‘Zdenko BRUSIC ITALSKA TERRA SIGILLATA U LIBURNIJT [UDK904(497.8):738 Liburnija Zdenko BRUSIC Iavorni znansiveni lanale ‘YU'57000 ZADAR Orlial Scenic Paper Achealoski muze} rimljeno Reneed? = 5. x1 1980 U radu su objavljeni primjerci italske sigilate, pronadeni na pet nalazista u Liburniji. Pod pojmom Italska terra sigillata podrazumijevamo najranije primjerke ove vrste keramike izradene u gradu Arecu u Italiji (aretinska sigil- lata). Primjerci tanjura, pladnjeva i kupa na nozi iz Liburnije pripadaju glat- koj i reljefnoj sigilati, najéesée signirani peatima majstora ili radionice koja je ovu keramiku izradivala. Prema identificiranim Zigovima i vrsti dekoracija te oblicima posuda, mozemo ovu vrstu terre sigillate importirane iz Italije da- tirati u Augustovo ili Tiberijevo doba. Italskom sigilatom nazivamo keramiéko posude koje po svojim oblici- ma i dekoraciji podsjeca na helenistiéke uzore a masovno se izraduje od prvog stoljeca stare ere u radionicama oko grada Areca u Etruriji te u dru- gim centrima Italije! Jedna od glavnih znatajki ove keramike, poscbno ones reljefnim ukrasom, keramike koja se u Atecu prva potela izradivati, njena je koralnocrvena boja premaza i dekorativnost ukrasa. Rimljani su, vjerojatno, tu keramiku, koju spominje Plinije i drugi an- tidki i kasniji pisci, nazivali prema njenoj boji vasa rubra ili prema mjestu izrade vasa Arretina? 1 Y Plinijevo vrijeme aretinska keramitka proizvodnja uzivala je veliki ugled, Plinije, cosim Areca, spominje takoder i druge gradove u Italiji kao centre keramitke industrije (Po- llentia, Hasta, Surrentum i Mutina), te Saguntum u Spanjolskoj i Samos, Pergam i Trales u Maloj Aziji (PLINIL SECUNDI, Naturalis Historia, 35, 160 i 161, Izd. C. Mayhoff, Leipzig 1906), 2 P. KRIZAK, Vasa arretina, RCRF, 3, 1961, 35. 792. BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 79-106 Naziv terra sigillata, koji je za ovu keramiku predlozio Dragendorff u svome radu o rimskoj keramici, brzo se udomacio, te danas predstavlja si- nonim za italsku, galsku, germansku keramiku i ostalu razgranatu kera- miéku manufakturu u prvih nekoliko steljeéa nove ere? Italsku sigilatu dijelimo obiéno na dvije vrste: keramiku s reljefno de- koriranom povrsinom (koju esto nazivamo reljefna aretinska keramika) i na glatku keramiku. Ova podjela vise je rezultat nacina izrade pojedine skupine nego razlititosti u oblicima i ukrasu. Glatka sigilata izradivana je na lonéarskom kolu, stim da je minimalni ukras u obliku festona, maski i raznih figurina naknadno dodavan, kao Sto je naknadno, posebnom matri- com utiskivan i Zig majstora. Za izradu reljefnog posuda majstor je morao posjedovati kalup u kojem je u negativu bila izvedena dekoracija. Matrica je stavljena na lonéarsko kolo i u nju je utiskivana glina. Lonéar je otiski- vao posudu u kalupu, dok je ostali neukraéeni dio posude izvlacio rukom, a dijelove, kao Sto su noge, ruéke i drugi clementi, majstor je naknadno dodavao dok je glina jo8 bila meka.