Ruth Smadar Gabrieli

Andrew D. Merryweather

A preliminary study of Hellenistic and Roman kitchen ware from

Nea Paphos
In: Lyon : Maison de l'Orient et de la Mditerrane Jean Pouilloux, 2002. pp. 1-2. (Travaux de la Maison de l'Orient
mditerranen)

Abstract
The article discusses the manufacture of Hellenistic kitchen ware from two sites in Nea Paphos: a cemetery where much of the
material was found in situ, and a theatre where it was found in secondary deposition. The overall similarity in the shapes and
composition of the wares on both sites indicates that there was no specialised industry for kitchen ware which was used for
funerary purposes.
The results of ptrographie analysis indicate that the pottery was mostly a product of south-western Cyprus. The considerable
variation in detail implies that production was organised in small local workshops, working within an eastern Mediterranean style
which was widespread.
Rsum
L'article traite de la fabrication de cramique hellnistique de cuisine de deux sites Na Paphos : une ncropole, o
beaucoup de matriel a t trouv in situ, et un thtre, o il a t trouv en dpt secondaire. La grande similitude des formes
et des fabriques sur les deux sites indique qu 'il n'existait pas d'artisanat spcialis pour la cramique de cuisine destine
l'usage funraire.
D'aprs les rsultats des analyses ptrographiques, il apparat que les cramiques taient pour la plupart fabriques dans la
partie sud-ouest de Chypre. Les grandes variations de dtail montrent que la production tait organise dans de petits ateliers
locaux travaillant dans le cadre d'un style mditerranen oriental largement rpandu.

Citer ce document / Cite this document :

Gabrieli Ruth Smadar, Merryweather Andrew D. A preliminary study of Hellenistic and Roman kitchen ware from Nea Paphos.
In: Lyon : Maison de l'Orient et de la Mditerrane Jean Pouilloux, 2002. pp. 1-2. (Travaux de la Maison de l'Orient
mditerranen)
http://www.persee.fr/web/revues/home/prescript/article/mom_1274-6525_2002_act_35_1_1122

Cramiques hellnistiques et romaines

TMO 35, Maison de l'Orient, Lyon, 2002

A PRELIMINARY STUDY OF HELLENISTIC AND

ROMAN KITCHEN WARE FROM NEA PAPHOS

Ruth S. GABRIELI, Andrew D. MERRYWEATHER

Abstract
The article discusses the manufacture of Hellenistic kitchen ware from two sites in Nea Paphos: a
cemetery where much of the material was found in situ, and a theatre where it was found in secondary
deposition. The overall similarity in the shapes and composition of the wares on both sites indicates
that there was no specialised industry for kitchen ware which was used for funerary purposes.
The results of ptrographie analysis indicate that the pottery was mostly a product of
south-western Cyprus. The considerable variation in detail implies that production was organised in
small local workshops, working within an eastern Mediterranean style which was widespread.
RSUM
L'article traite de la fabrication de cramique hellnistique de cuisine de deux sites Na
Paphos : une ncropole, o beaucoup de matriel a t trouv in situ, et un thtre, o il a t trouv en
dpt secondaire. La grande similitude des formes et des fabriques sur les deux sites indique qu 'il
n'existait pas d'artisanat spcialis pour la cramique de cuisine destine l'usage funraire.
D'aprs les rsultats des analyses ptrographiques, il apparat que les cramiques taient pour la
plupart fabriques dans la partie sud-ouest de Chypre. Les grandes variations de dtail montrent que la
production tait organise dans de petits ateliers locaux travaillant dans le cadre d'un style
mditerranen oriental largement rpandu.
INTRODUCTION
In this paper we discuss kitchen ware from two sites in western Cyprus, in the area of Paphos.1 The
first is the cemetery known as the Tombs of the Kings, which constitutes part of the large burial area to
the north of the city wall of ancient Nea Paphos. The second is the theatre site which lies by the north
eastgate of the ancient town (fig. 1). The study of kitchen ware from both sites is still at a preliminary
stage and, with further seasons planned, our conclusions are necessarily tentative.
The area of the Tombs of the Kings was probably in use as a burial ground from soon after the
foundation of the city towards the end of the fourth century BC. "Tombs of the Kings" is, of course, a
misnomer: there was no royalty resident in Nea Paphos. The city functioned as the capital of Ptolemaic
Cyprus and the elaborate peristyle tombs which have made the cemetery famous probably belonged to a
ruling lite operating under the auspices of the Egyptian regime. The Egyptian connection is evident in
the general architecture of the tombs and in a number of finds, in faience and ceramic, which show signs
University of Sydney, Australie.
For the excavations, see among others: S. Hadjisavvas, "Excavations at the Tombs of the Kings, Kato
Paphos", in V. Karageorghis (ed.), Archaeology in Cyprus, 1960-1985 (Nicosia 1985), p. 262-268.
O. Vessberg, A. Westholm, The Hellenistic and Roman Periods in Cyprus, The Swedish Cyprus Expedition
IV 3 (Lund 1956), p. 22f, 33, 51f. J. Mtynarczyk, Nea Paphos (1990), p. 196-201, 223-232.

