LATE BYZANTINE CERAMICS FROM ARTA: SOME EXAMPLES

The state of Epiros, conventionally known as the Despotate of Epiros, was one of the independent Byzantine states established on the territory of the Byzantine Empire after the conquest of Constantinople by the Latins in 1204. It originally included Epiros, Aetolia and Acarnania, Corfu and Leu cas, but during the 250 years or so of its existence its territory expanded and contracted at various intervals. It was ruled successively by the Byzantine Comnenodukai, the Italian Orsini, the Albanian Losha and the Italian Tocco dynasties and a large part of its territory, with Ioannina as its capital, was, for a period, under Serbian and later Italian rule.

The Despotate of Epiros maintained friendly and hostile relations with a number of Italian states: Sicily, Naples, Rome, Venice. Diplomatic missions travelled back and forth between Arta and Italy and many daughters of the ruling houses married latin rulers. Modern historians mention commercial exchange between the Despotate and Venice and Ragusa1. The capital of the Despotate, Arta, built on the site of ancient Ambracia, made its historical debut in the eleventh century AD. From 1204 until it was seized by the Turks in 1443, Arta gradually accumulated power and wealth and was adorned with notable monuments, some of which survive even today. However, the finds brought to light by rescue excavations undertaken in the modern town by the Archaeological Service for the past thirty years, give a very different picture: constant habitation of the area, natural disasters and various wars have contrived to wipe out all traces of the town's life during the Byzantine period. [241] Excavations in Arta rarely reveal a Byzantine structure and the archaeological levels prove to have been systematically disturbed resulting in a vast amount of dubiously stratified pottery. A relatively small proportion of these sherds may be dated to the Middle Byzantine period (11th-12th c. AD), while the majority date from the thirteenth to fifteenth century AD2 .

For the purposes of this paper we selected examples of the commonest wares found in Arta. Our material comes from rescue excavations in the modern town, with preference to those items providing sufficient evidence for dating. In order to give a more complete picture, we have also used examples of ceramics immured in the walls of the town's churches. The confidently stratified pottery comes chiefly from two excavations located on the outskirts of the modern town, that brought to light secular and ecclesiastical structures built at the beginning and abandoned in the latter half of the thirteenth century AD. Amongst the most interesting of the finds are ninety-two coins: six from the eleventh and twelfth centuries; twenty-one from the thirteenth century; fifty-four dated between 1195 and 1254 and eleven from the second half of the thirteenth century AD. The sherds found in the course of these excavations may therefore be dated with considerable certainty to the thirteenth century AD. Examples of various wares have also been recovered from other excavations, which do not, however, provide evidence for dating, whether specific (coins) or relative (stratigraphy) .

I. We start with the lead-glazed wares. This group comprises vessels with and vessels without slip.

I.1. VESSELS WITH SLIP

I.1.A. Monochrome Ware

There are relatively few specimens of these. The most interesting example is a large open, straight-sided vessel of reddish fabric with no foot to speak of (Fig. 1, n. 1), The white slip is

1 For the history of the Despotate of Epiros, see NICOLL 1957 and IDEM 1984, passim.2 The single paper for the Byzantine pottery from Arta is by VAVYLOPOULOU-CHARITONIDOU 1984, pp. 453-472.

covered by a transparent yellowish glaze on the interior and a transparent colourless glaze on the exterior. It dates from the thirteenth century AD.

A bowl with a narrow, slightly flaring rim has green glaze on white slip inside and narrow band of green glaze around the rim on the outside. Numismatic data indicate that this item dates from the thirteenth century AD, as well. [242]

Parigoritissa, the Despotate's most famous church, bears quatrefoil courses, which were originally glazed green (Fig. 10). This type of decoration is a common feature of Byzantine architecture and was particularly popular in the Late Byzantine period. The quatrefoils in this case belong to the monument's first construction fase, c. 12303 .

I.1.B. Green Painted Ware

These are fragments of vessels of the open type with a narrow vertical or nearly flat rim . The design is painted in green on pale cream slip and covered with transparent cream glaze (Fig. 2 and 4, nn. 3-4). The rims are decorated with pairs of concentric semicircles. Similar decoration (not exactly parallel) can be seen on a sherd from Genova5, which dates from between the latter half of the twelfth century and the beginning of the thirteenth century. [243]

[243]

Stratigraphic data indicate that the Arta sherds date from the first half of the thirteenth century AD.

