MÈTIS N. S.

12 2014
Anthropologie des mondes grecs anciens
Histoire • Philologie • Archéologie

Dossier :

Des vases pour les Athéniens

(VIe-IVe siècles avant notre ère)

Éditions de l’ehess • Daedalus

Paris • Athènes
 Sommaire

doSSier : Des vases pour les Athéniens

(Vie-iVe siècles avant notre ère)

Marie-Christine VillanueVa Puig, Des vases pour les Athéniens (Vie-

iVe siècles avant notre ère) ................................................................... 7-24
Annie Verbanck-Piérard, Sous les yeux d’Athéna et des Athéniens :vases,
techniques et statut de l’artisan à l’Acropole ...................................... 25-49
Victoria Sabetai, The wedding vases of the Athenians: a view from
sanctuaries and houses ........................................................................ 51-79
Kathleen lynch, Fine Ware Pottery from a Late Archaic House near the
Athenian Agora ................................................................................... 81-98
Norbert eSchbach, Athenian Vases for whom? A new workshop of the
late 4th century in the Athenian Kerameikos ....................................... 99-118
Violaine Jeammet, Des vases plastiques attiques pour les Athéniens du
iVe siècle ............................................................................................... 119-143
Jutta StroSzeck, Plastic vases related to the Eleusinian cult from the
Athenian Kerameikos .......................................................................... 145-162
Cécile Jubier-galinier, La production « athénienne » du Peintre de
Sappho, entre création et routine ......................................................... 163-188
Robin oSborne, Afterword. Towards an understanding of the choices
made by the producers and consumers of Attic pottery ...................... 189-198

Varia
Annick louiS, Les vies de Schliemann : l’autobiographie comme lieu de
savoir ................................................................................................... 201-223
Marisa tortorelli ghidini, Acque e anime nell’escatologia orfico-
pitagorica ............................................................................................. 225-236
Giuseppina Paola ViScardi, L’insostenibile “pesantezza” della saggezza.
A proposito del baros/embaros di Munichia o sul sapere sacerdotale
dell’uomo dotato di nous e phronesis.................................................. 237-264
Dyfri WilliamS, Prometheus, Epimetheus and Pandora: from Athenian
pottery to satyr-plays and cult ............................................................. 265-290
Manuela giordano, Contamination et vengeance : pour une diachronie
du miasma ........................................................................................... 291-310
César ForniS, Cynisca l’Eurypontide : genre, autorité et richesse dans la
Sparte impériale du début du iVe siècle avant notre ère ....................... 311-324
Philippe akar, Pleurer comme un homme à la fin de la République
romaine, ou comment construire l’autorité par les larmes .................. 325-352

Résumés .................................................................................................... 353-362

Revues échangées avec Mètis........................................................................... 363
Le 4 janvier 2014, Jean-Pierre Vernant aurait eu 100 ans. Il nous a quittés
le 9 janvier 2007. D’autres célèbreront ailleurs et autrement ce centenaire.
Nous souhaitons ici rappeler la mémoire de celui qui fut, en 1986, un des
fondateurs de la revue Mètis. Il nous a appris, entre autres, à partager, à
réfléchir, à dialoguer. En important dans le domaine de l’antiquité classique
le questionnement des sciences sociales, il a transformé de manière
irréversible les études grecques. Il a ainsi notablement élargi le champ de
nos recherches en les ouvrant sur la société contemporaine. Sa méthode et
son style personnel d’intellectuel engagé, son acuité et son intelligence en
tant que lecteur averti, sa générosité et son attention aux autres, quels qu’ils
soient, resteront pour nous un modèle lumineux.
 Jutta StroSzeck
Deutsches Archäologisches Institut in Athen

PLASTIC VASES RELATED To ELEuSINIAN CuLT

FRoM THE ATHENIAN KERAMEIKoS

“Vases found on a specific site can tell us about the

history and the social reality of a place”.1

THE KERAMEIKoS2

The streets on both sides of the river Eridanos are a distinctive feature
of the Kerameikos excavation site. The Sacred Street, connecting Athens
and Eleusis, as well as the Kerameikos street leading from the Agora to
the Academy, both played an important role in Athenian cult rituals: they
were used for processions that the Athenians performed regularly and as
the setting for ritual contests.3 In this presentation, I will concentrate on
one case of potters production related to these activities.

