Il volume è pubblicato con il contributo

dell’Università Ca’ Foscari, Venezia

 Atti del IX Congresso
Internazionale
sulla Cer amica Medievale
nel Mediterr aneo
Venezia, Scuola Grande dei Carmini
Auditorium Santa Margherita
23-27 novembre 2009

a cura di Sauro Gelichi

All’Insegna del Giglio

In copertina: Foto di Sebastiano Lora.

Comitato Internazionale dell’AIECM2

Presidente: Sauro Gelichi
Vice Presidente: Susana Gomez
Segretario: Jacques Thiriot
Tesoriere: Henri Amouric
Segretario Aggiunto: Alessandra Molinari
Tesoriere Aggiunto: Lucy Vallauri
Presidente Onorario: Gabrielle Démians d’Archimbaud
Consiglieri Scientifici: Graziella Berti, Maurice Picon

Membri dei Comitati Nazionali

Francia: Henri Amouric, Jacques Thiriot, Lucy Vallauri
Italia: Sauro Gelichi, Alessandra Molinari, Carlo Varaldo
Maghreb: Rahma El Hraïki
Mondo Bizantino: Véronique François, Platon Pétridis
Portogallo: Maria Alessandra Lino Gaspar, Susana Gomez
Spagna: Alberto Garcia Porras, Manuel Retuerce, Juan Zozaya Stabel-Hansen
Vicino Oriente: Roland-Pierre Gayraud

IX Congresso Internazionale sulla Ceramica Medievale nel Mediterraneo

Venezia, Scuola Grande dei Carmini, Aditorium Santa Margherita, 23-27 novembre 2009
Cura scientifica: Sauro Gelichi
Organizzazione: Margherita Ferri
Editing degli Atti: Margherita Ferri, Lara Sabbionesi

ISBN 978-88-7814-540-5
© 2012 All’Insegna del Giglio s.a.s.
Stampato a Firenze nel settembre 2012
Tipografia il Bandino

Edizioni All’Insegna del Giglio s.a.s

via della Fangosa, 38; 50032 Borgo S. Lorenzo (FI)
tel. +39 055 8450 216; fax +39 055 8453 188
e-mail redazione@edigiglio.it; ordini@edigiglio.it
sito web www.edigiglio.it
 INDICE

GABRIELLE DÉMIANS D’ARCHIMBAUD, Avant-propos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

SAURO GELICHI, Dall’unità alla frammentazione e dalla frammentazione all’unità . . . . . . . . . . . . . . . . . . . . . 10

L’EVOLUZIONE E LA TRASMISSIONE DELLE TECNICHE

PIERRE SIMÉON, Les ateliers de potiers en Asie centrale, entre Samarqand et Nīshāpūr: approche critique,
de la conquête musulmane au XIIe siècle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
ALBERTO GARCÍA PORRAS, El azul en la producción cerámica bajomedieval de las áreas islámica y cristiana
de la Península Ibérica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
KAREN ALVARO, JOSÉ I. PADILLA, ESTHER TRAVÉ, El alfar de Cabrera d’Anoia (Barcelona): una aproximación arqueométrica . .30
KONSTANTINOS T. RAPTIS, Early Christian and Byzantine Ceramic Production Workshops in Greece: Typology and Distribution . 38
IOANNIS MOTSIANOS, Wheel-made Glazed Lamps (from 3rd to 19th c.): Comments on their Technology and Diffusion . . . . . 44
OLIVIER GINOUVÈZ, GUERGANA GUIONOVA, JACQUES THIRIOT, LUCY VALLAURI, JEAN-LOUIS VAYSSETTES, Montpellier:
un atelier de potiers-faïenciers entre Moyen Age et époque modern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
ALBAN HORRY, Entre Nord et Sud. Céramiques médiévales en Lyonnais et Dauphiné. . . . . . . . . . . . . . . . . . . . . 58
MARTA CAROSCIO, Si cava in Inghilterra, et anche in certi luochi de la Fiandra: Tin Trade and Technical Devices
in Pottery Making . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
NATALIYA GINKUT, Glazed Ware manufacture in the Genoese Fortress of Cembalo (Crimean Peninsula)
from the Late Fourteenth to Fifteenth Century. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
SIMONA PANNUZI, STEFANO MONARI, ORIETTA MANTOVANI, Indagini archeometriche su argille di cava di area romana
e su maioliche cinquecentesche dal Borgo di Ostia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

