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303), ejnnosivgaio" (Il. 183, 362). v. Poseidon; von Raits 1964, ch. IV, 26-8. 8 ii. 1-5). On thirteen more, depictions of kilns have been suggested, thus bringing the total number to eighty-three plaques. 136m). 8 In Furtwängler’s (1885) detailed catalogue of the pieces, 240 out of 508 plaques (or 48%) have Poseidon depicted on them. For the inscriptions, see Lorber 1979 and a more recent discussion and review of previous literature is provided in Amyx 1988. 9 F638-645, F813, F815, F868-871, F884, F886.

For other discernible hands, see the following groups: a. 1), b. 3), c. 4), d. F866+546, F889, e. 6). Even Payne (1931, 112) proposed a single artist for the plaques F349 and F367+372+398+399.

Biçken-Tekkök (2000) presented recently an ethnographic study on the potting community of Akköy in Turkey, located south of Troy. 15 Kardulias (2000) gives a similar account of a modern potter’s workshop at Ermioni in the Argolid. 16 Papadopoulos S. 1999a, 1999b. On Thasos, see also Giannopoulou 1999; Gratsia 1999; Giannopoulou and Demesticha 1998 on the traditional potters and their workshops on Lesbos. 17 Betancourt 1999; London 2000c. The present author (Hasaki 2001) has completed a documentary on the traditional potting communities at Moknine in Tunisia, where pottery production extends back in the Roman period, but which are also threatened with rapid decline in their number.

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