127

V. Chapter V. Metal vessels

Silver vessels

, The sets used by the Thracian aristocracy for wine

, drinking during formal ceremonies, feasts and different
, , rituals included rhyta, phialae, jugs, cylices and
, , . - cups. Silver rhyta and phialae were discovered in the
, , - grave excavated near the villages of Malomirovo and
, , Zlatinitsa apart from the ceramic pitchers and bronze
. jugs.

Rhyta

The two silver-gilt rhyta in the grave are of

, . exceptional artistic value.
in situ The first rhyton was discovered in situ in the centre
, - of the grave pit, on the right knee of the buried man
(. V-1). (Ill.V-1). The rhyton was deformed and partially
. fragmented, and now is fully restored (inv. no.
(. 50456). : 17,0 , 50456). Dimensions: height 17.0 cm, diameter of the
9,9 . rim 9.9 cm.
. The rhyton was made by casting, hammering and
/- chiselling. Its front part is masterly moulded as a
, head of a doe/hind and its characteristic features are

. V-1. 1 -
Ill. V-1. Rhyton no.1 situation in the grave
 128

. V-2. 1
Ill. V-2. Rhyton no.1 after restoration
(. V-2). rendered with greatest skill and realism (Ill.V-2). The
. - eyes are almond-shaped. The arcs above the eyes are
. profoundly bulging. The eye-sockets are well-expressed
. and are underlined from the inside with curved lines in
relief. The eyes had been encrusted with some material
( ), - (enamel or glass) that is now missing. This should have
. - given more lively expression to the head. The eyelids
, . are plastically moulded and the eyelashes are marked
- on them by chiselled notches. The lower eyelashes are
, marked with thin incised lines on the cheeks and the hairs
. of the eyelashes are grouped in pairs. The characteristic
wrinkles above the eyes are represented by plastic
. deformation. Veins running from the eyes towards
 129

. V-3. ,
Ill. V-3. The front part of the rhyton moulded as head of a doe
, . the cheeks and the nostrils are depicted in relief. All
, - wrinkles in the skin around the eyes, the nose and the
(. V-3). ears are represented in details (Ill.V-3). The front part of
, the head is covered with fine notches that represent the
. - tender hair. A rosette with curved petals that run in
(. clockwise direction is carefully incised on the forehead
V-4). (Ill.V-4). Three spirals are chiselled above it. They are
, : - coming out from one common centre and one of them
, goes upwards, while the other two go sideways. One
. small horn is marked at each of the two side spirals.
. - The ears are well-moulded. They were made separately
, and eventually soldered with exceptional skill to the
. , - head. They project sideways from the head with their
. openings forward. The nostrils are represented by
two deeply incised, situated in mirror symmetry, curves
, connected above by a third one. A horizontal groove
. . delineates the lips. There is a small opening (spout)
in the lower lip. Certain elements of the head are gilt:
. the forehead and part of the nose, the eyes, the inner
. surface of the ears, the upper lip, etc.
 130

. V-4. . V-5. - ,
Ill. V-4. Rosette on the forehead of the doe
, , Ill. V-5. The central scene on the rhyton a boar attacked
by twodogs
.
- The neck of the beautifully moulded doe-head
, gracefully passes into the rhytons horn. The latter is
. in the shape of a turned upside down truncated cone,
- i.e. the horn slightly broadens towards the mouth
, and terminates in a profoundly projecting and bent
. - downwards rim. It is decorated with a beaded ornament
, and ovules. A figural frieze occupies the entire field of the
. horn. It was made by means of hammering, chiselling,
, polishing and gilding. The scene represented is that of
. , a hunt of a boar. All figures are standing on uneven
. terrain marked by stylized vegetation. The latter plays
also the role of a frame that separates the frieze from
, , the does head. This odd boundary is represented by
, , means of a dotted line and of stylized and gilt flowers
. and spirals below it, outlined again by a dotted line.
, , A boar attacked by two dogs is represented in the
(. V-5). - centre of the composition (Ill.V-5). The bodies of all
, three animals are precisely and faultlessly moulded by
, a master-craftsman of sure hand and perfect knowledge
. . of their anatomical features. One of the dogs is on the
, - back of the boar. It is biting the boars neck and, at
. the same time, the dog had got its claws in its flesh.
 131

The other dog is standing on its hind paws. It had got

its claws in the flank of the boar and is trying to bite
. the front of its neck. The fur of the dogs is represented
. - by short incised notches. The collars of both dogs are
. - richly ornamented. The boar is struggling. It cranes
, forward but is already fallen on its bent front legs. Its
. left hind leg is also bent, while the right leg is stretched
, backward. The tail curves upward and falls bent between
. - the legs of the animal, thus stressing the despair of the
, otherwise powerful beast. The bristle of the boar is
- represented by short wavy incised lines grouped into
. bands. The mane is depicted with slanting notches. The
, - tongue is hanging out of the opened snout. Its gaze is
, . frozen with fear. The whole figure of the boar with the
. - exception of the hooves is gilt. The dogs collars and
. the longer hairs on their heads are also gilt.
. , A young naked hunter with a waving backwards
, . chlamis that is buckled on his neck is represented in the
, -- left part of the composition (Ill.V-6). He is standing on
. a plane terrain. His body is rendered with a very good
knowledge of human anatomy. The body is depicted
, - en face, while the head is in profile. The face is that of

. V-6. -
Ill. V-6. Detail of the scene on the rhyton the hunter holding spear
 132

, (. V-6). a young beardless man. The represented eye is wide

. open. The nose is straight. The eyebrows are rendered
. - by means of short slanting notches. Long side-whiskers
, . are marked with a fish-bone ornament. The hair is
, . - treated in long wavy carefully arranged hair-locks. The
. . muscles of the chest and the belly are represented in
. soft shapes. Phallus is represented between his legs.
. - The young man is represented in a pose typical for
, . hunting that stresses the expression of the movement
- of his body. The right leg is stretched backward while
. . the left leg is slightly bent in the knee, betraying thus
, the impetuous and anxious movement. The hunter is
. stepping with this leg over the back-stretched hind leg
, - of the boar. The hunter is holding a spear in his slightly
, - bent in the elbows arms. He had stabbed the right hind
. leg of the boar with the spear. The depicted spear shows
. a metal end-piece (a balance). The whole chlamis is
, - richly adorned with an ornament composed of three
. incised dots grouped into triangle. The lower part of
(). the garment is decorated with S-like spirals that are
, - rendered combining incised dots and notches. The edge
( ) . of the chlamis is adorned with tassels and incised fish-
S- - bone ornament. The young man is wearing sandals
, . that are depicted with particular diligence. They are
- with long crossed shoe-laces that are tied above the
. ankles. The hair, chlamis and sandals of the young man
, are gilt.
. , Another young hunter is represented in the right
. , - of the centre of the composition. His face is almost
. of a youth (Ill.V-7). He is also represented naked
with a waving back chlamis buckled on his neck. The
body, sandals and the decoration of the chlamis are
(. V-7). represented identically to those of the youth depicted
, . , on the left side. The difference is in the pose of the
- hunter the bent in the knee right leg and the stretched
. - left leg as well as in his weapon. The youth is holding
an axe in his risen above and behind his head hands.
- The hair, chlamis and sandals of the youth are gilt.
. Both figures are represented realistically, expressively
. , and dynamically rendered. A prominent knowledge of
. the anatomy, both human and animal, is evidenced by
, , the entire composition. All images are represented with
. an exceptional plastic master-skill and with excellent
- understanding of shapes and lines. All figures are treated
, in low relief and only the details were chiselled.
The rhyton has an arc-curved handle that had been
. soldered to the body (Ill.V-8). A deep groove passes
- along its entire length. The upper end of the handle is
. attached below the rim of the vessel, while the lower
- terminates into a nine-leaf palmetto. Three letters were
, (. V-8). scratched on the lower surface of the handle.
. - The subject-matter: The broadly popular in the art of
the peoples of the East, Greece and the barbarian world
, subject-matter a boar-hint is represented on the
 133

. V-7. -
. V-8.
Ill. V-7. Detail of the scene on the rhyton the hunter Ill. V-8. The handle of the rhyton with a palmetto on the
holding axe base
. , rhytons horn (Schnapp 1988, 158). This subject-matter
. - appeared as early as in the mid second millennium BC
and kept its religious-political symbolism until the
(. V-9). 7th 8th centuries ( 1975, 37). In some cases
: only one hunter takes part in the hunt, almost always
accompanied by dogs, in other the participants are
, considerably more. It is accepted that in Europe and
(Schnapp 1988, 158). in Asia Minor the hunt of a boar was one of the basic
.., ordeals to prove the valour and the qualities of a warrior,
- and that it was considered one of the fundamental
V-V . . . ( 1975, 37). initiation rites (Mallory, Adams 1997, 428).
, - The hunt of a boar played special and particular role
, in the life and custom system of the Thracian aristocracy
. , that had been hunt-addicted ( 1975, 30-42).
The subject-matter a hunt of a boar was well-known
and represented on the monuments of the Thracian art.
A segment from a silver-gilt belt from the village of
(Mallory, Adams Lovetz, Stara Zagora Region, is among the earliest
1997, 428). examples from Thrace. It is dated in the late 5th century
BC and presents two horsemen assisted by kneeling
- archers chasing two boars ( 1934, 18-23, ill. 14;
, ( , 1973, 112-113). The hunt of
1975, 3042). - a boar scene is also represented on jug no. 159 from
- the Rogozen Treasure (the 4th century BC). It shows
 134

. -
. ,
( V . ..),
, -
, ( 1934, 1823, .
14; , 1973, 112113).
159
(V . ..),
-
, ( 1996,
160179). -
-
( 2002, 6061, . 20, 23). -

-
( 2003, 36, . 46).

()
-
( 2003, 45).
, -
. V-9. -
1
( 1994, 160161).
Ill. V-9. The scratched graffito on the back of the handle of

rhyton no.1
,
, two horsemen in the act of throwing spears and a boar
, - between them ( 1996, 160-179). Similar scene
is represented on the central frieze in burial chamber of
the Alexandrovo Tomb ( 2002, 60-61, ills.20, 23).
. - This scene is represented extremely realistically and
expressively on the gold signet-ring from the tumulus
, of Peychova Mogila near Starosel ( 2003, 36, ill.
46). According to the majority of scholars, the hunt of
. a boar was one of the fundamental ordeals (initiation)
- in the maturing of the young Thracian aristocrats
. ( 2003, 45). The hero removed the powers of
- chaos and introduces the powers of order by killing the
- , animal classificatory of the natural element (
. 1994, 160-161).
The examples from works of the Thracian toreutics
, and painting pointed out here, which are just few of
. , , - the known monuments, have been broadly interpreted
- and aim at the visualizing of the claim that this subject-
matter had been very popular in Thrace. The rhyton from
, - - Malomirovo-Zlatinitsa shows this undoubtedly loved
( 1980, 615616). , and important for the Thracian kings and aristocrats
, , scene. However, it is represented in Greek style and is
, , certainly a work of a Greek master-craftsman.
( It was mentioned in the text above that this scene
. V 529 .). , - was vastly popular in Greece. The killing or subjecting
- of a boar in the Greek mythology is connected with
(Schanapp 1997). their most popular and honoured heroes like, for
- example Heracles and Theseus. The fourth labour
. of Heracles included the capture and the taming of
 135

: - the ferocious Eurimanth boar, while Theseus killed in

, - Kromion the Kromion boar. Of course, we should not
. - fail to remember one of the most popular Greek myths
() ? the famous Caledonian hunt that included the most
, , courageous of the Greek warriors ( 1980,
, - 615-616). They had to kill with the help of dogs the
. fierce huge boar that devastated nature, animals and
people set on them by the offended Artemis (Homer,
, Naucratis (555 . ..), Iliad, IV 529 ff.). It is important to note here that several
- participants are always depicted in representations of
, . the Caledonian hunt (Schanapp 1997).
, I believe that the scene on the rhyton from
, , Malomirovo-Zlatinitsa represents namely the
, - Caledonian hunt. All compulsory personages from the
. - myth the boar, dogs and the hunters are represented
- on the rhyton. A question arises, why is the scene
. missing all the participants (heroes) in the myth? It
, should be envisaged that not all personages are depicted
, on all monuments that represent the Caledonian hunt.
, , , For example, one black-figure cup in the collections
, of the Louvre that had been painted by Naucratis (555
, , , - BC) shows just the boar and two of the heroes that took
, , - part in the hunt.
. It becomes clear from the myth that the participants
. in the hunt had been armed with bows, arrows, spears
, and martial axes, and each one of them wanted to kill
- - and take the hide and the buckteeth of the beast. More,
. the myth states the armament of each of the participants
- and his role in the hunt itself. From this point of view,
( going back to the scene represented on the rhyton,
2005, 174175). - where the deadly wounded boar is attacked by dogs, it
, , , may be said that the personage with the martial axe is
- Iphicles, son of king Thestius one of the Argonauts,
, while the personage that had stabbed the beast with his
. spear should be identified as Meleagres, the son of the
- king Caledon. Namely, Meleagres finished the boar
- with his spear.
, , The Caledonian hunt is the myth that includes
, - the richest information concerning the initiation of
. - the youths in the Greek culture. The victory over the
boar is the compulsory mythological condition for
, - the transformation of the youth into man (
( ), , 2005, 174-175). It becomes clear from the examples
, V . .. given that the Thracian myth chose like the Greek
(Bingl 1997) - . - one, namely the boar and the mythologem of hunting
- to describe the initiating ordeal of the youth and his
acquiring the status of man and warrior.
, , , The scene on the rhyton from Malomirovo-
Zlatinitsa was well-known and understood both in
. Greek ambiance, where the rhyton was created, and
- in Thracian one, where it got eventually by chance or
, , by a special request. The myth of the Caledonian hunt
, , was represented during the centuries on Greek painted
. - vases, temple pediments (for example, on the pediment
 136

of the Temple of Athena in Athens.), bas-reliefs,

- terracotta items and sarcophagi from the 4th century
- BC from Asia Minor (Bingl 1997) and later in Rome.
. A very close iconographic parallel of the scene from
Malomirovo-Zlatinitsa was found on a sarcophagus in
, - the Archaeological Museum in Thessalonica, as well
, , - as on a frieze in the Ashmolean Museum in Oxford.
, . The Caledonian hunt is represented on all these three
, V . .. (, monuments, and the two basic figures in front and
1938, 434, . 218). behind the boar are armed with a spear and a martial
- axe, and the boar is attacked by two hunting dogs. The
, V . .. ( separation of the figures of the two youths from the
1978, 147, . 133). rest of the hunters shows their central position in the
- scene and their biggest contribution to the killing of
- ( 2006, the boar.
. 64), , - Considering the modelling of the figures of
the young hunters represented on the rhyton from
( 2008, 124, . 8; 2010, Malomirovo-Zlatinitsa, they find similarities in the
223224, . 2). . - representation of the young Heracles on the helmet
, cheek-piece discovered near the village of Gurlo, Sofia
( 2009, 45). , Region and dated in the 4th century BC (,
- 1938, 434, ill. 218). One satyr in a similar pose is
represented on a helmet cheek-piece in the collections
. . - of the Virginia Museum and dated in the 4th century
V . BC ( 1978, 147, ill. 133). The body of the first
.. ( 2007, 48). warrior represented on the amphora-rhyton from the
- Panagyurishte Treasure is similarly moulded (
, 2006, ill. 64), as well as one of the male figures in the
, , , - right in the scene on the rhyton from Dalakova Mogila
- ( 2008, 124, ill. 8; 2010, 223-224,
. - ill. 2). I. Marazov sees the image of Neoptolemus,
one of the sons of Achilles ( 2009, 45).It
, should be noted that the compositional decisions in
the representation of the subject-matters on the rhyton
from Malomirovo-Zlatinitsa and on the one from the
tumulus of Dalakova Mogila are very close. Kitov
. dated the burial in Dalakova Mogila in the first quarter
, of the 4th century BC ( 2007, 48).
, In spite of the noted above similarity between the
, , two rhyta, there are some differences, first of all in the
, V . .. ( crude representation of the figures on the rhyton from
1934, 166 ., 214), Dalakova Mogila. The refined moulding of the animal
, - head is faultless on the rhyton from Malomirovo-
( 1978, 76, 83). Zlatinitsa, and the perfect knowledge of both human
, and animal anatomy made it possible to mould the
. - figures on the horn with virtuous skill and incredible
, sense of composition.
. , Apart from the rhyton from Dalakova Mogila, the
rhyton from Malomirovo-Zlatinitsa finds parallels both
. in shape and in technology in the rhyton from Rozovets,
, - dated in the late 5th century BC ( 1934, 166 .,
, 214), and in two of the rhyta from the Panagyurishte
, Treasure moulded as a stags head ( 1978,
, 76, 83). One of the latter rhyta shows a scene with the
 137

, ,
,
,
-
V . ..
-

V . ..

