AFQjCNFJwpuqA-JT61GXZjc2jcNTxzytDw" href="http://wiki/Eastern_sigillata_B" style="color: #1155cc;" target="_blank" title="Eastern sigillata B">eastern sigillata B</a> from <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Tralles&source=gmail&ust=1495627771856000&usg=AFQjCNErgMjYlS4pyX0wJSHO1fyLJacfLA" href="http://wiki/Tralles" style="color: #1155cc;" target="_blank" title="Tralles">Tralles</a> in Asia Minor, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Eastern_sigillata_C&source=gmail&ust=1495627771856000&usg=AFQjCNFqni8yEwtM-TOUZLXrqynKtpMniA" href="http://wiki/Eastern_sigillata_C" style="color: #1155cc;" target="_blank" title="Eastern sigillata C">eastern sigillata C</a> from ancient<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pitane_(Aeolis)&source=gmail&ust=1495627771856000&usg=AFQjCNEdnwKaijVchFCcuE5OzGRgVbvdsg" href="http://wiki/Pitane_(Aeolis)" style="color: #1155cc;" target="_blank" title="Pitane (Aeolis)">Pitane</a>, and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Eastern_sigillata_D&source=gmail&ust=1495627771856000&usg=AFQjCNEsswVS0DPNQXw2B7gePv3WKzSyIQ" href="http://wiki/Eastern_sigillata_D" style="color: #1155cc;" target="_blank" title="Eastern sigillata D">eastern sigillata D</a> (or Cypriot sigillata) from Cyprus, as there is still much to be learnt about this material. While eastern sigillata C is known to come from Çandarli (ancient <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pitane_(Aeolis)&source=gmail&ust=1495627771856000&usg=AFQjCNEdnwKaijVchFCcuE5OzGRgVbvdsg" href="http://wiki/Pitane_(Aeolis)" style="color: #1155cc;" target="_blank" title="Pitane (Aeolis)">Pitane</a>), there were likely other workshops in the wider region of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pergamon&source=gmail&ust=1495627771856000&usg=AFQjCNEcJGCw6gUhlKDDJ7u-CfsXLE0B_Q" href="http://wiki/Pergamon" style="color: #1155cc;" target="_blank" title="Pergamon">Pergamon</a>.<sup></sup> By the early 2nd century AD, when Gaulish samian was completely dominating the markets in the Northern provinces, the eastern sigillatas were themselves beginning to be displaced by the rising importance of African Red Slip wares in the Mediterranean and the Eastern Empire. In the fourth century AD, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Phocaean_red_slip&source=gmail&ust=1495627771856000&usg=AFQjCNFbbvOmyG-BxKIeh9n7LPvzsgTtHg" href="http://wiki/Phocaean_red_slip" style="color: #1155cc;" target="_blank" title="Phocaean red slip">Phocaean red slip</a> appears as a successor to Eastern sigillata C.<br />
In the 1980s two primary groups of Eastern Terra Sigillata in the Eastern Mediterranean basin were distinguished as ETS-I and ETS-II based on their chemical fingerprints as shown by analysis by instrumental<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Neutron_activation_analysis&source=gmail&ust=1495627771856000&usg=AFQjCNGMmR-Z9U6DPXmLatvvcbkL7iCakw" href="http://wiki/Neutron_activation_analysis" style="color: #1155cc;" target="_blank" title="Neutron activation analysis">neutron activation analysis</a> (INAA). ETS-I originated in Eastern <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Cyprus&source=gmail&ust=1495627771856000&usg=AFQjCNFlatX8lWHfKoh2caELM0LO27ADVg" href="http://wiki/Cyprus" style="color: #1155cc;" target="_blank" title="Cyprus">Cyprus</a>, whereas the ETS-II was probably made in <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pamphylia&source=gmail&ust=1495627771856000&usg=AFQjCNEKx4Vzk_nJGz5Dp6zGieAOGQoU2Q" href="http://wiki/Pamphylia" style="color: #1155cc;" target="_blank" title="Pamphylia">Pamphylia</a>, at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Perge&source=gmail&ust=1495627771856000&usg=AFQjCNFw9MVSFSQX59K8QAJjxtMSSl1Ibg" href="http://wiki/Perge" style="color: #1155cc;" target="_blank" title="Perge">Perge</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Aspendos&source=gmail&ust=1495627771856000&usg=AFQjCNGovNf_ifMlHr4w5aqa73xDWskSLA" href="http://wiki/Aspendos" style="color: #1155cc;" target="_blank" title="Aspendos">Aspendos</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Side&source=gmail&ust=1495627771856000&usg=AFQjCNEJ-vmmjPKLYxHFcX88F20drdtHrQ" href="http://wiki/Side" style="color: #1155cc;" target="_blank" title="Side">Side</a>. <sup></sup>However this classification has been criticized, and is not universally accepted. A potter's quarter at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Sagalassos&source=gmail&ust=1495627771856000&usg=AFQjCNFh1nM4UGDch5sdg6VfnQQRAMl81w" href="http://wiki/Sagalassos" style="color: #1155cc;" target="_blank" title="Sagalassos">Sagalassos</a> inland from the southern Turkish coast has been excavated since it was discovered in 1987, and its wares traced to many sites in the region. It was active from around 25 to 550 AD.<sup></sup><br />
<h3>
African red slip ware</h3>
<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/African_red_slip_ware&source=gmail&ust=1495627771856000&usg=AFQjCNH1ZBlG8kIfvp-ztKw3PA3dqz278g" href="http://wiki/African_red_slip_ware" style="color: #1155cc;" target="_blank" title="African red slip ware">African red slip ware</a> (ARS) was the final development of terra sigillata.<sup></sup> While the products of the Italian and Gaulish red-gloss industries flourished and were exported from their places of manufacture for at most a century or two each, ARS production continued for more than 500 years. The centres of production were in the Roman provinces of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Africa_(Roman_province)&source=gmail&ust=1495627771856000&usg=AFQjCNGVs19bUzgY_IbLTjjzyYu0nwIyJw" href="http://wiki/Africa_(Roman_province)" style="color: #1155cc;" target="_blank" title="Africa (Roman province)">Africa</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Byzacena&source=gmail&ust=1495627771856000&usg=AFQjCNF0r4tlAUcXeje0CsueTQCEck1A2Q" href="http://wiki/Byzacena" style="color: #1155cc;" target="_blank" title="Byzacena">Byzacena</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Numidia&source=gmail&ust=1495627771856000&usg=AFQjCNGp_cDJFVUIqNUewsBWGe3n87T5PQ" href="http://wiki/Numidia" style="color: #1155cc;" target="_blank" title="Numidia">Numidia</a>; that is, modern <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Tunisia&source=gmail&ust=1495627771856000&usg=AFQjCNFMMJse2TmVTDSf94pI8rFcBZtOKw" href="http://wiki/Tunisia" style="color: #1155cc;" target="_blank" title="Tunisia">Tunisia</a> and part of eastern <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Algeria&source=gmail&ust=1495627771856000&usg=AFQjCNGTcG4Tc4cc8YzgjycNlbt6n791Xw" href="http://wiki/Algeria" style="color: #1155cc;" target="_blank" title="Algeria">Algeria</a>. From about the 4th century AD, competent copies of the fabric and forms were also made in several other regions, including <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Asia_Minor&source=gmail&ust=1495627771856000&usg=AFQjCNEiJbBXOfuC3Sul9cyNPmwAEgIhkA" href="http://wiki/Asia_Minor" style="color: #1155cc;" target="_blank" title="Asia Minor">Asia Minor</a>, the eastern Mediterranean and Egypt. Over the long period of production, there was obviously much change and evolution in both forms and fabrics. Both Italian and Gaulish plain forms influenced ARS in the 1st and 2nd centuries (for example, Hayes Form 2, the cup or dish with an outcurved rim decorated with barbotine leaves, is a direct copy of the samian forms Dr.35 and 36, made in South and Central Gaul),<sup></sup> but over time a distinctive ARS repertoire developed.<br />