CERAMICHE E COMMERCI

JULIA BELTRAN DE HEREDIA, NÚRIA MIRÒ I ALAIX, Cerámica y comercio en Barcelona: importaciones
del Mediterráneo occidental, norte de Europa y Oriente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
MANUEL RETUERCE VELASCO, MANUEL MELERO SERRANO, La cerámica de reflejo dorado valenciana
en la Corona de Castilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
REBECCA BRIDGMAN, Contextualising Pottery Production and Distribution in South-Western al-Andalus
during the Almohad Period: Implications for Understanding Economy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
STEPHEN MCPHILLIPS, Une collection inédite de céramiques des époques abbasside à ottomanes provenant de Fostat:
nouveaux indices de production et commerce interrégional pour le Caire médiéval au Medelhavsmuseet, Stockholm . . . . . .101
PIETRO RIAVEZ, Ceramiche e commerci nel Mediterraneo bassomedievale. Le esportazioni italiane . . . . . . . . . . . . . .105
RAFFAELLA CASSANO, CATERINA LAGANARA, La linea di costa tra Siponto e Brindisi, porti ed approdi: l’indicatore ceramico .112
LUIGI DI COSMO, FEDERICO MARAZZI, GIORGIO TROJSI, Produzione e circolazione della ceramica
nella Campania settentrionale (secoli X-XIV): i dati dal territorio di Alife (CE) . . . . . . . . . . . . . . . . . . . . . . .118
LAURA BICCONE, PAOLA MAMELI, DANIELA ROVINA, La circolazione di ceramiche da mensa e da trasporto tra X e XI secolo:
l’esempio della Sardegna alla luce di recenti indagini archeologiche e archeometriche . . . . . . . . . . . . . . . . . . . . .124
FEDERICO CANTINI, FRANCESCA GRASSI, Produzione, circolazione e consumo della ceramica in Toscana
tra la fine del X e il XIII secolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
STEPHANIA SKARTSIS, Chlemoutsi: Italian Glazed Pottery from a Crusader Castle in the Peloponnese (Greece). . . . . . . . .140
YONA WAKSMAN, The First Workshop of Byzantine Ceramics Discovered in Constantinople/Istanbul:
Chemical Characterization and Preliminary Typological Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
IANA MOROZOVA, Graffiti on the Italian Ware from the Medieval “Novi Svet” Shipwreck in the Black Sea, Crimea . . . . . .152
CLAUDIO NEGRELLI, L’Adriatico ed il Mediterraneo orientale tra il VII e il IX secolo: vasellame e contenitori da trasporto
per la storia economica dell’Altomedioevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
ANNA FERRARESE LUPI, Alluvional Deposits and Shipwrecks in the Stratigraphical Basin of Pisa-San Rossore.
The Meaning of Late Roman Pottery in a Sample from the 1998-1999 Excavations . . . . . . . . . . . . . . . . . . . . . 162
SALVINA FIORILLA, Gela medievale: le ceramiche come indicatore di commercio e di cultura. . . . . . . . . . . . . . . . . .164
FABIOLA ARDIZZONE, FRANCO D’ANGELO, ELENA PEZZINI, VIVA SACCO, Ceramiche di età islamica provenienti
da Castello della Pietra (Trapani) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
FABIOLA ARDIZZONE, ELENA PEZZINI, FRANCESCA AGRÒ, FILIPPO PISCIOTTA, Dati sulla circolazione della ceramica e sulle rotte
del Mediterraneo occidentale attraverso i contesti tardoantichi e medievali di Marettimo . . . . . . . . . . . . . . . . . . .173
FRANCO D’ANGELO, Sicilia XII secolo: importazioni dal Mediterraneo orientale, importazioni
dal Mediterraneo occidentale, produzioni locali . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
MARIA JOSÉ GONÇALVES, Evidências do Comércio no Mediterrâneo Antigo. A Cerâmica Verde e Manganês Presente num
Arrabalde Islâmico de Silves (Portugal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
SANDRA CAVACO, JAQUELINA COVANEIRO, Expression of taste or assertion of power. Imported ceramics in Tavira (Portugal)
from XIV to XVII centuries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
RAFFAELLA CARTA, La circolazione delle ceramiche italiane post-medievali nel Mediterraneo occidentale.
Il caso del Regno di Granada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188
ALBERTO GARCIA PORRAS, La cerámica española en el área Véneta. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
JORDI ROIG BUXÓ, JOAN MANUEL COLL, El registro ceramico de una aldea modelo de la antigüedad tardia en Cataluña
(siglos VI-VIII): Can Gambús-1 (Sabadell, Barcelona). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195
JORDI ROIG BUXÓ, La cerámica del período carolingio y primera época condal en la Cataluña Vieja: las producciones reducidas,
oxidantes y espatuladas (siglos IX, X y XI). Propuesta de tipología. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
RÉGINE BROECKER, FRANÇOISE LAURIER, Les jarres à cordons digités (XIIe-XVe s.) découvertes en Provence (sud-est de la France) . .203
JEAN-CHRISTOPHE TRÉGLIA, CATHERINE RICHARTE, CLAUDIO CAPELLI, YONA WAKSMAN, Importations d’amphores médiévales
dans le Sud-est de la France (Xe-XIIe s.). Premières données archéologiques et archéométriques . . . . . . . . . . . . . . . .205
SERGEY ZELENKO, MARIIA TYMOSHENKO, The trade contacts the Anatolian Region with the Crimean Black Sea Coast
during the Late Byzantine Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
IRINA TESLENKO, The Italian Majolica in the Crimea of the Turkish Supremacy Period
(1475-the Last Quarter of the 18th Century) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