.

-
(. V-10). ,
0,14 , -
.
, -
-
. , -
(. 8620). : 18,8
, 10,4 .

/,
(.
V-11).
, -
. ,
. . V-10. 2 -
, - Ill. V-10. Rhyton no2 situation in the grave

. - Greek heroes Theseus and Heracles. Heracles is taming
, the Ceryneian Hind, while Theseus is in a victorious
, battle with the bull of Marathon. The poses of the
. participants in the scene, as well as the decoration of
, . their chlamises are quite close to those on the rhyton
from Malomirovo-Zlatinitsa.
, . The dynamic poses of the personages, the use of
- the flying chlamises that make it possible to stress the
. dynamics of the action, the plastic grouping of the hair
, . into hair-locks, the proportion of the figures that are
- looking in the direction of the movement, as well as
, . - the moulding of the figures in low relief that does not
, disturb the volume of the rhyton, perfectly respond to
- the naturalistic representative principles of the Greek
, art from the first half of the 4th century BC.
(. V-12). - The analysis of the style and the given close parallels
with works of the Greek toreutics from the first half of
, , the 4th century BC give us reason to date the rhyton from
, Malomirovo-Zlatinitsa in that chronological period.
The second rhyton was discovered in the northwest
. , , corner of the grave pit, right next to the vertically placed
. amphora (Ill.V-10). A silver phiale was discovered next
. to it but 0.14m above the floor level. Most probably
- both vessels had been handed on nails in the walls of
the wooden construction as two iron nails were found
 138

. V-11. 2
Ill. V-11. Rhyton no.1 after restoration
. below the mouth of the rhyton and next to the phiale.
, - The rhyton is wholly preserved, without deformations
. . (inv. no. 8620). Dimensions: height 18.8 cm,
diameter of the rim 10.4 cm.
, . - The front part of the rhyton is shaped as a head of a
. doe/deer, moulded with exceptional skill and excellent
knowledge of the volumes and lines (Ill.V-11). The
. - plane areas of the head are composed of smooth rounded
surfaces that form the muzzle. There is no sharpness
. in the shapes but softness and gracefulness. The eyes
- are almond-shaped but the apples of the eyes remained
. - cruder and the marks from the hammering tool are still
- discernible. Most probably, they had not been visible
. - at first as the eyes had been encrusted with enamel of
glassy paste that had crumbled away. The eyelids are
, . - plastically moulded and the eyelashes are depicted
 139

with incised notches on them. The lower eyelashes

are depicted as incised in the cheek hair-locks. The
characteristic for the animal wrinkles above the eyes are
plastically moulded. Veins depicted in relief are running
from the eyes across the cheeks towards the nostrils.
The front part of the head is covered with small notches
that imitate the fur. Two small horns are represented on
the forehead of the animal. The hair between them is
depicted with incised lines that form rotating clockwise
flame-shaped hair-locks. The latter form a rosette (Ill.V-
12). The small horns are connected above the rosette by
means of two incised in a curve short notches that join
into a common centre. They continue again by means
of notches in a straight line across the middle of the top
of the head to the nape. The ears are plastically shaped
and well moulded. They project sideways with their
openings forward. They were made of separate silver
sheets. The base of the left ear of the deer had probably
been poorly soldered and had been repaired in the past.
A silver band had been attached to its base to fix it. The
hair was depicted with short notches. The nostrils are
represented as two deeply incised arcs connected above
by a third one. Deep horizontal groove separates the
lips. There is a small round opening in the lower lip for
the liquid flow. Certain areas on the head of the animal
are gilt: the forehead with a part of the nose and the
inner surface of the ears.
The beautifully moulded head of a deer passes
. V-12. gracefully into the vessels horn. It is slightly conical and
Ill. V-12. Rosette on the forehead of the doe is shorter than the head. The horn broadens slightly and
ends into a profoundly projecting and bent downwards
, rim decorated with ovules and pearl-like ornament.
, The entire surface of the horn is occupied by a figural
. frieze in relief. It shows compositional unity achieved
. by symmetrically repeated actions. The scene presents
, , - a fight between animals. There is a decoration on the
, - border between the horn and the head. It is composed
, of tiny dots and circles that represent small stones, and
. ornaments shaped as shells. The intention of the master-
, - craftsman had been probably to indicate that the action
. takes place on the sea shore. A faultlessly represented
(. V-13). bull occupies the centre of the composition (Ill.V-13).
, - It is crouched over its front legs. Its head is resting on
. them. Its right front leg is bent below its body, while the
, ; - left one is outstretched. The left hind leg is seemingly
, outstretched while the right one is strained backwards
in a desperate attempt to hold the falling body. The tail
. , - is hanging and its hair is depicted with slanting incised
. lines. The body is smooth, summarized into massive
, volumes. The front shoulder and the hind flank are
. - separated by means of a dotted line that frames them
, and thus stresses their power. The muscles are stylized
as a lotus flower. The bulls head is represented in
. . detail: the horns are short and are curved upwards;
 140

. V-13.
Ill. V-13. The bull in the center of the scene on the rhyton

the mane on the forehead is heavy and is depicted as

, chasing flame-shaped hair-locks. The eyes are elliptical
. shaped and clearly expressed pupils. Each eye is framed
, - by a thin plastically moulded band. They are represented
. in a way that shows the suffering and blank despair of
, the animal. The tongue is sticking out of the half open
. muzzle. The ears are projecting sideways. The hair on
. . the neck is stylized in broad hair-locks and folds. It is
- represented in relief by means of slanting incised notches
. and graceful lines. The shoulder, flank and tail, as well as
. the hair on the forehead and the neck, are gilt.
, , Two opposing griffins are represented in low relief
. on both sides of the bull. The heads of the fabulous
, , - animals are of eagles with a predatory open beak that
. is stuck in the bulls body, while the bodies are lions
(Ill.V-14). Lions ears are projecting forward behind
, , the eyes. The eyes are almond-shaped and each detail
(. V-14). - is depicted fully, including the staring pupils. The
. images exhale eagles vigilance, power and rage. The
, - cheeks are smooth. A small pit is hinted at the end of
, . the mouth. The head is separated from the neck by
, - means of a dotted line. The lions mane is depicted by
 141

. V-14. - ,
Ill. V-14. Detail of the scene on the rhyton the griffins tearing the bull into pieces
. . means of an arc of notched behind the latter. It falls
. , behind the ears and ends below the beak in a pointed
- beard. A high crest of triangular teeth runs from the
, forehead to the neck. It terminates above the head
. in a pointed forward horn. The neck is covered with
, - symmetrically situated feathers with rounded ends.
. The wings are gathered next to the body and their
, feathers are depicted differently. They are situated in
. two successive rows along the length of the wing. The
. feathers from the last row are longest. They are curved
- upwards and are depicted diligently with notches. The
. - shorter ones are esthetically arranged and with rounded
ends. The talons of the front lions paws of both griffins
, - . are dug into the body of the bull, while the hind legs are
. stretched. They are depicted in details and each muscle
- is plastically moulded by itself. The tails are long and
, . hang free. The griffin in the left from the bull presses
, additionally the bulls body with its left hind paw and
. - its nails are dug into its flesh (Ill.V-15). The figures of
. all three animals are rendered with high plastic skill in
- the treating of each detail, stressing the strength and
, (. power of the griffins with which they have conquered
V-15). the otherwise no weaker bull. The wings, beard, beak
and front paws of the griffins are gilt.
 142

. V-15.
Ill. V-15. The griffin on the left side of the scene on the rhyton

, The rhyton has a cast curved handle. A deep groove

, -- passes along its length. The upper end of the handle is
. , , fixed below the rim, while the lower one ends in a fifteen-
. leaved palmetto with curved outwards leaves (Ill.V-16).
, The handle is made of silver and the palmetto is gilt.
. - The griffins represented on the rhyton belong to
. the so-called Greek Type, characteristic with its lions
, - body, head of a bird of prey and wings. Griffins of
(. similar iconography (interpretation of both bodies
V-16). , - and poses) are represented on silver tetradrachms and
. stateri of Abdera dated in the period between 375 and
350 BC, as well as on painted Greek ceramic from the
, - period 5th 4th centuries BC that is credited with Attic
, . - origin. The scene of fighting (torturing) in which the
( , griffin takes part was often driven to dramatic tension
) by making the griffins that torture their victim two. The
, 375350 . .., victim is most often a herbivorous animal. In Thrace,
VV griffins that are close in iconography to those on the
. .., . rhyton and are in a scene of fighting are represented
(), - on one of the appli1ques from the Letnitsa Treasure.
, , It shows an eagle-griffin standing on its hind legs in
, , a fight with a lion ( 1996, 9, ill. 4). We see
- . almost analogical iconographic scheme on one of the
- appliqus from the grave excavated in Dolna Koznitsa,
 143

,

( 1996, 9, .
4).
V . .. ( 1996, 18). -

,
, V .
.. ( 2004, 173174, 178, . 4).

, .
, -
,
, -
,
V . .. ( 1983, 37 .),
, -
V . ..
(, 1973, . 243), -
, -
V . ..
,

( 1975, 14) .
, -
, . V-16.
V . .. Ill. V-16. The handle of the rhyton with a palmetto on its
, - base
, ,
. , - Kyustendil Region, dated in the second half of the 4th
( , , century BC ( 2004, 173-174, 178, . 4). This
, , , .), - appliqu comprises one new element a bulls head
- depicted between the legs of the lion and the griffin.
. Eagle-griffins of similar iconography but depicted as
( 1979, single representations are to be seen on two appliqus
7680, . 59), - from horse-trappings from Kralevo, Targovishte
( 1966, . 236238), Region, dated in the mid-second half of the 4th century
( 1966, . 185), BC ( 1983, 37 and subsequent), as well as on the
(, helmet of unknown provenance in the collections of the
, 1988, 124, . 142), - National Archaeological Museum in Sofia and dated in
, V . .. ( the 4th century BC (, 1973, ill.
1987, 7375, . 53) . 243), on the jug from the Borovo Treasure, dated in the
- - second quarter of the 4th century BC, where one of the
. represented deities holds in his hand a rhyton with a
, protome of an eagle-griffin with a crenate crest on the
- head and neck ( 1975, 14), etc.
( 1970, 86). Similar scenes of torturing like the one on the rhyton
- from Malomirovo-Zlatinitsa were extremely popular in
Scythia during the 4th century BC. It should be noted,
, ( 1976, however, that there is no bull among the victims tortured
70; 1988, 226). by griffins on the monuments from Scythia. Items
: quivers, pectorals, amphorae, calatosi, bracelets,
 144

, appliqus, etc. that show this scene have been found

. so far in royal graves or in rich burials of aristocrats.
Many examples may be given from Scythia: pectoral
. - from the tumulus of Tolsta Mogila (
, - 1979, 76-80, ill. 59), the bracelet and the silver vessel
from Kul-Oba ( 1966, Plates 236-238), the
. - amphora and the Scythian quiver for both arrows and
- - bow from Chertomlik ( 1966, Plate 185),
-. the Scythian quiver for both arrows and bow from
( ) , the tumulus of Melitopolskata Mogila (,
, ( , 1988, 124, ill.142), Scythian quiver for
1957, 284). both arrows and bow from Solokha, dated in the early
, - 5th century BC ( 1987, 73-75, ill. 53), etc. All
( ) these objects are made predominantly of gold and very
. - rarely of silver. They were produced by Greek master-
craftsmen toreuts and jewellers whose workshops
- , had been situated in the ancient cities along the north
, . . , and the south coasts of the Black Sea ( 1970,
, 86). On semantic level, this scene was considered in
(Muller Ancient Scythia as a reflection of the dualistic concept
1930, 253). of the battle between good and evil, between life and
- , - death ( 1976, 70; 1988, 226).
. - Semantics of the scene: A scene a fight between
, animals is represented on the horn of the rhyton. The
participants are two griffins and a bull. Both images
, are broadly spread in the art of a number of peoples
. in ancient times. The image of the griffin was loaded
- with various functions but, in the first place, its nature
. - of an animal of pray and its connection with the sky.
The griffins were also the mythical guardians of the
. , border between the human-real and the superhuman-
, divine. According to the Greek mythology, the griffin
(). - (eagle-griffin) was a creature dedicated to the sun and
( - an animal associated with Apollo ( 1957, 284).
) - , Eagle-griffin were represented on alters of Apollo in
. his sanctuaries in Delphi, Didima (on the territory of
, Miletus), etc. In Greece, the griffin was very often
. - depicted together with Apollo on many different
, - monuments: vases, sculptures, coins. In his study on the
700 . .. , - coins from Abdera, K. Muller points out the connection
, between Apollo and the image of the eagle-griffin
, ; (Muller 1930, 253). He relates these representations
with one of the oracle-temples of Apollo in Daraea,
, - close to Abdera. Muller suggests that in many cases the
. image of a griffin was equivalent to the image of the
( ) , - god, and when the image of the god is not present, the
. griffin appears as its substitute.
The other image in the scene on the rhyton from
411385 . .. (May 1966). - Malomirovo-Zlatinitsa is that of the bull. The bull had
, been depicted in many and different monuments of the
(), Greek art. In most cases, the scenes in which it appears
, are sacrificial scenes (processions). The bull is one of
. the largest prays that were sacrificed to the gods in
- the mythological ritual tradition of the Mediterranean
 145

, , peoples (including Greece). Griffin and bull are

- depicted in some instances together. The bull is the prey
, .. , in these scenes. The scene on neo-Assyrian seals that
. date from the 700 BC present one early example. The
, scene includes a kneeling man opposed by a standing
on its hind legs griffin that is capturing the bulls body
- with its front paws. This scene put forward the idea of
, a prey (in this case the bull) sacrificed by the man to
.. the griffin. The same idea may be seen on some coin
( issues of Abdera from 411-385 BC (May 1966). An
, eagle-griffin is represented on one side of the coin, and
). a bulls head with a band (ribbon) on its horns, which
- characterize it unambiguously as a sacrificial animal
, - on the other.
, Going back to the rhyton from Malomirovo-
, - Zlatinitsa, it might be supposed that the scene
represented on it carries the same semantic load,
, - i.e. the bull is a sacrificial animal, torn apart by the
. - animals of Apollo the griffins. The observation
-, that the sacrificial animals depicted in the ancient art
, . are represented fallen on their bent front legs, i.e. in
a pose showing resignation and readiness to suffer
. their destiny, is in favour of this hypothesis (see, for
, . example, the numerous representations in relief that
, , show the sacrifice of bull to god Mithras).
- The style of the represented griffins on the rhyton
from Malomirovo-Zlatinitsa, the prcised moulding of
V each detail of their bodies, their stressed expressiveness,
. .. - power and strength, they all allow to define the rhyton
as a work of some virtuous Greek master-craftsman
, that worked in a first-class workshop in some Greek
. centre. As it was already said in the text above, the
- figures in the scene are moulded in low relief that
, does not disturb the volume of the rhyton. The other
, , - rhyton was similarly treated. It is difficult to localize
( 1934, 166 .), on this stage of the study the workshop it was made
, V . .. in. However, having in mind the subject-matter of the
(Wuillemier 1930, 60, pl. IX; 1978), - scene represented, we may suggest a connection with
( 1978, 76, 83), Abdera and Deraea, with a workshop that functioned
( 2007, 45), - there in the end of the first quarter the end of the
( 2009, 60), second quarter of the 4th century BC. Of course, we
, should not reject the possibility that the rhyton was
V . .. (Melikian-Chirvani 1993, 23, fig. 3, 5, produced and imported from a workshop in one of
6) . , the other Greek poleis along the northern coast of the
, , Aegean Sea or of Propontis (Sea of Marmara).
, Considering the shape of their bodies, the two rhyta
- from Malomirovo-Zlatinitsa inscribe into the growing
, bigger and bigger group of the rhyta with an animal
V . .. head like those from: Rozovets ( 1934, 166ff.),
. MelikianChirvani, Trieste, dated about the mid 4th century BC (Wuillemier
, , 1930, 60, pl. IX; 1978), Panagyurishte
, Treasure ( 1978, 76, 83), the tumulus of
(Melikian-Chirvani 1993, 26). Dalakova Mogila ( 2007, 4-5), Cimmerian
V . .. Bosporus ( 2009, 60), the two rhyta in the
 146