There was a wide range of dishes and bowls, many with rouletted or stamped decoration, and closed forms such as tall ovoid flagons with appliqué ornament (Hayes Form 171). The ambitious large rectangular dishes with relief decoration in the centre and on the wide rims (Hayes Form 56), were clearly inspired by decorated silver platters of the 4th century, which were made in rectangular and polygonal shapes as well as in the traditional circular form. Decorative motifs reflected not only the Graeco-Roman traditions of the Mediterranean, but eventually the rise of Christianity as well: there is a great variety of monogram crosses and plain crosses amongst the stamps.<br />
<h2>
Gallery of Roman terra sigillata</h2>
<ul>
<li style="margin-left: 15px;">South Gaulish cup, form Hofheim 8, with a marbled slip</li>
<li style="margin-left: 15px;">South Gaulish cup of form Dragendorff 27</li>
<li style="margin-left: 15px;">Flanged bowl, Dr.38, with profile drawing</li>
<li style="margin-left: 15px;">Gaulish Dr.36, with barbotine decoration on the rim</li>
<li style="margin-left: 15px;">Profile drawing of form Dragendorff 11. 1st century BC–early 1st century AD</li>
<li style="margin-left: 15px;">Profile drawing of form Dragendorff 37. 1st–3rd century AD</li>
<li style="margin-left: 15px;">Profile drawing of form Dragendorff 30. 1st-2nd century AD</li>
</ul>
<h2>
Modern pottery</h2>
In sharp contrast to the archaeological usage, in which the term <i>terra sigillata</i> refers to a whole class of pottery, in contemporary <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Ceramic_art&source=gmail&ust=1495627771856000&usg=AFQjCNGoCPWYqIbSSlUPuMHa9YdyQuxc6Q" href="http://wiki/Ceramic_art" style="color: #1155cc;" target="_blank" title="Ceramic art">ceramic art</a>, 'terra sigillata' describes only a watery refined slip used to facilitate the<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Burnishing_(pottery)&source=gmail&ust=1495627771856000&usg=AFQjCNGFrjTjOMORsGGlg-Rj9JvG71d_Bg" href="http://wiki/Burnishing_(pottery)" style="color: #1155cc;" target="_blank" title="Burnishing (pottery)">burnishing</a> of raw clay surfaces and used to promote carbon smoke effects, in both <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Pit_fired_pottery&source=gmail&ust=1495627771856000&usg=AFQjCNGDWhKIY7RjDtI1vy4yzG-LS6zepg" href="http://wiki/Pit_fired_pottery" style="color: #1155cc;" target="_blank" title="Pit fired pottery">primitive</a> low temperature firing techniques and unglazed alternative western-style <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Raku_ware&source=gmail&ust=1495627771856000&usg=AFQjCNG1Rr35-INc5skYcdjzSTCZuacfOg" href="http://wiki/Raku_ware" style="color: #1155cc;" target="_blank" title="Raku ware">Raku</a> firing techniques. Terra sigillata is also used as a brushable decorative colourant medium in higher temperature <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Ceramic_glaze&source=gmail&ust=1495627771856000&usg=AFQjCNE1hexAijJU8cVRfICMegMegcLcig" href="http://wiki/Ceramic_glaze" style="color: #1155cc;" target="_blank" title="Ceramic glaze">glazed</a> ceramic techniques.<br />
In 1906 the German potter <b>Karl Fischer</b> re-invented the method of making terra sigillata of Roman quality and obtained patent protection for this procedure at the <i><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Deutsches_Patent-_und_Markenamt&source=gmail&ust=1495627771856000&usg=AFQjCNG0qs8nU1VV4PhdVj-DWWiRuWcpog" href="http://wiki/Deutsches_Patent-_und_Markenamt" style="color: #1155cc;" target="_blank" title="Deutsches Patent- und Markenamt">Kaiserliche Patentamt</a></i> in Berlin.<sup></sup><br />
<h3>
Making modern terra sigillata</h3>
Modern terra sigillata is made by adding a <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Deflocculant&source=gmail&ust=1495627771856000&usg=AFQjCNGs-0EpOmGnNOfOTcYdVi9Vj1w61Q" href="http://wiki/Deflocculant" style="color: #1155cc;" target="_blank" title="Deflocculant">deflocculant</a> such as <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Sodium_silicate&source=gmail&ust=1495627771857000&usg=AFQjCNHbmnNwhRBYaNkk4suyf7muoOo8tQ" href="http://wiki/Sodium_silicate" style="color: #1155cc;" target="_blank" title="Sodium silicate">sodium silicate</a> to a watery clay/water slip mixture and then allowing the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Clay&source=gmail&ust=1495627771857000&usg=AFQjCNGHwogZ7kprPlciqJdFj7A3I93S1g" href="http://wiki/Clay" style="color: #1155cc;" target="_blank" title="Clay">clay</a> particles to separate into layers by weight. For undisturbed deflocculated slip settling in a transparent container, these layers are usually visible <span class="aBn" data-term="goog_1084948430" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: dashed; border-bottom-width: 1px; position: relative; top: -2px; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">within 24 hours</span></span>. Siphoning off the topmost layers of slip, which contain the smallest and lightest clay particles, produces terra sigillata. The remaining heavier settled layers of deflocculated clay slip are discarded.<br />
Terra sigillata is usually brushed or sprayed in thin layers onto dry or almost dry unfired ware. The ware is then quickly burnished with a soft cloth before the water in the terra sigillata soaks into the porous body. The burnished ware is allowed to dry again to remove the added moisture and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Bisque_(pottery)&source=gmail&ust=1495627771857000&usg=AFQjCNFe7H06q2AfDBJ-twv9kwaoASRMZg" href="http://wiki/Bisque_(pottery)" style="color: #1155cc;" target="_blank" title="Bisque (pottery)">biscuit</a> fired, often fired to a lower than normal bisque temperature of approximately 900 °C. Higher firing temperatures tend to remove the burnished effect in the clay surface.<br />
<h3>
Reuse of Roman pottery</h3>
Since the 18th century Samian ware pots have been found in sufficient numbers in the sea near <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Whitstable&source=gmail&ust=1495627771857000&usg=AFQjCNEv60OB4LyheLzRKebgIRKF36RxhQ" href="http://wiki/Whitstable" style="color: #1155cc;" target="_blank" title="Whitstable">Whitstable</a>and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Herne_Bay,_Kent&source=gmail&ust=1495627771857000&usg=AFQjCNGsupeQlePq8ijGFGcbE6IUDsZ-Mg" href="http://wiki/Herne_Bay,_Kent" style="color: #1155cc;" target="_blank" title="Herne Bay, Kent">Herne Bay</a> that local people used them for cooking.<sup></sup><sup></sup><br />
<h2>
See also</h2>
<ul>
<li style="margin-left: 15px;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Cimolian_earth&source=gmail&ust=1495627771857000&usg=AFQjCNHx8fbV5mViEbB31ZqroVIUwtOqNA" href="http://wiki/Cimolian_earth" style="color: #1155cc;" target="_blank" title="Cimolian earth">Cimolian earth</a></li>
</ul>
<h2>
Notes</h2>
<div>
<ol>
<li style="margin-left: 15px;"><b>^</b> See, for example, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://archeologie.pagesperso-orange.fr/experimental/morla.htm&source=gmail&ust=1495627771857000&usg=AFQjCNHg4cRiyXQdgoMHf4_BuWbUqUYheA" href="http://archeologie.pagesperso-orange.fr/experimental/morla.htm" rel="nofollow" style="color: #1155cc;" target="_blank">http://archeologie.pagesperso-<wbr></wbr>orange.fr/experimental/morla.<wbr></wbr>htm</a></li>