I.1.C. Sgraffito Ware

Only a few sherds, small fragments of open vessels, bear engraved decoration. The design is engraved upon white slip and is usually linear (spirals) (Fig. 4, n. 5), though one sherd bears a representation of bird (Fig. 4, n. 6) and another part of the trunk and thighs of a human figure (Fig. 4, n. 7). The glaze is light or dark green, and in a few cases colourless or yellow. [244] It should be

3 ORLANDOS 1963, p. 36.4 TSOURIS 1988, pp. 69-74.5 CABONA-GARDINI-PIZZOLO 1984, pp. 471-472, tav. XII, n. 140.

4

noted that, since these are small fragments, one cannot be absolutely certain about either the colours of the glazes or the nature of the decoration as a whole.

These sherds are dated to the thirteenth century.

I.1.D. Zeuxippus Ware

Zeuxippus Ware is represented by a single item (Fig. 4, n. 8): it is part of the centre of an open vessel immured in the west wall of the Church of St. Theodora in Arta. Two concentric circles adorn the centre, which has a slightly yellowish glaze. Zeuxippus Ware is dated to the late twelfth -early thirteenth century AD6; the fragment in question, though was probably built into the wall of the church in the seventh decade of the thirteenth century AD7 .

I.2. VESSELS WITHOUT SLIP

Few sherds belong to this group.

I.2.A. Slip painted Ware

In some sherds and vessels of this type the fabric is not covered with slip, but decorated with it.

In the case of an open vessel with a thick, low foot and a narrow, flaring rim (Fig. 1 and 4, n. 9), the body is decorated with a central spiral, from which three wavy lines radiate towards the rim. The rim is decorated with pairs of concentric semicircles. The glaze is colourless.

A single band of running spiral decorates the interior and the exterior of a bowl (Fig. 1 and 5, n. 10) and a similar double band decorates the exterior of a jug (Fig. 6, n. 11) with a handle and a trefoil lip. Both items are completely covered with dark yellow glaze8 .

The technique was well-known by the Middle Byzantine period and the motif is encountered in Late Byzantine bowls9. The group of vessels with colourless glaze is dated to the first half of the thirteenth century, [245] in accordance with archaeological data. We propose that the vessels with yellow glaze should be dated to the fourteenth century. It should be noted that the marks of a firing tripod survive in the centre of the bowl 10 .

I.2.B. Green Painted Ware

This is a group of open vessels, in which the decoration is done directly upon the surface in either a very dark bottle green or a light olive green colour. In one case the central decorative motif represents a bird (Fig. 7, n. 12) and in another a spiral (Fig. 2 and 7, n. 13). The high vertical rims of two bowls

are decorated with pairs of concentric semicircles (Fig. 2, ) and 7, nn. 14, 15). This group is dated to the thirteenth century.

I.2.C. Rouletted Ware

The excavations at Arta have so far yielded a single small fragment (Fig. 7 and 16) of Rouletted Ware. The rouletted decoration is on the outside and the fragment has light and dark

MEGAW 1968, p. 87.7 TSOURIS 1988, p. 96, 182 and pp. 189-191.8 CHARITONIDOU, in press, n. 52, 102 and figg. 61-62.9 MORGAN 1942, pp. 95-103; MAKROPOULOU 1985, p. 265; PAPANIKOLA-BAKIRTZIS 1985, p. 195; ARMSTRONG 1989, pp. 41-42. For the motif see MAKROPOULOU 1985, pl. 2e; PAPANIKOLA-BAKIRTZIS 1985, pl. I; EADEM 1989, pp. 58-59.10 Innovation of 13th century: PAPANIKOLA-BAKIRTZIS 1986, pp. 641-648, with earlier bibliography.

6

yellow glaze both inside and outside. It is so small that one cannot be certain about the decoration and glaze as a whole. In Greece Rouletted Ware has been found in Corinth, in Palaiokatouna, in Acarand in Crete11. This fragment was found in a stratum which, according to numismatic evidence, dates from the first half of the thirteenth century.

II. Proto-Maiolica

These Italian products constitute a significant proportion of the finds at Arta. In accordance with the grouping system based on colour, these vessels fall into two groups: the former decorated in brown, blue and yellow and the latter in brown and blue. In both groups the fabric is rather porous, crumbles easily and is of a creamy colour, sometimes tinged with pink.