, collection of George Ortis, dated in the early 4th

. - century (Melikian-Chirvani 1993, 23, fig. 3, 5, 6) and
, - many other. Apart from the fact that these rhyta end
- in an animal head deer, bull or bull the foreheads
. - of most of these bear the representation of a rosette
, - of the type known as rotating sun that is present on
other monuments of the toreutics of the 4th century BC
, discovered in Thrace. According to Melikian-Chirvani,
, . the rosette embodies the idea that the wine that passes
, through the rhyton replaces the blood and symbolizes
, . liquid sun light (Melikian-Chirvani 1993, 26).
, , - The majority of the precious vessels discovered in
, Thrace are dated in the first half of the 4th century BC.
, - That was the time of greatest bloom of the Odrysian
. - Kingdom, when the powerful Odrysian rulers could
- afford to satisfy their most fastidious pretensions.
, First-class workshops were probably established in
, close vicinity of the Odrysian Kingdom, where highly
, qualified Greek toreuts worked for the Thracian
market for the Thracian aristocracy and, of course,
. - for its rulers. Large portion of the rhyta discovered in
Thrace that turned into attributes of power, were made
, - in those workshops. The shape of the rhyta, as well as
, . the subject-matters were among those favoured and
-, preferred by the Thracian aristocracy a fact that had
undoubtedly been born in mind by the Greek toreuts.
The subject-matters of the scenes on the rhyta from
V . .. - Malomirovo-Zlatinitsa only prove this affirmation.
, - One of the scenes illustrates a Greek heroic legend that
. , fully coincided with the Thracian reality, related to the
major initiation ordeal of the youth that turned him
- into man and warrior. The technological and stylistic
. specifics give reason to suggest that both rhyta were
made in one and the same workshop but by different
master-craftsmen. As pointed out in the text above, the
elite workshop in question was situated probably in
- some powerful economic centre in the region of North
(. V-17). Aegean of Propontis and had functioned during the first
half of the 4th century BC the time period in which the
. - two rhyta from Malomirovo-Zlatinitsa are dated. Their
, (. 18). graceful proportions, the precise and ingenuous sense
- (. 50869) - in the moulding of all details place them among the
- most elegant creations of the ancient Greek toreutics.
(. V-19). ,
Phialae
. -
- Four silver phialae (Ill.V-17) were discovered in
. . - the grave excavated near the villages of Malomirovo
, - and Zlatinitsa apart from the two rhyta. All four vessels
. , were excellently preserved and belong to the group of
. , the squat phialae. Three of them were decorated while
, the fourth is plain (Ill.V-18).
(. V-20). - The largest phiale (inv. no. 50869) is thick,
. made by casting and additional hammering and chiselling
 147

. V-17.
Ill. V-17. Four silver phialae
- (Ill.V-19). The neck is broad, cylindrical, with profoundly
(). projecting and bent downwards at right angle profiled rim.
Three shallow concentric circles are incised at the base of
. the neck. The body is in the shape of a flattened sphere.
- - The profile of the walls is graceful with well expressed
. - rib in the upper part of the body. The omphalos is broad,
( , framed by three smooth rings in relief. A large rosette of
). : radial flutes was hammered out above them, at the base of
13,7 , 5,0 . the phiale (Ill.V-20). There is an incised dot in each upper
(. 50870) and lower end of its petals. Pointed triangles (lambdas)
are situated between the upper ends of the neighboring
(. V-21). - flutes. Three shallow concentric circles are incised above
, - the flutes. A deeper concentric circle is incised at a distance
. - from the latter, on the shoulders of the vessel. The inner
. - surface is plain. Dimensions: diameter of the rim 13.7 cm,
. height 5.0 cm.
, The second phiale (inv. no. 50870) is made
 148

. V-18.
Ill. V-18. Table with drawings of the phialae

. V-19. -
Ill. V-19. The largest silver phiale
 149

from a thick massive silver sheet by hammering and

chiselling (Ill.V-21). The neck is tall, cylindrical in shape
and is slightly broadening towards the rim. The latter is
projecting horizontally and is bent downwards at right
angle. The body is in the shape of a flattened sphere.
The omphalos is broad, framed by two successive
bands filled with a pearl-like ornament. A large rosette
of radial flutes was hammered out above them. Pointed
triangles (lambdas) are situated between the lower and
upper ends of the neighboring flutes. Three horizontal
lines are incised (not quite precisely) above the rosette.
They are filled with notches that form a pine tree
ornament. The outlines of the rosette petals or flutes
are seen inside the phiale too. Dimensions: diameter of
the rim 11.5 cm, height 4.8 cm.
. V-20. -
The third phiale (inv. no. 50871) matches

Ill. V-20. The outer surface of the largest phiale in shape, decoration and make to the second phiale
described above (Ill.V-22). The neck is tall, cylindrical
. in shape bur the upper part towards the rim is slightly
- funnel-like broadened. The rim is projecting horizontally
. , and is bent downwards at right angle. The omphalos is
, - broad, framed by two successive bands filled with a
(). ( pearl-like ornament. A large rosette of radial flutes was
) , hammered out above them. Pointed triangles (lambdas)
. are situated between the upper ends of the neighboring
flutes. Three horizontal lines are incised (not quite
. : precisely) above the rosette. They are filled with notches

. V-21.
Ill. V-21. The second phiale
 150

. V-22.
Ill. V-22. The third phiale

. V-23.
Ill. V-23. The fourth phiale with plane, smooth walls
 151

. V-24.
Ill. V-24. The inner surface of the fourth phiale

11,5 , 4,8 . that form a pine tree ornament. The profiled flutes are
(. 50871) seen inside the phiale too. Dimensions: diameter of the
, - rim 10.6 cm, height 4.5 cm.
(. V-22). The fourth phiale (inv. no. 50872) was made
, - of thick massive silver sheet (Ill.V-23). The neck is tall,
. - cylindrical in shape bur the upper part towards the rim
is slightly funnel-like broadened. The rim is projecting
. - horizontally and is bent downwards at right angle. The
. , - body is hemispherical. The neck and the body are almost
, . , equally high. Both sides of the phiale are smooth and
, plain. The omphalos is broad (Ill. V-24). Dimensions:
. diameter of the rim 11.0 cm, height 4.7 cm.
, , This phiale belongs to the type of the simple phiale
(). - without decoration that are characterized by their short
( ) - hemispherical body and the presence of an omphalos
, - in the centre of the bottom (, ,
. 1987, 26). The neck is almost of the same height as the
. : body and the rim is always bent outwards. The neck
10,6 , 4,5 . of the phiale from Malomirovo-Zlatinitsa is taller than
 152

(. 50872) - the body. This phiale is very similar to: two phialae
(. V-23). discovered in the tumulus near Brezovo and dated in
, - the late 5th early 4th centuries BC ( 1919, 10-
. 12, ills. 9, 10); one phiale from Tumulus no.8 in the
east necropolis of Sboryanovo ( 2006, 32, ill.
. - 50); one of the phialae from the tumulus of Mogilanskata
. Mogila, dated in the first half of the 4th century BC
. . - ( 2005, 74, cat. 64); one of the phialae from
(. V-24). : Aghigol, Romania, dated in the early 4th century BC
11,0 , 4,7 . (Berciu 1969, 51, fig. 20). This type is represented in the
- Rogozen Treasure by 12 phialae that are almost identical
, - in shape and are dated in the late 5th early 4th centuries
- BC (, , 1987, 26, 35-36).
(, , 1987, 26). The first three phialae from the grave excavated near
, - the villages of Malomirovo and Zlatinitsa belong to the
. type of simple phialae that are decorated with a large
- rosette of radial flutes around the omphalos and joined
. , with a pointed triangles. Phialae with similar decoration
, were broadly spread across Thrace in the beginning of
V V . .. ( 1919, 1012, the 5th the first half of the 4th centuries BC. The phiale
. 9, 10), 8 from the tumulus of Koukouva Mogila is among the
( 2006, 32, . 50), earlier representatives of this type. It is dated in the early
, 5th century BC ( 1934, 50- 51, ill. 60). The three
V . .. ( 2005, phialae from Malomirovo-Zlatinitsa are similar in shape
74, . 64), - and artistic moulding to: six phialae from the Radyuvene
, , V . .. Treasure, Lovech Region ( 1919, 32-34, ills. 29-
(Berciu 1969, 51, fig. 20). 30); one phiale from a grave excavated near the village
12 , of Alexandrovo, Lovech Region ( 1934, 183,
V ill. 204), etc. Three phialae from the region of Teteven
V . .. (, , are similarly plain inside and decorated outside as the
1987, 26, 3536). largest phiale from Malomirovo-Zlatinitsa (,
- 1938, 441, ill. 233). Two similar vessels one
, of them with analogical decoration as the largest phiale
, - from Malomirovo-Zlatinitsa are known from the burial
from Aghigol, Romania (Berciu 1969, 53-54, fig. 23,
. 24). Two similar phialae with flutes were discovered
V in the rich grave from Peretu, Romania, dated in the
V . .. - first half of the 4th century BC (Moskalu 1989, 148,
, - 16-18). This phiale type is represented in the Rogozen
V . .. ( 1934, 50 51, . 60). Treasure by 42 vessels (of various variants). They are
dated in the late 5th the first half of the 4th centuries
(, , 1987, 26, ill. 6, 35-36).
, (- Flutes ate present in the decoration of three phialae
1919, 3234, . 2930), from Malomirovo-Zlatinitsa. These are joined by small
. , ( 1934, 183, triangular (lambdas) and have incised dots in their
. 204) . - ends. According to I. Marazov, this type of decoration
, - was created in an Odrysian workshop that functioned
, in the court of the Odrysian state. The master-craftsmen
(, 1938, 441, . 233). were under the direct orders of the ruler and the precious
, material was his property ( 1988, 12-13).
- , According to V. Vasilev, the presence of incised dots in
, the ends of the flutes or ovules is a typical phenomenon
(Berciu 1969, 5354, fig. 23, 24). in the Thracian toreutics, and was an innovation made
, , V namely by the Thracian master-craftsmen (
 153

. .., - 1987, 22-23).

(Moskalu 1989, 148, 1618). In shape, the phialae from the grave excavated
( ) near the villages of Malomirovo-Zlatinitsa are close
42 , V to the introduced in the modern specialized literature
V . .. (, , Achaemenian type phialae that is differentiated from
1987, 26, . 6, 3536). the other type the Greek one (Strong 1966, 74-77
- fig. 20a-b). The offered division is conditional. The
, - appearance of the phiale in Greece in the 9th-8th centuries
(), BC and its mass inclusion in the tableware and ritual
. . sets in the 7th-6th centuries BC had their pre-story in the
, Aegean-Anatolian region as early as in the Bronze Age
, (phialae from the isles of Euboea and Amorgos, dated
in the period 3000-2200 BC) ( 2003, 89). The
( 1988, 1213). phiale was an exceptionally popular vessel in Anatolia,
. - Assyria, East Phrygia and Urartu ( 2003, 90 and
quoted literature). Later, this type of vessel enjoyed no
- less popularity within the borders of the Achaemenian
, Empire (Petrie 1987, Taf. 62). It is seen in the scenes
( 1987, 2223). in relief on the stairs of Apadina in Persepolis that the
- phiale was among the major gifts given to the king
- of the kings by the delegates of various peoples
(Ghirshman 1964, abb. 220, 223, 228).
, , In contrast to the rest of the countries in the East
(Strong 1966, 7477 fig. 20a-b). - Mediterranean, the phiale appeared in Thrace relatively
. late. The only find from the Early Iron Age in Thrace is a
V . .. - bronze phiale from a grave excavated near Sofronievo,
VV . .. Vratsa Region and dated in the period between the 7th
- and the 6th centuries BC ( 1965, 168, ill. 5).
( Eventually in the 5th century BC, after certain time
, 30002200 hiatus, phialae appeared in rich burial complexes. All
. ..) ( 2003, 89). - of them imported. In the 4th century BC, the phial was
, , among the major elements in the funeral offerings in
( 2003, 90 . .). many of the rich burials. It has been present in almost
-, , all chance finds that are interpreted by science as
- treasures (hoards) like, for example the Rogozen
(Petrie 1987, Taf. 62). Treasure. The so-called Achaemenian type of phiale
, became the traditional cup in the metal wine set of the
, - Thracian nobility of the ruler respectively during
(Ghirshman the 4th 3rd centuries BC ( 2010, 86-87). The
1964, abb. 220, 223, 228). ruler used it on the table, during feasts and in various
- rituals. He also used it as a gift to be exchanged on the
, - occasion of concluding military treaties and political
. unions. The phiale was also used as a gift for the king
or the local ruler by his entourage (Thucydides II, 97;
, , V 2010, 88). The custom of gift exchanging was
V . ( 1965, 168, . 5). very popular among the Odrysians. The ancient authors
, V . .. draw attention to the fact that the ritual of serving or
. - presenting cup was an important ceremony for the
. V . .. aristocrats (ruler respectively) in Thrace (Homer, Iliad,
, XXIV, 223-234; Xenophon, VII, 3, 15-20). The phiale
. - was often perceived as a symbol of the kings power
, ( 1990, 85; 2007, 84). It is thought that the
, . presence of the Achaemenian type of phiale in the
V . .. rich burials is a sign of status and of the affiliation of the
 154

deceased to a certain social group. Its presence among

the funeral offering was a guaranty for the dignity of
( 2010, 8687). the buried man that legitimated his noble pedigree in
, , , the Yonder, too ( 2010, 89).
During the 4th century BC, the phiale was depicted
- in many monuments of the Thracian toreutics and
. wall-paintings. A woman presenting a horseman with a
phiale is represented on the bezel of the signet-ring from
( , 97; 2010, 88). Malomirovo-Zlatinitsa. The sitting woman represented
, , on the greave from the same grave is also holding a
. - phiale in her right hand. The horseman on appliqu
, no.14 from the Letnitsa Treasure is also holding a
phialae in his right hand ( 1996, 15, ill. 15).
( ) One of the women represented on jug no. 157 from
(, V, 223234; V, 3, 1520). the Rogozen Treasure is also holding a phiale in her
hand. She was identified by the authors as Bendis the
( 1990, 85; 2007, 84). mistress of nature (, , 1987,
, - 55, ill. 44). Some personages in the scene on the jug-
rhyton from the Borovo Treasure are holding phialae
- too. This phiale type is represented both in the murals
. of the Kazanluk Tomb and of the Alexandrovo Tomb.
, - The gradual adoption of the custom of using expensive
vessels (phialae among them) as tableware, in rituals
( 2010, 89). and as funeral offerings among the aristocracy in Thrace
V . .. - had led to the development of a local production in local
- workshops. The beginning of this process is in the first
. - half of the 4th century BC ( 2003, 98).
. The four phialae from the grave excavated near the
, villages of Malomirovo-Zlatinitsa are very precisely
. made. Their decoration was made by a sure and precise
14 - hand. The analysis of the style and the given closest
( 1996, 15, . 15). parallels from the 5th 4th century BC give reason
157 to place the phialae from Malomirovo-Zlatinitsa in
, the first half of the 4th century BC. The phialae were
- probably produced in local Thracian workshops (some
(, , 1987, 55, . 44). typical Thracian innovations like the incised dots in the
, ends of the flutes and the connecting lambdas were
- - pointed out in the text above) with master-craftsmen of
( 1998, 77, . 3). high technological skill and very well acquainted with
the make of namely that type of vessels.
. -
Bronze vessels
( ) ,
A set of bronze vessels were discovered in the grave,
- close to its eastern wall. It comprises a situla, a shallow
. - tray-like bronze vessel, a jug-oinochoe and a strainer.
V . .. ( 2003, 98). The strainer, jug-oinochoe and tray-like vessel had been
- hanged on long iron nails driven in the wooden walls
. of the grave construction. One other bronze vessel with
, . a hemispherical body had been deposited at the feet of
- V the buried man, next to the northern wall of the grave
V . .. construction.
-
V . ..
 155