NUOVE SCOPERTE

JUAN ZOZAYA STABEL-HANSEN, HORTENSIA LARRÉN IZQUIERDO, JOSÉ AVELINO GUTIÉRREZ GONZÁLEZ,
FERNANDO MIGUEL HERNÁNDEZ, Asentamientos andalusíes en el Valle Del Duero: el registro cerámico. . . . . . . . . . . .217
ELENA SALINAS, Las primeras producciones vidriadas de época emiral en Córdoba (España). . . . . . . . . . . . . . . . . .230
JAUME COLL CONESA, M. MAGDALENA ESTARELLAS, JOSEP MERINO, JOAN CARRERAS, JAUME GUASP (†), CLODOALDO ROLDÁN,
La alfarería musulmana de época taifa del carrer de Botons de Palma de Mallorca . . . . . . . . . . . . . . . . . . . . . .236
VICTORIA AMORÓS RUIZ, VÍCTOR CAÑAVATE CASTEJÓN, SONIA GUTIÉRREZ LLORET, JULIA SARABIA BAUTISTA,
Cerámica altomedieval en el Tolmo de Minateda (Hellin, Albacete, España) . . . . . . . . . . . . . . . . . . . . . . . . .246
JAUME COLL CONESA, LAURENT CALLEGARIN, MOHAMED KBIRI ALAOUI, ABDALAH FILI, TIERRY JULLIEN, JACQUES THIRIOT,
Les productions médiévales de Rirha (Maroc) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
SERGEI BOCHAROV, ANDREI MASLOVSKIY, Byzantine Glazed Pottery in the Cities of the North Black Sea Region
in the Golden Horde Period (Second Half of 13th Century-End of 14th Century) . . . . . . . . . . . . . . . . . . . . . . .270
ANASTASIA G. YANGAKI, Observations on the Glazed Pottery of the 11th-17th Centuries A.D. from Akronauplia . . . . . . . .276
BEATE BÖHLENDORF-ARSLAN, Die Byzantinische Keramik aus der Troas/Türkei: Keramik des 10.-12. Jahrhunderts aus Assos . .282
JOANITA VROOM, Early Medieval Pottery Finds from Recent Excavations at Butrint, Albania . . . . . . . . . . . . . . . . .289
ROLAND-PIERRE GAYRAUD, JEAN-CHRISTOPHE TRÉGLIA avec la collaboration de GUERGANA GUIONOVA,
Céramiques d’un niveau d’occupation d’époque mamelouke à Istabl Antar/Fostat (Le Caire, Egypte). . . . . . . . . . . . . .297
JACQUES THIRIOT avec la collaboration de JAVIER MANIEZ, ANTONIO MOLINA EXPÓSITO, ALEJANDRO VILA GORGÉ,
XAVIER VIDAL FERRÚS, ISABEL GARCÌA VILLANUEVA, ENRIQUE RUIZ VAL, FRANCISCA RUBIO, ZHAI YI, Une possible “filiation”
vers le four de faïencier moderne occidental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
RÉMI CARME, JACQUES THIRIOT, Nouvelles données sur les ateliers de potiers médiévaux de Saint-Gilles (Gard, France) . . . .313
MARCELLO ROTILI, Nuovi rinvenimenti a Benevento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .320
ERICA FERRONATO, Ceramiche comuni da Montegrotto Terme (PD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .327
MARCELLA GIORGIO, Le ceramiche rivestite bassomedievali di produzione pisana: la maiolica arcaica e le invetriate depurate.
Risultati dagli scavi urbani 2000-2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .329
ALESSANDRA PECCI, EVA DEGL’INNOCENTI, GIANLUCA GIORGI, FEDERICO CANTINI, Are Glazed Ceramics really Waterproof?
Chemical Analysis of the Organic Residues Trapped in some Post-Medieval Glazed Slip Painted Wares Found in Florence . . .332
SIMONA PANNUZI, Produzioni e commerci nel Lazio meridionale tra XIII e XVI secolo: Smaltata tardomedievale,
Ceramica Graffita e Maiolica rinascimentale dai rinvenimenti di Cori (LT) . . . . . . . . . . . . . . . . . . . . . . . . .335
LUCA PESANTE, Ceramiche medievali del Lazio settentrionale. Note sulle prime produzioni smaltate e invetriate . . . . . . .338
MARTINA PANTALEO, Nuove acquisizioni sulla diffusione ceramica nell’Abruzzo interno: il territorio aquilano . . . . . . . .341
SARA AIRÒ, MICHELA RIZZI, Cultura materiale da un sito rurale della Puglia centro-meridionale tra Tardoantico e Medioevo:
il caso di Seppannibale Grande (Fasano, BR – Italia) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .346
PAOLO GÜLL, ELENA M. BIANCHI, VALERIA DELLA PENNA, EDA KULJA, PAOLA TAGLIENTE, I materiali ceramici degli scavi
di Roca (Melendugno, Lecce): nuovi elementi per la conoscenza della ceramica tardomedievale nella Puglia meridionale . . . .349
SILVANA RAPUANO, Ceramica tardoantica dall’area dell’arco del Sacramento a Benevento. . . . . . . . . . . . . . . . . . .352
PAOLO BARRESI, ELEONORA GASPARINI, GIUSEPPE PATERNICÒ, DANIELA PATTI, PATRIZIO PENSABENE,
Ceramica arabo-normanna dai nuovi scavi dell’insediamento medievale sopra la Villa del Casale di Piazza Armerina . . . . .354
TATJANA BRADARA, Nuovi rinvenimenti di ceramica bassomedievale e rinascimentale a Pola (Croazia) . . . . . . . . . . . .358
TOMISLAV FABIJANIĆ, Early Medieval Pottery on the Eastern Adriatic in Context of Interaction between the Slavs
and Autochthonous Population . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361
CATARINA TENTE, ANTÓNIO FAUSTINO CARVALHO, Pottery Manufacture in the High Mondego Basin (Centre of Portugal)
during the Early Middle Ages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
ELENA SALINAS, Las producciones cerámicas de un alfar del siglo XII en Córdoba (España) . . . . . . . . . . . . . . . . . .365
JESÚS-MANUEL MOLERO GARCÍA, DAVID GALLEGO VALLE, MIGUEL-ÁNGEL VALERO TÉVAR, Nuevas aportaciones
al conocimiento de la cerámica andalusí de la Meseta: las tenerías de Corrales de Mocheta (España) . . . . . . . . . . . . . .369
PAU ARMENGOL MACHÍ, JOSEP VICENT LERMA ALEGRIA, Un conjunto de instrumentos cerámicos para la destilación
de época califal procedente de Valencia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
RUGGERO G. LOMBARDI, Ciclo produttivo della ceramica per la tessitura: tecnica e prassi. . . . . . . . . . . . . . . . . . .375

VENEZIA E DINTORNI

FRANCESCA SACCARDO, Mattoni sagomati a cornice tardogotica. Ricerche su una tipologia documentata a Venezia
e nel suo territorio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381
LAURA ANGLANI, NICOLETTA MARTINELLI, OLIVIA PIGNATELLI, Materiali ceramici dalle arginature tardo medievali
di S. Alvise, Venezia. I dati relativi alle strutture lignee più antiche del sito datate tramite la dendrocronologia e il radiocarbonio . 388
MICHELANGELO MUNARINI, Riflessioni sulla Graffita Arcaica Padana. . . . . . . . . . . . . . . . . . . . . . . . . . . .395
LORENZO LAZZARINI, CRISTINA TONGHINI, Importazioni di ceramiche mamelucche a Venezia: nuovi dati . . . . . . . . . .402
PAMELA ARMSTRONG, Venetians and Ottomans in the East Mediterranean: Ceramic Residue of Systems of Trade
from the Sphakia Survey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .408