34

R. S. GABRIELI, A.D. MERRYWEATHER

of Egyptian influence or manufacture. Burial continued at the site throughout the Hellenistic period and
into early Imperial times, with earlier chamber tombs being reused and new shaft graves dug.
The Cypriot Department of Antiquities, under the direction of Dr Sophocles Hadjisavvas, excavated
the site between 1977 and 1990. Additional work on a previously unexcavated chamber tomb was carried
out by Dr Paul Croft of the University of Edinburgh's Lemba Archaeological Project in 1998 and 1999,
and will continue in 2000. Thanks to a generous invitation from the Department of Antiquities, these
materials have been the subject of study by a team from the University of Sydney since 1997, under the
direction of Craig Barker and Andrew Merry weather.
The theatre site has been excavated since 1995 by a team from the University of Sydney, under the
direction of Professor Richard Green. The Paphos theatre was constructed probably as early as the end of
the fourth century BC, and probably continued in use to about AD 400 or soon after. Surviving
architectural details from the Hellenistic structure demonstrate close Alexandrian affinities, and it is likely
that the theatre echoed the model of the non-surviving theatre in Alexandria. The theatre site was largely
abandoned by no later than AD 700, quite possibly somewhat earlier. By that time the theatre itself must
have been essentially unrecognisable as the result of the removal of the free-standing walls and structures
such as the stage-building and the quarrying of the seating area for building stone, whilst habitation in
Paphos had contracted to the area nearer the harbour (Megaw 1988). In the 12th century, however, and
reflecting the growing importance of the town at this period, there was renewed activity at the theatre site.
The excavations have revealed a complex of structures which used the old orchestra as a base. In time they
extended some way up onto what had been the lower part of the cavea, by then covered in rubble.
The Material
The material we discuss here is kitchen ware, largely from the Hellenistic period, with some
reference to the Roman period. The Hellenistic/early Roman sample from the theatre is quite small, and
very fragmentary, with hardly any complete profiles. The bulk of the material from the theatre site post
dates the use of the theatre itself. Fine chronological definition of the contexts, at least at this stage, is
not possible. On the other hand, the Tombs of the Kings site has yielded a large sample of kitchen ware
dating from the mid-3rd/2nd century BC through to the 1st century AD. This assemblage includes many
complete profiles occurring in tomb groups, several of which are datable due to the custom of placing a
pair of Rhodian amphorae in each burial. For example, grave 1985 G, 17, although
disturbed, was found to contain various damaged items including two Rhodian amphorae, each bearing an
identical set of stamps on the handles. These provide a terminus post quern derived from a soon to be
published combination of stamps bearing the name of the fabricant (205-175 BC) and the
eponyrn (first decade of the 2nd century BC) (Barker, pers. com.). Absolute dating is
occasionally aided by the presence of other items for which reasonably well-defined series exist. This is
the case for grave 1985 G, 6 whose contents included a lamp datable to the 1st
century AD. Such a date correlates well with two cooking pots also found in the grave, which Hayes
would attribute on stylistic grounds to the first century AD, and certainly no earlier than the Augustan
period (Hayes 1991, p. 81).
When studied together, these assemblages from two sites of such different nature burial contexts
and occupation levels complement each other. The burial material becomes a useful source of
comparative evidence for the theatre material, particularly in its earlier phases, allowing better
identification of pieces from this more fragmented assemblage. By the same token the theatre assemblage,
the product of continuous occupation through to the 7th century AD, represents an extended
manufacturing tradition within which the kitchen ware from the cemetery may be situated.
In order to integrate the material from the two sites in this way, it is necessary to demonstrate the
validity of the assumption that the ceramics found in both types of context were indeed a product of the
same industry. Evidence of a close connection lies in the similarity between contemporary kitchen wares
from the theatre site and from the Tombs of the Kings, in fabric, in the range of sizes and in firing
indicators. Whilst confirmation awaits further thin-section analysis (as is discussed below), it does seem