(- Situla
,
), A bronze situla (bucket) was discovered in the
north-eastern end of the grave pit (Ill.V-25). The situla
- was produced by casting and hammering, chisellling
. and soldering. It has a bell-like body, set on a short foot
(Ill.V-26). The rim is wide and flat, bulging outwards.
Two broadened ear-like parts are situated on the rim,
facing one another. They had been cast together with
the situla and are conditionally separated from the body
. , by short triangular sprouts in their upper part. Two
(), - . - curved handles with a rectangular cross-section are
, - threaded in the round openings in the ear-like elements.
, - Their ends were shaped as widened hemispheres (small
. - heads) that ensured the stable joint of the handles to the
, , vessels body. In open position the handles cover
. the rim of the vessel. The foot of the vessel is thick, cast
separately and soldered to the body.
The situla is decorated. It had probably been cast
together with its body and was eventually additionally
() - finished. Three horizontal incised lines adorn the area
(. V-25). - below the rim. The distance between the first and the
, second line is greater, while the second and the third
. , were incised close to one another. This decorative band
(. V-26). is interrupted in the two areas below the joints for the
, ; - handles. Each of these two areas is decorated with an
eleven-petal palmetto with leaves turned down and
. sideward (Ill.V-27). The middle leaf of each palmette
is profoundly elongated downwards. The ornament is
in full harmony with the shape of the ears for the
. handles that are skilfully included in the representation
.
-
()
. -
.
, ,
.
,
, -
.
,
- , -
.
-
,
-
(. V-27).
.
, -
. V-25. in situ

. Ill. V-25. The situla in situ in the northeastern part of the
S- , grave
. : 21,2 , -
 156

. V-26.
Ill. V-26. The situla after restoration
19,9 , 11,8 . of the palmette. The ears are adorned with graceful
- S-like spirals and fine sprouts coming out of them.
- Dimensions: height 21.2 cm, diameter of the rim
, 19.9 cm, diameter of the foot 11.8 cm.
V The situla from Malomirovo-Zlatinitsa inscribes
. .. ( 1919, 11 12, 24, 29, . 11, with its shape and decoration in the large group of similar
. 21; 1929, 3839, 49, . 50; vessels discovered in various burials from the territory
1937, 135, 137, . 126; 1952, 242, 255258, of Ancient Thrace and dated in the period between the
. 28/4, 33, 43/4; 1958, 451452, 456, late 5th century BC and the late 3rd century BC (
. 2; 1969, 6869; 1964, 81, 1919, 11- 12, 24, 29, ill. 11, ill. 21; 1929, 38-
106107, . 16; , 1973, 366, 39, 49, ill. 50; 1937, 135, 137, ill. 126; e
. 105107; 2005, 8283, /34). 1952, 242, 255-258, fig. 28/4, 33, 43/4;
 157

1958, 451-452, 456, ill. 2; 1969, 68-69;

1964, 81, 106-107, ill. 16; ,
1973, 366, ill. 105-107; 2005, 82-
83, Plate /3-4). The situla from Brezovo is closest
in the shape of the body and the joints of the handles to
the situla from Malomirovo-Zlatinitsa. It is dated in the
late 5th the early 4th centuries BC ( 1919, 11-
12, ill. 11). One situla of unknown provenance in the
collections of the National Museum of History in Sofia
(inv. no. 44309) shows analogical shape of the
body and ornament below the joint of the handles. It
is dated most generally in the 4th century BC. The only
difference between the latter situla and the one from
Malomirovo-Zlatinitsa is in the ends of the handles.
They are hemispherical in the situla from Malomirovo-
Zlatinitsa and bottle-like in the situla from the National
Museum of History.
According to the typological classification made by
I. Venedikov, the situla from Malomirovo-Zlatinitsa
should be referred to the so-called by him egg-like
type of situla that had been spread in the period between
the late 5th and 4th centuries BC (Venedikov 1977,
85-89). Analyzing and comparing the situl of this
type discovered in Bulgaria at that time. I. Venedikov
concluded that these vessels had been produced
somewhere close to the Thracian lands, most probably in
some of the workshops along the coasts of Propontis and
of the Pontus, or along the northern and eastern coasts of
. V-27. the Aegean Sea (Venedikov 1977, 93-94).
Ill. V-27. Ornaments on the body of the situla The situlae with bell-shaped bodies refer to Type
III in the much more detailed typology offered by
- M. Chichikova ( 1969, 68-70). In spite of
- the fact that the situla from Malomirovo-Zlatinitsa
, V refers to this type, it combines elements of various
V . .. ( 1919, 1112, . 11). - variants differentiated by the author. Thus, a plane or
- ornamented band below the rim is characteristic for
the situlae of Variant 1 (dating from the late 5th century
(. 44309), V . .. BC the first half of the 4th century BC). The situla
- considered also shows such a band. However, this situla
also shows decoration of volutes and palmettos below
the handles. Similar decoration is attributed to Variant
, 3, but it is always cast separately from the body. On
. the other hand, the ends of the handles of the situlae of
. - Variant 3 are bent and bottle-shaped. The handles of the
situla from Malomirovo-Zlatinitsa end in hemispherical
, broadenings at the ears for their attachment, which is
VIV . .. (Venedikov 1977, 8589). - characteristic for the differentiated Variant 2. However,
the decoration of the situlae of this variant includes
, . , separately cast figures.
, -- The situlae with bell-shaped bodies were abundantly
, spread across the entire Greek world. The situla from
Malomirovo-Zlatinitsa finds a close analogue in one
(Venedikov 1977, 9394). of the silver situlae discovered in the Princes Tomb
. -- in Vergina, and dated in the period between the mid 4th
 158

century BC and the third quarter of the 4th century BC

( 1969, (Andronicos 1984, 208-211, fig. 178).
6870). The origin of the situlae discovered on the territory
, of Ancient Thrace has not been categorically elucidated
- yet. M. Chichikova summarized various opinions
, . about their origin and assumes it quite possible that
1 ( V some exemplars had been produced in Attica or
V . ..) in North Peloponnesus ( 1969, 71). The
classification of Zahlhaas dedicated to the Great
. Greek and Roman metal buckets was published after
. her work. According to this classification the situla
3, from Malomirovo-Zlatinitsa should be referred to Type
, A, Variant A5 (Zahlhaas 1971, 36-37). The bell-shaped
body is characteristic for this type and it bears different
. variants of decoration below the handles. Variant A5
shows ears cast together with the vessel. These are
, - connected to the ornament situated immediately below
2, them by S-like spirals the ears of the handles. The
. ornament consists of an eleven-leaved palmetto with
- bent sideways leaves. This type of situla with an incised
. decoration in the shape of a palmetto was popular in the
first half of the 4th century BC.
, One other feature of the situla from Malomirovo-
- Zlatinitsa also contributes to its precise dating, namely,
V . .. (Andronicos 1984, the handles that terminate in hemispherical broadenings
208211, fig. 178). at the ears. Similar ends are characteristic for the
, - very end of the 5th century BC or the first half of the
, - 4th century BC (Zahlhaas 1971, 38, 56), at that, they
. . are to be seen mainly in situlae from the North Aegean
, regions, while it is rare in the South Italic ones (Riis
1959, 25).
( 1969, L. Byvanck thinks that situlae with bell-shaped
71). - bodies, palmettos and volutes decoration, and handles
. , terminating in hemispherical broadenings originate
. from workshops located in Greek centres on the
, - Bosporus and on the southern coast of the Black
, 5 Sea (Byvanck 1966, 46 and next). The situla from
(Zahlhaas 1971, 3637). - Malomirovo-Zlatinitsa was probably made during the
first half of the 4th century BC in one of the workshops
, . situated on the Bosporus.
5 S--
, , Oinochoe-jug
,
. - The oinochoe-jug (inv. no. 52189) was
. discovered next to the eastern wall of the grave, close
to the bones of the right hand of the deceased (See Ill.
V . .. I-34). The vessel had most probably been hanged by
- means of a nail, as one iron nail was found below its
- handle. The jug was made by casting, hammering and
, , - soldering, and belongs to the Oinochoe Type (Ill.V-28).
. It consists of two parts: a squat cylindrical body and
V a tall neck that comes as a conical volume from the
V . .. (Zahlhaas 1971, 38, 56) broadest part of the body. The transitional line there is
, - marked by a profoundly stretched out sharp edge. The
 159

, -
(Riis 1959, 25).
L. Byvanck ,
,
,
, ,
-
(Byvanck 1966, 46 .).
V . ..
, ,
.

-

- (. 52189)

( . -34).
- ,
. -
, . -
(. V-28).
:
, -
.

.

, . -
,
.
, . V-28.
(. V-29). - Ill. V-28. The oinochoe-jug after restoration

, - upper part of the neck broadens into a trifoliate mouth
. , with protruding and slanting edge, decorated with a
. band of ovules. The handle is massive, soldered to the
. mouth and the edge between the body and the neck of
. - the vessel. The upper part of the handle is broadened
, and terminates in a representation of rams head that
. , towers inwards above the mouth (Ill.V-29). The head
, - is realistically rendered; the eyes are almond-shaped
. with stressed round pupils; the eyelids are plastically
- mouldeed. The mouth is closed and a horizontal
, . groove differentiates the lips. The horns are divided in
- horizontal segments. They are spirally curved down and
, - forwards and are close to the head. The ears are small,
. leaf-shaped and closely adjoined to the horns. Deep arcs
are incised on the forehead and the fleece, represented
(. V-30). with small incised shallow arcs, starts from there. The
handle is fixed to the rim between two cones that are
- symmetrically shaped at the back of the mouth and the
, , , neck of the vessel. The outer part of these elements is
- moulded as a lotus flower with a plane bud at its base.
(. V-31). The entire handle is modelled as lotus stem (Ill.V-30).
 160

. V-29. -
Ill. V-29. The head of a ram on the upper end of the handle of the oinochoe-jug

, Its lower part passes into a thin openwork appliqu

. : 24,4 , with a complex plant decoration: acanthus leaves,
11,1 , 14,4 . tendrils, volutes and spirals are coming out of a rosette
and a nine-leaf palmette with bent sideways leaves in
situated below (Ill.V-31). The bottom of the oinochoe is
V V . ..: - slightly concave, turned on a lathe and decorated with
, , V- four incised concentric circles. Dimensions: height
V . .. ( 1934, 185, . 205, 24.4 cm; diameter of the bottom 11.1 cm: diameter of
), . , the body 14.4 cm.
, V V Analogical in shape vessels are known from the
. .. ( 1937, 137, . 129), - territory of Thrace. They come from graves dated
, V in the late 5th early 4th centuries BC. These vessels
. .. (Kitov 1995, 1819, fig. 10), - are from: Alexandrovo, Lovech Region, dated in the
, V . late 5th century BC ( 1934, 185, ill. 205, the
.. ( 2005, 82, . /2), handle of this vessel is missing); the village of Mezek,
. Svilengrad Region, dated in the late 5th early 4th
( 2011). centuries BC ( 1937, 137, ill. 129); the tumulus
- of Leshnikova Mogila near Shipka, dated in the early
. - 4th century BC (Kitov 1995, 18-19, fig. 10); the tumulus
- of Mogilanskata Mogila - the first half of the 4th century
. BC ( 2005, 82, Plate /2); a large series of
similar jugs are kept in the collection of V. Bozhkov
V . .. (Triantaphyllos 1975, ( 2011).
302, pl. 205a). , Oinochoe-jugs of analogical shape are also discovered
 161

. V-31. -
. V-30.
Ill. V-30. The molded handle of the oinochoe-jug Ill. V-31. Open-work appliqu on the lower part of the handle
of the oinochoe-jug
(Naip), 15 - in other places across the ancient world. Several similar
. - vessels were discovered in the territory of modern
V . .. Greece and Turkey. One of these was discovered in
(Delemen 2006, 263264, fig.16). a tumulus near Arzos at the lower course of the river
- of Maritsa and is dated in the late 4th century BC
, , (Triantaphyllos 1975, 302, pl. 205a). A second one
1964 350320 . .. (Siganidou 1965, was discovered in a tumulus known by the name of
411), , Naip. It is located 15 km away in the south from the
, town of Tekirdag, on the coast of the Propontis. The
V . .. (Makaronas, vessel is dated in the late 4th early 3rd centuries BC
1963, 194, pl. 225a), (Delemen 2006, 263-264, fig.16). Three other vessels
II - were discovered in and around Thessalonica. The first
, 325 . one came from a grave studied in 1964 in Stavropolis,
.. (ndronicos 1988, 209, fig. 172). a quarter of Thessalonica, and dated in 350-320
- - BC Siganidou 1965, 411). The second vessel was
: discovered in Grave A of the necropolis of Derveni
( 1971, together with the famous hydria and papyrus dated in
216). , , the last quarter of the 4th century BC (Makaronas, 1963,
194, pl. 225a). The third one is a silver oinochoe from
. V . .. Tomb II in Vergina - the so-called Tomb of the Princess,
- (ii supposedly from 325 BC (ndronicos 1988, 209, fig.
1971, 54). - 172). Three similar oinochoe-jugs were discovered in
320 . the lands along the northern coasts of the Black Sea.
.. (Pharmakowsky 1913, p. 182, fig. 19). One of them came from a tumulus grave in the Seven
 162

- Brothers Necropolis at the mouth of the river of Kuban

V . .. ( 1971, 216). Apart from the similar shape,
, - the upper part of handle of this vessel also terminates in a
V . .. (Richter 1915, 493, 494). rams head. The bronze oinochoe-jug from Gaymanova
-, Mogila is dated in the mid 4th century BC (ii 1971,
Bolsena, , - 54). A third jug was found in the tumulus of Zalenskii
. . Pfrommer Kurgan on the peninsula of Taman and is dated in 320
V . .. BC (Pharmakowsky 1913, p. 182, fig. 19). Similar
, vessels are also to be found together with Attic black-
(Pfrommer 1983, 24147). figure and red-figure ceramics from the early 5th century
. (Archibald BC among the funeral offerings in graves in Bologna, as
1998, 279, fig. 11.15). well as in graves from the 4th 3rd centuries BC in Perugia
- - (Richter 1915, 493, 494). Two similar oinochoe-jugs
, d, , , that were discovered in the region of Bolsena, Italy, are
V . in the collections of the British Museum. . Pfrommer
.. . .. (Castoldi 2001, fig. 8). places the origin of these vessels in the early 4th century
BC. He derives their shape from Italy but also states
- that they had been particularly popular both in Thrace
- and Macedonia (Pfrommer 1983, 24147). Z. Archibald
. also supports this point of view (Archibald 1998, 279,
fig. 11.15). According to the typology by Castoldi, the
, oinochoe-jug from Malomirovo-Zlatinitsa belongs to
. Type I, Variant d. A type that had been spread, according
to the author, in the period from the second quarter of the
. - 4th century BC to the end of the 3rd century BC (Castoldi
2001, fig. 8).
The analysis of the single decorative elements of the
V jug from Malomirovo-Zlatinitsa established significant
V . .. (Pfrommer 1990, 108109, 343346, taf. closeness of this vessel with those from Mogilanskata
20/16). Mogila and Tekirdag. The base of the handle of these
( 1934, . three vessels is decorated with similar ornaments and the
196; Lordkipanidze 1974, 936, 939, fig. 28; Delemen handle itself is shaped as a lotus stem. Novelty in the
2006, fig. 15 .). handle from Malomirovo-Zlatinitsa is the rams head in
- its upper end. The precise and detailed work shown in the
- animal head gives reason to inscribe it in a large group
-- of similar monuments of the toreutics and jewellery of
, the 5th early 4th centuries BC (Pfrommer 1990, 108-
. 109, 343-346, taf. 20/1-6). The protome of a ram is often
V . .. - attached to the end of the patera handles in this period
/ . ( 1934, ill. 196; Lordkipanidze 1974, 936, 939,
fig. 28; Delemen 2006, fig.15, etc.).
, , The elegant shape of the body and the beautiful
, - work of the rich decoration of the oinochoe-jug from
V . .., - Malomirovo-Zlatinitsa place it among the most graceful
vessels of this type, an integral part of the luxury sets.
. These vessels were used during the entire 4th century
BC as decanters for pouring wine into rhyta and cups/
phialae during feasts. The exemplar from Malomirovo-
Zlatinitsa should also be placed in this chronological
- period on the basis of the pointed out similarity with the
, oinochoe from the tumulus of Mogilanskata Mogila, as
(. 52190, . well as with similar vessels from Alexandrovo, Mezek
-34). , - and the tumulus of Leshnikova Mogila dated in the first
. - half of the 4th century BC.
 163