1. iSler-kerényi 2009, p. 16. – I am grateful to Christina Mitsopoulou for valuable help

and to Marie-Christine Villanueva Puig for organizing the conference and for her patience.
For a broader background concerning the treatment of the subject in more general terms:
clinton 1992; leVenti, mitSoPoulou 2010; mylonaS 1961; ruggeri 2013; ruggeri,
SieWert, SteFFelbauer 2007; StroSzeck 2002; tiVerioS 1997.
2. unless stated explicitely, by “Kerameikos” I mean the visible archaeological park.
3. coStaki 2006, p. 455-459; Ficuciello 2008.

Mètis, N. S. 12, 2014, p. 145-162.

146 JuTTA STRoSzECK
Potters in the Kerameikos
Part of the Kerameikos area belonged to the Demos Kerameis or
Kerameon, the potter’s district of Athens, during the Classical period.
Since the beginning of the excavations, it was a scope to investigate the
potter’s production on the site. But until today, an overview over the kinds
of pottery produced here is missing.
The potters established their workshops in the area between the rivers
Eridanos and Kephissos because of the benevolent conditions provided
by the abundance of water, the natural deposits of clay here and maybe
also because their kilns were best situated outside the inhabited area of
the ἄστυ to avoid the risk of fire. In addition, a major advantage for their
business was the position of their workshops along the main trade routes
leading to the Peloponnesus and towards the harbours of Athens.
The production of pottery on a site is best declared by potter’s kilns and
workshops, but on the other hand, various artefacts, such as production
tools or production waste also indicate workshop activities. Around the
kilns and workshops, usually a lot of this kind of pottery is found. The
first potter’s workshop we know of in the Kerameikos area was a large site
along the south western border of the Academy street, today immediately
north of the Aghia Triada church.4 Production during the fourth century
continued in the area south of the burial of the Lacedaimonians and the
bathhouse in front of the Dipylon. Another large workshop was situated
on the hill below the Kerameikos Museum, it was active in the late fourth
and early third century BC. In the Early Roman period, a workshop was
built within the ruins of the Pompeion courtyard, and from the last third
of the 3rd until the sixth century AD, numerous kilns and workshops
continuously produced clay lamps, pots and terracotta statuettes on the
site, mainly within the city walls. Both Maria Chiara Monaco and Eleni
Hasaki gave overviews of workshops in the Kerameikos.5
Kind of production on the site
Red-figure pottery found in the Kerameikos is only occasionally
production waste, a few misfired pieces and try pieces may represent
scanty evidence for the activities of such production on the very site or
nearby. Therefore, we can assume that the main centers of this production
4. monaco 2000, p. 70-80.
5. monaco 2000, p. 70-80, 206-211 no. C pl. 24-36; haSaki 2002, p. 82, 152, 153, 156,
233, 266, 271, 343-344 no. 40-49; p. 418 no. 259-273 pl. II 5 a; V 15.
PLASTIC VASES RELATED To ELEuSINIAN CuLT 147
were not situated on the site itself, but somewhere close by as well as at a
greater distance from the city, within the Demos Kerameon.
A characteristic feature of the diachronic Kerameikos area production
is the cooperation between potters and koroplasts.6 Proof for this can
be found from the classical to late Roman-Early Christian period. As an
example for this, I will briefly treat a small group of Athenian figure vases
here, because they relate to the topic of the conference, the production
in the Kerameikos area for local use. Although it may not be possible to
identify product groups that do not occur in non-Athenian contexts at all,
this specific local product is only attested in Athens until today.
PRoCESSIoNS To THE ELEuSINIAN MySTERIES AND RELATED
PoTTERy
The Sacred Street passes the homonymous gate in the Kerameikos site and
it continues immediately along the southwest bank of the river Eridanos. It
connected Athens with the mysteries’ sanctuary and the ancient settlement
of Eleusis. on the street, on several occasions during the year, processions
took place. Most important of all was the yearly procession from Athens
to the sanctuary of Eleusis on the 19th Boedromion, performed by all
initiated citizens including women and even slaves.7 These processions
were integral part of the cult of the Eleusinian mysteries. At least two main
categories of pots can be related to these activities:
Eleusinian kernoi
The Eleusinian kernoi were used during the processions to Eleusis:
In these vessels, the participants kept the wheat mixture (κυκεών) they