II.A. BROWN, BLUE AND YELLOW

This group includes vessels of both open and closed forms. The shapes are those commonly encountered in Proto-maiolica. The shape of an almost hemispherical bowl with a thick low foot and an almost flat rim projecting [248] slightly over the interior and the exterior (Fig. 1 and 8, n. 17) has also been encountered in Southern Italy and the Peloponnese12. The bowl with high flaring rim forming a slight angle with the body both inside and outside (Fig. 2 and 7, n. 18) is closely related to the “forma troncoconica” (with some differences), which is found in Italy13. There are also plates (Fig. 2 and 7, nn. 19-20) with rather straight sides terminating in a broad flaring rim, similar examples of which have been found in Corinth14. Another plate (Fig. 1 and 8, n. 21) with a rather deep body, almost straight sides and a thick low foot, has a narrow vertical rim. This shape of body is also encountered in Corinth15 .

One of the bowls is decorated with a yellow grid-iron motif in the centre; the brown lines which radiate from the motif's outer edge terminate in blue dots. The rim is decorated with brown loops and below the rim is a complex interlacing design in blue (Fig. 1 and 8, n. 17). The grid-iron motif is commonly encountered on vessels from Southern Italy, the Peloponnese and Palaiokatouna in Acarnania16. Lines radiating out from the grid-iron motif and ending in blue dots are found on vessels from Corith and Southern Italy17. The high, flaring rim of a bowl (Fig. 2 and 7, n. 18) is decorated with a coiling brown vine. The larger leaves are filled with bluish-green covered with yellow cross-hatsching, while the smaller leaves are blue. The closest parallel to this motif is found on a bacino from San Simpliciano in Milano (mid13th c.)18, while a few Proto-maiolica from Southern Italy have similar designs (with some differences)19 .

The wide rim of the plates is decorated with a chevron pattern (Fig. 2 and 7, n. 20) or a blue guilloche (Fig. 7, n. 13). The motifs are bordered by brown lines. The chevron pattern is also commonly seen on vessels found in Southern Italy, Albania, Corinth and Merbaka20 . [250] A guilloche decorates Proto-maiolica found in Brindisi and Corinth21 .

A plate is decorated with a blue fish (Fig. 1 and 8, n. 21) outlined in brown and flanked by thin brown plait bars emphasised in turn with a yellow stripe and groups of four yellow dots22 .

11 STILLWELL MACKAY 1967, pp. 254-255; HAHN 1987, p. 232; TSOURIS 1988, pp 102-103.12 PATITUCCI UGGERI 1984, p. 396, fig. 1a; MORGAN 1942, fig. 83b13 BLAKE 1980, p. 532 and 539, fig. 2.14 MORGAN 1942, fig. 83a.15 MORGAN 1942, fig. 8716 PATITUCCI UGGERI 1984, pp. 400-403; SANDERS 1987a, pp. 167-170; TSOURIS 1988, p. 102.

PATITUCCI UGGERI 1979, tav. LXXXIc; SANDERS 1987a, p. 173, n. 10 (not exactly similar). 18 BLAKE 1984, p. 532, tav. CCLVIII, n. 3.19 VENTRONE VASSALLO 1980, tav. LXXXVI, n. 300, tav. IC, n. 367, tav. CXII, n. 401. 20 PATITUCCI UGGERI 1984, tav. CLXXII, n. 14, tav. CLXXV, n. 12, tav. CLXXIX , nn. 28-30; SANDERS 1987a, p. 167; SANDERS 1987b, p. 191; MAZZUCCATO 1985, p. 10, fig. 2, n. 15, fig. 3, n. 26.21 PATITUCCI UGGERI 1984, tav. CLXXX, n. 36; MORGAN 1942, pl. XXXIV b22 Similar decoration: MORGAN 1942, pl. XXXIVb.

17

Numerous small fragments (Fig. 9, n. 22) belong to closed forms, though they cannot be pieced together. The only clearly discernible piece is a tall, narrow neck decorated with yellow and blue guilloche and brown zig-zag lines. The body is decorated with blue spirals accompanied by yellow dots.

[246]

[247]

[249]

II.B. BLUE AND BROWN

This group includes both open and closed vessels. An example of the former is a hemispherical bowl with a narrow, almost flat rim projecting slightly [253] over the exterior and the interior (Fig. 1 and 8, n. 23). The decoration is geometrical: blue lines forming a network of lozenges containing either brown crosses (n. 23) or diagonal lines and dots (Fig. 3 and 8, n. 24). Brown loops decorate the narrow rim (n. 23). The closed forms have high necks and their rims are either simply rounded and slightly bulging (Fig. 9, n. 25) or trefoilshaped with a slightly flaring lip (Fig. 9, n. 26). The necks of these vessels bear a complex blue interlacing design, and directly

below the rim there are either blue fish-scales motives or vertical brown zig-zag lines. Once again, since so few fragments of closed forms have been found, it is quite possible that other colours were used in the decoration, as well.