CERAMICA E CONTESTI SOCIALI

CHRISTOPHER GERRARD, Mirada al Norte: los estudios de cerámica medieval desde una perspectiva británica. . . . . . . . .415
PLATON PÉTRIDIS, Céramique protobyzantine intentionnellement ou accessoirement funéraire? . . . . . . . . . . . . . . .423
HELENA CATARINO, SANDRA CAVACO, JAQUELINA COVANEIRO, ISABEL CRISTINA FERNANDES, ANA GOMES, SUSANA GÓMEZ,
MARIA JOSÉ GONÇALVES, MATHIEU GRANGÉ, ISABEL INÁCIO, GONÇALO LOPES, CONSTANÇA DOS SANTOS, JACINTA BUGALHÃO,
La céramique islamique du G.arb al-Andalus: contextes socio-territoriaux et distribution . . . . . . . . . . . . . . . . . . .429
JOÃO MARQUES, SUSANA GÓMEZ, CAROLINA GRILO, ROCÍO ÁLVARO, GONÇALO LOPES, Cerâmica e povoamento rural medieval
no troço médio-inferior do vale do Guadiana (Alentejo, Portugal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .442
YASMINA CÁCERES GUTIÉRREZ, PATRICE CRESSIER, JORGE DE JUAN ARES, MARÍA DEL CRISTO GONZÁLEZ MARRERO,
MIGUEL ÁNGEL HERVÁS HERRERA, ¿Almohades en el Marruecos presahariano?: el ajuar cerámico de la fortaleza
de Dâr al-Sultân (Tarjicht, provincia de Guelmim) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .449
JUAN ZOZAYA STABEL-HANSEN, Muerte y transfiguración en la cerámica islámica . . . . . . . . . . . . . . . . . . . . . . 455
M. CARMEN RIU DE MARTÍN, Notas sobre la condición socioecónomica de los ceramistas barceloneses del siglo XV . . . . . .461
ALEJANDRA GUTIERREZ, Cerámica española en el extranjero: un caso inglés . . . . . . . . . . . . . . . . . . . . . . . . . 467
ERICA D’AMICO, Byzantine Finewares in Italy (10th to 14th Centuries AD): Social and Economic Contexts
in the Mediterranean World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473
PASQUALE FAVIA, Produzioni e consumi ceramici nei contesti insediativi della Capitanata medievale . . . . . . . . . . . . . 480
ADELE COSCARELLA, GIUSEPPE ROMA, Rocca Imperiale (CS): tipologie di ceramica d’uso comune da un sito medievale
della Calabria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .487
OLATZ VILLANUEVA ZUBIZARRETA, BLAS CABRERA GONZÁLEZ, JORGE DÍAZ DE LA TORRE, JAVIER JIMÉNEZ GADEA,
La loza dorada en la Corte de Arévalo (Ávila, España). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .495
GUERGANA GUIONOVA, ANDRÉ CONSTANT, La céramique du Xe siècle en contexte castral pyrénéen (Ultréra-Argelès-sur-Mer 66):
première présentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .498
ISABELLE COMMANDRÉ, FRANCK MARTIN, Éléments de connaissance du mobilier médiéval tardif roussillonnais:
le vaisselier des Grands Carmes de Perpignan à la fin du XVIe s.-début XVIIe s. . . . . . . . . . . . . . . . . . . . . . . . .501
MONICA BALDASSARRI, MARCELLA GIORGIO, IRENE TROMBETTA, Vita di comunità ed identità sociale:
il vasellame degli scavi di San Matteo in Pisa, dal monastero benedettino al carcere cittadino (XII-XIX secolo) . . . . . . . . .503
GIORGIO GATTIGLIA, MARCELLA GIORGIO, I fabbri pisani: una ricca classe di imprenditori . . . . . . . . . . . . . . . . .506
MARIA RAFFAELLA CATALDO, Aspetti della produzione da fuoco fra Tardoantico e Altomedioevo: manufatti da Benevento,
Rocca San Felice e Montella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .509
FRANCESCO A. CUTERI, MARIA TERESA IANNELLI, GIUSEPPE HYERACI, PASQUALE SALAMIDA, Le ceramiche dai butti medievali
di Vibo Valentia (Calabria – Italia). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .512
MARISA TINELLI, Produzione e circolazione della ceramica invetriata policroma in Terra d’Otranto: nuovi dati dal Salento . .515
SOUNDÈS GRAGUEB, JEAN-CHRISTOPHE TRÉGLIA, Un ensemble de céramiques fatimides provenant d’un contexte clos découvert
à Sabra al-Mansūriya (Kairouan, Tunisie) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .518

CERAMICHE PER LE ARCHITETTURE

FABIO REDI, L’inserimento di ceramiche nelle architetture. Problemi metodologici e censimento per un “Corpus”
delle decorazioni ceramiche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .523
FRANCESCO A. CUTERI, ELENA DI FEDE, Bacini e vasi acustici nelle chiese del territorio di Megara (Attica – Grecia) . . . . .529
CLARA ILHAM ÁLVAREZ DOPICO, De Talavera de la Reina à Qallaline. La datation de la production tunisoise
à partir des importations céramiques espagnoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .536
ANGELIKI PANOPOULOU, Figulini dal casal Thrapsano. Documenti sulla figulina a Creta (secoli XVI-XVII) . . . . . . . . .542
GIORGIO GATTIGLIA, MARCELLA GIORGIO, L’uso dei tubi fittili nella Pisa medievale e post-medievale . . . . . . . . . . . .546
SILVIA BELTRAMO, Le terrecotte decorate nel marchesato di Saluzzo (Piemonte, Italia) tra XIII e XV secolo . . . . . . . . . .549
SIMONA PANNUZI, Ceramiche per architetture nel Lazio meridionale: i bacini del campanile della chiesa
di S. Oliva a Cori (LT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .552