A PRELIMINARY STUDY OF HELLENISTIC AND ROMAN KITCHEN WARE

35

likely that either the same workshops, or workshops from the same area, were producing the kitchen ware
found on both sites. Further support is provided by parallels between Tombs of the Kings kitchen wares
and contemporary pieces from domestic contexts at the House of Dionysos (Hayes 1991).
Tying the sites together also has implications for the interpretation of the Tombs of the Kings
assemblage, in that we may be able to address the question of whether the kitchen ware that was interred
in the tombs was made specifically as grave goods. It is worth noting that some apparent wasters were
placed within the graves. For example, grave 1983/1 , 1 contains a pair of
matching jugs, one of which is clearly a misfire, and one of another matching pair of jugs from grave
1984 , 5 has a hole which was unsuccessfully repaired before firing, thus rendering
the vessel unsuitable for holding all but fairly coarse solids. This particular jug contained cremated bone
when recovered from the grave. Although this does not resolve the question of whether the majority of
pots included in tomb-groups were used prior to the funeral, we can see that in these two cases
opportunistic use was made of damaged goods. In addition to being an unusual instance of personal
insight, this is a clear indication that at least some of the kitchen vessels deposited in graves had not been
previously used, though they were selected from the same range of items designed for normal kitchen use.
The deposition of damaged or misfired jugs at the Tombs of the Kings may be related to peculiarities
of burial custom. It has long been recognised that the cemeteries of Hellenistic Nea Paphos display the
apparently unique custom of interring two Rhodian amphorae in each burial. In a brief discussion of the
results of excavation of shaft graves in the eastern necropolis at Paphos, Professor Michaelides noted that
on occasion two poorer, locally made vessels, were included as an alternative to the amphorae
(Michaelides 1990, p. 189). A similar pattern is emerging at the Tombs of the Kings. The indications are
that most graves on the site contained two amphorae, the vast majority of which are Rhodian. However,
an examination of all the whole pots recovered from undisturbed, or relatively undisturbed, graves has
revealed 12 shaft graves and loculi containing closely matched pairs of jugs of varying type. A further five
sets can be added to the list if the definition of "matching" is relaxed only slightly, to allow for minor
discrepancies in shape. In at least three instances, complete tomb groups seem to consist entirely of two
matching jugs and a single unguentarium, perhaps an alternative version of the "two Rhodian amphorae
with single unguentarium" series known to occur on the site. The jugs themselves are not unusual, with
all forms examined thus far having fairly close parallels in the Hellenistic and early Roman levels at the
House of Dionysos (Hayes 1991). We can thus suggest that in some cases a matching pair of standard
kitchen ware jugs was selected for placement in burials at the Tombs of the Kings cemetery. The
chronological limits of this practice are as yet uncertain, the earlier phases being difficult to date due to
the absence of stamped Rhodian amphorae in these graves. Much further work is required before the extent
and consistency of the pattern are properly understood.
Aims of the Study
This paper constitutes only a brief outline of preliminary findings. It is important to remember that
the kitchen ware assemblage is just a small part of the material evidence on both sites. We therefore do
not try, for example, to refine a chronological sequence on the basis of the kitchen ware, but would rather
use the results of the study of fine ware for this purpose.
We have defined questions which we believe this type of pottery is suitable to answer, and our aim
here is to give some indication of the potential which our study has in regards to three of them:
The definition of local material.
The distinction (and hopefully identification) of non-local sources.
Examination of the level of standardisation as an indicator of organisation of production.
We shall look at these questions through consideration of both shape and fabric. For reasons of
adaptation to function and facilitation of manufacture, kitchen ware, and in particular cooking ware,
usually contains large quantities of inclusions. This property allowed us to use the relatively inexpensive
method of ptrographie analysis to address these questions. As we have said, our study of the shapes