, Tray
. : 35,9
, 5,3 , 8 . A broad relatively flat bronze vessel (conditionally
(. called tray) (inv. no. 52190) was discovered
V-32). - - immediately in the east of the skull of the buried
, . man (See Ill. I-34). The vessel was made by casting,
, - hammering and soldering. It was found in vertical
, . position and had probably been hung on a nail in the
- wooden wall of the grave. Dimensions: diameter 35.9
, cm, height 5.3 cm; length of the handle 8 cm.
. - The vessel has a short body. It is broad and
relatively shallow (Ill.V-32). The rim is flat, with a
(. V-33). T-shaped profile. The mouth is bent slightly inwards,
. while the rim is projecting outwards. A plate of a
, semi-elliptical shape was soldered on the outer side
. - of the vessel, immediately below the rim. A handle
. with a square cross-section is fixed in its upper end by
, , . means of a hinge. The shape of the handle resembles
. of the Greek letter . A scene in relief presenting a
(?), fight is occupying the entire field of this appliqu. The
. representations were made by hammering on a stamp-
anvil and the scene shows two naked men (Ill.V-33). A
. -. tree is represented in the left corner of the appliqu and
- a figure of a young man pacing to the right is depicted
. - in front of the tree. The body shows a relatively good
, knowledge in anatomy. The face is beardless and the hair
, . is short and wavy. A band is hanging from his shoulder.
- His right hand is profoundly stretched backwards and
above his head. He is holding an object (a sword?)
VV . .. - in it and the posture suggests that he is in the act of

. V-32. -
Ill. V-32. The bronze tray after restoration
 164

. - hitting with it. The identification of the item is rendered

, V . .. difficult by the damages in this area of the plate. The
( 1919, 25), . , , other figure did not preserve so well. Only the lower
V . .. ( 1934, 185, . 207), part of almost squat figure of a man has survived. A
, V V . rock is schematically represented behind the man. He
.. ( 1937, 135,137, . 127). - is seeking support in the rock with his bent right leg,
, while his left leg is stretched forward.
1 , Similar in shape broad and shallow vessels of
V . .. ( 1952, 259, . 36). various depths and diameters of the rim are present
among the funeral offerings from the 5th 4th centuries
- BC from various localities in Thrace. Similar are the
, ( vessels from: Panagyurishte, dated in the second half
), of the 4th century BC ( 1919, 25); Alexandrovo,
(Paunov, Torbov 2000, 171, fig. 5). Lovech Region, dated in the 5th century BC (
1934, 185, ill. 207); Mezek, dated in the late 5th early
V . .. ( 2005, 84). - 4th centuries BC ( 1937, 135,137, ill. 127). The
, vessel discovered in Tumulus no.1 from the necropolis
( 1934, of Koprinka is analogical in shape and has e hinged
160). handle. It is dated in the late 4th century BC (
- , 1952, 259, fig. 36). The vessel from Malomirovo-
4 - Zlatinitsa finds a close analogue in the bronze vessel
. from Tomb II of the tumulus of Mogilanskata Mogila.
V . .. ( 2006, The handles of the latter vessel are also fixed by means of
130132, . 10). hinges and an appliqu in the shape of a double palmetto
, , - is soldered below each of them (Paunov, Torbov 2000,
. - 171, fig. 5). The vessel from Mogilanskata Mogila is
, , . dated in the first half of the 4th century BC (
( 2011, 176, . 134). 2005, 84). Three vessels from the grave in Rozovets
, were probably of the same shape and one of them had
(Naip), 15 - a hinged handle ( 1934, 160). The bronze vessel
- discovered in the destroyed tomb in the locality of
. V Enevi Mogili, 4 km away in the west from the town of
. .. , Yambol, is the closest geographically analogue among
, the similar vessels discovered. This vessel is dated in
(Delemen 2006, 262, fig. 11 ). the second quarter mid 4th century BC (
(Richter 1956, 2006, 130-132, ill. 10). In spite of its bad condition,
31, pl. 29F). it is clear that it had had one handle fixed to its outer
(Andronikos surface. The collection of V. Bozhkov also possesses a
1984, 118, fig. 73). vessel of similar shape but without handle (
- 2011, 176, ill. 134).
. The silver vessel discovered in the tumulus of Naip,
situated 15 km away in the east of the town of Tekirdag
on the coast of the Propontis, is of analogical shape.
( 1979, 65, . 48). The vessel is dated in the late 4th early 3rd centuries
, BC. The author supposes that the vessel had been used
, as a trey and the discovered in the grave ladle and
. strainer had been put on it (Delemen 2006, 262, fig. 11
- ). Richter also considers one similar vessel (Richter
. 1956, .31, pl. 29F). A bronze vessel of similar shape
V . .., - was also discovered in the tomb of Philip of Macedon
( 1979, 230). (Andronikos 1984, 118, fig. 73).
- Similar vessels are to be found among the funeral
, offerings in burials from other parts of the ancient
world. The vessel from Malomirovo-Zlatinitsa finds a
 165

. V-33. -
Ill. V-33. The appliqu on the trey-vessel

( 1966, 178). typological closeness with one of the bronze vessels

- from the central grave in Tolsta Mogila in Scythia
- ( 1979, 65, ill. 48). Apart from the
, , . - identical shape of the body, a similar hinged handle
, with a triangular in shape appliqu are soldered to
. this vessel. Plant motifs and a palmette in relief are
, represented on the appliqu. The tumulus is dated in the
, - first half mid 4th century BC, and the vessel is defined
. as a Greek import ( 1979, 230). One of
, the silver vessels from Chertomlik in the region of the
- , northern coasts of the Black Sea is of similar shape. It
also has hinged handles and soldered to them appliqus
. decorated in relief ( 1966, 178).
, - The function of the vessel from Malomirovo-
, Zlatinitsa might also be sought on the basis of the
, - accompanying vessels: jug, strainer, situla and phialae.
. All these vessels had been intended to wine preserving,
 166

. pouring and drinking during feasts. Sets of similar

. vessels were found in most cases pointed out as
- examples of analogues to the vessel from Malomirovo-
, Zlatinitsa. The vessel from Malomirovo-Zlatinitsa was
. quite probably the tray which carried the smaller items
- that took part in the process of straining and pouring of
. - the wine during the feast.
, The question concerning the interpretation of the
, , scene represented on the appliqu on the tray leads to
, , the problem with the identification of the personages
( - and the subject-matter. The style of representation may
), be defined categorically as Greek. No other analogical
( 1999, 369374). - representation is known from the territory of Thrace.
The iconography of the subject-matter forwards us to
the labours of Theseus, depicted in the Greek vase-
, . ( painting during the Classical epoch. In my opinion, the
) scene represented on the plate shows namely one of the
, , labours of Theseus on his way to Athens. Theseus killed
. consecutively in these labours the giant Periphetes, the
, , brigand Sinis, the Crommyonian wild sow an offspring
, . - of Typhon and Echidne, the brigand Cercyon and the
brigand Procrustes (also called Damast), and that was
. , the last labour of Theseus on his way to Athens (Graves
1990, vol. I, 327-329). Apart from the two figures of men
, we have on the appliqu from Malomirovo-Zlatinitsa a
. - rock and a tree. In the depicted on Greek vases labours
, . of Theseus, the tree is present in the scenes showing
- his fight with Sinis, who tortured and cruelly murdered
. -, , innocent passers-by captured by him. He would bend
, , - down the tops of two neighbouring pine-trees until they
. met, and tie one of this victims arms to each, so that
- he was torn asunder when trees were released. Theseus
, took revenge on Sinis for all he killed. He bent with
. his mighty hands two pine trees tied one of his arms to
- each tree and released them. The brutal brigand died
, by the same death as his victims. After this labour, the
( road to Isthmus was free. Theseus established later
), the Isthmian Games on the place he won victory over
( Sinis as a memorial. Namely this labour is represented
. 11021 - on the appliqu from Malomirovo-Zlatinitsa. It shows
, the moment before the tying of the brigand to the pine
475425 . .., . trees. Theseus is threatening Sinis with his sword and is
8771, 490480 . .. probably holding his head or hand with the left hand (the
, image in this area is lost) as is we see in the examples of
Kunstareal , the Greek vase-painting (see, for example the red-figure
E84 440 . .., vase with inv. no. 11021 in the National Archaeological
, .). Museum in Madrid, dated in the period 475-425 BC; the
- red-figure cylix with inv. no. 8771 from the Antiquity
V . .. - Collection of Bavaria, kept in the Kunstareal Museum
. - in Munich and dated in the period 490-480 BC; the Attic
red-figure vase E84 kept in the British Museum, London,
, and dated in the 440 BC, etc.
. The pointed out analogies of the vessel are in the
- , - first half of the 4th century BC, and this is the period
 167

, , in which the vessel from Malomirovo-Zlatinitsa should

be placed. The vessel is without any doubt a product of
. the Greek toreutics and was made in a Greek workshop
where the master-craftsmen had been fully aware of
the labours of Theseus. It may be supposed judging by
the regions indicated above where similar vessels have
- been discovered that such a workshop should have
(. 8622). functioned in the region of Propontis and the Aegean
coast.
, -
( . -35). - Strainer
(. V-34).
, A bronze strainer (inv. no. 8622) was
(. V-35). discovered right next to the tray, on its eastern side.
. - There was a large iron nail in one of its handles with
- which it had been hanged on the wooden wall of the
. grave (See Ill. I-35). The strainer is very well preserved
, - (Ill. V-34). It is made of two parts body and foot by
. means of casting and chisellling (Ill.V-35). The body
, is hemispherical in shape with a profoundly protruding
S- . - outwards broad rim. The flat part of the rim is decorated
with two incised concentric bands. The strainer has a
() (. V-36). tall, hollow, cylindrical foot and broadening towards
the base. It had been attached to the body by soldering.
, - The handles were cast together with the body, drawn
, outwards and turn S-like resembling hooks. Their ends
- are in the shape of aquatic birds (ducks) (Ill.V-36). On
. both sides the flat parts of the handles broaden and

. V-34.
Ill. V-34. The handles and the inner part of the strainer
 168

. V-35.
Ill. V-35. Drawing of the strainer
, , - passes into plates of trapezium shapes, each corner
. of the shorter side of the trapezium ends with a single
- spike, while the longer sides end in bent inwards bands.
. : - The bottom of the strainer comprises a fine set of holes,
21,2 , 10 , arranged in curved rows around a circular centre with
5 . holes along the periphery. The arrangement of the holes
, - imitates the known pattern called chasing flames.
. - Dimensions: length with the two handles 21.2 cm,
diameter of the body 10 cm, height 5 cm.
. - Strainers are items that are discovered relatively
, , V often in burials both in Thrace and Macedonia. The
V . . . ( 1934, 177, . 195), - closest analogues of the strainer from Malomirovo-

. V-36.
Ill. V-36. The strainer after restoration
 169

, Zlatinitsa are: the bronze strainer from a tumulus grave

V . .. (Delemen 2006, 262, fig. near the village of Vurbitsa, Preslav Region, dated in
11), the late 5th early 4th centuries BC ( 1934, 177,
, 350325 . .. (Andronikos ill. 195); the silver strainer from Naip Tumulus, dated in
1984, 140, 148, 153, 209211, figs. 108, 178). the late 4th early 3rd centuries BC (Delemen 2006, 262,
, fig.11); as well as, the silver strainer from the Tomb of
, V Philip, dated in the period 350-325 BC (Andronikos
. .. , 1984, 140, 148, 153, 209211, figs. 108, 178). Strainers
, (Reinach 1892, of similar shape and decoration, made of bronze or
fig. XXXI, 5; Pharmakowsky 1913, 18081, fig. 12; silver, were popular throughout the period between the
Strong 1966, 912, 217, fig. 22a, pl. 22A; Hill 1976, late 5th and the early 3rd centuries BC in various parts of
nos. 50, 51, pl. 16; Hornbostel 1977, no. 407; Oliver the ancient world like Etruria, South Italy and Scythia
1977, 1315; Archaeological Museum of Thessalonike (Reinach 1892, fig. XXXI, 5; Pharmakowsky 1913,
1980, 109, 117, 185, 187, 209, 281, pl. 28; Besios 1987, 18081, fig. 12; Strong 1966, 912, 217, fig. 22a, pl.
212, 218, fig. 10; Heilmeyer 1988, 6; Lazaridis et al. 22A; Hill 1976, nos. 50, 51, pl. 16; Hornbostel 1977,
1992, A2577, fig. 8; Themelis and Touratsoglou 1997, no. 407; Oliver 1977, 1315; Archaeological Museum
B2, B4, pls. 11, 12, 71, 72). of Thessalonike 1980, 109, 117, 185, 187, 209, 281, pl.
, - 28; Besios 1987, 212, 218, fig. 10; Heilmeyer 1988,
, 6; Lazaridis et al. 1992, A2577, fig. 8; Themelis and
. Touratsoglou 1997, B2, B4, pls. 11, 12, 71, 72).
, , . Strainers are characteristic items that are included
- in the wine sets for its straining. They are discovered
, in the burials together with amphorae, ladles, jugs and
phialae. The situation in which the strainer and the
. tray-vessel were discovered gives reason to suggest
, , that they had been hanged on one and the same nail
Delemen , - in the eastern wall of the grave. The association of
. the two objects should not be regarded as accidental
, - taking into consideration that Delemen also noticed
- , the same connection between the strainer and the tray
discovered in the tumulus of Naip. The existence of a
V . .. foot on the strainer from Malomirovo-Zlatinitsa, which
, is characteristic for the earlier exemplars of the type,
, - allows us to date it in the second half of the 4th century
- BC. According to some authors, strainers with handles
(Oliver 1977, 100; Young et al. 1981, 22729, pl. with ducks heads as is the case with the strainer
8; zgen and ztrk 1996, 56, 109, 11215, 12024). from Malomirovo-Zlatinitsa were produced in the
workshops along the Aegean coast and in the region of
, Propontis (Oliver 1977, 100; Young et al. 1981, 227
. 29, pl. 8; zgen and ztrk 1996, 56, 109, 11215,
12024). The strain from Malomirovo-Zlatinitsa was
most probably produced in one of these workshops, but
it is not possible to be more precise at this stage.
, -
, Hemispherical vessel
(.
V-37). . - A bronze hemispherical vessel was discovered
(. V-38). in the northern part of the grave, at the feet of the
. deceased and among the horse-trapping appliqus (Ill.
- V-37). The vessel is highly fragmented. The body is
. hemispherical in shape, with a short and broad neck
. (Ill.V-38). The rim of the mouth is bent outwards and
. : 13,5 , - turned vertically. Its outer periphery is decorated with a
24,0 , 3,0 . frieze of Ionian cyma. The shoulders are horizontal and
 170

: -
, V . .. (
1919, 2425, . 22),
, V . .. (
1932, 9, . 10; 1934, . 89), -
-
( 1932, 9,
. 11), ( 1935,
. 128) . , -
( 1969, 7172).