were eating at the end of the long walk to the sanctuary at Eleusis.8 The
kernoi were carried on the head as represented on the Ninnion tablet in the
National Archaeological Museum in Athens.9
6. Cf. the vases and plastic vases in the form of sea shells signed by Phintias as a potter
and his signatures as a painter: Frel 1984, p. 57-60, pl. 8. It is often assumed that these
plastic vases reproduce metal prototypes. ambroSini 2010, p. 91, 100 and in this volume, the
contribution of V. Jeammet « Des vases plastiques pour les Athéniens du iVe siècle ».
7. graF 2000.
8. mitSoPoulou 2010, p. 145-178.
9. Athens, National Archaeological Museum, inv. 11036 discovered in Eleusis in 1895
(ca. 370 BC). mitSoPoulou 2010, p. 164 note 106; p. 165 fig. 6.
148 JuTTA STRoSzECK
A workshop for these kernoi has been excavated during the Metro
works just outside the Kerameikos site, to the southwest of the Sacred
Street.10 The debris of this and maybe also other workshops have been
scattered around in the whole area. In particular, kernos fragments have
been found in the layers around the Sacred Street, while several complete
specimens were found in the Bau z building behind the Sacred Gate11 and
in a building along the southwestern border of the Kerameikos street.12
Figure vases with the representation of a youth holding a piglet
Figure vases have been found both in graves and in sanctuaries in Athens
and Attica, as well as in the northern Black Sea region.13 Therefore, for
these and for certain groups of plastic vases in general, a function in cult,
especially in chthonic cult, has been assumed.14
Production of plastic vases on or very close to the excavation site is
indicated by a relatively large number of pieces that have been found in the
Kerameikos, almost exclusively along the Sacred Street (approximately
70 pieces so far). Among these, some are taken from the same mould,
while others show clear signs of overfiring that characterizes them as
misfired potter’s debris. Active in the first half of the fourth century BC,
the workshop produced mainly small lekythoi, oinochoai jugs, but also
rhyta or kantharoi.15
Two small figure vessels (complete height approximately 12-15 cm)
dated to the early fourth century by Maria Trumpf-Lyritzaki, can be
connected with Eleusinian cult (cat. no. 1.2, fig. 1. 2): they show the
figure of a naked and winged youth with a mantle draped around his back,
more leaning than sitting relaxedly on a rock. With his left hand he holds
10. orFanou 2000, p. 382.
11. knigge 2005, p. 190 nos. 594. 595 and p. 193 no. 622 pl. 114; p. 201 no. 701 pl. 121;
p. 212 no. 814; p. 222 no. 914 pl. 134; p. 227 no. 968 fig. 50 (all from Bau Z 3).
12. WillemSen 1977, p. 137 pl. 57,1. – The kernoi from the Kerameikos site are
currently under publication by Christina Mitsopoulos.
13. trumPF-lyritzaki 1969, p. 106, 125.
14. trumPF-lyritzaki 1969, p. 124 sq. – According to a recent proposal, one group of
figure vases, for instance, was used for the ritual bath (lavatio) of the silver cult statue of
the goddess in the river Almone on the occasion of the festival of the goddess on March,
27th every year: Prudentios, Peristephanon 10, 154-160. – cf. ambroSini 2010, p. 75, 91.
15. trumPF-lyritzaki 1969 passim. Large collections of attic pieces are kept in the
Louvre, in the British Museum: higginS 1959, p. 57; and in the Metropolitan Museum in
New york: reeder-WilliamS 1978, p. 356 sq. – For the whole group compare recently:
ambroSini 2010, p. 100 sq.
PLASTIC VASES RELATED To ELEuSINIAN CuLT 149
the border of a mantle over his left thigh in a puff, while in his lowered
right hand, he carries a piglet head down, grasping the hind leg of the
animal. While the figure in both cases is taken out of the same mould, the
vessels differ in shape: In cat. no. 2 (fig. 2), the body of the vessel in part is
constituted by the body of the youth. The rest of the vertical handle on the
back of the figure-vase had originally been unevenly covered by a vertical
brush of black glaze, as it is characteristic for the whole group. In contrary,
the body of the youth in cat. no. 1 (fig. 1, 1.4) is a solid statuette. Below the
feet of the youth, the rest of a wheel-thrown base is preserved. The vase
container was reduced to a small neck and mouth behind the head of the
youth, both missing today.
A fragment of a misfired juglet from another, probably standing figure,
taken from a different mould, preserves the upper half of the body of a
youth with the head sporting long curly locks adorned by a fillet covering
part of the curls (cat. no. 4, fig. 4). All three pieces were originally provided
with wings that are broken away. Finally, there is a third copy taken from
the same mould as cat. nos. 1 and 2, but instead of a plastic vase, it is a