The lozenge motif is also encountered (with some differences) in Corinth and Brindisi23 . All the Proto-maiolica presented here date from the thirteenth century, according to the

archaeological evidence. While still discussing the Proto-maiolica Ware, it should be mentioned that the X-Rays

Laboratory of Physics, Department of Physics of Ioannina University has agreed to conduct a series of analyses to determine, primarly, the amount of tin present in the glaze. A preliminary analysis of some ten fragments a short time ago gave a figure of 1.3% of tin in the glaze, which is a considerably smaller proportion than the 3-5% mentioned in the bibliography24 .

III. Maiolica Icons and Tiles

Immured in the east wall of the church of St. Basil in Arta (c. 1300) there are two earthenware, relief, tin-glazed icons of the Crucifixion (Fig. 11) and the Three Ierarchs (Fig. 12). The colours used for the Crucifixion are white, green and dark brown and for the Three Ierarchs white, various shades of green, grey and dark brown25. It is presumed that the human figures were made separately from the background (possibly using moulds) and were placed upon the icons before firing.

Recent research on these icons suggest the following: 1. They were made in Arta, probably by an Italian craftsman. 2. They cannot be attributed exclusively to either Byzantine or Italian traditions, but they have more in common with the latter. [254]

[253]

23 MORGAN 1942, pl. XXXVIe; PATITUCCI UGGERI 1984, tav. CLXXII, n. 18, tav. CLXXVI, nn. 19-2024 WHITEHOUSE 1967, p. 66.25 ORLANDOS 1936, pp. 122-121; TSOURIS 1988, pp. 76-95.

[255]

3. Though they are unique in Byzantine architecture, they are not unique among north-western Greek ceramics. Another such known icon comes from outside Arta, though it is not immured in the wall of a church26. These icons may represent a stage of experimentation. 4. They are maiolica and certain features indicate probable links with Archaic maiolica.

In the Church of St. Basil there is also a reticulate band running along the east and the north wall (Fig. 13 and 14). The tiles, which measure 10x10 cm., are green or white or, more rarely, greyish-black, yellow, or the colour of clay. They are probably maiolica.

26 KISSAS 1991, pp. 362-365.

Reticulate revetments done in tile are a common feature of Byzantine architecture after the 10th century, while reticulate bands done in alternating tiles and stones were introduced to the Despotate's churches as part of a general trend towards the enrichment of the decorative vocabolary. The colourful bands in St. Basil's are another unicum in Byzantine architecture; although they can be linked with certain trends that arose from time to time in byzantine architecture, we believe, that their polychromy is due to italian influence27 .

The dating of the icons and bands in St. Basil's is a very thorny problem. A stylistic analysis of the church places it c. 1300 AD and this dating has been generally accepted; however, G. Velenis has recently proposed a somewhat later dating (a difference of a few decades) for the monument's higher sections28. Further stylistic criteria date the icons somewhere between 1320/30 and 1450 AD, during which period Arta's Despots were members of the Italian Orsini and Tocco families. The bands appear to be closely related to the icons, but one cannot be certain of this without a laboratory analysis. As the problem is being re-examined at the moment we shall simply note here that, while it is possible to revise the monument's dating to a later period, it is rather unlikely that the icons dating could be revised back as far as 1300.

The provenance of the ceramics presented in this paper is not always easy to determine. [256] The Proto-maiolica originate from Southern Italy, and some of them fall into the so-called group of Brindisi ware29. The sherd of Rouletted Ware comes from Veneto 30. As stated earlier, the icons in St. Basil's, a result of a mixture of artistic processes, are considered for the time being to have been manufactured in Arta probably by an Italian craftsman. Their technique is indisputably purely Italian. The lead-glazed pottery presents a completery different picture. Only the Zeuxippus bowl-centre may be attributed to a Byzantine centre31. None of the other fragments have parallels anywhere else. Some of them are undoubtedly products of Byzantine workshops. [258] The single similar fragment indicates that the sherds with concentric semicircles around the rim (n. 3 and 4) come from areas with close associations with the west32 .

