
THE DEGREE OF ECONOMIC INTERPLAY 275
several major fabrics either remains unknown
90
or
has only recently been
ascertained,
91
while other local fabrics remain unstudied.
92
However,
one development is clear and paramount, the gradual decentralization of
production.
In
proportion as
the
Athenian red-figure tradition fell ever
further behind contemporary advances
in
panel painting
as the
fourth
century progressed,
so
correspondingly,
at
least
for
fine pottery,
customers' tastes
in
Greek areas seem
to
have turned increasingly
towards pottery which either eschewed decoration (e.g. Athenian black
glaze)
or
carried simpler
and
much less ambitious decoration
(e.g.
West-slope ware)
or
recalled
the
forms
and
decorative motifs
of
metalwork (notably
the
so-called Megarian bowls). True, there
were exceptions,
93
but
their distribution
and
appeal remained local
or
specialized, while those
of
wider appeal could
be and
were much more
easily imitated
by
local workshops without loss
of
quality
94
than could
be classic black-
or
red-figure.
A
crucial component
of
this process was
the move towards mould-made wares, which could
be
given elaborate
decorative ornament with less labour
and
without becoming slapdash
(Plates
vol., pis.
165,
170).
Hellenistic pottery therefore shows
a
paradox: while there developed
an
artistic koine (comparable
to the
linguistic
-koine)
which produced
a
very similar range
of
fabrics
and
allowed
a
very rapid circulation
of
ideas,
95
that
koine
came
to be
served
by many local schools and workshops whose products therefore seem on
the whole
to
have travelled much less
far
than the classic wares had done.
In consequence, though some individual movements can be detected,
no
general pattern
of
shipping movements
can yet be
assembled from
the
distribution
of
Hellenistic pottery fabrics.
Much
the
same picture holds true
of
other artefacts.
For
instance
the
90
E.g. the Lagynos group
of
jugs (Leroux 1913: (B 304); R. M. Cook i960, 207:
(B
286); Plates
vol.,
pi. 166),
or
Hellenistic 'Pergamene' (Waage
in
Rostovtzeffi9J3,111.1639?.:
(A
52); Wagge
in
Waage 1948,
i8ff.:
(B 333)).
91
E.g. the clay-ground 'Hadra' vases (Fraser 1972, 1.33 with 11.104 nn. 248-9,1.139 with n.245
nn. 50-1:
(A
15); Plates vol., pi. 83)) found especially in Egypt but now thought
to
have been made
in Crete (Callaghan 1978, 1;:
(B
188)),
or the variety
of'
Megarian' bowls which show Homeric scenes
on their relief decoration, now localized
in
Macedon and the Gulf
of
Pagasae (see Sinn 1979, 27?.:
(B
318)).
92
E.g. that
of
Cos (Sherwin-White 1978, 233: (D 146)).
83
E.g. the black-figure amphorae which continued to be made to serve as prizes at the Athenian
Panathenaea
(Dow 1936: (B 288); Peters 1942: (B 310);
J.
Boardman Athenian
black-figure
Vases
(London, 1974) 167?.
and
237), the
oinochoai
and other vases made
for the
purpose
of
Ptolemaic
ruler-cult (D. B. Thompson 1973: (F 382)),
or
the wares produced by the third-century schools
at
Canosa
in
Apulia or Centuripa in Sicily (references
in
R. M. Cook i960, 553: (3 286); add Trendall
195 5: (B
332)), which preserved some remnants
of
the major S. Italian school
of
the fourth century.
94
E.g. (a)
West-slope ware
(Plates vol., pi. 167), made first
in
Athens from the late fourth century
onwards (H. A. Thompson 1934, 445-6:
(B 33
1) but subsequently made elsewhere; (b)
White-ground
Hadra
vases,
nearly all made in Egypt but imitated at Rhodes
(B.
F. Cook 1966, 7 n.
3:
(B
285)); and (c)
Megarian bowls
(Plates vol., pi. 168), which seem
to
have been made
in
almost every major centre.
95
Cf.
Callaghan 1978: (B 283)
on the
rapid dissemination
of a
particular motif from Corinth
between c.
IJO
and 146 B.C.
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