<li style="margin-left: 15px;"><b>^</b> <cite>Alisha Rankin, Justin Rivest (July 14, 2016). <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.nejm.org/doi/full/10.1056/NEJMp1605900&source=gmail&ust=1495627771857000&usg=AFQjCNG-XDrRpX9OalPBczCxc02TUQWUFw" href="http://www.nejm.org/doi/full/10.1056/NEJMp1605900" rel="nofollow" style="color: #1155cc;" target="_blank">"History of Clinical Trials: Medicine, Monopoly, and the Premodern State — Early Clinical Trials"</a>. <i>N Engl J Med</i>. <b>375</b> (2): 106–109.<a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Digital_object_identifier&source=gmail&ust=1495627771857000&usg=AFQjCNEmOkmnmYbFsQQllszQqZQ4YBTszg" href="http://wiki/Digital_object_identifier" style="color: #1155cc;" target="_blank" title="Digital object identifier">doi</a>:<a href="https://dx.doi.org/10.1056%2FNEJMp1605900" rel="nofollow" style="color: #1155cc;" target="_blank">10.1056/NEJMp1605900</a>. <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/PubMed_Identifier&source=gmail&ust=1495627771857000&usg=AFQjCNEWEn1vbdrClYwCEQNnNrCWuFu86A" href="http://wiki/PubMed_Identifier" style="color: #1155cc;" target="_blank" title="PubMed Identifier">PMID</a> <a href="https://www.ncbi.nlm.nih.gov/pubmed/27410921" rel="nofollow" style="color: #1155cc;" target="_blank">27410921</a>.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATerra+sigillata&rft.atitle=History+of+Clinical+Trials%3A+Medicine%2C+Monopoly%2C+and+the+Premodern+State+%94+Early+Clinical+Trials&rft.date=2016-07-14&rft.genre=article&rft_id=http%3A%2F%2Fwww.nejm.org%2Fdoi%2Ffull%2F10.1056%2FNEJMp1605900&rft_id=info%3Adoi%2F10.1056%2FNEJMp1605900&rft_id=info%3Apmid%2F27410921&rft.issue=2&rft.jtitle=N+Engl+J+Med&rft.pages=106-109&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.volume=375"></span></li>
<li style="margin-left: 15px;"><b>^</b> <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article%3D1020%26context%3Detas&source=gmail&ust=1495627771857000&usg=AFQjCNG5rSiOkD6uNkIFLP1Vi6FKy8xRQA" href="http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1020&context=etas" rel="nofollow" style="color: #1155cc;" target="_blank">A Brief and True Report of the New Found Land of Virginia</a>, Thomas Hariot, 1588. Paul Royster, editor. University of Nebraska Digital Commons.</li>
<li style="margin-left: 15px;"><b>^</b> King 1983, p.253 (definition) and pp. 183–186.</li>
<li style="margin-left: 15px;"><b>^</b> Paul Roberts, 'Mass-production of Roman Finewares', in Ian Freestone & David Gaimster, <i>Pottery in the Making: World Ceramic Traditions</i>, London 1997, pp. 188–193</li>
<li style="margin-left: 15px;"><b>^</b> Boardman, pp. 276-77</li>
<li style="margin-left: 15px;"><b>^</b> King 1983, p.253. See also the <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.britishmuseum.org/explore/highlights/article_index/r/roman_pottery_terra_sigillata.aspx&source=gmail&ust=1495627771857000&usg=AFQjCNGkqsnkrncpRXL82t9mxHMwZtN8mA" href="http://www.britishmuseum.org/explore/highlights/article_index/r/roman_pottery_terra_sigillata.aspx" rel="nofollow" style="color: #1155cc;" target="_blank">British Museum</a></li>
<li style="margin-left: 15px;"><b>^</b> The meaning and etymology of 'samian ware' is a somewhat complex matter, fully addressed in King 1980. There is ancient authority for the use of <i>samia vasa</i> to describe pottery with a polished surface in literary usage (Pliny, <i>Nat. Hist.</i> 35, 160), and the verb <i>samiare</i>, 'to polish' is probably connected. However, it would be unwise to exclude all possible historical associations with the island of <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Samos&source=gmail&ust=1495627771857000&usg=AFQjCNHG-v3lq3Qp6wZug8BgJ-jHMHISJg" href="http://wiki/Samos" style="color: #1155cc;" target="_blank" title="Samos">Samos</a>, though of course the pottery known as samian ware to present-day archaeologists has nothing to do with that region. The modern parallel of the English term 'china' may be an apt one: 'china' refers to a class of ceramic that no longer has any direct connection with the country, China, but it was originally developed as part of the European attempts to imitate imported <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Chinese_porcelain&source=gmail&ust=1495627771857000&usg=AFQjCNFv4b9AbGF53eEMXcAfCvIOmM840Q" href="http://wiki/Chinese_porcelain" style="color: #1155cc;" target="_blank" title="Chinese porcelain">Chinese porcelain</a> in the 18th century. The parallel with 'china' is the reason why the late Professor Eric Birley favoured the use of a lower-case initial for 'samian'. (Birley <i>pers.comm</i>, 1960s, and see also Stanfield and Simpson 1958, p.xxxi, footnote 1).</li>
<li style="margin-left: 15px;"><b>^</b> As both King and Boardman do in their main texts.</li>
<li style="margin-left: 15px;"><b>^</b> H. Dragendorff, 'Ein Beitrag zur Geschichte der griechischen und römischen Keramik', <i>Bonner Jahrbücher</i> 96 (1895).</li>
<li style="margin-left: 15px;"><b>^</b> Oswald & Pryce 1920 covers the main typologies of the early 20th century. Ettlinger 1990 is the current reference system for Arretine, and Hayes 1972 and 1980 for the late Roman material.</li>
<li style="margin-left: 15px;"><b>^</b> Closed forms: shapes such as vases and flagons/jugs that cannot be made in a single mould because they have a swelling profile that tapers inwards from the point of greatest diameter. Some large <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Flagon&source=gmail&ust=1495627771857000&usg=AFQjCNGrXjTfM6HgOMo9hPcrC7lWpasHtg" href="http://wiki/Flagon" style="color: #1155cc;" target="_blank" title="Flagon">flagons</a> were made at La Graufesenque by making the lower and upper bowl-shaped portions in moulds, and then joining these and adding the neck. Obviously the open forms, namely bowls that could be formed in, and extracted from, a single mould, were quicker and simpler to make.</li>
<li style="margin-left: 15px;"><b>^</b> Felix Oswald & T.D. Pryce, <i>An Introduction to the study of terra sigillata</i>, London 1920</li>
<li style="margin-left: 15px;"><b>^</b> e.g. Knorr 1919; Knorr 1952; Hermet 1934.</li>
<li style="margin-left: 15px;"><b>^</b> The site reports on the German forts at <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Haltern&source=gmail&ust=1495627771857000&usg=AFQjCNGJztRKk9-hlX3NIPcDsnVy8ER0eA" href="http://wiki/Haltern" style="color: #1155cc;" target="_blank" title="Haltern">Haltern</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Hofheim,_Hesse&source=gmail&ust=1495627771857000&usg=AFQjCNEbjZAdoyTGdpvxvZp8D6xsUAznXg" href="http://wiki/Hofheim,_Hesse" style="color: #1155cc;" target="_blank" title="Hofheim, Hesse">Hofheim</a> in the early 20th century included form-classifications which are still in use for forms that were absent from Dragendorff's original list: Loeschcke 1909; Ritterling 1913</li>
<li style="margin-left: 15px;"><b>^</b> Webster 1996, pp. 9–12 provides a useful summary. For a report on the <i>grand four</i>, see Vernhet 1981.</li>
<li style="margin-left: 15px;"><b>^</b> Sciau, P. et al 2005, pp.006.5.1-6</li>
<li style="margin-left: 15px;"><b>^</b> Noble 1965</li>
<li style="margin-left: 15px;"><b>^</b> Hayes 1997, pp. 37-40</li>
<li style="margin-left: 15px;"><b>^</b> Garbsch 1982, pp.30-33</li>
<li style="margin-left: 15px;"><b>^</b> Hayes 1997, pp.40-41: Garbsch 1982, pp. 26-30</li>
<li style="margin-left: 15px;"><b>^</b> Tyers 1996, pp.161–166</li>
<li style="margin-left: 15px;"><b>^</b> Oxé-Comfort 1968 / 2000</li>
<li style="margin-left: 15px;"><b>^</b> Roberts 1996, pp.191–2</li>
<li style="margin-left: 15px;"><b>^</b> Roberto Weiss, <i>The Renaissance Discovery of Classical Antiquity</i> (Oxford: Blackwell) 1973:13 and note.</li>
<li style="margin-left: 15px;"><b>^</b> Weiss 1973:13 note 4.</li>
<li style="margin-left: 15px;"><b>^</b> Fabroni 1841</li>
<li style="margin-left: 15px;"><b>^</b> Loeschcke 1909</li>
<li style="margin-left: 15px;"><b>^</b> Oxé-Comfort 1968/2000; Ettlinger 1990</li>
<li style="margin-left: 15px;"><b>^</b> see Tyers 1996, p. 106, fig.90 for a map of the Gaulish production sites</li>
<li style="margin-left: 15px;"><b>^</b> Atkinson, D., 'A hoard of samian ware from Pompeii', <i>Journal of Roman Studies</i> 4 (1914), pp. 26–64</li>