DEL NOME, DELL’USO E DELLO SPAZIO

VÉRONIQUE FRANÇOIS, «Dans les vieux pots, les bonnes soupes»: vaisselle d’usage culinaire à Byzance . . . . . . . . . . . . .557
IOSIF HADJIKYRIAKOS, Considerazioni generali sulla decorazione ceramica negli interni delle chiese di Cipro . . . . . . . . .564
SUSANA GÓMEZ MARTÍNEZ, VIRGÍLIO LOPES, Cerámicas del arrabal de Mértola (Portugal). Contexto y uso de los objetos
en un espacio ribereño andalusí . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .566
Iana Morozova
GRAFFITI ON THE ITALIAN WARE FROM THE MEDIEVAL “NOV Y SVET” SHIPWRECK
IN THE BLACK SEA, CRIMEA
Zusammenfassung: In diesem Vortrag es handelt sich über Graffiti, die auf der glasierten Keramik des 13.Jhs. der italienische Ursprung eröffnen wurden. Die
Keramik ist wahrend unterwassere Ausgrabungen des mittelalterlichen Schiffbruchs in dem Hafen bei Sudak, in Nähe des Kurort ort Novy Svet an der Krim
Halbinsel entdecken worden.
A large amount of glazed pottery of different origins was found
during the underwater archaeological excavations in the Bay
of Sudak, near the resort town of Novy Svet on the Black
Sea in Crimea, Ukraine. The archaeological site is a medieval
shipwreck with a cargo of amphorae and glazed pottery. The
site has been dated to the 13th century according to the ceramic
assemblage and recovered coins (ZELENKO 2008: 126-143).
Large numbers of glazed pottery vessels, not only fragmented
examples but also complete and archaeologically complete
forms have been retrieved from the Novy Svet wreck. Two
main groups were initially identified within the glazed pottery
assemblage. They are ‘Zeuxippus Influanced Ware’ and ‘Green
and Brown Painted Ware’, and they are the largest extent sets.
Other stylistic examples, however, are also present in consider-
able numbers. For instance, the Italian Wares group has been
found in increasing numbers since being first uncovered on site
in 2003. As of 2010 fifty six complete forms of Italian Ware
have been collected. At present the glazed pottery assemblage
from the Novy Svet shipwreck site comprises the complete
forms and fragments of the following groups: ‘Zeuxippus In-
fluenced Ware’, ‘Green and Brown painted Ware’, Slip painted
ware, ‘Zeuxippus Ware’ and its derivatives, Polychrome and
Monochrome Sgraffito Wares, Monochrome Plain Ware, ‘St.
Port Simeon Ware’, ‘Beirut Cooking Ware’, ‘Seldjuk Ware’ and
other groups in smaller amounts. Graffiti appear on several
vessels in all groups without exception. This article focuses on
the Italian Wares from the shipwreck assemblage: the ‘Venetian
Lead-Glazed Wares’ (‘Spirale Cerchio’ and ‘Roulette’) and ‘Graf-
fita arcaica’. Their Italian provenance is confirmed by a large
body of archaeological research as well as chemical analyses
(BERTI, GELICHI 1997; GELICHI 1984; GELICHI 1984a; BLAKE
1986; WAKSMAN, TESLENKO 2010: 373).
The ‘Graffita arcaica’ group includes vessels of open forms
– small and large bowls, plates and dishes. Many of the ‘Graf-
fita arcaica’ pottery examples from the shipwreck were most
probably manufactured in Savona workshops (BLAKE 1986:
321-341, 347; GELICHI 1984a). and can be correlated with
‘Graffita arcaica tirrenica’. The morphological characteristics
of the bowls, plates and dishes in this group are common
for all samples found in the shipwreck. Bowls have a typical
hemispherical body and ring base. Flaring straight walls turn
steeply to a broad, flat horizontal rim finished with a raised
upper lip around an inner circle. The interior is covered with a
layer of white slip and transparent lead glaze. On the interior
are seen splashes of green, brown, and yellow glaze. The large
board of the rim is decorated with incised geometric stylized
floral or geometrical motifs. Often the pairs of concentric
lines filled with continuous patterns of crosshatching, arcs or
curved lines, interlace and oblique lines set a pattern that re-
peats itself. Usually there is a central geometric or floral motif
on the bowl, in some cases a depiction of a bird or fish.
Dishes are shallow, with a large horizontal rim and a ring base.
The fabric is red to reddish-yellow, or pale yellow or pink to
light pink clay with limestone grits, sometimes including
flecks of mica. The interiors are covered with a layer of white
slip and transparent lead glaze. The color and sgraffito decora-
tion on the interior is similar to the bowls: splashes of glaze
and geometrical patterns, and incised arrows and crosshatches
on the broad rim. The plates have no decoration on the inner
surface. In total, twenty three ‘Graffita arcaica’ bowls were
found by 2010. Nine of these bear graffiti.
The graffiti on the ‘Graffita arcaica’ are divided into four
groups: ‘Gamma and fish’, ‘R’ ‘HP monogram’ and ‘Crosses’.
Graffiti are presented here according to their preliminarily
defined groups and the graffiti groups associated with ‘Graffita
arcaica’ are followed by groups associated with the ‘Venetian
Lead-Glazed Wares’ pottery. This is the first attempt to group
and describe the graffiti, thus the names of the groups are
provisional and the number of them will vary and grow along
with the discovery of new material.
1. THE ‘GAMMA AND FISH’ GROUP
Bowl (fig. 1.1, 1a). A hemispherical vase with the incised pic-
ture of a peacock in the center. The broad rim has a sgraffito
ornament of two pairs of concentric lines and open triangles
inscribed into them. On the internal side of the base there is
a graffito – a letter ‘Gamma’ and a letter ‘Alfa’ in the form of a
fish. The lines of the graffito are quite thick and not elaborated.
The ‘Alfa’ has an oblique middle line such that it forms a small,
inverted angle in opposite relation to the apex of the letter. Its
sides continue in the form of a lozenge with the cross below,
shaping the body of a fish. In other words, the ‘fish’ symbol is
formed by the upper part of the letter ‘Alfa’ and possibly the let-
ter ‘Chi’ as the fish tail. The vessel was covered by a thick layer of
dark gray-black patina in an oxidation process either as a result
of interaction with sea water and organic sediment or with fire.
Max. diam1 -17.5, diam. base -6, h. -8, graf. h. -2.5.
Bowl (fig. 1.2, 2a). The vase is similar to the one in fig. 1.
The floral ornament has four long radiating leaves, with small
trefoils between them and arcs on the broad rim covered with
green and yellow glaze. The graffiti on the base is also similar
to the first one – the letters ‘Gamma’ and ‘Alfa’ in form of a
fish. It is made more accurately, with thin lines. Max. diam.
-17, diam. base -6, h. -8, graf. h. -2.
Bowl (fig. 1.3, 3a). A hemispherical vase with a vegetal motif
in the centre – four leaves emerge from one point and are
arranged along four sides. Chevrons on the rim are made
by two incised parallel lines. The leaves and chevrons are
decorated with splashes of green and yellow glaze. This bowl
is complete: only a small fragment of the rim is missing. The
symbol of the fish is drawn in thin and accurate lines and its
tail is more emphasized than on the previous picture. The
upper line of the ‘Gamma’ is slightly wavy. Max. diam. -15.5,