[258]

27 ORLANDOS 1936, P. 120-122; MEGAW 1966, pp. 11-12; TSOURIS 1988, p. 59 and 63-65.28 VELENIS 1984, p. 187(3), 260.29 Nn. 17, 19, 20. For this ware, see WHITEHOUSE 1984, PP. 580-581, with an extended earlier bibliography.30 GELICHI 1384a, p. 56; IDEM 1986b, p. 38531 MEGAW 1968, P. 87; IDEM 1987, pp. 262-263.32 See note 5 above.

[257]

It is interesting to note at this point that amongst the ceramics examined so far there is a striking absence of wares which were common in Macedonia or which originated in Macedonian workshops. And this despite the fact that Epics and Macedonia are geographically so close and

despite the common political fortunes which linked the two regions for a certain period of time. We bring this discussion of Arta's pottery to a close with some interesting statistics. A rescue excavation whose finds are dated to the thirteenth century produced a total of 693 glazed sherds, 95% of which are of Italian provenance, 2% from Byzantine workshops and 3% of undetermined origin. The ratio of Italian to Byzantine pottery may seem excessively disproportionate, but the picture we have at present of Arta's pottery does indeed indicate that the Italian pottery far outnumbered the Byzantine ones.

The study of the pottery recovered during the Arta excavations began about a years ago. In this paper we have presented examples of wares which were recognised in the course of an initial processing of the material. A major proportion of the remaining material consists, in greater quantities than the Proto-maiolica, of wares from Southern Italy, probably Puglia. They fall into the groups of lead-glazed pottery without slip or with a very thin layer of slip, decorated chiefly in green or brown, and, we believe, examples of what is known as “RMR” ware. We now intend to analyse the various clays and glazes with a view to forming a more complete picture of the pottery circulating in and around Arta during the Late Byzantine period. This picture will not only be useful to specialists in pottery, but it will constitute a valuable contribution to our understanding of the background and history of the Despotate of Epiros as well. It will reveal the extent of Italian economic infiltration, pinpoint the Italian centres which exported pottery to Epiros and indicate the changing tastes of the people of Arta. These changes, which are also evident in other branches of art, seem always to have been somewhat superficial, occasional and lacking long-term continuity. We have already established that the sphere of ceramics - and possibly of glassware too - was dominated by Italian products. There was also always widespread movement of Italian coins. The changing predilections were not introduced by the Italian Orsini and Tocco despots, they preceded them.

BARBARA PAPADOPOULOU - KONSTANTINOS TSOURIS

Bibliography

Byzantine = Recherches sur le ceramique byzantine (“Bullettin de Correspondance Hellénique”, Suppl. XVIIII), ed. V. Déroche-T.M. Spieser, Athènes 1987 (= Paris 1989).

Siena = La ceramica medievale nel Mediterraneo Occidentale, Siena-Faenza (= Firenze 1986).

P. ARMSTRONG, 1989, Some Byzantine and Later Settlements in Eastem Phokis, “The Annual of the British School at Athèns”, 84, pp. 1-47.

H. BLAKE, l980, La ceramica meridionale nel nord Italia, in La ceramica mediaevale di S. Lorenzo Maggiore in Napoli, 2, Napoli (= 1984), pp. 527-548.

D. CABONA, A. GARDINI, O. RZZOLO, 1984, Nuovi dati sulla circolazione delle ceramiche mediterranee dallo scavo di Palazzo Ducale a Genova (secc. XII-XIV), in Siena, pp. 453- 482.

A. CHARITONIDOU, in press, Metabyzantina kerameika aggeia sten Arta (Ceramica post-bizantina a Arta), “Epeirotika Chronika”.

S. GELICHI, 1984a, “Roulette Ware”, “Medieval Ceramics”, 8, pp. 47-58. S. GELICHI, 1984b, La ceramica ingubbiata medievale nell'Italia nord orientale, in Siena,

pp. 353-407. M. HAHN, 1987, Byzantine and Post-byzantine Pottery from the Greek Swedish

Excavations at Khania - Crete, in Byzantine, pp. 227-232. S. KISSAS, 1988, Pelinè anaglyphe ephyalòmene eikona Stavroseòs apo ten Aroniada

Valtau (Icone a rilievo in ceramica invetriata con la raffigurazione della Crocefissione da

Aroniada Valtou), in Aetoloakamania. Acts of 1st Archaeological a nd Historical Congress, Agrinion (= 1991), pp. 362-365.