36

R.S. GABRIELI, A.D. MERRYWEATHER

depends mainly on the complete profiles from the Tombs of the Kings; by contrast, thin sections have so
far only been made of theatre material. The close correspondence in shape between the kitchen wares from
the Tombs of the Kings and the Paphos theatre has been noted above. In-hand examination of the fabrics
from both sites, by ourselves and by a visiting geologist (Dr John Gordon-Smith), led us to conclude that
the similarity extends to the fabrics. We therefore present the thin section results here as representative of
both sites, though we shall subject this hypothesis to closer scrutiny in our next run of thin sections,
which will include sherds from the Tombs of the Kings.
The Shapes
The principal kitchen ware shapes present at the Tombs of the Kings are jugs and jars, small and
large cooking-pots and casseroles (fig. 3: 1-4). In the theatre it is the pots and casseroles which dominate
the assemblage (fig. 3: 5-8).
As in other places, the Hellenistic cooking ware is generally thin-walled, with well-finished rims and
handles, and frequently with a pronounced and well defined ledge for lid-support. The body is often
carinated, and the base is rounded. The pots and casseroles vary little in general shape, but exhibit wide
variation in details such as rims. The jugs and jars show a much wider range of fabrics, shapes and surface
finish. This is not surprising, because their function is less specific than that of cooking ware. All in all,
the impression is of considerable attention to detail. In the Roman contexts of both sites, we find ribbing
on the body, less well-defined lid supports, and double rims. At least some of these changes may signify a
change of aesthetics (the ribbing, for example, is clearly a decorative feature), but they can also signify a
shift from stress on aesthetic appearance to a more practical design. This latter idea would appear to apply
to the less defined lid-support ledges which allow more flexibility with lid sizes.
All the forms appear to lie comfortably within the range of shapes noted in domestic contexts at the
House of Dionysos (Hayes 1991), and this material in turn forms part of the wider body of remarkably
homogeneous cooking and coarse wares of the Hellenistic eastern Mediterranean. Thus we can find
locally-manufactured comparable shapes, but not exact parallels, at sites both in Cyprus and outside it.
For example, inv. 2786 (fig. 3: 5) finds approximate parallels in the House of Dionysos (Hayes 1991,
fig. 32: 3) and in Naukratis (Berlin 1998, fig. 6.57.20). Other possible parallels are for inv. 2547
(fig. 3: 8) at Kition Bamboula (Salles 1993, fig. 56: 3), for inv. 2801 (fig. 3: 6) at Eurychou
(Nicolaou 1984, fig. 4: 28), and for inv. 2545 (fig. 3: 7) at Tel Anafa (Berlin 1997, PW 210). Variation
in detail amongst the Paphos material, within a generally uniform, geographically widespread assemblage,
is in accordance with Hayes' conclusion (Hayes 1991, p. 81) for the House of Dionysos, that we have a
product of many small workshops and/or individual potters, working to produce similar ware.
Within this framework it is not surprising that the degree of standardisation does not seem to be
high. Though the level of execution is consistently very fine, with great attention to details of finish and
careful craftsmanship, there is considerable variety in certain aspects of shapes, in sizes, and in colour.
The variation may seem minor, but comparison with the later Roman production brings it into focus.
The Roman production exhibits less attention to detail, but this does not mean lack of standardisation.
Quite the contrary: the bulk of the Roman material seems to exhibit much less personal creativity, the
reduced concern with finer details coinciding with less deviation from a required shape. There is also
increased uniformity of colour: the Hellenistic vessels are as well-fired as the Roman ones, but the
majority of the Roman cooking ware from the theatre has a characteristic dark brown surface colour
(Munsell 7.5YR 4/1), which implies a more uniform firing atmosphere.
It may be that we are seeing a shift in the mode of production from the Hellenistic to the Roman
period. From individual workshops, or nucleated workshops in which potters still work independently but
form an industrial complex with a distribution network through a middle man, to "manufactories", where
production is on a larger scale with a very high degree of specialisation of the artisan and the product
(Peacock 1982, p. 8-9).