diam. base -6.5, h. -8.5, graf. h. -3.
1
The dimensions are given in cm.
 COMUNICAZIONI
All the graffiti presented above seem to be very similar in
style. Speculatively one could suppose that they could be
made by the same person.
2. THE LATIN LETTER ‘R’ GROUP
Bowl (fig. 1.4). The mark ‘R’ is on one side of the bowl and
an un-deciphered sign is on another side. That second mark
is a fragment: a break in the bowl intersects the two extant
lines of the graffito. The complete example of this graffito has
been found and is presented in fig. 1.7. The vase is decorated
with two interlaced ovals, with four radiating petals or leaves
in the centre. The rim is decorated with long curved lines.
The entire inner surface is covered with multi-colored glaze.
Max. diam. -18, diam. base -6, h. -8.
Fragment of a base (fig. 1.5). The form of the vase is unknown.
The inner surface of the preserved part is decorated with the
figure of a fish. Its details, such as fins and scales are care-
fully drawn. The graffito is possibly a letter ‘R’. This is an
assumption based on the previous examples, since the ends
of the graffito are lost in the break of the wall. The mark is
quite large in size; its line is thick, about 1 mm in width. The
fragment’s dimensions are 12×5,5.
This is a second vase with the fish figure in the shipwreck
pottery collection.
3. THE MONOGRAM ‘HP’ GROUP
Fragments of the base and walls of a bowl (fig. 1.6). The shape
and decoration of the base is very similar to that in fig. 1.3, except
for the detail that on the first vase, the leaves were shaded with
diagonal marks inside their outlines. First, it was suggested that
the graffito on the base of the vase was in the shape of a simple
cross. When all fragments of the bowl were joined together, on
the wall and base a graffito in the form of monogram HP ap-
peared. The cross continues to the wall and together with the
picture on the wall becomes readable. The graffiti appears in the
form of the monogram ‘HP’ (in the Greek alphabet ‘Eta’ and
‘Ro’ in ligature, where the right side of ‘H’ forms the side of ‘P’.
The central line of ‘P’ goes down, forming the cross on the lower
part of the bowl. This vase is a good example of how graffiti can
be interpreted differently after finding previously missing parts.
Max. diam. -18, diam. base -6, h. -7, graf. h. -4.
Base (fig. 1.7). The rounded base is decorated with floral
ornamentation on the inner surface – an octopetalous flower.
The inside is covered with black patina. The graffiti is obvi-
ously similar to the monogram ‘HP’ with a slight variation.
This conclusion has been made on account of clear parallels
in vases’ shape, decoration and graffiti style between the bowls
in this group, as well as line thickness and style as well and its
location on the body of the vases, but the break doesn’t allow
one-hundred-percent confidence. Only further excavations
and finding the missing parts of the vases will allow a final
conclusion to be come to. Diam. base -6, graf. h. -2.
Bowl (fig. 1.8). The form and decoration of the bowl is typi-
cal for this group of pottery – the broad rim has frequent
crosshatches in a circle and the inside is plain. The vase is
covered with green and yellow glaze. Initially this graffito
appears to be a simple cross scratched on the lower part of
the vase. The example of the vase in fig. 1.6, however, gives
a completely new idea of what this graffito actually is. This
is, perhaps, also a part of the monogram ‘HP’. Max. diam.
-15,5, diam. base -5,5, h. -6,5.
153
4. THE ‘CROSSES’ GROUP
Dish (fig. 1.9). Decorated with a series of small, horizontal ar-
rows in a nested circular pattern on the rim, the vase has two
marks-crosses. One is on the lower part of the body, close to
the base and the second is on the inner circle of the base. The
cross on the base is incomplete because of small cracks on the
surface of the base. Max. diam. -19, diam. base -6, h. -5.5.
The ‘Venetian Lead-Glazed Wares’ group is widely present in
the shipwreck’s pottery assemblage. Some vessels in the collec-
tion bear the decorative attributes of both ‘Spirale Cerchio Ware’
and ‘Roulette Ware’. This attests that these two sub-groups
probably belong to the same manufacturing tradition in Venice
and may have been produced in the same workshops (AVISSAR,
STERN 2005: 70). The Veneto region was proposed as an area
of production of this group of pottery by several scholars. After
mineralogical analyses done by T. Mannoni (D’AMBROSIO,
MANNONI, SFRECOLA 1986), the kiln wasters of ‘Roulette Ware’
were discovered in the Venice lagoon area (GELICHI 1984).
The ‘Spirale Cerchio Ware’ is presented by twenty three
archaeologically complete forms. Fifteen vessels bear graf-
fiti. The general morphological characteristics and fabric
composition of the ‘Spirale Cerchio’ pottery found in Novy
Svet wreck are similar to analogous Mediterranean examples.
The bowls of the ‘Spirale Cerchio’ group from Novy Svet can
be divided into three forms with variations:
1. Those with a hemispherical body and upright simple rim.
2. Those with a hemispherical body and everted simple rim.
3. Those with a carinated body and upright simple rim.
Covered with monochrome glaze, the ‘Spirale Cerchio’ vessels
from Novy Svet are decorated in the sgraffito technique with sim-
ple patterns of concentric lines and/or central spirals engraved on
the interior. Some vessels don’t bear concentric lines inside. Most
of the vases have a fine paste, generally red or orange in section,
and smooth and pinkish at the surface. The open form vessels
have a specific base construction – the centre of the bottom
protrudes downwards. This base’s design variation is identical
to the ‘Roulette Ware’. The following groups of graffiti, except
“crosses” are not met on the ‘Graffita arcaica’ pottery.
5. THE ‘ANCHOR-CROSSES’ GROUP
Plate (fig. 2.1). It has a graffito in the form of the letter ‘Tau’, or as
is also called a ‘Tau-cross’ (LALIBERTE, WEST 1960: 29; FERGUSON
1973: 149). It may also be a symbolic depiction of an anchor.
Max. diam. -19, diam. base -5.5, h. -6,5, graf. h. -1.2.
Bowl (fig. 2.2, 2a). On its base the deep vase bears an ‘anchor’
symbol with an arched horizontal line on its lower end, and
a cross stroke on the upper termination of the central line.
This sign is associated with two Christian symbols – ‘Omega’
and the Cross of Jesus. “Omega’ represents the lower part
of an anchor, its lower shaft and arms. Anchor-crosses are
known in armorial bearings in Western Europe in the me-
dieval period (SHAPOVALOV 1997: 123). Similar depictions
are often met on 12th-13th century Byzantine tiles as stamp
marks (SHAPOVALOV 1997: 123). Max. diam. -14, diam. base
-5.5, h. -6,5, graf. h. -1.2.
Base (fig. 2.3). The symbol on the base looks like an anchor
with ‘Omega’. The similarity with the earlier example in fig.
2.2 is obvious. Diam. base -5.5, h. -6,5, graf. h. -1.2.
Lower part of a bowl (fig. 2.4). The rim is missing. There is
a ‘Tau’ letter on the base. The lines are straight and simple.
Max. diam. -13, diam. base -5, h. -6,5, graf. h. -1.5.
154 CERAMICHE E COMMERCI