,
V . .. ( 2003, 33, . 12), . V-37. in situ
, Ill. V-37. The hemispherical vessel in situ
V . .. ( 2003, 35
36; 2008, 163, 165, . 240). form an acute angle with the body. The lower part of
the vessel is rounded, without a foot-ring. Dimensions:
. ( et l. 2005, 66, . 57). diameter of the rim 13.5 cm; diameter of the body
, - 24.0 cm, preserved height 3.0 cm.
, - Several similar vessels are known from the
, , - territory of Ancient Thrace: from a tumulus grave near
V V . .. Panagyurishte, dated in the early 4th century BC (
1919, 24-25, ill. 22); from a grave in the tumulus of
. Bashova Mogila near Duvanlii, dated in the late 5th
- , century BC ( 1932, 9, ill. 10; 1934, ill.
. , 89), a bronze cup with one handle had been discovered
, , - in the vessel when discovered ( 1932, 9, ill. 11);
. from a grave in a tumulus near Mezek ( 1935,
ill. 128); and in a tomb near the village of Kaloyanovo,
, Sliven Region ( 1969, 71-72). The vessel
, from the tumulus of Leshnikova Mogila in the
. necropolis of Shipka-Sheynovo is of a similar shape. It
- is dated in the first quarter of the 4th century BC (
(- 2003, 33, ill. 12). The silver vessel from the tumulus
), - of Peychova Mogila near the village of Starosel is also
. of similar shape. It is dated in the mid 4th century BC
, , ( 2003, 35-36; 2008, 163, 165, ill. 240).
- There is a vessel made of silver and of analogical shape
. in the collection of V. Bozhkov ( et l. 2005,
- 66, ill. 57).
. It becomes clear from the given examples (which,
- in fact, exhaust all known to science vessels of similar
, shape discovered in Thrace) that these vessels were all
. - found in rich graves from the period between the late
5th century BC and the late 5th century BC. The function
(, , - of these vessels has not received a fully satisfactory
.). , - explanation so far. The shape of the vessel reminds to a
-. greater extent the Greek dinoi where the wine had been
- mixed with water. It may be reasonable to suggest that
- - the vessels discovered in Thrace had a similar function
, . of a vessel for wine mixing with water. Despite the
- information given by the ancient authors concerning
- the habit of the Thracians to drink wine without mixing
 171

it with water, it should be presumed that the Thracian

aristocracy had probably adopted some traditions from
the Greek culture and the tradition of drinking diluted
wine in particular.
The bronze vessels discovered in the grave excavated
near the villages of Malomirovo and Zlatinitsa form
one set (a ceremonial set) in which the vessels are
associated in their function. This set had probably been
used during celebrations in which the deceased had
taken part during life time. Similar complexes of vessels
are also discovered in other rich graves in Thrace.
For example, the set in Mogilanskata Mogila and the
tumulus of Naip is almost identical with the exception
of the hemispherical vessel. Other combinations of the
vessels considered here are to be seen among the funeral
offerings from other graves: Kaloyanovo, Leshnikova
Mogila, Vurbitsa, etc. It is seen from the pointed out
parallels that the set from Malomirovo-Zlatinitsa is the
fullest. The function of these sets should most logically
be connected with the wine drinking and the process of
its mixing with water, straining and pouring.
The bronze vessels considered fully correspond in
shape to the ones found in other grave complexes in
the territory of Bulgaria and dated in the late 5th century
BC or in the entire 4th century BC. Still, the most exact
parallels of the tray-vessel and the situla, as well as of
the hemispherical vessel, do not leave the chronological
frames of the first half of the 4th century BC. It is already
discussed in science that the larger portion of the bronze
. V-38. vessels, which are the dominating objects among the
Ill. V-38. The hemispherical vessel funeral offerings in the Thracian burials, are considered
to have been produced and imported from the Greek
, poleis along the northern Aegean coasts, Propontis of
V V . .. - - from the coasts of West Asia Minor (Paunov, Torbov
-, , 2000, 172). The vessels from Malomirovo-Zlatinitsa
, - were probably produced in some of the North Aegean
V workshops or of those in Asia Minor during the first
. .. , half of the 4th century BC.
, -
, -

,
.

V . ..
.
 172
 173

VI. Chapter VI. Ceramics

Greek Ceramics

Import Greek vessels (Ill. VI-1) were discovered

(. V-1). - both in the grave and in the area for funeral feasts
in front of the burial construction. A vessel for wine
( . drinking a red-figure skyphos (See Ill. I-11) was
-11). (. 51359) discovered among the other ceramic vessels in the area
, for funeral feasts. The skyphos (inv. no. 51359)
(. V-2a, b). is made of fine clay that shows beige colour after firing
; - (Ill. VI-2a, b). Only the outer surface is covered with
. , , black slip. The mouth is wide, slightly bent outwards
. - and a concave curve is thus formed below it on the
outer surface. The body is bulging but rapidly narrows
. - in a concave curve towards the bottom. The foot is
. , , - ring-like. The handles are small, horizontal, fixed
. - below the mouth of the vessel. The skyphos shows red-
, . figure decoration, identical on both sides of the vessel.
, , It represents two facing each other young men. They
, (. V- are both wearing long himations that fall in large folds
1). - (Ill. VI-1a). An object shaped as a sand-glass (altar?) is
(?). - depicted between them. The youth on the left holds in
his right hand an oval shaped object bearing geometric
(. VI-2a). - symbols. The figure of the youth on the right is more
- , massive and his hands are hidden in the garment. The
. - hair of both men is depicted schematically as a dense
, . - black mass. The only difference in the scenes depicted on
, both sides of the vessels is in the fact that the oval object
in the scene on Side B shows no decoration. A fan-like
(. VI-2b). palmetto is depicted below each handle. Its leaves reach
, - the figures. Dimensions: height 11.0 cm, diameter of the
. : foot 6.0 cm, diameter of the mouth 12.0 cm.
11,0 , 6,0 , The decoration of the skyphos is sloppy. The
12,0 . subject-matter itself is typical for the red-figure
- skyphoi of the so-called Kerchen Style (
. 1969, 82). According to the data from the Athenian
- agora, the vessel belongs to the Attic Variant A. This
( 1969, 82). variant appeared towards the mid 6th century BC in
Athens, where it acquired its traditional shape during
. the first years of the 5th century BC, and was very
V . .. , - popular and wide spread during the next century too
V . .. ( 1992, 30 and bibliography). In Bulgaria, similar
skyphoi were discovered in the Greek colonies along
( 1992, 30 . .). the western coast of the Black Sea, and most of all
- in the necropolis of Appolonia. They are dated in the
period between the second quarter of the 4th century BC
( - and its middle ( 1963, 199-201, Plate 107, 108
V . .., 1963, 199 Note 1 with bibliography; 1992, 30-33, Plate
201, . 107, 108 . 1 ; V; 2003, 37), as well as in archaeological
1992, 3033, . V; 2003, 37), complexes (settlements and necropoleis) that are dated
, in the period between the second half of the 5th and the
V V middle 4th centuries BC ( 1909, 590-591, 594,
 174

. VI-1. -
Ill. VI-1. Table with drawings of the Greek vessels from burial in Malomirovo-Zlatinitsa
 175

. VI-2.
Ill. VI-2. The red-figure skyphos from the trizna in front of the grave after restoration
 176

. .. ( 1909, 590591, 594, . /1; - Plate /1; 1960, 44-45, ill. 6-; 1992,
1960, 4445, . 6-; 1992, 3033; - 30-33; 1965, 36-37, ill. 6; 1969,
1965, 3637, . 6; 1969, 8182, 81-82, ill. 34, 35-; 1984, 69;
. 34, 35-; 1984, 69; 1981, 1981, 95; 2003 , ill. 42; 2005, 84-
95; 2003, . 42; 2005, 8485, . 85, Plate /1, V/1; 2003, ill. 42). The
/1, V/1, 2003, . 42). skyphos from a tumulus near the village of Vulchi
- - Izvor, Bolyaroiovo Region is closest geographically to
. , (- the skyphos from Malomirovo-Zlatinitsa (excavated by
). the author).
- The skyphos from Malomirovo-Zlatinitsa belongs to
the style circle of the Fat Boy painter, which is generally
(Fat Boy), dated in the mid 4th century BC ( 1992, 31). The
V . .. ( 1992, 31). - scene depicted finds closest parallels in the three skyphoi
- from the Kaloyanovo Tomb that are dated in the mid
, 4th century BC ( 1969, 82), in the skyphos
V . .. ( 1969, 82), discovered in the tumulus of Peychova Mogila near
, Starosel (also dated in the mid 4th century BC) (
V . ..( 2003, 28, 2003, 28, . 42), in the skyphos from the tumulus of
. 42), , - Mogilanskata Mogila (dated firstly by P. Alexandrescu
. in the first quarter of the 4th century BC (Alexandrescu
V . .. (Alexandrescu 1976, 135), 1976, 135), and eventually in the second quarter of the
- . 4th century BC by N. Torbov ( 2005, 84-85, 94-
( 2005, 8485, 9495), 95)), in the skyphos from Gradeshnitsa, Vratsa Region
, , (dated in the second quarter of the 4th century BC)
V . .. ( 1984, 11, 74), ( 1984, 11, 74), and in the skyphos from the
(- tumulus of Mileva Mogila near Muglizh (-
-, 2009, 113, . 8). - , 2009, 113, ill. 8). Similar scene
is represented on a fragment from an Attic red-figure
, skyphos discovered in Kabyle and dated sometime
V . .. (, - around the mid 4th century BC (,
2010, 251252, . 3,1) . 2010, 251-252, ill. 3, 1), etc.
The shape of the skyphos from Malomirovo-
Zlatinitsa finds parallels in Athens and among the black-
(Sparkes, Talcott 1970, 349, slip versions of the skyphoi (Sparkes, Talcott 1970,
400375 . .., 350 V . 349, 400-375 BC, 350 - the second quarter of the
..). 4th century BC).
A fragment of a red-figure krater (Ill.VI-1) was
(. V-1d). found among the remains of funeral feast in front of the
, , grave. The shard is from the upper part of the vessel. The
. - baked clay is beige coloured and shows that the vessel
. was baked uniformly. The fragment is covered with a
. dense, black, matt slip that is now lost in some areas. It
belonged to a bell shaped krater. Some decoration has
, - survived on this shard. Two narrow red bands decorated
, - the inner area below the mouth of the vessel. The outer
. surface has preserved below the mouth a laurel wreath
: to the left, framed above and below with red bands. The
, . upper part of the painted scene is also discernible on
, - the fragment: two men in profile one to the right, the
V other to the left. The shard belonged to a bell-shaped
. .. ( 1992, 2122). krater that may most generally be dated in the first
(. 51360) quarter of the 4th century BC ( 1992, 21-22).
, ( The second skyphos (inv. no. 51360) was
. -19). discovered among the stones that filled the grave pit
 177

- (See Ill.I-19). It is made of relatively well purified clay

; e that gave red-brick colour in firing. Both surfaces are
(. V-3). , covered with a dense, black, shiny slip (Ill.VI-3). The
. mouth is broad and slightly projecting outwards. The
, walls become almost vertical in a certain distance below
. , the rim and then the body narrows to the bottom. The
, foot is ring-like; the handles are small and situated just
. : 10,8 , below the rim. Dimensions: height 10.8 cm, diameter
6,8 , 12,4 . of the foot 6.8 cm, diameter of the mouth 12.4 cm.
Head of a woman in profile to the right is represented
(. V-1). on both sides of the skyphos (Ill. VI-1b). The hair
, , is gathered in a knot, covered with a kerchief. Long
omega-like earrings are hanging out from the latter. A
. - palmetto with tendrils is depicted below each handle.
. , - The tips of the palmettos are cut off. Their cores are
marked with a semicircular line in black slip and a
. - black dot in the centre. A broad horizontal black band
. limits the bottom of the representations. Two concentric
- circles with a black dot in the middle are painted in
- black slip over the red covering layer of the foot. The
. - painting was done with care.
. In shape and decoration, the skyphos considered
, , - belongs to the Attic red-figure skyphoi of the so-called
- Kerchen style, dated in the time period between the
first half of the 4th century BC to its middle (

. VI-3.
Ill. VI-3. The first red-figure skyphos from the grave after restoration
 178

,
V . .. ( 1963, 199).
-

V . .. (
Moore 1997, 1303 1305).
,

. -
-

, -
- . V . ..
- (Sparkes,
Talcott 1970, 8485).
- ,
-
V . ..,
.
-

(. V-4). (.
51369) -
- .
,
. -
, -
- ,
(. V-5). -
. VI-4. in situ
.
Ill. VI-4. The cylix in situ in the grave

. 1963, 199).
. - The two skyphoi from Malomirovo-Zlatinitsa find
, common parallels across the entire Mediterranean
(. V-6). world of the early 4th century BC to its middle (Moore
. 1997, 1303 1305). It is possible to date more
precisely the skyphoi form the grave considering the
, evolution of the skyphoi of the Attic Variant A. It is
. manifested in a tendency towards a stronger stress on
the outline of the vessel by means of a sequel of two
- curves: the first right below the mouth of the vessel and
(. V-7). : - the second, right below its widest part. This tendency
14 , 5 . developed more and more intensively during the 4th
V V . .. century BC (Sparkes, Talcott 1970, 84-85). The first
skyphos here described shows indications for a better
. developed profile, which suggest a date around the mid
, 4th century BC, taking also in consideration its almost
- identical shape with the black-slip skyphoi.
( 1989, 1 . An elegant black-slip cup a cylix was discovered
.). - in the north-western area of the grave (Ill. VI-4). The
cylix (inv. no. 51369) is made of fine clay that
stemless, large, delicate class, rim offset shows light-beige colour after firing. It is wholly
inside ( Sparkes, covered with evenly painted, dense, shiny black slip.
Talcott 1970, 102, 483492.). The body of the vessel is hemispherical in shape, with
 179

. VI-5.
Ill. VI-5. The cylix after restoration

. VI-6. . VI-7.
Ill. VI-6. Decoration on the bottom of the cylix Ill. VI-7. Decoration on the foot of the cylix

thicker walls in the lower area and thinner towards the

V . .. mouth, which shows a thinned, even rim (Ill.VI-5). The
V . .. (Sparkes, Talcott, vessel is mounted on a ring-like foot with a complex
1970, 102). - profile. The two opposing handles start from the middle
of the body and project above the rim. Their top part is
, horizontal and bent inwards. The inner surface of the
, - body is decorated with punched slanting notches in
seven bands (Ill.VI-6). The lengths of the notched grow
(Sparkes, Talcott 1970, 104105)1. , - from the centre towards the periphery of the vessel. The
- border between the body and the foot is marked with a
narrow red line. Similar line is also painted along the
V . .. outer edge of the foot. The inner area of the foot is
- decorated with two broad, dense, black-slip rings and
two thinner circles with a dot in the centre (Ill. VI-7).
1
- Dimensions: diameter of the rim 14 cm, height 5 cm.
stemless (with inset lip) (- Cylices are among the most popular Attic vessels for
2004, 5456, .3, 6, 8).
wine drinking during the 5th century BC and the early
V V . ..
(Sparkes, Talcott 1970, 102)
4th century BC. Several varieties of these vessels are
 180

. VI-8. in situ
Ill. VI-8. The pelike in situ

- evidenced in Thrace and they all have exact analogues

(. V-8). among the cylices from the necropolis of Apollonia and
. , - the materials from the agora of Athens ( 1989,
, , 1 and bibliography). The cylix from Malomirovo-
. Zlatinitsa belongs to the group of cylices with a short
(. 8623) foot, of the group called in the classification of Sparkes
- . - and Talcott stemless, large, delicate class, rim offset
inside (Sparkes, Talcott 1970, 102, 483492.).
According to the data from the agora of Athens, the
type was established in the third quarter of the 5th
century BC, and existed until the second quarter of
the 4th century BC (Sparkes, Talcott, 1970, 102). The
cylices from the last period of existence of the type are
distinguished both by the specific shape of the handles
bent inwards and towering above the body and by
the existence of stamped ornamentation inside the body
(Sparkes, Talcott 1970, 104-105)1. It is clear that the
exemplar from Malomirovo-Zlatinitsa belongs to the
group of the late representatives of this type and should
be placed in the second quarter of the 4th century BC.
1
Similar are the handles of the cylices with thickened inner
side of the rim from the group of the stemless (with inset lip)
Obr. VI-9. ( 2004, 54-56, ills. 3, 6, 8). The spread of the type
Ill. VI-9. The graffito on the bottom of the pelike was from the second quarter of the 5th century BC until the
early 4th century BC (Sparkes, Talcott 1970, 102).
 181

. VI-10. . VI-11.
Ill. VI-10. Decoration on Side A of the pelike Ill. VI-11. Decoration on Side B of the pelike

. . A red-figure pelike (Ill. VI-8) was discovered at

, the west wall of the grave and in the north from the
. , - wooden scabbard of the sword. A nail was discovered
. , , in one of its handles. Most probably, the pelike had been
; (. hanged on a nail in the wall, like most of the vessels
VI-9). in the grave. The vessel (inv. no. 8623) is made
- of fine clay that shows light beige colour after firing.
. : 18,0 , Both inner and outer surfaces of the pelike are covered
10,3 , 8,5 . with dense, shiny, black slip. The body is egg-shaped.
. The neck is elongated and terminates in a mouth with
, . - profoundly projecting and bent downwards wreath.
. The foot is short and ring-like. The outer side of the
, . bottom shows the colour of the fired clay, without a
, slip and a graffito had been scratched on it (Ill.VI-9).
(). Tow bands of Ionian cymatium frame the upper and
, lower ends of the scenes on both sides of the pelike.
. Dimensions: height 18.0 cm, diameter of the rim 10.3
(. V-10). cm, diameter of the foot 8.5 cm.
B. , - Side A. The scene presents two young women in
, profile and their eyes meet. They are dressed in long
. himations. Their coiffures are tidy and depicted as black
spots. A rectangular object (altar) is situated vertically
(. V-11). between them. The right hand of the right figure is
outstretched and holds a small object that is about to
VV . .. be dropped on the altar. The body of the other female is
 182

fully covered by her clothes (Ill. VI-10).