<li style="margin-left: 15px;"><b>^</b> Johns 1977, p. 12, Pl.II</li>
<li style="margin-left: 15px;"><b>^</b> 'Rouletted' decoration: this is a regular, notched surface texture, created by using a tool with a toothed wheel (<i>roulette</i>) to impress the pattern on the bowl before the clay was hard. It is also possible that it was sometimes made by holding a blade-like tool against the vessel as it turned on the wheel, allowing the tool to judder against the surface of the clay.</li>
<li style="margin-left: 15px;"><b>^</b> Examples of these may be found in Hermet's own type-sequence, Hermet 1934, Pl.4—5</li>
<li style="margin-left: 15px;"><b>^</b> Johns 1977, p. 24: Tyers 1996, 113</li>
<li style="margin-left: 15px;"><b>^</b> The basic study remains Stanfield & Simpson 1958 / 1990</li>
<li style="margin-left: 15px;"><b>^</b> Many of the Central Gaulish types were first drawn and classified in Déchelette 1904. Oswald's classification (Oswald 1936–7) is much fuller, covering South, Central and East Gaulish types, but is marred by the poor quality of the drawings.</li>
<li style="margin-left: 15px;"><b>^</b> Stanfield & Simpson 1958, pp. 263–271</li>
<li style="margin-left: 15px;"><b>^</b> Johns 1977,pp.16–17</li>
<li style="margin-left: 15px;"><b>^</b> For a good selection of examples, see Garbsch 1982, pp. 54–74</li>
<li style="margin-left: 15px;"><b>^</b> Huld-Zetsche 1972; Huld-Zetsche 1993</li>
<li style="margin-left: 15px;"><b>^</b> Ludowici 1927; Ricken 1942; Ricken & Fischer 1963</li>
<li style="margin-left: 15px;"><b>^</b> Tyers 1996, pp. 136–7. The stamps have been classified in Chenet 1941 and Hübener 1968</li>
<li style="margin-left: 15px;"><b>^</b> Tyers 1996. pp. 114–116; Hull 1963; Fischer 1969.</li>
<li style="margin-left: 15px;"><b>^</b> The summary in Hayes 1997, pages 52–59 illustrates the main forms and describes the characteristics of wares.</li>
<li style="margin-left: 15px;"><b>^</b> J. Gunneweg, 1980 Ph.D.Thesis, Hebrew University; Gunneweg, Perlman and Yellin, 1983, <i>The Provenience, Typology and Chronology of Eastern Terra Sigillata of the eastern Mediterranean</i>, QEDEM 17, Jerusalem, Ahva Press</li>
<li style="margin-left: 15px;"><b>^</b> Poblome, Jernen, "The Ecology of Sagalassos (Southwest Turkey) Red Slip Ware", in<i>Archaeological and historical aspects of West-European societies: album amicorum André Van Doorselaer</i>, Issue 8 of <i>Acta archaeologica Lovaniensia: Monographiae</i>, 1996, Ed. Marc Lodewijckx, Leuven University Press, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/International_Standard_Serial_Number&source=gmail&ust=1495627771857000&usg=AFQjCNEtrL8JhwumJICZOKl5zGQl8x7uMw" href="http://wiki/International_Standard_Serial_Number" style="color: #1155cc;" target="_blank" title="International Standard Serial Number">ISSN</a> <a href="https://www.worldcat.org/search?fq=x0:jrnl&q=n2:0776-2984" rel="nofollow" style="color: #1155cc;" target="_blank">0776-2984</a>, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/9061867223&source=gmail&ust=1495627771857000&usg=AFQjCNGYTW7o8hdw43pJUEC31dDhq5fDWw" href="http://wiki/Special:BookSources/9061867223" style="color: #1155cc;" target="_blank">ISBN 9061867223</a>, 9789061867227, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://books.google.com/books?id%3D2NAAS5jBI-IC%26pg%3DPA500%26lpg%3DPA500&source=gmail&ust=1495627771857000&usg=AFQjCNFTFkODb92V1fhpDDnj9tV0MRCIxA" href="https://books.google.com/books?id=2NAAS5jBI-IC&pg=PA500&lpg=PA500" rel="nofollow" style="color: #1155cc;" target="_blank">google books</a></li>
<li style="margin-left: 15px;"><b>^</b> Hayes 1972 and Hayes 1980 are the standard reference works: Hayes 1997, pp. 59–64 provides a succinct summary.</li>
<li style="margin-left: 15px;"><b>^</b> Hayes 1972, p. 19–20.</li>
<li style="margin-left: 15px;"><b>^</b> Patent No. 206 395, Class 80b, Group 23; according to: Heinl, Rudolf; <i>Die Kunsttöpferfamilie Fischer aus Sulzbach</i>, Sulzbach-Rosenberg 1984; Patents in the UK, France and the USA are reported in the source, yet without patent-number</li>
<li style="margin-left: 15px;"><b>^</b> <cite><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.canterbury.co.uk/museums/roman-museum/Roman-pottery.aspx&source=gmail&ust=1495627771857000&usg=AFQjCNEKwDtUIE5eJmJBcTvb6Uxn3wi_0Q" href="http://www.canterbury.co.uk/museums/roman-museum/Roman-pottery.aspx" rel="nofollow" style="color: #1155cc;" target="_blank">"Roman pottery"</a>. <i>Visit Canterbury</i>. canterbury city council. Retrieved 15 December 2015.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATerra+sigillata&rft.atitle=Roman+pottery&rft.genre=unknown&rft_id=http%3A%2F%2Fwww.canterbury.co.uk%2Fmuseums%2Froman-museum%2FRoman-pottery.aspx&rft.jtitle=Visit+Canterbury&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal"></span></li>
<li style="margin-left: 15px;"><b>^</b> <cite>Christoph, Rummel. <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.nottingham.ac.uk/archaeology/research/materials/samian/wks-three.aspx&source=gmail&ust=1495627771857000&usg=AFQjCNHmjM1nNihbj_4tZMecwj4gtqmeNw" href="http://www.nottingham.ac.uk/archaeology/research/materials/samian/wks-three.aspx" rel="nofollow" style="color: #1155cc;" target="_blank">"Workshop Three: Research Partnerships"</a>. The University of Nottingham Department of Archaeology. Retrieved 15 December 2015.</cite><span title="ctx_ver=Z39.88-2004&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATerra+sigillata&rft.aufirst=Rummel&rft.aulast=Christoph&rft.btitle=Workshop+Three%3A+Research+Partnerships&rft.genre=unknown&rft_id=http%3A%2F%2Fwww.nottingham.ac.uk%2Farchaeology%2Fresearch%2Fmaterials%2Fsamian%2Fwks-three.aspx&rft.pub=The+University+of+Nottingham+Department+of+Archaeology&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook"></span></li>
</ol>
</div>
<h2>
References</h2>
<ul>
<li style="margin-left: 15px;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/John_Boardman_(art_historian)&source=gmail&ust=1495627771857000&usg=AFQjCNE6-FBfEGhFAB_Wy6TJrdBwIkBRuw" href="http://wiki/John_Boardman_(art_historian)" style="color: #1155cc;" target="_blank" title="John Boardman (art historian)">Boardman, John</a> ed., <i>The Oxford History of Classical Art</i>, 1993, OUP, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0198143869&source=gmail&ust=1495627771858000&usg=AFQjCNGL_lnVARXmdzLFk-jpAW0sGBfhCQ" href="http://wiki/Special:BookSources/0198143869" style="color: #1155cc;" target="_blank">ISBN 0-19-814386-9</a></li>
<li style="margin-left: 15px;">Brown, A.C. <i>Catalogue of Italian Terra-Sigillata in the Ashmolean Museum</i>, Oxford 1968</li>
<li style="margin-left: 15px;">de la Bédoyère, G., <i>Samian Ware</i>, 1988, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0852639309&source=gmail&ust=1495627771858000&usg=AFQjCNExJBCy-_5nBiXnEHTqpWipYNAj5Q" href="http://wiki/Special:BookSources/0852639309" style="color: #1155cc;" target="_blank">ISBN 0-85263-930-9</a></li>
<li style="margin-left: 15px;">Chenet, G., <i>La céramique gallo-romaine d'Argonne du IVe siècle et la terre sigillée décorée à la molette,</i> Mâcon 1941</li>
<li style="margin-left: 15px;">Déchelette, Joseph, <i>Les vases céramiques ornés de la Gaule romaine</i>, Paris 1904</li>
<li style="margin-left: 15px;">Dragendorff, Hans, 'Ein Beitrag zur Geschichte der griechischen und römischen Keramik', <i>Bonner Jahrbücher</i> 96 (1895)</li>
<li style="margin-left: 15px;">Dragendorff, H. & Watzinger, C., <i>Arretinische Reliefkeramik</i>, Reutlingen 1948</li>
<li style="margin-left: 15px;">Ettlinger, Elisabeth, <i>et al.</i>, <i>Conspectus formarum terrae sigillatae italico modo confectae</i>, Frankfurt and Bonn, 1990.</li>