fig. 1 – Graffiti on the ‘Graffita arcaica’ pottery.

6. THE ‘LETTERS AND MONOGRAMS’ GROUP
Small cup (fig. 2.5). The small cup bears an ‘M’ mark on its
base. One of the sides is crossed by a little slash. Max. diam.
-8, diam. base -5, h. -4, graf. h. -2.
Bowl (fig. 2.6). The hemispherical bowl has two ‘R’ mirror
wise marks on its base. Max. diam. -13, diam. base -5.5, h.
-6, 1 graf. h. -1.5, 2 graf. h. -2.
Bowl (fig. 2.7). This deep bowl has a letter group composed
of ‘Ro’ and ‘Nu’ on its base. The letters are in ligature, where
 COMUNICAZIONI 155

fig. 2 – Graffiti on the ‘Spirale Cerchio’ pottery.

156 CERAMICHE E COMMERCI
‘N’ is reversed mirrorwise. The graffiti is made with a quite
thick line, about 1 mm in width. Max. diam. -13.5, diam.
base -6, h. -6.5, graf. h. -2.5.
7. VARIOUS SIGNS AND SYMBOLS
Fragment of a small cup (fig. 2.8). This graffito is on the
wall of a small red-clay cup. It is, possibly, a very schematic
representation of a four pronged anchor, or grapnel. Any
analogous images of this kind of graffito are unknown to the
author as of publication. Rather, some contemporary heraldic
images, like the coat of arms of the city of Odessa (Ukraine)
led to the graffito’s association with an anchor symbol. Paral-
lels with the typical marine attribute are also possible due to
the specific archaeological context of finding the plates and
bowls. Furthermore, grapnel anchors were already known
and used by Italian seafarers in the 13th century (RICCARDI
1996). Undoubtedly further interpretations of this symbol
are under discussion and different ideas about the meaning
of the symbol will be presented in the future. Max. diam.
-12, graf. h. -4.
Dish (fig. 2.9). The body is covered with a layer of black
patina. On the base there are two small marks-inclined cen-
terlines with two crossing lines. One has short lines crossing
perpendicular to the ends of the center line, and the other
has more imprecisely inscribed short lines crossing close to
the outer rim end of the center line. Max. diam. -19, diam.
base -6.
Base (fig. 2.10). An unidentified sign is engraves with the thick
line on the inner circle of the foot. Three lines in a shape of
a Greek letter ‘Pi’ with a dash of the right flank. Diam. base
-5, graf. h. -1.5.
Bowl (fig. 2.11) with a hemispherical body. On the back of
the foot ring, inside, is a graffito in the form of two crossed
chevrons or a reversed letter ‘M’. Two ends of the chevrons
are jointed with the thin ‘arch’. Max. diam. -14, diam. base
-5, h. -6.5, graf. h. -1.5.
Base (fig. 2.12). The base consists of two fragments. A simple
cross is scratched on one of them. Diam. base -6.5, graf. h.
-2.5.
Bowl (fig. 2.13) with a carinated body and upright simple
rim. It has a sign on its base in the shape of a lozenge. The
graffito is not elaborate; the line is very thin and imprecise
and is reminiscent of a draft or an attempt to draw something
after the manner of the ‘Gamma and Fish’ sign. Max. diam.
-15, diam. base -6, h. -7, graf. h. -4.5.
The ‘Roulette Ware’ pottery is presented by ten archaeologi-
cally complete forms. Five vessels bear graffiti. This variation
of the ‘Venetian Lead-glazed Ware’ is characterized by typical
ornamentation, fine red or orange fabric and yellow, brown
or green glaze covering the inner and outer surfaces of the
vessels. Spirals and concentric lines are engraved on the inner
sides and combined with deeply grooved or roller-stamped
decorations on the exterior. In the Novy Svet shipwreck most
of the ‘Roulette Ware’ pottery is represented by bowls with a
flaring body, low carination and straight upright rim. Recent
finds showed a few more types of this group – dishes and
plates. Since there is relatively little of it, the graffiti on this
pottery can not be arranged into groups at this level of study.
Here bowls are presented in numerical sequence.
Bowl (fig. 3.1). It has a simple cross on its base. The glaze
covering the surface is a deep brown colour and shiny. Max.
diam. -15, diam. base -5.5, h. -7, graf. h. -1.5.
Bowl (fig. 3.2). Yellow glazed vase bears possible Greek letters
‘Nu’ and ‘Upsilon’ on the base. Diam. base -5.5, graf. h. -2.
Bowl (fig. 3.3). The green glazed vase has a graffito on the
base. The mark looks like a right triangle with a slightly curved
hypotenuse. Two interpretations are given here for this sign; a
possible musical instrument – ‘a triangle harp”. This reading is
possible because of the graffito’s ‘Celtic harp’ silhouette with the
‘harmonic curve’, joining two sides of the triangle on the top.
The triangular or delta harp evolved during the Middle Ages
though harps and their precursor-lyres were very popular in
the Ancient World. Notwithstanding that this musical instru-
ment was associated rather with the Gaelic culture-Wales and
Ireland, than with Mediterranean music, about the 13th century
it became a favorite musical instrument of the minstrels, bards
and other folk musicians all over Europe. By the 11th or 12th
century, a harp takes the form well known nowadays (SCHAIK
2005). Another reasonable idea is that this graffito represents
a sail. Max. diam. -15, diam. base -6.5, h. -7, graf. h. -4.
Bowl (fig. 3.4). Light brown glazed vase bears graffiti in a
form of a zigzag or a Greek letter “Mu”. Max. diam. -15.5,
diam. base -6.5, h. -8, graf. h. -1.5.
Bowl (fig. 3.5, 5a). The drawing is unavailable as of this
publication. The photo shows deeply grooved graffiti in the
shape of two triangles or Deltas, connected at their apexes
in the centre of the base. One triangle is crossed; an arrow
goes from the top of the second triangle to the edge of the
base ring behind it. Diam. base -6, graf. h. -5.5.
Summarizing the graffiti on the Italian production ware
from the Novy Svet collection, the following groups can be
distinguished:
1. Letters – Greek and Latin alphabet letters – ‘M’ (fig.
3.6-7), ‘R’ (fig. 3.8-9), mirroring ‘R’ (fig. 3.10) and ‘T’ (fig.
3.11-12). The latter letter ‘Tau’ can also be associated with
the anchor symbols group.
2. Monograms and letter combinations: the Christian Fish
symbol with the letters ‘Gamma’ and ‘Alfa’ (fig. 3.15-17). This
symbol is closely connected to the New Testament sermon
by the Disciples of Christ, some of whom were fishermen.
Given the conceptual archaeological context of the findings,
this graffiti can be interpreted as an apotropeic symbol for
Christian mariners and people whose profession is closely
related to the sea.
– the ‘HP’ (fig. 3.18-20, 23) ‘PN’ and ‘NY’ (fig. 3.21, 22)
monograms. We don’t have any clear interpretation for these
monograms as of yet. The ‘HP’ monogram is found on one
plate together with ‘R’ graffito (fig. 1.4).
3. Anchor-crosses: ‘tau-crosses’ (fig. 3.11-12) and anchor-cross-
es formed by “Omega’ or the crescent and cross (fig. 3.13-14).
An anchor made from the synthesis of these two elements is
a symbol of the Christ born from the body of the Virgin. The
Crescent is an emblem of the Virgin Mary. An anchor is also a
symbol of Hope for the Christian soul, as well as the safety and
the end of the sea journey (SHAPOVALOV 1997: 119-120).
3. Symbols and signs-crosses in various forms from simple,
straight, to irregular crossing lines (fig. 3.24-26). The symbol
of an ‘anchor’ (?) (fig. 3.27), the inclined centerlines with two
crossing lines can be also interpreted as crosses or anchors
(fig. 3.28); a ‘harp’ or ‘sail’ (?) (fig. 3.29) and unidentified
symbols and signs (fig. 3.30-32).
As before most of the signs and symbols on ancient pottery
can be read or interpreted only provisionally, and many of
them are out of our understanding as of yet. The interpreta-
tions for letters, signs in the form of letters and monograms
 COMUNICAZIONI 157