, , - Side B. It shows a representation of a woman turned
, , - to the right. It is identical to the figure with the fully
V covered by the himation body on Side A. Small bands
. .. ( 2003, 130131, 44). of Ionian cymatium limits both the upper and lower
2053 (The Painter of the Bon ends of the scene (Ill. VI-11).
2053). The shape of the vessel is typical for the pelikai of the
, V . so-called Kerchen style the transition between the 5th
.. ( 1934, 60, . 76). and the 4th centuries BC. A pelike from the necropolis of
, Apollonia and dated in the late 5th century BC (
, 2003, 130-131, 44) is very close both in shape and
, - iconography to the pelike from Malomirovo-Zlatinitsa.
( 2003, 130). It is a work of the Bonn Painter 2053. The pelike
, -- from the tumulus of Bashova Mogila near Duvanlii
- was probably also one of his works. It is also dated in
, the late 5th century BC ( 1934, 60, ill. 76). The
- , schematic rendering of the hair, the anatomically wrong
V . .. hands with no details and the schematic strokes on the
. himations are characteristic for this painter (
2003, 130). In spite of the great similarities between
( 2003, 34; et al. 2005, 82, . 76), these three pelikai, the rather elongated proportions
. of the body of the pelike from Malomirovo-Zlatinitsa
suggest a somewhat later date for it, for example in
the first quarter of the 4th century BC or a little bit later.
The scene represented on the pelike is often seen both
(. V- on red-figure pelikai ( 2003, 34; et al.
12) 2005, 82, ill. 76) and on red-figure skyphoi.
. , -
( . I-21), Amphorae
( -
). Four amphorae were discovered in the grave
. three in the north-western corner and one in the north-
: (. V-13) eastern corner (Ill.VI-12). The amphora discovered
81,2 , 11,0 , in the northwestern corner of the grave (See Ill.I-21)
6,5 , 29,8 , was wholly preserved, while the remaining three were
3,8 2,6 ; (. V-14) restored from the fragments found in situ. The whole
64,0 , 9,8 , amphora was deposited vertically, mouth up. The four
6,5 , 26,15 , amphorae are of identical shape and show the following
3,8 2,3 ; (. V-15) - dimensions: A (Ill. VI-13) height 81.2 cm, diameter
72,0 , 11,0 , of the mouth 11.0 cm, diameter of the foot 6.5cm,
6,5, 28,2 , maximal width 29.8 cm, cross-section of the handle 3.8
3,4 2,1 ; D (. V-16) x 2.6 cm; B (Ill. VI-13) height 64.0 cm, diameter of
71,0 , 10,0 , 6,4 the mouth 9.8 cm, diameter of the foot 6.5 cm, maximal
, 28,8 , width 26.15 cm, cross-section of the handle 3.8 x 2.3
3,8 2,4 . cm; C (Ill. VI-14) height 72.0 cm, diameter of the
- mouth 10.0 cm, diameter of the foot 6.4 cm, maximal
, , width 28.2 cm, cross-section of the handle 3.4 x 2.1 cm;
. - D (Ill. VI-15) height 71.0 cm, diameter of the mouth
. 9.8 cm, diameter of the foot 6.5 cm, maximal width 28
. , - cm, cross-section of the handle 3.8 x 2.4 cm.
, The amphorae are made of finely purified clay,
. almost without admixtures, and had acquired light
. brawn colour after firing. Their outer surface had been
, additionally covered with a fine clay slip. The body is
 183

. VI-12.
Ill. VI-12. Table with drawings of the amphorae
( , , D). , bi-conical. The mouth is massive. The rim is evenly cut,
- projecting slantingly outwards and shows a trapezium-
. like cross-section. It is stressed by a shallow, unevenly
, incised groove. There are remains of a broad horizontal
, band in a red paint below the wreath on three of the
, amphorae (amphorae A, C and D). The neck is tall,
. conically broadening in its lower part, passing gracefully
, into rounded shoulders. The handles are a bit higher than
. - the mouth. They are rounded, with an elliptic cross-
, . , section. The handles are slightly inclined towards the
, shoulders of the vessels body and are joined to it in an
, - - area that is a little bit above the shoulders. There is a
. concavity at the lower end of the handles that had been
. done by thumb pressing. The lower part is conical with
. 2 - slightly concave outlines. The foot is tall, cylindrical and
- broadened at its base. The latter is complexly profiled
and there is a band on its broadest lower part. Its bottom
375 360 . side shows a hemispherical shallow concavity.
.. - According to S. Monakhov2, the amphorae from
Malomirovo-Zlatinitsa belong to the production of the
II-B-2, IV . .. Isle of Thasos, or were produced by the so-called circle
of the Isle of Thasos, from 375 BC to 360 BC. According
( 1999, 146, . 50, 1; 150, . 52, 2; 179, to the classification by the same author, they belong to
. 65, 2; 277, .113/1; 2003, 6668; 77 the developed type of bi-conical Thasos amphorae II-B-2
81, . 41, 5,7; . 56, 5). . that were replaced in the second half of the 4th century
BC by a late bi-conical type ( 1999, 146, Plate
390370 .. (Garlan, 1999, pl. I-IV). 50, 1; 150, Plate 52, 2; 179, Plate 65, 2; 277, Plate113/1;
e 2003, 66-68; 77-81, Plate 41, 5,7; Plate 56, 5).
2
14.03.2011 .
2
Personal contact, a letter from March 14th 2011.
 184

. VI-13. . VI-14. B
Ill. VI-13. Amphora A after restoration Ill. VI-14. Amphora B after restoration
: According to Y. Garlan this type of bi-conical amphorae
( 1919, 1314, . was made on Thasos in the period 390-370 BC (Garlan,
13) 370340 . .. ( 1988, 1999, pl. I-IV).
26), Thasian amphorae of this type were also discovered
( 1919, 1314, . 2728, . 27), - in other rich burials in Thrace. One of the amphorae
, from Brezovo is similar ( 1919, 13-14, ill. 13).
, , It is dated in 370-340 BC ( 1988, 26). The
V . .. ( 1969, amphorae from Malomirovo-Zlatinitsa is also similar to
7879, . 32). one of the amphorae from a tumulus near Panagyurishte
- ( 1919, 13-14, ills. 27-28, ill. 27), dated in the
same period as the amphora from Brezovo, as well as to
(D) . two amphorae from Kaloyanovo Tomb, Sliven Region,
- dated in the mid 4th century BC ( 1969, 78-79,
, - ill. 32).
The fourth amphora (D) from the complex made
(. V-17). it possible to narrow the chronological borders for
. the production of these amphorae. It shows the same
, - morphological characteristics like the other three but it
. - bears a stamp with a representation of an eagle-griffin (Ill.
S- . VI-17) on each handle. The stamp on one of the handles
, , is octahedral. The griffin is depicted in a peaceful pose,
 185

. VI-15. C . VI-16. D
Ill. VI-15. Amphora C Ill. VI-16. Amphora D after restoration
. , - sitting on its hind paws. Its tail is S-like curved behind
. : 1,8 . its back. The wings are marked without details but their
. outlines are rounded and slightly curving towards the
, griffins neck. Its beak is closed and its ears are vertically
, straightened. Dimensions of the stamp: height 1.8 cm.
. . 3, - The two stamps are identical. There are no exact
analogues of these stamps both in the publications
IV . .., - dedicated to the Thasian stamps and in those dealing
with the stamps of the circle of Thasos. According to
, S. Monakhov3, in spite of the fact that its morphological
- indications fully inscribe this amphora in the first quarter
. of the 4th century BC, the thesis about a Thasian origin
, , of the amphora from Malomirovo-Zlatinitsa should be
totally discarded due to the presence of a stamp with the
, representation of a griffin a scheme that is absolutely
(, 2003, . 581), incompatible with the Thasian tradition of stamping.
- He thinks that the amphora came somewhere from
, - Thasian Peiraias and points out as an example one of
(, 2003, . 56, 57). the stamped Acanthus amphorae that fully copied the
, bi-conical variant of the Thasian amphorae (,
3
14.03.2011 . 3
Personal contact, a letter from March 14th 2011.
 186

. VI-17. D
Ill. VI-17. One of the stamps on amphora D with a representation of eagle-griffin

- 2003, Plate 58-1), as well as several other bi-conical

(Peristeri-Otatzi 1986, 491496.). amphorae made of Thasian clay but stamped with
, dies that are completely different from the Thasian
. - (, 2003, Plates 56, 57).
- The investigation showed that the only amphora
, stamps with a representation of a griffin came from
- Abdera (Peristeri-Otatzi, 1986, 491-496.). Many such
. , , stamps made with different dies have been published
III . .. so far but neither of them is from a whole amphora. The
- stamps strongly remind the griffin representations on
. the coins of Abdera, but neither of them coincides with
4 , - the representation on the amphora from Malomirovo-
, Zlatinitsa. The scholar that published these stamps
- dates them in the second half of the 3rd century BC.
-, - Y. Garlan, the eminent researcher in the Thasian
. stamps, notes in personal correspondence with the
, author4 that he does not agree with this dates for the
- amphora stamps of Abdera, and adds that his opinion
, - is fully accepted by Chryssa Karadima-Matsa, one of
4
15.06.2011 . 4
A letter from June 15th 2011.
 187

, 390370 the best known experts on amphora stamps from the

.. (Garlan1999). North Aegean. Garlan is absolutely convinced that
, the amphora with the griffin stamp from Malomirovo-
- Zlatinitsa was made in Abdera but its shape had been
, profoundly influenced by the Thasian amphorae dated
- in the 390-370 BC (Garlan,1999).
, I believe that the hypothesis about the Abdera
- origin of the amphora from Malomirovo-Zlatinitsa is
, convincing enough, in spite of the fact that its stamp
. - has not found yet exact analogues among the published
so far amphora stamps from Abdera, as the stamp fully
, o- corresponds to their major characteristic the close
(395360 . ..). match with the griffin representations on coins minted
, in the same city. The representation of the griffin from
Malomirovo-Zlatinitsa finds in this respect a close
parallel with the representation of a griffin on a tetraobol
. - of magistrate Exsekrates (395-360 BC).
- As for the dating of the amphora, I fully agree
5. with Monakhov and Garlan that the shape is most
- important in this process. Thus, the crucial influence of
, , the Thasian amphorae is unambiguous5 in this respect.
, Taking in consideration the period of domination of the
( developed shape of the bi-conical Thasian amphorae,
), , - as well as the time needed for the establishment and
370 adoption of this fashion by other non-Thasian
350 . .. producers of amphora tare (Abdera in this case), I
- believe that the amphora from Malomirovo-Zlatinitsa
, should be dated in the frames of 370-350 BC.
The organic remains in the amphora were subjected
. - to instrumental analyses. They proved that it had
, contained strong red resin wine with low sugar content.
( ) - The resin added to the wine is from the turpentine tree
( 2008, 157164). that grew (and still grows) not only in the Near East but
. in Turkey and Cypress as well ( 2008, 157-
164). Turpentine resins have well expressed bactericide
Pistacia terebinthus var. action and the resin from Pistacia terebinthus var.
Atlantica . Atlantica had been used from ancient times both as a
medicine and as an additive to the wine.
- The Greek ceramics from the grave excavated in the
, tumulus near the villages of Malomirovo and Zlatinitsa
, - is evidenced in studied archaeological complexes along
. , the Black Sea coasts, as well as in the inner territories
, of the country, mostly along the courses of the rivers of
Tundzha and Maritsa.
V . .. - As a whole, the ceramic complex contains shapes
, - and vessels characteristic for the Classical Age from
. the early 4th century BC to its middle. The painted red-
figure vessels that are referred to the late representatives
of the style are most characteristic.

5
- 5
The elucidation of the reasons that stood behind the huge
influence of Thasos on the shapes produced outside Thasos
, - is one of the hot problems in the study of the ancient am-
. phora tare production.
 188

Thracian ceramics

Thracian ceramic vessels were discovered in two

, zones in the grave: in the area for the funeral feasts,
, situated in the south, before the horses skeletons,
. - and in the filling of the grave pit, on the level of the
, , wooden roof construction of the grave. Three broken
- in situ bowls discovered in the area for funeral feasts,
, while a krater-shaped vessel, two pitchers and a cup
(. VI-18; . VI-19 ). with handle all fragmented (Ill.VI-18, VI-19) were
(. 51365). - discovered on the wooden covering of the grave.
. A bowl with one handle (inv. no. 51365). It
is made of finely purified grey clay. The entire surface
( ) of the vessel is covered with engobe and burnished to
(. V-20). , metallic shine but is now lost in some areas (Ill. VI-20).
. The body is hemispherical in shape with a rim
profoundly bent inwards. A shallow, horizontal line is
. - incised below the rim in the outer surface of the vessel.
. - A small horizontal handle with circular cross-section is
- pasted to the rim. The handle is curved in a semi-ellipse
, . and slightly arc-like projects above the rim. Two small
, , buckles are moulded on the rim on both sides of the
. handle. The bottom of the vessel is fragmented and some
. : parts are missing. Dimensions: height 50 cm, diameter of
5,0 , 4,0 , the foot 4.0 cm, diameter of the rim 14.5 cm.
14,5 . Bowls of this shape are rarely discovered in Thrace.
An analogue of this vessel is found among the finds
. from the village of Dulboki, Stara Zagora, dated in
. , , the late 5th century BC ( 1950, 222, ill. 25).
V . .. ( 1950, 222, . 25). The bowl from Dulboki has a short ring-like foot. One
similar bowl from the tumulus of Orela near Strelcha is

. VI-18. ,
Ill. VI-18. The Thracian ceramics discovered on the grave and in the trizna in front of the grave
 189

. VI-19.
Ill. VI-19. Table with drawings of the Thracian ceramics

dated in the first half of the 4th century BC6.