<li style="margin-left: 15px;">Fabroni, A., <i>Storia degli antichi vasi fittili aretini</i>, Arezzo 1841</li>
<li style="margin-left: 15px;">Fischer, Charlotte, <i>Die Terra-Sigillata-Manufaktur von Sinzig am Rhein</i>, Düsseldorf 1969</li>
<li style="margin-left: 15px;">Garbsch, Jochen, <i>Terra Sigillata. Ein Weltreich im Spiegel seines Luxusgeschirrs</i>, München 1982</li>
<li style="margin-left: 15px;">Hartley, Brian & Dickinson, Brenda, <i>Names on terra sigillata: an index of makers' stamps and signatures on Gallo-Roman terra sigillata (samian ware), Vol. 1 (A to AXO), Vol.2 (B to CEROTCUS</i>2008 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/9781905670161&source=gmail&ust=1495627771858000&usg=AFQjCNE1zeZiQjdYkJ1Y2jt7n8LFHuXukw" href="http://wiki/Special:BookSources/9781905670161" style="color: #1155cc;" target="_blank">ISBN 978-1-905670-16-1</a> and <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/9781905670178&source=gmail&ust=1495627771858000&usg=AFQjCNF2R25e8AWpu-7NFs2hZvPwUys92g" href="http://wiki/Special:BookSources/9781905670178" style="color: #1155cc;" target="_blank">ISBN 978-1-905670-17-8</a></li>
<li style="margin-left: 15px;">Hayes, John W., <i>Late Roman Pottery</i>, London 1972</li>
<li style="margin-left: 15px;">Hayes, John W., <i>Supplement to Late Roman Pottery</i>, London 1980</li>
<li style="margin-left: 15px;">Hayes, John W., <i>Handbook of Mediterranean Roman Pottery</i>, 1997, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0714122165&source=gmail&ust=1495627771858000&usg=AFQjCNEB28qxiotzKK4yygqW08hP6IdASA" href="http://wiki/Special:BookSources/0714122165" style="color: #1155cc;" target="_blank">ISBN 0-7141-2216-5</a></li>
<li style="margin-left: 15px;">Hermet, F., <i>La Graufesenque</i>, Paris 1934</li>
<li style="margin-left: 15px;">Hübener, W., 'Eine Studie zur spätrömischen Rädchensigillata (Argonnensigillata)', <i>Bonner Jahrbücher</i> 168 (1968), pp. 241–298</li>
<li style="margin-left: 15px;">Huld-Zetsche, Ingeborg, <i>Trierer Reliefsigillata: Werkstatt I</i>. Bonn 1972</li>
<li style="margin-left: 15px;">Huld-Zetsche, Ingeborg, <i>Trierer Reliefsigillata: Werkstatt II</i>. Bonn 1993</li>
<li style="margin-left: 15px;">Hull, M.R., <i>The Roman potters' kilns of Colchester,</i> Oxford 1963</li>
<li style="margin-left: 15px;">Johns, Catherine, <i>Arretine and samian pottery</i>, London 1971, revised edn. 1977 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0714113611&source=gmail&ust=1495627771858000&usg=AFQjCNEc60wSerP0bgKKBCwgbg_uBzPYCw" href="http://wiki/Special:BookSources/0714113611" style="color: #1155cc;" target="_blank">ISBN 0-7141-1361-1</a></li>
<li style="margin-left: 15px;">King, Anthony, 'A graffito from La Graufesenque and <i>samia vasa</i> ' <i>Britannia</i> 11 (1980), pp. 139–143</li>
<li style="margin-left: 15px;">King, Anthony in: Henig, Martin (ed), <i>A Handbook of Roman Art</i>, Phaidon, 1983, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0714822140&source=gmail&ust=1495627771858000&usg=AFQjCNHEMmE1JWCDHlM25UMBfnAGZfpRAQ" href="http://wiki/Special:BookSources/0714822140" style="color: #1155cc;" target="_blank">ISBN 0-7148-2214-0</a></li>
<li style="margin-left: 15px;">Knorr, Robert, <i>Töpfer und Fabriken verzierter Terra-sigillata des ersten Jahrhunderts</i>, Stuttgart 1919</li>
<li style="margin-left: 15px;">Knorr, R., <i>Terra-Sigillata-Gefässe des ersten Jahrhunderts mit Töpfernamen</i>, Stuttgart 1952</li>
<li style="margin-left: 15px;">Loeschcke, S., <i>Keramische Funde in Haltern</i>, Münster 1909</li>
<li style="margin-left: 15px;">Ludowici, W., <i>Katalog V. Stempel-Namen und Bilder römischer Töpfer, Legions-Ziegel-Stempel, Formen von Sigillata und anderen Gefäßen aus meinen Ausgrabungen in Rheinzabern 1901-1914</i>. Jockgrim 1927</li>
<li style="margin-left: 15px;">Noble, Joseph V., <i>The Techniques of Painted Attic Pottery</i>, New York, 1965</li>
<li style="margin-left: 15px;">Oswald, Felix, <i>Index of Potters' Stamps on Terra Sigillata</i>, privately printed, 1931</li>
<li style="margin-left: 15px;">Oswald, Felix, <i>Index of figure-types on Terra Sigillata</i>, Liverpool, 1937-7</li>
<li style="margin-left: 15px;">Oswald, Felix & Pryce, T.D., <i>An Introduction to the study of terra sigillata</i>, London 1920</li>
<li style="margin-left: 15px;">Oxé, August & Comfort, Howard, <i>A Catalogue of the Signatures, Shapes and Chronology of Italian Sigillata</i>, Bonn 1968, revised by Philip Kenrick, Bonn 2000, <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/3774930295&source=gmail&ust=1495627771858000&usg=AFQjCNGfSaPq3yz8BCO4wx3iUNcyY_zdaA" href="http://wiki/Special:BookSources/3774930295" style="color: #1155cc;" target="_blank">ISBN 3-7749-3029-5</a>.</li>
<li style="margin-left: 15px;">Ricken, H. (ed), <i>Die Bilderschüsseln der römischen Töpfer von Rheinzabern</i> (Tafelband), Darmstadt 1942 (= Ludowici Kat.VI)</li>
<li style="margin-left: 15px;">Ricken, H. & Fischer, Charlotte,(eds.) <i>Die Bilderschüsseln der römischen Töpfer von Rheinzabern</i>(Text), Bonn 1963 (= Ludowici Kat.VI)</li>
<li style="margin-left: 15px;">Ritterling, E., 'Das frührömische Lager bei Hofheim im Taunus', <i>Annalen des Vereins für Nassauische Altertumskunde</i>, 40, Wiesbaden 1913</li>
<li style="margin-left: 15px;">Roberts, Paul, 'Mass-production of Roman Finewares', in Ian Freestone & David Gaimster, <i>Pottery in the Making: World Ceramic Traditions</i>, London 1997, pp. 188–193 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/071411782X&source=gmail&ust=1495627771858000&usg=AFQjCNFPKlHreOfBypqDEgeI8AQROAspcg" href="http://wiki/Special:BookSources/071411782X" style="color: #1155cc;" target="_blank">ISBN 0-7141-1782-X</a></li>
<li style="margin-left: 15px;">Sciau, P., Relaix, S., Kihn, Y. & Roucau, C., "The role of Microstructure and Composition in the Brilliant Red Slip of Roman Terra Sigillata Pottery from Southern Gaul", <i>Mater.Res.Soc.Proc.</i>, Vol.852, 006.5.1-6, 2005</li>
<li style="margin-left: 15px;">Stanfield, J., & Simpson, Grace, <i>Central Gaulish Potters</i>, London 1958: revised edition, <i>Les potiers de la Gaule Centrale</i>, Gonfaron 1990</li>
<li style="margin-left: 15px;">Tyers, Paul, <i>Roman Pottery in Britain</i>, London 1996 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/0713474122&source=gmail&ust=1495627771858000&usg=AFQjCNEFBBPfzojZMe6qnk9LYRWTIjt4jg" href="http://wiki/Special:BookSources/0713474122" style="color: #1155cc;" target="_blank">ISBN 0-7134-7412-2</a></li>
<li style="margin-left: 15px;">Vernhet, A., <i>Un four de la Graufesenque (Aveyron): la cuisson des vases sigillés</i>, <i>Gallia</i> 39 (1981), pp. 25–43</li>
<li style="margin-left: 15px;">Webster, Peter, <i>Roman samian pottery in Britain</i>, York 1996 <a data-saferedirecturl="https://www.google.com/url?hl=en&q=http:///wiki/Special:BookSources/1872414567&source=gmail&ust=1495627771858000&usg=AFQjCNFwCtuyIMTx07fzihCdnVzFJV_hEA" href="http://wiki/Special:BookSources/1872414567" style="color: #1155cc;" target="_blank">ISBN 1-872414-56-7</a></li>
</ul>
<h2>
External links</h2>
<ul>
<li style="margin-left: 15px;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://potsherd.net/atlas/Class/TS&source=gmail&ust=1495627771858000&usg=AFQjCNFLKjsShxDO6Tu6okZiCSplGeeLtw" href="http://potsherd.net/atlas/Class/TS" rel="nofollow" style="color: #1155cc;" target="_blank">Potsherd "Atlas of Roman pottery"</a> - specialist site with much information</li>
</ul>
</div>
</div>
</div>
Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-28786691424865749392017-03-19T11:14:00.001-07:002017-03-19T11:14:04.059-07:00Awesome Stephanie Fong scones<div dir="ltr" style="text-align: left;" trbidi="on">
two cups flour<br />
3 tablespoon sugar<br />