fig. 3 – 1-5, 5a. Graffiti on the ‘Roulette Ware’ pottery; 6-32. Images of graffiti on the ‘Italian ware’ from the 13th century shipwreck.
158 CERAMICHE E COMMERCI
have been given mostly for those made on ancient and
medieval amphorae, and ancient Greek and Roman pottery
(ROMANCHUK 1983; SOLOMONIK 1978, 1984; DUZHENKO
2001; FEDOSEEV 2009). Some of the Byzantine monograms
on the glazed table ware from the Crimean archaeological
sites were discussed as well (MYTZ 2005).
Most of the published graffiti on the Italian Wares was made
on the basis of vessels. Sometimes graffiti are present on both
the side and the base, and a very rare combination is graffiti
on the side only. All described graffiti were incised after firing.
They were made, presumably, by the owners of the objects or
merchants, who marked the consignment. No unambiguous
definition has been expressed so far as to who was the author
of such marks as these. In our case, it is quite admissible that
the marks on the glazed pottery-bowls, plates, dishes, etc.,
that served mostly as table ware were made by its owners, and
that this pottery most likely represents personal belongings
rather than cargo for sale.
This is preliminary information about the graffiti on the glazed
pottery from the 13th century Novy Svet shipwreck discovered
near the shore of the Crimea, Ukraine. This article does not
include graffiti made on other groups in the ceramic assem-
blage. The field for future investigations and studies is huge and
should comprise linguistic, semantic, epigraphical, graphologi-
cal, historical and archaeological research as a whole.
Acknowledgements
I would like to express my deep gratitude to the Gerda Henkel
Foundation, whose continuing support and funding of the 13th
century shipwreck excavations makes our discoveries possible.
I also want to thank John A. Albertson for proofreading and
editing the English translation of our articles and for his con-
structive remarks.
BIBLIOGRAPHY
AVYSSAR M., STERN E. 2005, Pottery of the Crusader, Ayyubid and
Mamluk periods in Israel, «IAA Reports», 26.
BERTI G., GELICHI S. 1997, ‘Zeuxippus Ware’ in Italy, in H. MAGUIRE
(ed.), Material Analysis of Byzantine Pottery, Washington, D.S.,
pp. 85-104.
BLAKE H. 1986, The Medieval incised slipped pottery of North-West
Italy, in La ceramica medievale nel Mediterraneo occidentale
(Siena-Faenza), Firenze (I rist. 2009), pp. 317-352.
D’AMBROSIO B., MANNONI T., SFRECOLA S. 1986, Stato delle ricer-
che mineralogiche sulle ceramiche mediterranee, in La ceramica
medievale nel Mediterraneo occidentale (Siena-Faenza), Firenze
(I rist. 2009), pp. 601-609.
DUZHENKO T. 2001, Medieval graffiti and stamps from Chersonesos
citadel excavations, in Morskaia torgovlia v Severnom Pricherno-
morie, Kiev, pp. 93-103.
FEDOSEEV N. 2009, Graffiti Bospora iz-pod vody, «Drevnosti Bospo-
ra», 13, pp. 457-472.
FERGUSON G. 1973, Signs & symbols in Christian art, Oxford.
GELICHI S. 1984, Roulette Ware, «Medieval Ceramics», 8, pp.
47-58.
GELICHI S. 1984a, Studi sulla ceramica medievale riminese. La “graf-
fita arcaica”, «Archeologia Medievale», XI, pp. 149-214.
LALIBERTE N., WEST E. 1960, The History of the Cross, New York.
MYTZ V. 2005, Istoriko-kulturny contekst nekotoryh bukv, monogram i
nadpisei na polivnoi keramike Kryma XIV-XV vv., in S. BOTCHA-
ROV, V. MYTZ (ed.), Glazed pottery of Mediterranean and Black
Sea Region of the X-XVIII centuries, Kyiv, pp. 288-305.
NESSEL V. 2009, Graffito v vide kresta na priamougolnoi podstavke
na srednevekovoi keramike iz Hersonesa, «Antichnaia drevnost i
srednie veka», 39, pp. 242-250.
RICCARDI E. 1996, Ancore in Navalia. Archeologia e storia, Savona,
pp. 9-30.
ROMANCHUK A. 1983, Graffiti na srednevekovyh amforah iz portovogo
raiona Hersonesa, in Razvitie feodalizma v zentralnoi i ugo-vosto-
chnoi Evrope, Sverdlovsk, pp. 64-87.
SCHAIK M. van 2005, The harp in the Middle Ages: the symbolism of
a musical instrument, Amsterdam-New York.
SHAPOVALOV G. 1997, Korabli very. Sudohodstvo v duhovnoi zhizni
drevnei Ukrainy, Zaporozhie.
SOLOMONIK E. 1978, Graffiti antichnogo Hersonesa, Kiev.
SOLOMONIK E. 1984, Graffiti s hory Hersonesa, Kiev.
WAKSMAN Y., TESLENKO I. 2010, ‘Novy Svet Ware’, an exceptional
cargo of glazed wares from a 13th century shipwreck near Sudak
(Crimea, Ukraine) – Morphological typology and laboratory inves-
tigations, «The International Journal of Nautical Archaeology»,
39.2, pp. 357-375.
ZELENKO S. 2008, Podvodnaia arheologia Kryma, Kiev.