A PRELIMINARY STUDY OF HELLENISTIC AND ROMAN KITCHEN WARE

37

The Fabrics
Description of the fabrics in the field used the following attributes: the frequency of inclusions; their
size, shape, colour and appearance; the texture of the break and of the surface; and the colour of the body
and surface. According to these criteria we tentatively divided the sherds of all periods into seven groups.
We expected that ptrographie analysis would show them to have only three or four different geological
compositions, regardless of period. For the first sample-run of thin sections we chose sherds which
represented all these groups, and which differed in appearance as widely as possible. The results so far
confirm a largely Cypriot manufacture, at least some of it in the area around Paphos, and a continuous
use of the same two or three geological formations (i.e. probably exploiting clay sources from a limited
area) throughout the periods represented in the theatre site.
The results of the thin sections are summarised in fig. 2. The two common fabrics differ from each
other by the presence or absence of amphiboles as major component. Fabric A always has amphiboles as
a major component. Other components present in varying quantities are: opaques, quartz, plagioclase
feldspar, biotite, pyroxene and altered grains. In fabric amphiboles appear only in very small numbers,
if at all. Fabric is dominated by quartz, opaques and altered grains. It also contains plagioclase feldspars
and pyroxene. Sample 2 has calcareous inclusions (lime), which may set it apart, but until we have a
larger number of samples we prefer to accept it as variant of fabric B. Sample 9 may also be related to
fabric B, but we decided to categorise it as a different fabric (fabric C), because the combination in the
inclusions of the near absence of quartz and the dominance of calcareous inclusions in the form of
foramenifera set it further apart from fabric B, and because it is representative of a group of sherds which
stands out at a glance in the field by virtue of its characteristic texture and pale yellow colour.
Sample 3, in which the inclusions are strongly dominated by quartz with a large quantity of
plagioclase feldspar and only trace quantities of opaques, amphiboles and pyroxene, stands apart from the
other thin sections and is most likely not Cypriot. Whilst the inclusions in this sample are also present
in the other samples and the clay matrix is not obviously different, sample 3 is distinguished as foreign
by a combination of the quantities of its components, and the absence of unidentifiable weathered grains
which excludes the possibility of different original composition. No source has yet been suggested. The
visual similarity to the other samples meant that sample 3 was not recognised as different prior to
ptrographie analysis. This emphasises the importance of ptrographie sampling, though we shall no
doubt have to accept that some imported material will remain unidentified. We do hope, however, that a
well-structured ptrographie study will give a better indication of the relative quantity of foreign material
within the Tombs of the Kings and theatre assemblages.
Examples of Egyptian kitchen ware were found in the theatre and in the Tombs of the Kings
assemblages, and we are indebted to Professor Pascale Ballet for pointing them out to us. No thin
sections were made from these vessels, because they are of a distinct appearance and could be separated
from local material by in-hand examination.
On the basis of the results of the thin section analysis we can now divide sherds in the field with
more confidence according to the presence or absence of amphiboles, as well as continue to look for
irregularities.
To turn to possible sources for the Cypriot fabrics, the composition of fabric A could indicate the
Lower Lava Pillows, while fabric comes from the Mamonia formation, which contains both marine and
non-marine sedimentary rocks. Lower Pillow Lava is found on both sides of the Troodos, while the
Mamonia complex is limited to an area of south-western Cyprus which roughly comprises the western
part of the Limassol District as far as the Akrotiri Peninsula, and the present day Paphos District
excluding the Akamas Peninsula. Narrowing the possible source is difficult, and may prove impossible,
because the three major rivers of the Paphos area, the Ezuza, the Xeros and the Diarizos, cross lavas and
Mamonia complex rocks before finally flowing over calcareous rocks close to the sea. All could therefore
provide clay sources which match each of our fabric groups, particularly in view of the fact that the
inclusions are fairly well rounded, thus conforming with having been rolled down rivers.

38

R.S. GABRIELI, A.D. MERRYWEATHER

When we look at characteristics of the fabrics which are related to manufacture rather than origin, we
find considerable uniformity. In spite of the careful finish and the thin walls, the Hellenistic pottery fabric
is quite rough. The texture is grainy as a result of rough clay and inclusions which are numerous and large
in relation to the thickness of the walls. It is often difficult to make an accurate assessment of the
frequency of inclusions according to percentage charts (Orton et al. 1993, p. 238) when the walls are thin.
In general terms, however, we have found that while all vessels contain at least approximately 10%
inclusions, which is quite regular in cooking ware, a noticeable proportion show a level of 20% or even
30%, which is very high. As we move into the Roman period, we notice that in addition to changes in
details of shape, the walls become thicker (though still rarely over 4 mm), and at the same time the
inclusions become smaller (still mainly in the 0.2-0.5 mm range, but tending towards the lower end of
this scale), and only rarely exceed the 20% level.