2teaspoon baking powder<br />
1/2 teaspoon soda<br />
Pinch salt<br />
Zest Lemon rind<br />
Optional currents or raisin or etc<br />
1 stick unsalted butter<br />
1/2 c whole cream<br />
1/2 buttermilk<br />
<br />
<br />
Mixing bowl add dry ingredients cut butter into sm pieces mix so it's like large peas<br />
<br />
Then add liquid till it comes together add fruits till it comes together don't over work<br />
<br />
Then roll out on floured board till large rectangle 1 3/4 to an inch thick then fold in half then turn roll out again do again three times then shape into flat disc inch thick cut into pie shape twelve pieces then place on parchment sheet on pan, brush cream on top till coated then sprinkle sugar on top bake at 375 till 25 to done.<br />
<br />
These freeze well reheat in the oven<br />
<br /></div>
Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com1tag:blogger.com,1999:blog-598635840190213237.post-59656293260989269442016-03-25T04:30:00.000-07:002016-03-25T04:30:14.305-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-23691905439199165522015-08-24T23:31:00.001-07:002015-08-24T23:31:10.805-07:00TodayMindful<div><br></div><div>Every day</div><div>I see or hear</div><div>Something </div><div>That more or less </div><div><br></div><div>kills me </div><div>with delight</div><div>That leaves me</div><div>Like a needle </div><div><br></div><div>In a haystack</div><div>Of light</div><div>It was what I was born for ~</div><div>To look, to listen,</div><div><br></div><div>To lose myself inside this soft world - </div><div>To instruct myself</div><div>Over and over</div><div><br></div><div>In joy,</div><div>And acclamation.</div><div>Nor am I talking</div><div>About the exceptional,</div><div><br></div><div>The fearful, the dreadful,</div><div>The very extravagant -</div><div>But of the ordinary,</div><div>The common, the very drab,</div><div><br></div><div>The daily presentations,</div><div>Oh, good scholar,</div><div>I say to myself,</div><div>How can you help</div><div><br></div><div>But grow wise</div><div>With such teachings</div><div>As these -</div><div>The untrimmabke light</div><div><br></div><div>of the world,</div><div>the ocean's shine,</div><div>the prayers that are made</div><div>out<span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;"> of grass?</span></div><div><br></div><div>~ Mary Oliver~</div><div>(Why I Wake Early)</div><div><br></div><br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9kYTd3OzqzvXA6rSV9onYHwI6OPQHGgLNXJ3lpPzR4hZo8vkJVbAAgBjge1LmiQlSKST5MXU7aVwwtH4nfap95nhWrfY1rVOEVr9Dde9lX1tLiUs7QT8Ym4nYZrqGAiC4NiIXSDfPPo/s640/blogger-image--2087300505.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU9kYTd3OzqzvXA6rSV9onYHwI6OPQHGgLNXJ3lpPzR4hZo8vkJVbAAgBjge1LmiQlSKST5MXU7aVwwtH4nfap95nhWrfY1rVOEVr9Dde9lX1tLiUs7QT8Ym4nYZrqGAiC4NiIXSDfPPo/s640/blogger-image--2087300505.jpg"></a></div>Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com1tag:blogger.com,1999:blog-598635840190213237.post-81116229692337161282015-08-23T22:05:00.001-07:002015-08-23T22:05:35.469-07:00A few things I sawBeing still is a practice of quieting body and mind. When our mind is still we are able to see things clearly. --- Thick Nhat Hanh<br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLLgBK9OD4HTTNelLaz06qR64EQX5TgQnQJQKRyCmwq0MEixJeioi9vcjg26I81bbuho-RNXo_m63rV7-1nUwz2rDsOSApdVRlhLl2NFw_FNcA-I83MQsuiEGg2YLS6l-XLPKFxaScMgg/s640/blogger-image-1336123952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLLgBK9OD4HTTNelLaz06qR64EQX5TgQnQJQKRyCmwq0MEixJeioi9vcjg26I81bbuho-RNXo_m63rV7-1nUwz2rDsOSApdVRlhLl2NFw_FNcA-I83MQsuiEGg2YLS6l-XLPKFxaScMgg/s640/blogger-image-1336123952.jpg"></a></div><br><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA5EHsa41IDVaj6VgRQfswWgVNeiksXBJ7lLodTIqa9mCAh0hwVckLGI-UfI7eHws6htySHr4Bw-5pZQLiA_WqoRL5_hQUj5I0ceWztHspfFGRQxXc45fHFsFSvAvZ9l2cZ76WLsLXwxg/s640/blogger-image--9418669.jpg" imageanchor="1" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0TiSpjg5qRYtqqErAtZJ7PEhX9YZurPDBahg6kZdsfxZBMDMmSKgYcLDFUgCa4l-XIYitXGJJOGW2dZ129ely6-1litNSsV2JPVypXy9x-xTV7Zdf6z2phv1mgihJMsD9-Kw0ETsZ7kc/s640/blogger-image--369370590.jpg"></a></div>Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-2945343654113646082014-12-10T10:23:00.002-08:002014-12-10T10:23:33.297-08:00Found! Terra Sig list from our class retyped<div dir="ltr" style="text-align: left;" trbidi="on">
6319 Lavender<br />
6101 Brown?<br />
6381 Blackberry Wine<br />
41439 Drakenfeld Orange/yellow<br />
6001 Alpine Rose<br />
6219<br />
6387 Mulberry<br />
6300 Mazerine<br />
6129 Golden Ambrosia (Caroline's Favorite!!)<br />
6307 Pastel Blue<br />
6373 Baby Blue<br />
6211 Pea Green<br />
6026 Lobster<br />
6065 Chrome Alumina Pink<br />
6339 Royal Blue<br />
6503 Taupe<br />
23616 Degussa Orange<br />
6200 Evergreen<br />
6364 Turquoise Blue<br />
6464 Zirconium Yellow<br />
6600 Black<br />
41545 Drakenfeld Bright Yellow<br />
6246 Blue Green<br />
Crocus Martis<br />
6371 Dark Teal<br />
6313 Blue?<br />
6280 Avocado<br />
430?? Coral<br />
<br />
Tammy added a few of hers! <br />
Degussa Red Bordeaux<br />
Robins Egg Blue<br />
Vanadium Yellow<br />
Chartreuse<br />
Lugi Black<br />
<br />
To try out small ammounts of a few colors you can contact the Mason Stain company and sometimes they will send out a few sample! <a href="http://www.masoncolor.com/">http://www.masoncolor.com/</a><br />
<br />
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com1tag:blogger.com,1999:blog-598635840190213237.post-71121216934880859532014-12-09T09:19:00.003-08:002014-12-09T09:19:56.890-08:00odds and ends...<div dir="ltr" style="text-align: left;" trbidi="on">
Tammy had a sweet little cup. Here is a link to the artist my friend Nancy Gardner that made it where you can see more of her beautiful work. <a href="http://www.nancygardnerceramics.com/"> http://www.nancygardnerceramics.com/</a><br />
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A great blog for daily inspiration: <a href="http://theartroomplant.blogspot.com/">http://theartroomplant.blogspot.com/</a><br />
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-68006954980277359062014-12-09T09:12:00.001-08:002014-12-09T09:12:07.663-08:00Good reading: Karen's book list!<div dir="ltr" style="text-align: left;" trbidi="on">
Many people asked Karen for book recommendations....<br />
Here is her list!<br />
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Dear Boulder Pottery Guild folks,</div>
<div class="p2">
Here are some recommendations of post-1970s novels for you as promised. I like books that push formal boundaries so if you’re not sure that’s your taste, maybe take a look on Amazon or read book reviews before diving in. And please feel free to write me for more suggestions, at <<a href="mailto:Karen.Jacobs@colorado.edu"><span class="s1">Karen.Jacobs@colorado.edu</span></a>>. It was really a pleasure to meet all of you. Thank you for welcoming me into your workshop and I hope our paths cross again before too long.</div>
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—Karen</div>
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Angela Carter, <i>Nights at the Circus</i></div>
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Robert Coover, <i>Pinocchio in Venice</i> (1991), <i>The Public Burning</i></div>
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Mark Danielewski, <i>House of Leaves </i>(2000)</div>
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Don DeLillo, <i>White Noise</i> (1985)</div>
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Danielle Dutton, <i>SPRAWL</i> (2010)</div>
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Jeffrey Eugenides, <i>Middlesex</i></div>