plain terracotta statuette (cat. no. 3, fig. 3).
On first sight, winged, naked youths like the ones on our figure vases
(cat. 1, 2 figs. 1.2), with curly long hair look much like Erotes. There are
several Athenian figure vases representing Eros during an offering of
liquids or incense.16 But within the group, wings are not restricted to the
representations of Eros. For instance, also children playing ball or the boys
in abduction scenes or dionysiac dancers were equipped with wings. The
wings, therefore, have been explained as being merely decorative, or they
were seen as concealing device for the roughly worked backside of the
figures. But more likely is the explanation given by Trumpf-Lyritzaki:17 the
wings bestow on the figure a supernatural atmosphere, or they may even
characterize the figures as god-like beings.18
The connection to Eleusis is established by the piglet (χοιρίδιον19) the
youth holds. The piglet was the main sacrifice animal used as an offering
to the deities at Eleusis. During the purgatory rites in preparation for the
participation in the cult at Eleusis,20 a piglet was carried to the sea (near
16. trumPF-lyritzaki 1969, p. 129 sq.
17. trumPF-lyritzaki 1969, p. 137 sq.
18. Cf. thomSen 2011.
19. Scholion Aristophanes, ad Pac. 374, 5.
20. The rites were carried out on the second day of the yearly festival in autumn near the
sea at Phaleron in Attika, where the participants cleaned themselves and finished the rites
150 JuTTA STRoSzECK
Phaleron, at the Kantharos harbour or at the Rheitoi salt lake) on the 16th
of the month Boedromion. Participants in the mysteries washed themselves
there and they also cleaned the piglet in the water. It was to be sacrificed
later, after their return to Athens. Obviously, the figures cat. 1. 2. and 3
(figs. 1-3) are representations of a young initiate preparing such an offering.
ICoNoGRAPHy
The boy carrying a piglet is reminiscent of an iconographic type21 that
is represented by late Classical and Hellenistic marble statuettes found in
Eleusis (figs. 6-7), in Roman versions from Rome (figs. 8-9), in classical
and hellenistic terracotta figurines (figs. 1. 2. 3. 5) and on relief vases.22
The boy also occurs again on so-called Eleusinian festival coins from 86
BC.23 This youth wears a mantle draped around the lower body and carries
a bakchos (a stick made out of myrtle leaves, bound together as symbol of
the μύστης) in one hand, while in the other he holds the piglet, symbol of
the purgatory rites performed in Eleusinian cult.
Two figure vases show this second type, but both are lost today (fig. 5):
one has initially been initially interpreted as Eubuleus. It is an attic
lekythos-statuette said to have come from Tanagra, formerly in the Piot
collection.24 A standing youth wears a mantle around the hips and over
by offering a piglet upon their return to Athens. A piglet is also represented on Eleusinian
coins: kroll 1993, p. 95 no. 116.
21. Cf. clinton 1974, p. 98-114. – Marble statuettes: Eleusis, Museum: FurtWängler
1895, p. 357-359 fig. on p. 357; kourouniotiS 1923, p. 166-167 fig. 9-10; PaPangeli 2002,
p. 32 and fig.; leVenti 2010, p. 121, 136 fig. 12 A; – Roman marbles statuettes: Rome,
Palazzo dei Conservatori, inv. 1871: Two statues and the fragment of a third. eSdale 1909,
p. 1-5 pl. 1 a; Von Steuben 1966, p. 318-319 no. 1503; bianchi 1976, p. 27 nos. 43. 44.
– Terracotta statuettes: breitenStein 1941, no. 427 pl. 53; andrén 1948, no. 121 pl. 25;
blinkenberg 1931, p. 711 sq. nos. 3031. 3033. 3034 pl. 141; trumPF-lyritzaki 1969, p. 17
sq. no. 41, 145 note 66. – Relief Vases: rubenSohn 1899, p. 55-59 pl. 7. 8; zerVoudaki 1968,
p. 36 sq. no. 77; bianchi 1976, p. 24 fig. 32.
22. The finest representation is on the gilded hydria called “Regina vasorum” in the St.
Petersburg Hermitage Museum, found in Cumae (Italy): cohen 2006, p. 115 fig 9; a seated
youth with a piglet is represented on a relief Lekythos with Eleusinian scenes in London,
British Museum inv. G 20: zerVoudaki 1968, p. 17 no. 11 pl. 14, 4; andrén 1948, p. 58
no. 121 pl. 25.
23. kroll 1993, p. 95 no. 116.
24. Berlin, Antikensammlungen inv. 8293. – FurtWängler 1892, p. 106 no. 19; trumPF-
lyritzaki 1969, p. 17 sq. no. 41; clinton 1974, p. 108 note 62.
PLASTIC VASES RELATED To ELEuSINIAN CuLT 151
the left shoulder. In his lowered right hand, he holds the right hind-leg of
a piglet, while his left hand holds the bakchos, symbol of the participant
in Eleusinian cult. He has long, curly hair, crowned by a kind of polos
and a wreath, much like cat. no. 4 (fig. 4). On both sides there are three
added rosettes. A more fragmentary, second lekythos that reproduced this
statue has been kept in the Gréau collection, showing the youth without a