D. MAKROPOULOU, 1985, Apo to hystevobyzantino nekrotapheio tés Mones Vlatadon (Intomo al cimitero tardo-bizantino del Monastevo di Vlatades), “Thessalonique”, 1, pp. 255-309.

O. MAZZUCCATO, 1985, Primo rapporto sulla ceramica medievale in Albania, “Faenza”, LXXI, pp. 9-20.

A.H.S. MEGAW, 1966, Byzantine Reticulate Revetments, in Charisterion eis Anastasion K. Orlandon, 3, Athèns, pp. 10-22.

A.H.S. MEGAW, 1968, Zeuxippus Ware, “The Annual of the British School at Athèns” LXIII, pp. 67-88.

A.H.S. MEGAW, 1987, Zeuxippus Ware Again, in Byzantine, pp. 259-266.Ch. MORGAN, 1942, Corinth XI. The Byzantine Pottery, Cambridge.D. NIKOL, 1957, The Despotate of Epiror, Oxford. D. NIKOL, 1984, The Despotate of Epiros, 1267-1479, Cambridge. A. ORLANDOS, 1936, Ho Agios Vasileios tès Artes (San Basilio di Arta), “Archeion ton Byzantinòn Mnemeion tes Hellados”, B, pp. 115-130.ORLANDOS, 1963, Hé Paregorétissa tes Artès (La Pariogotissa di Arta), Athens. D.

PAPANIKOLA-BAKIRTZIS, 1985, The Paleologan Glazed Pottery of Thessaloniki, in Recueil des rapports du IVe Colloque Serbo-Grec sur I'Art de Thessalonique et des Pays Balkanique et les courants spirituels au XIVe siècle, Belgrade (= 1987), pp 193-204.

D.PAPANIKOLA-BAKIRTZIS, 1986, Tripodiskoi psésimatos ton byzantinon kai metabyzantinon aggeion (Sui treppiedi distanziatori della ceramica bizantina e post-bizantina), in Ametos. Timetikos tomos gia ton Kathegeté M. Androniko (Saggi in onore del prof: M. Andronikos), Thessaloniki, pp. 641-648. [260]

D. PAPANIKOLA-BAKIRTZIs, 1989, Medieval Cypriot Pottery, Cyprus. PATITUCCI UGGERI, 1979, Proto-maiolica brindisina. Gruppo I, “Faenza”, LXV, pp.

241-251. S. PATITUCCI UGGERI, 1984, Per una revisione della protomaiolica. II contributo degli

scavi di Brindisi, in La ceramica medievale di S. Lorenzo Maggiore in Napoli, 2, Napoli (= 1984), pp. 393-416.

G.D.R. SANDERS, 1987a, An Assemblage of Frankish Pottery at Corinth, “Hesperia”, 56, pp. 159-195.

G.D.R. SANDERS, 1987b, Three Peloponnesian Churches and their Importance for the Chronology of the Late 13th and Early 14th Century Pottery in the Eastern Mediterranean, in Byzantine, pp. 189-199.

TH. STILLWELL MACKAY, 1967, More Byzantine and Frankish Pottery from Corinth, “Hesperia”, XXXVI, pp. 249-320.

K. TSOURIS, 1988, Ho Keramoplastikos diakosmos ton hysterobyzantinon mneneion tes Voreiodytikes Hellados (La decorazione ceramoplastica dei monumenti tardobizantini della Grecia nord-ovest), Ph. D. Thesis, Kavala.

A.VAVYLOPoULOU-CHARITONIDOU, 1984, Byzantine Kerameike sten Arta (Ceramica bizantina a Arta), “ Deltion tes Christianikes Archailogikes Hetaireias “, ser. 4,12, pp. 453-472.

G. VELENIS, 1984, Hermeneia tou exotorikou diakosmou ste byzantiné architektonike (Interpretazione delle decorazioni esterne nell'architettura bizantina), Thessaloniki.

G. VENTRONE VASSALLO, 1980, La maiolica di San Lorenzo Maggiore, in La ceramica medievale di S.Lorenzo Maggiore in Napoli, 1, Napoli (= 1984), pp. 177-351.

D. WHITEHOUSE, 1967, The Medieval Glazed Pottery of lazio, “Papers of the British School at Rome”, XXXV, pp. 40-86.

D. WHITEHOUSE, 1984, Apulia, in Siena, pp. 573-586. [260]