The shape of the vessel is interesting and contributes
to the recognition of its function. The relatively small
size of the vessel and the horizontal handle, give us
reason to suggest that it had been used to scoop some
liquid, i.e. it had been used as a kind of ladle. However,
the shape of this vessel makes it a possible functional
substitute of the patera. This supposition is supported
to a certain extent by the context of its discovery in the
area for funeral feasts, too. The latter surely included
last libation as a part of the funeral ritual. This bowl
from Malomirovo-Zlatinitsa should be dated on the
base of the parallels pointed out in the first half of the
. VI-20. 4th century BC.
Ill. VI-20. Bowl with one handle after restoration
The second bowl is made also of finely purifies clay
. V . .. - that had acquired grey colour after firing (Ill.VI-21)
The surface of the vessel is black, burnished to metallic
6. shine, now lost in few areas. The body has the shape
- of a truncated cone. The mouth is slightly thickened
. - and bent inwards. The rim is slantingly cut. The outer
surface of the mouth is decorated with a parallel pair of
, - incised lines. The body stands on a ring-like foot with a
, . . thickened base. Dimensions: height 8.0 cm, diameter of
the foot 7.7 cm, diameter of the rim 20.5 cm.
, . In contrast to the bowl described in the text above,
this type of bowls was extremely popular across
6
. . 6
Unpublished, exposed in the Strelcha Museum.
 190

, -
,
. -

V . ..
-
,
(. V-21). , -
, .
- ,
.
- . VI-21. -
.
Ill. VI-21. Bowl in the shape of truncated cone after
. : 8,0 , 7,7 restoration
, 20,5 . entire Thrace in the late 5th century BC and during the
- , - whole 4th century BC ( 1962, 125, Plate /2;
- 1955, 72, ill. 16, 1; 1962,
V V . .. 171-172, ill. 85; - 1965, 63, ill.
( 1962, 125, . /2; 1955, 72, 171; iikova 1963, 43; 1969, 77, ill. 29;
. 16, 1; 1962, 171172, . 85; - 1984, 36). Their use is also evidenced in the
- 1965, 63, . 171; iikova 1963, 3rd century BC (, 1994, 21). The
43; 1969, 77, . 29; 1984, bowl from Malomirovo-Zlatinitsa belongs to Type 26
36). . in the classification of the ceramics from Seuthopolis
.. (, 1994, 21). - ( 1984, 34-35, ill. 10, .75). Vessels of this
type of a variant with a thickened and bent inwards
26 (- mouth, stressed with a horizontal incised line are to
1984, 3435, . 10, .75). be found from a broad chronological span: the 4th 3rd
, centuries BC ( 1984, 36).
, The third bowl (inv. no. 51364) is also made
, of finely purified clay and shows a burnished to metallic
V . .. ( 1984, 36). shine surface, now lost in some areas. The colour of the
(. 51364) - fired clay is grey at the brakes (Ill.VI-22). The lower
- part of the body is conical, while the upper part is
( cylindrical. The mouth is with profoundly projecting
) (. V-22). outwards rounded rim. The body stands on a conical
. in shape foot. Dimensions: height 13.7 cm, diameter of
. the foot 10.0 cm, diameter of the rim 26.0 cm.
Bowls of this type are often seen among the finds
. : 13, 7 , both from necropolises (-
10,0 , 26,0 . 1965, 63-64, ill. 172; , 1994, 21
with bibliography) and from settlements in Thrace
(-- dating from the time period between the 5th and the 4th
1965, 6364, . 172; , 1994, centuries BC (iikova 1963, 40; 1963, 160).
21 . .), It is difficult to date the bowls from the grave more
VV . .. (iikova 1963, 40; precisely due to the broad chronological limits in which
1963, 160). the last two types of bowls were used. Their dating may
become more precise on the basis of the dating of the
- rest of the vessels from the grave.
-. Four ceramic vessels were discovered among the
stones that filled the burial pit. They were discovered
. in its north-western corner, at a depth of 0.60 m from
, , upper end of the burial construction. The find consisted
0,60 ,
 191

of a krater-shaped vessel, two pitchers and a cup.

The vessels were fragmented as a result of the stone
displacement when the burial construction collapsed.
It became clear from the situation of the shards in situ
that the two pitchers and the cup had been deposited
into the krater-shaped vessel (See Ill. I-17).
Krater-shaped vessel (inv. no. 51368). The
body is bell-shaped. The mouth is with a rounded rim
that projects a bit and goes upwards. Two arc-bent
handles with circular cross-section are pasted to the
upper part of the body. The latter stands on a concave
ring-like foot (Ill.VI-23). The vessel is made of fine
. VI-22. 3 clay that acquired grey colour after baking. The vessel
Ill. VI-22. Bowl no.3 after restoration is covered with engobe. The surface is burnished to
: - black shine. Dimensions: height 29.0 cm, diameter of
, . the rim 30.5 cm, diameter of the foot 14.0cm.
- The shape of this vessel associates it with the
, - interstitial group of the krater-shaped vessels from the
. 4th century BC, which marks a stage of the development
, of this ceramic type: from a squat silhouette of the
( . -17). body to a more elongated one. These criteria are
(. 51368) indicative for the dating of the vessel. It finds close
, parallels among the finds from the burial complexes
, . near the village of Zlatovruh, Plovdiv Region (
1979, 97, ill.12), the village of Radevo, Sliven Region
. - ( 1973, 79, ill. 90), the villages of Zimnicha
(. V-23). (Alexandrescu 1980, 83, fig. 29/4) and Enisla (Simion
, 1976, fig. 6/4). The vessel discovered in Tumulus no. 17
, from the necropolis of Duvanlii is also close in shape.
. : 29,0 , It is dated in the 4th century BC ( 1934, 151-
30,5 , 14,0 . 152, ill. 176). Two similar krater-shaped vessels also
-
IV . ..,
-
: -
. -
, -
. , -
( 1979, 97, .12), . ,
( 1973, 79, . 90), (Alexandrescu
1980, 83, fig. 29/4) (Simion 1976, fig. 6/4).
, 17
, V . ..
( 1934, 151152, . 176),
-
( 1937, 141142,
. 134, 1, 2),
2 ( 1913, 211, . 122).
2 2
. , ,
V V . .. ( 1993,
18, 23, . 15). V . .. . VI-23.
Ill. VI-23. The krater-like vessel after restoration
( 1969, 7677, . 27).
 192

V . .. - date from the same period. They were discovered in

( 2002, the tumulus of Golyamata Mogila near Mezek (
36, . 6). , 1937, 141-142, ill. 134, 1, 2). One Krater-shaped vessel
- , - of the same date came from Tumulus no. 2, grave no.
2, near Ezerovo ( 1913, 211, ill. 122). The
( 2006, 62, . 30). - krater-shaped vessel from Kaloyanovo Tomb is dated
in the second quarter of the 4th century BC (
(Cicikova 1964, 43). 1969, 76-77, ill. 27). A krater-shaped vessel from a
- - tumulus near Etropole is dated some time around mid
V . .., 4th century BC ( 2002, 36, ill. 6). Several vessels
. of the same shape, but much larger, were discovered
, - in front of the faade of the tumulus of Zhaba Mogila
(. near Strelcha ( 2006, 62, ill. 30). The Greek bell-
V-24). kraters influenced the creation and development of this
, vessel type (Cicikova 1964, 43). The closest parallels
. of the vessel from Malomirovo-Zlatinitsa are from the
. , first half of the 4th century BC and it should be from the
same date.
. , The first pitcher is with a rounded body, the broadest
, - part of which is at the base (Ill. VI-24). The broad neck
, - with a concave profile gracefully joins to the sloping
. shoulders. It is separated from the latter by a shallow
. - incised line. The mouth is bent outwards and the rim
, is rounded. The handle is a double one, composed of
. : two adjoined clay bands with circular cross-sections.
14,9 , 7,4 , It starts from the rim, projects slightly above it, curves
10,0 , 13,5 . backwards and its lower end terminates on the most
- bulging part of the body. The body rests on a short ring-
, like foot with a convex centre. The pitcher is made of
V . .. (Cicikova 1964, 43; Moscalu finely purified clay. It has black, burnished to metallic
1983, pl. LXXILXXIV). , shine surface. The fired clay shows grey colour at the
, brakes. Dimensions: height 14.9 cm, diameter of the
V V . .. (- foot 7.4, maximum diameter 13.5 cm.
19401942, 194199, . 274278; The shape of the vessel repeats that of a group
1955, . 13, 3, . 16, 2; 1965, 55, . 3; of Thracian ceramics that had been produced in two
1959, 111 112, . 4 6; - basic variants since 5th century BC (Cicikova 1964, 43;
1961, . 4 , ; 1974, . ; Moscalu 1983, pl. LXXI LXXIV). Vessels similar
1984, 37, . 11; 2003, 75, . 42). to the pitcher from Malomirovo-Zlatinitsa were found
, - both in Thracian settlements and necropolises from
(Alexandrescu 1980, abb. 715), - the late 5th 4th centuries BC ( 1940-1942,
( 1948, 46, . 55). 194-199, ills. 274-278; 1955, ills. 13, 3,
. - ills. 16, 2; 1965, 55, ill. 3; 1959,
30, - 111- 112, ills. 4 6; - 1961, ills. 4 , ;
V . .. ( 1974, Plate ; 1984, 37, ill. 11;
1984, 38). 2003, 75, ill. 42). Close in shape pitchers were
- discovered in the necropolis near Zimnicha, Romania
, - (Alexandrescu 1980, abb. 715), as well as among the
(. V-25). , , finds from Apollonia ( 1948, 46, . 55). The
- pitcher from Malomirovo-Zlatinitsa belongs to Type
, ; 30 in the typology by M. Chichikova. It was popular
. during the 4th century BC and until the early 3rd century
, BC ( 1984, 38).
. - The second pitcher has a rounded pear-shaped body
, - that is broadest in the lower part of the vessel (Ill. VI-
 193

. VI-24. 1 . VI-25. 2
Ill. VI-24. Pitcher no. 1 after restoration Ill. VI-25. Pitcher no.2 after restoration

- . , 25). The neck is broad, short, funnel-like broadening

. and slightly projecting in the area opposite to the upper
. - end of the handle, and ends in a rounded edge. The
, handle is almost flat, with an elliptic cross-section and
. : a broad groove goes along its entire length. It starts
12,4 , 7,1 , 10,0 from the mouth, goes slightly upwards and curves
, 11,5 . downwards to reach the broadest part of the vessel. The
- bottom is even, but slightly concave in the centre. An X
( V is marked on it. The pitcher is made of finely purified
. ..) clay and shows a black-brownish burnished to metallic
, shine surface and the fired clay show grey colour at
. the bakes. Dimensions: height 12.4 cm, diameter of the
, ( bottom 7.1 cm, diameter of the mouth 10 cm, maximum
2005, 88, . 78, V/5). diameter 11.5 cm.
This pitcher differs with its elongated proportions
from the broadly spread (from the 5th century BC to the
. first half of the 3rd century BC) pitchers with a spheroid
. lower part of the body, flat bottom, a funnel-like mouth
, - and a vertical handle. Similar to the pitchers described
(. V-26). is the one from the pitchers discovered in Mogilanskata
. Mogila ( 2005, 88, cat. 78, Plate V/5).
. No precise parallels were found for the vessel from
Mlomirovo-Zlaatinitsa. Thus, its dating is based on the
. , other vessels in the grave.
; The fourth vessel in this group is a cup. It is
- . - hemispherical shape but the bottom is horizontally
- cut (Ill. VI-26). A horizontal incised line separates the
, body from the neck. The neck is wide and terminates in
(. V-27). a slightly bent outwards and rounded rim. The handle
, is made of two adjoined clay bands with circular cross-
 194

. VI-27.

Ill. VI-27. Drawing of the button-like ornament
. VI-26. section. It starts from the rim, goes slightly above the
rim and curves downwards to rest with its lower end
Ill. VI-26. The cup with button-like ornament after
on the broadest part of the body. The body is covered
restoration
regularly with a button-like ornament that was done by
. - pressing the still wet clay from the inside of the vessel
. (Ill.VI-27). The buttons are of identical shape and
, - are situated diagonally one above the other in three
. - horizontal rows. The foot is short, ring-like but of a
: 11,5 , 6,5 , - complex profile. The pitcher is made of finely purified
10, 0 , 11,0 . clay and covered with engobe. The surface is black
. - and burnished to metallic shine. The fired clay shows
- grey colour at the brakes. Dimensions: height 11.5 cm,
(Phidias diameter of the bottom 6.5 cm, diameter of the rim 10.0
shape), e cm, maximum diameter 11.0 cm.
V . .. (Sparkes, Talcott 1970, This cup is absolutely unique for Thrace. It imitates
72 73, 222). quite precisely one rare variant of black-slip cups of the
, - Phidias shape that shows buttons and is dated in the
, last quarter the end of the 5th century BC (Sparkes,
(Sparkes, Talcott 1970, 7374). Talcott 1970, 73, 222). There is a slight deviation in
these cups from the standard type of the body, which
- , is dumpy in shape. The decoration makes it possible to
1520 . - define it as belonging to the Pine-cone Type (Sparkes,
- - Talcott 1970, 73-74). The cup from Malomirovo-
- V . .. - Zlatinitsa is an imitation of such a vessel and might
be from a later date but not more than 15-20 years.
. Its make should be dated no later than the end of the
. first the beginning of the second quarter of the 4th
- . century BC. The thickness of the walls compared to its
, small size is worth noting, because the item produced
. is rather heavy and massive. Maybe this quality of the
, . cup is responsible for its longer life.
. The vessel choice the krater-shaped one, the two
- (, , pitchers and the cup was not accidental. Most probably,
 195

) the krater-shaped vessel was filled with some libation

. - liquid. The libation itself had been performed with the
, help of the pitchers. The custom of depositing smaller
( 1969, 76) vessels (pitchers, cups, small dishes) into krater-shaped
(Kitov, Krasteva 19921993, 6465, fig. vessels is also recorded in other burials in Thrace. The
4). ceramic vessels discovered both in Kaloyanovo Tomb
, - ( 1969, 76) and in the tumulus of Tonkova
, 2 - Mogila near Shipka (Kitov, Krasteva 1992-1993, 64-
, , 65, fig. 4) were seemingly grouped. Similar was the
( 2002, 39). situation in Chikovoto tumulus near Etropole, where
- a skyphos and a dish were placed in a krater-shaped
, - vessel ( 2002, 39).
, It becomes clear from the ceramics from Malomirovo-
. - Zlatinitsa considered here that it reproduced to a
, . greater extent shapes that were characteristic for the
: Greek culture. Some of the vessels are quite close
, , to the original, while others differ significantly. The
, basic characteristics of the seven vessels are: very well
, - purified clay, uniformly fired to grey colour, covered
. - with engobe, burnished to achieve almost metallic shine
, and the very high quality of work. This good quality
, - should have been due to three factors: high technological
; - standards at the workshop in which they were produced
, , and fired by keeping the necessary technological
, . - regime, and the choice of materials of high quality both
, for the shaping of the vessels and for the engobe. The
, - identical characteristics of the vessels, as well as some
, , other peculiarities for example the double handles of
the pitchers suggest that these vessels were probably
-. - made in a local producing centre, and even by one and
the same master-potter. The dating of the ceramics from
- the grave should be undoubtedly in conformity with the
, earliest vessel, imitation of the so-called Phidias Cup,
, - as well as with the vessels with parallels of date later
V . .., than the first half of the 4th century BC. Thus, the whole
. complex of Thracian ceramics discovered in the grave
should also be dated in that period.

Alabastron
,
, An alabastron (inv. no. 51367) was deposited
, (. in the grave representing the category of luxury items
51367). , - that served as containers for fragrant oils, creams and
, perfumes. It was discovered among the stones fallen into
. , the grave pit, right next to one of the skyphoi. It is partly
(. V-28). - preserved part of the body and the bottom are missing
. (Ill. VI-28). The alabastron is made of alabaster of high
, quality. The body is cylindrical but tapers gracefully
(. V-29). - towards the mouth of the vessel (Ill. VI-29). There
. , - are horizontal cuts in the neck. The mouth is broad,
, . horizontal, with slantingly cut outer edge. There are two
, small ears that are longitudinally situated on the upper
, - part of the body. These served for the hanging of the
. vessel. Dimensions: preserved height 18.5 cm, diameter
 196

. VI-28. . VI-29.
Ill. VI-28. The alabastron Ill. VI-29. Drawing of the alabastron
. - of the mouth 7.0 cm, diameter of the body 6.7 cm.
: 18,5 , 7,0 Items made of alabaster, including alabastra, from the
, 6,7 . period between the 5th 4th centuries BC were discovered
VV . .. , among the funeral offerings of many graves along the
, - Black Sea coast ( 1898, 191, ill. 59;
(- 1933, 288; 1963, 312, ills. 1016-1024) and
1898, 191, . 59; 1933, 288; - in inner Thrace, most of all in the tumuli near Duvanlii
1963, 312, . 10161024) ( 1934, 56, ill. 22, 70; 95, ill. 120; 137, ill. 162;
- (- 1934, 7; 1940/41, 112, ill. 15).
1934, 56, . 22, 70; 95, . 120; 137, . 162; Similar alabastra are often present among the funeral
1934, 7; 1940/41, 112, . 15). offerings in graves from the 4th and early 3rd centuries
- BC outside Bulgaria, too (Karageorghis 1973, 1, 12, 57,
- 837, pl. 302, 303; Tsibidou-Avloniti 19851986, 138,
V . .. (Karageorghis pl. 6; Vokotopoulou 1990, 615, 1936, 132133, pl.
1973, 1, 12, 57, 837, pl. 302, 303; Tsibidou-Avloniti 16, 17, 36, 37; Drougou 1991, 2933, fig. 10; Delemen
19851986, 138, pl. 6; Vokotopoulou 1990, 615, 19 2006, 264).
36, 132133, pl. 16, 17, 36, 37; Drougou 1991, 2933,
fig. 10; Delemen 2006, 264).