wreath25, it is said to have come from Cyprus. As our pieces, both can be
dated to the 4th century BC.
This iconographic type has been identified as “Παῖς ἀφ’ ἑστίας μυηθείς”
as mentioned in inscriptions from Eleusis from the 5th century BC to the
Roman Imperial period26. Most likely, the type characterizes boys from
noble Eupatrid Athenian families who were yearly selected to represent
the other mystai in performing purgatory rites. In preparation to that, they
were initiated at the hearth of Hestia (in the Prytaneion on the Agora). After
they had fulfilled their duties, their proud parents sometimes dedicated
statuettes in commemoration of this honour.
It will not be coincidence, that our plastic vases and the figurine (cat.
no. 1-3 fig. 1-3) representing a youth with a piglet, but without the bakchos,
were found close to the fork of the Sacred Way and the street leading
to the harbours. They seem to be products of a workshop in the vicinity
that had adjusted part of its production to the needs of the immediate
neighbourhood, just like the kernoi. Due to their findspots, it seems that
both the plastic vases and the statuette were produced for the use of the
passers-by: initiates, participants in processions or participants in funeral
corteges along the streets. Thus, the locally produced small objects might
have been dedications, souvenirs of the participation in Eleusinian cult or
grave gifts.
CATALoGuE
Cat. no. 1.
Kerameikos, inv. no. T 496. Fragment of a small jug with plastic
decoration; Seated youth with piglet.
Exact findspot unknown.
H: 10,1 cm; Clay: ochre, mica. (Munsell 7, 5 YR 6/4).
25. Fröhner 1891, no. 462, pl. 40. H: 11, 4. – trumPF-lyritzaki 1969, p. 17 note 65.
26. clinton 1974, p. 98-114; eSdale 1909, p. 2-3; bianchi 1976, p. 27 no. 43-46.
152 JuTTA STRoSzECK
Fragment of a massive figure of a winged youth with long curly hair.
The head is missing. The youth sits on a rock, he wears a cloak covering
his back. With his left hand he grasps the border of the cloak on his left
thigh. In the lowered right hand he holds a piglet at the hind legs. on
the backside there is a vertical stretch of black glaze that also covers the
backside of the wings. Between the wings, the rest of the attached handle
is preserved. The round base is wheel-thrown, the vase had only a small
neck and mouth.
Lit.: trumPF-lyritzaki 1969, 28 sq. no. 75.
Cat. no. 2 .
Kerameikos, inv. no. T 497. Fragment of a small jug with plastic
decoration; Seated youth with piglet.
Found on the 24.4.1910 near grave precinct XX on the north side of the
“street of the tombs”.
H: 8,8 cm; Clay: ochre, mica. (Munsell 7,5 YR 6/4).
Fragment of a juglet in the form of a winged youth with long, curly hair.
The youth sits on a rock, he wears a cloak covering his back. With his left
hand he grasps the border of the cloak on his left thigh. In the lowered
right hand he holds the hind legs of a piglet. on the backside there is the
rest of a vertical handle. The hollow body of the figure was used as the
body of the vase. From the same mould as the previous piece.
Lit.: trumPF-lyritzaki 1969, 29 no. 76.
Cat. no. 3.
Kerameikos, inv. no. T 498. Fragment of a terracotta statuette. Seated
youth with piglet.
Found in the Sacred Street in 1961/1962 in the fill of tomb HS 49 SK.
H: 9,4 cm; Clay: ochre, mica. (Munsell 7,5 YR 6/4). Head, part of the
arms and the feet are missing.
Fragmentary statuette of a youth. The youth sits on a rock, wearing a
cloak covering his back. With his left hand he grasps the border of the
cloak on his left thigh. In the lowered right hand he holds the hind legs of
a piglet. Back side closed and slightly rounded. No wings.
From the same mould as the previous cat. nos.
Lit.: VierneiSel-Schlörb 1997, 64 cat. 191 pl. 36, 3.4. – comp.
beSqueS 1973, 625 note 35 pl. 188 fig. 18.
PLASTIC VASES RELATED To ELEuSINIAN CuLT 153
Cat. no. 4.
Kerameikos, inv. no. T 717. Fragment of a misfired small jug with plastic
decoration; Seated youth with long curly hair.
Found on the 25.10.1982 in sandy layer of the path near grave precinct
IX on the corner terrace.
H: 7 cm; Misfired, hard, dark brown clay (Munsell 7,5 YR 6/ 5-4).
Fragment of a juglet representing a naked, winged youth with long curly
hair. The head turned slightly to his left shoulder. Rest of white colour in
the hair.
Same type as the previous ones but from a different mould.
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154 JuTTA STRoSzECK
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Teil 1: Der innere Kerameikos, Wien, 2007 (Tyche Sonderband 5/1).
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156 JuTTA STRoSzECK PLASTIC VASES RELATED To ELEuSINIAN CuLT 157