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Alice Munro, many short story collections</div>
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W. G. Sebald, <i>The Emigrants, Austerlitz</i></div>
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George Perec, <i>W, or the Memory of Childhood</i></div>
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Thomas Pynchon, <i>Crying of Lot 49</i></div>
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José Saramago, <i>Blindness</i></div>
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<div class="p1">
Joy Williams, <i>The Quick and the Dead</i> (2002)</div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-42513320310483742652014-12-09T09:10:00.000-08:002014-12-09T09:10:01.355-08:00Adjusting glazes by Pete Pinnell<div dir="ltr" style="text-align: left;" trbidi="on">
Regarding Tammy's saturated epson salts that helped our sig & a good read! May help in keeping the mason stain from sinking....<br />
<a href="http://www.claytimes.com/articles/glazeadjusting.html">http://www.claytimes.com/articles/glazeadjusting.html</a></div>
Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-32578034358714721072014-12-09T09:00:00.003-08:002014-12-09T09:00:28.177-08:00plastic jars<div dir="ltr" style="text-align: left;" trbidi="on">
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Source for <a href="http://arrowmontclay2013.blogspot.com/2013/07/plastic-jars.html" style="color: #888888; text-decoration: none;">p</a>lastic jars</h3>
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<span style="font-size: small;"><a href="http://www.uline.com/BL_8153/Clear-Round-Wide-Mouth-Jars">http://www.uline.com/BL_8153/Clear-Round-Wide-Mouth-Jars</a></span><br /><br /><span style="font-size: small;">I buy them buy them by the case!</span></div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-35301728901787448492014-12-09T08:58:00.003-08:002014-12-09T08:58:43.096-08:00Contact info<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://arrowmontclay2013.blogspot.com/2013/07/jennys-blog-contact-info-etc.html" style="color: #888888; text-decoration: none;">Jenny's blog contact info etc.</a></h3>
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<span style="font-size: medium;">Please contact me if you have any questions about what we did in class once you are home and trying things on your own....anytime. I promise to write back!</span></div>
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<span style="font-size: medium;"><br /></span><span style="font-size: medium;">My personal email again:</span></div>
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<span style="font-size: medium;"><a href="mailto:jennymendes@hotmail.com" style="color: #888888;">jennymendes@hotmail.com</a></span></div>
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<span style="font-size: medium;"><br /></span><span style="font-size: medium;">my personal blog address:</span></div>
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<a href="http://www.jennymendes.blogspot.com/">www.jennymendes.blogspot.com</a></div>
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<div style="color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 1.4;">
<span style="font-size: medium;">Website:</span></div>
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<span style="font-size: medium;"><a href="http://www.jennymendes.com/">www.jennymendes.com</a></span></div>
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<div style="color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: 13px; line-height: 1.4;">
<span style="font-size: medium;">Online Store!</span></div>
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<span style="font-size: medium;"><a href="http://www.jennymendes.etsy.com/">www.jennymendes.etsy.com</a></span></div>
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<span style="font-size: medium;">Our class blog address</span></div>
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<a href="http://www.jennymendesboulderworkshop.blogspot.com/">www.jennymendesboulderworkshop.blogspot.com</a></div>
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<span style="font-size: medium;"><br /></span>
<span style="font-size: medium;">Facebook</span></div>
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<span style="font-size: medium;">Jenny Mendes Ceramics</span></div>
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<a href="http://www.facebook.com/pages/Jenny-Mendes-Ceramics/149201717473">www.facebook.com/pages/Jenny-Mendes-Ceramics/149201717473</a></div>
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<span style="font-size: medium;"><br /></span>
<span style="font-size: medium;">Pinterest!!!</span></div>
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<span style="font-size: medium;">You can find my boards here.....a good way to waste time!</span></div>
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<span style="font-size: medium;"><a href="http://pinterest.com/jennymendes/boards/">http://pinterest.com/jennymendes/boards/</a></span></div>
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Instagram: </div>
<span style="color: #666666; font-family: Trebuchet MS, Trebuchet, Verdana, sans-serif;"><span style="line-height: 22.3999996185303px;"><a href="http://instagram.com/misterclaudey">http://instagram.com/misterclaudey</a></span></span></div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-73715806288754088652014-12-09T08:54:00.005-08:002014-12-09T08:54:56.630-08:00Brushes<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://arrowmontclay2013.blogspot.com/2013/07/jennys-favorite-paint-brush.html" style="color: #888888; text-decoration: none;">Jenny's favorite paint brush</a>es </h3>
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<span style="font-size: medium;">18/0 LOEW-CORNELL 7050 Script for very fine work</span></div>
<span style="font-size: medium;"><span style="line-height: 25.2000007629395px;"> 6/0 </span></span><span style="font-size: medium; line-height: 25.2000007629395px;">LOEW-CORNELL 7350 Script a little bigger</span><br />
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<span style="font-size: medium;"><br /></span><span style="font-size: medium;">a few places to find them on the internet:</span></div>
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<span style="font-size: medium;"><br /></span><span style="font-size: medium;"><br /></span><span style="font-size: medium;"><a href="http://www.cheapjoes.com/catalog/product/view/id/9958/">http://www.cheapjoes.com/catalog/product/view/id/9958/</a></span></div>
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<span style="font-size: medium;">Wow this is cheaper than I've ever found them!!!</span></div>
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<span style="font-size: medium;"><br /></span><a href="http://www.jerrysartarama.com/discount-art-supplies/brushes-and-palette-knives/oil-and-acrylic-brushes/loew-cornell-la-corneille-brushes.htm">http://www.jerrysartarama.com/discount-art-supplies/brushes-and-palette-knives/oil-and-acrylic-brushes/loew-cornell-la-corneille-brushes.htm</a></div>
<div style="font-size: 13px; line-height: 1.4;">
<span style="font-size: medium;">If you time it right, you can get free shipping here......they have weekly specials</span></div>
<div style="font-size: 13px; line-height: 1.4;">
<span style="font-size: medium;"><br /></span><span style="font-size: medium;">My favorite brushes are sable watercolor brushes, soft, Jerry's has sales on brushes too if you time it right. There is nothing like a good brush, paying a little bit more is usually worth it! Just remember to take care of them, don't leave them sitting in water for too long or you will be sad...... :(</span></div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-60578367611577297952014-12-09T08:52:00.003-08:002014-12-09T08:52:51.648-08:00surface activation washes<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://arrowmontclay2013.blogspot.com/2013/07/washes.html" style="color: #888888; text-decoration: none;">Washes</a></h3>