CONCLUSION
In conclusion we can say that we have made some progress in relation to our initial questions:
defining the local material, distinguishing non-local material and looking into the organisation of
production. We have defined three Cypriot fabrics, at least one of which (fabric B) is definitely from
south-west Cyprus. We have identified some imported material (thin section sample 3), though the
possible source(s) for it are still unknown. Within the pattern of overall similarity of fabrics, there is
considerable variability in details of composition, in colour and in sizes. Although it is impossible at this
stage to state with confidence that this variability is not a function of time, when it is taken in
conjunction with the similar picture from the House of Dionysos, we are inclined to follow Hayes'
conclusions and say that production was very likely in the hands of numerous workshops or individual
potters who worked within a framework of a common style, conforming to a fashion of a much wider
region.
Acknowledgements
We are grateful to Dr S . Hadjisavvas, Director of the Department of Antiquities of the Republic of
Cyprus, for his generous invitation to study the material from the Tombs of the Kings, and to Professor
J.R. Green for entrusting us with the material of both sites and for providing practical and moral support
together with valuable advice. Our research has been supported financially by research grants from the
Australian Research Council. We are grateful also to Jo- Anne Thomson who prepared and analysed the
thin sections, and to Dr John Gordon-Smith who shared with us his knowledge of Cypriot geology in the
field and in the laboratory. To Craig Barker who contributed unpublished information and all manner of
practical help. To Professor Pascale Ballet we are indebted for invaluable advice in the field, and the
encouraging manner in which it was given. Thanks also to Professor J.R. Green, Dr E.G.D. Robinson
and Craig Barker who read drafts of this paper and provided much-needed, constructive criticism. The
shortcomings which remain are all our own.

A PRELIMINARY STUDY OF HELLENISTIC AND ROMAN KITCHEN WARE

39

BIBLIOGRAPHY
Berlin A.M. 1997, "The Hellenistic and Roman
pottery: The plain wares", Tel Anafa II, i., JRA.
Supplementary Series 10, S.C. Herbert (ed.),
University of Massachusets, Ann Arbor,
p. 1-244.
Berlin A.M. 1998, "The Pottery from the Northwest
and North Areas", Ancient Naukratis: Excavations
at a Greek Emporium in Egypt, Annual of the
American Schools of Oriental Research 54,
A. Leonard Jr. (ed.), Scholars Press, Atlanta,
415 p.
Hayes J.W. 1991, Paphos Vol. Ill, The Hellenistic
and Roman Pottery, Department of Antiquities,
Cyprus, Nicosia.
Megaw A.H.S. 1988, "Reflections on Byzantine
Paphos", , Essays Presented to
Joan Hussey for Her 80th Birthday,

J. Chrysostomides (ed.), Porphyrogenitus,

Camberley, p. 135-150.
Michaelides D. 1990,
, '
,
Athens, p. 187-94.
NICOLAOU . 1984, Hellenistic and Roman tomb at
Emychou-phoenikas" , RDAC, p. 234-256.
PEACOCK D.P.S. 1982, Pottery in the Roman World:
an Ethnoarchaeological Approach, Longman,
London, 192 p.
ORTON C, Tyers P., Vince A. 1993, Pottery in
Archaeology, CUP, Cambridge, 269 p.
Salles J.-F. 1993, Les niveaux hellnistiques,
Kition-Bamboula IV, J.-F. Salles (d.), ditions
Recherche sur les Civilisations, Paris.

40

R.S. GABRIELI, A.D. MERRYWEATHER

Fig. I - The area ofNea Paphos and the Tombs of the Kings.

100 -,
80 60 40 20 0.1

= Sample

140
120
~ 100
80
60
40
20
0

Sample 3

13
| quartz
0 opaques
g amphibole

Sample

2
UH calcareous grains
0 pyroxene
biotite

plagioclase
weathered/altered grains
volcanic glass

Fig. 2 - Histograms illustrating the results of the ptrographie analysis of thin sections.

A PRELIMINARY STUDY OF HELLENISTIC AND ROMAN KITCHEN WARE

3 cm

Fig. 3, 1-4: Jugs, cooking pot and casserole from Tombs of the Kings; 5-8: Casserole and pots from the Theatre.

41