Fig. 1, 1-4: Cat. no. 1 Athens, Kerameikos, inv. T 496. Fragment of a plastic vase. Fig. 2, 1-3: Cat. no 2 Athens, Kerameikos, inv. T 497. Fragment of a plastic vase.
Youth carrying a piglet (early 4th cent. BC). (Drawing R. Docsan). Youth carrying a piglet (early 4th cent. BC). (Drawing R. Docsan).
158 JuTTA STRoSzECK PLASTIC VASES RELATED To ELEuSINIAN CuLT 159

Fig. 3, 1-3: Cat. no. 3 Athens, Kerameikos, inv. T 498. Terracotta figurine. Fig. 4, 1-3: Cat. no. 4 Athens, Kerameikos, inv. T 717. Fragment of a misfired plastic
Youth carrying a piglet (early 4th cent. BC). (Drawing R. Docsan). vase torso of a youth (early 4th cent. BC). (Drawing R. Docsan).
160 JuTTA STRoSzECK PLASTIC VASES RELATED To ELEuSINIAN CuLT 161

Fig. 7: Eleusis, Museum, inv. 5162. Fragment of a marble statue of a youth holding the
bakchos and a piglet (late 4th – early 3rd cent. BC).
Fig. 5: Formerly Collection Piot. Plastic vase. youth holding a piglet and the bakchos. (after leVenti 2010, p. 133 fig. 5).
1. after bianchi 1976, fig. 46 (the piglet has been interpreted as a hare).
2. after FurtWängler 1892, p. 106 no. 19.

Fig. 8: Rome, Palazzo dei Conservatori, inv. 1871. Marble statue of a youth,
(27 BC – 14 AD). (after bianchi 1976, fig. 44).
Fig. 6: Eleusis, Museum inv. 5051. Fragment of a marble statue of a youth holding the Fig. 9: Rome, Palazzo dei Conservatori, Marble statue of a youth holding a piglet
bakchos and a piglet (4th cent. BC). (after leVenti 2010, p. 121, 136 fig. 12). (2nd cent. AD). (after bianchi 1976, fig. 43).
162 JuTTA STRoSzECK

Credits for the figures

Figs. 1,1; 2,1; 3,1; 4,1: Drawing R. Docsan;
fig. 5: after FurtWängler 1892, p. 106 no. 19;
fig. 6: after leVenti 2010, p. 121, 136 fig. 12;
fig. 7: after leVenti 2010, p. 133 fig. 5;
fig. 8: after bianchi 1976, fig. 44;
fig. 9: after bianchi 1976, fig. 43;

All other figs. Photo Jutta Stroszeck.