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We did not do this in our class, but this can add another wonderful layer to your surface of a bit of sheen or flux..... somethings I have tried in the past. </div>
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<span style="background-color: white; color: #666666; font-family: 'Trebuchet MS', Trebuchet, Verdana, sans-serif; font-size: medium; line-height: 1.4;">Bisqued pieces to cone 06-03</span></div>
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<span style="font-size: medium;">The wash was fired to cone 05</span></div>
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<span style="font-size: medium;">1 soda ash to 3 parts water (stronger more fluxing action)</span></div>
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<span style="font-size: medium;">1 soda ash to 6 parts water (weaker)</span></div>
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<span style="font-size: medium;">1 lithium carb to 4 parts water</span></div>
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<span style="font-size: medium;">1 borax to 4 parts water</span><br />
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-32937906890104454592014-12-09T08:51:00.004-08:002014-12-09T08:51:54.487-08:00Mason Stains<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://arrowmontclay2013.blogspot.com/2013/07/mason-stains-we-used-in-class.html" style="color: #888888; font-size: 22px; line-height: normal; text-decoration: none;"><br class="Apple-interchange-newline" />mason stains </a>I like to use...... We may have used some others in class but these are also some good colors.... Our list is missing at the moment, but all of the jars are still at the workshop site for you to use. Everyone really liked the Tequilla Sunrise which was made with a base of Newman Sig and then drakenfeld yellow added!!</div>
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<span style="font-size: medium;">We started with one cup sig and one Tablespoon mason stain. You can adjust up or down to your taste.</span><br />
<span style="font-size: medium;"><br /></span><span style="font-size: medium;">6500 Sage Gray </span><br />
<span style="font-size: medium;">6025 Mason Stain </span><br />
<span style="font-size: medium;">6304 Chrome Tin Violet</span><br />
<span style="font-size: medium;">6032 FE Coral</span><br />
<span style="font-size: medium;">6242 Bermuda Green</span><br />
<span style="font-size: medium;">6280 Avocado </span><br />
<span style="font-size: medium;">279497 Bordeaux Red (degussa encapsilated stain)</span><br />
<span style="font-size: medium;">6450 Praseodumium Yellow</span><br />
<span style="font-size: medium;">6364 Turquoise</span><br />
<span style="font-size: medium;">6666 Cobalt Free Black</span><br />
<span style="font-size: medium;">6363 Sky Blue</span><br />
<span style="font-size: medium;">6305 Teal Blue</span><br />
<span style="font-size: medium;">6219 French Green</span><br />
<span style="font-size: medium;">6266 Peacock Green</span><br />
<span style="font-size: medium;">6121 Saturn Orange</span><br />
<span style="font-size: medium;">6124 Hazelnut Brown</span><br />
<span style="font-size: medium;">6098 Flesh</span><br />
<span style="font-size: medium;">6200 Evergreen</span><br />
<span style="font-size: medium;">6201 Celadon Green</span><br />
<span style="font-size: medium;">6129 Golden Ambrosia</span><br />
<span style="font-size: medium;">6385 Pansy Purple</span><br />
<span style="font-size: medium;">6485 Titanium Yellow</span><br />
<span style="font-size: medium;">6206 Grass Green</span><br />
<span style="font-size: medium;">6303 Deep Orchid</span><br />
<span style="font-size: medium;">6226 Dark Leaf Green</span><br />
<span style="font-size: medium;">6001 Alpine Rose</span><br />
<span style="font-size: medium;">6007 Peach</span><br />
<span style="font-size: medium;">6065 Chrome Alumina Pink</span><br />
<span style="font-size: medium;">6109 Deep Brown</span><br />
<span style="font-size: medium;">6339 Royal Blue (2 T)</span><br />
<span style="font-size: medium;">6004 Crimson </span><br />
<span style="font-size: medium;">6319 Lavender</span><br />
<span style="font-size: medium;">6236 Chartreuse</span><br />
<span style="font-size: medium;">6209 Chrome Green</span><br />
<span style="font-size: medium;">41545 Drakenfeld (Ferro)</span><br />
<span style="font-size: medium;">6376 Robin's Egg Blue</span><br />
<span style="font-size: medium;">6572 Neutral Grey</span><br />
<span style="font-size: medium;">6300 Mazarine Blue</span><br />
<span style="font-size: medium;">6387 Mulberry</span><br />
<span style="font-size: medium;">Un-named Violet /Purple</span><br />
<span style="font-size: medium;">6371 Dark Teal Blue</span><br />
<span style="font-size: medium;">6600 Black</span></div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0tag:blogger.com,1999:blog-598635840190213237.post-4341839102393350522014-12-09T08:49:00.002-08:002014-12-09T08:49:18.606-08:00Terra Sig Recipe<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">Terra Sig recipe</span></div>
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<span style="font-size: medium;">Use XX Sagar Clay for a white base, and Red Art and Neuman Red as bases. To make the Sig mix 20 lbs of water with 10 lbs of clay and a tbsp or so sodium silicate. Mix well with a drill then let it sit for at least 1 day until it separates. The heavy particles will sink to the bottom, water will separate out on top, and the thin stuff in the middle is the Sig. siphon off the sig.</span></div>
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<span style="font-size: medium;"><br /></span></div>
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<span style="font-size: medium;">Alternatively: here is a description and alternative but similar recipe!</span></div>
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<span style="font-size: medium;"><a href="https://www.blogger.com/goog_981926180"><br /></a></span></div>
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<span style="font-size: medium;"><span style="color: #888888;"><a href="http://www.bigceramicstore.com/info/ceramics/tips/tip62_terra_sigillata_primer.html">http://www.bigceramicstore.com/info/ceramics/tips/tip62_terra_sigillata_primer.html</a></span></span></div>
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<span style="font-size: medium;">There is lots and lots of info on the internet about terra sig! Do a search.</span></div>
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<span style="font-size: medium;"><br /></span></div>
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<span style="font-size: medium;">I found two places that you can buy it....</span></div>
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<span style="font-size: medium;"><a href="http://kruegerpottery.com/glazes-amaco-mayco/t-sig.html">http://kruegerpottery.com/glazes-amaco-mayco/t-sig.html</a></span></div>
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<span style="color: #888888; font-size: medium;"><a href="http://www.nmclay.com/Amazing/items.asp?Cc=TerraSig&Tp=&iTpStatus=1">http://www.nmclay.com/Amazing/items.asp?Cc=TerraSig&Tp=&iTpStatus=1</a></span></div>
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Jenny Mendeshttp://www.blogger.com/profile/11149520032631655977noreply@blogger.com0