+ Visoka kvaliteta keramike i njena koraljnocrvena boja dobivala se za- hvaljujuéi vrsti i sastavu gline, posebnim proéiscavanjem gline te poseb- nim postupkom peéenja u keramickim pecima, kod kojih je bila moguéa redukcija zraka i kontrola odvoda plinova iz lozista> Kada je rije¢ o podrijetlu italske sigilate, valja spomenuti dvije ten- dencije, rezultat kojih je spomenuta keramika: prva od njih lokalna je ke- ramiéka tradicija koja na prostoru srednje Italije ima dugi kontinuitet, dok druga govori o izravnom utjecaju radionitkih centara istocnog Medi- terana® Za glatku sigilatu moze se tvrditi da nastaje preteZno pod utjecajem lokalne keramitke tradicije, a paralele glede oblika posuda i rasporeda Zi- 3 Termin »terra sigillatae uvodi prvi koncem 18. stoljeca Francesco Rossi (G. PUCCI, Terra Sigillata Italica, Atlante della forme ceramice, Roma 1985, 365 i 371), a odnosi se, vjero- jatno, na keramiku ukragenu figuralnim predstavama (Sigillum, deminutiv signum, statua). Dragendorff uvodi ovaj termin za cjelokupnu keramiku karakteristi¢ke crvene boje, uglatih oblika koja imitira metalne wore i ima sjajnu koraljnocrvenu boju povrsinskog premaza (H. DRAGENDOREF, Terra sigillata, Ein Beitrag Geschichte der griechischen und rémischen Keramik, BJ, 1895, 19). * L. OMLENROTH, Italische Sigillata mit Auflagen aus Rétien und dem rémischen Germanien, BRGK, 1937,237; M. SCHINDLER — M. SCHEFFENEGGER, Die glatte rote Ter- ra sigillata_vom Magdalensberg, Celovec 1977, t. 85 a i 85 b. 5 M. BIMSON, The Technique of Greek Black und Terra Sigillata Red, AntJ, 36, 1956, 23id ® Po misljenju Oxea aretinska keramika nastaje iskljuéivo dolaskom orijentalnih lon- éara na tlo Italije (A. OXE, Rémischeitalische Beziehungen der friiharretinischen Reliefgefa- se, BJ 138, 1933, 30 i d.). Ovome moramo pretpostaviti i novije misljenje o kontiuniranom razvoju keramike na italskom tlu iz kojeg je proizasla i aretinska keramika (H. DRAGEN- DORFF — C. WATZINGER, Arretinische Reliefkeramik mit Beschreibung der Sammlung in Tiibingen, 1948, 17). Najnovija istrazivanja izvrSena u Bolseni pokazuju da je autohtona baza bila znaéajniji faktor u razvoju te velike industrije, posebno glatke sigillate. Dolazak lonéara s Orijenta utjecao je na nove kreacije, bogatu dekoraciju, nove oblike i jaci zamah proizvod- nje, osobito one u Arecu. (C. GOUDINEAU, La Ceramique Arétine Lisse, MEFR, supp. 6, 1968, 63 i dG. PUCCI, n. dj., 372 id). 80DIADORA 12, 1980, 79-106 Z.BRUSIC: ITALSKA TERRA SIGILLATA, gova na njemu pronalazimo na keramici s crnim premazom (la ceramica a vernice nera), te u kampanjskoj keramici, koje su na ovom prostoru pre- thodile sigilati? Crvena boja karakteristiéna za italsku i ostalu sigilatu rezultat je po- sebne tehnologije peéenja posuda, a taj tehnoloski postupak poznavali su helenistiéki majstori-keramigari u Siriji i Maloj Aziji (sigilata orijentalna Ai Pergamska keramika). Ovaj pak postupak mogli su u Italiju prenijeti lonéari koji su do8li i organizirali proizvodnju keramike u Arecu, ali isto tako su novu tehnologiju mogli usavréiti i domaéi lonéari. Reljefna sigilata, osobito ona iz aretinskih radionica, za koju se pret- postavlja da je ranija od glatke sigilate, vjerojatno je nastala pod utjeca- jem egejsko-egipatskih tradicija. Naime, najraniji primjerci keramiékih kupa iz Areca nose Zigove robova-lonéara, imena kojih su otigledno orijen- talnog podrijetla (Cerdo, Nicaphorus i Philemo), a ne8to kasniji kogno- men tvorniéara kod kojeg su radili spomenuti robovi; Tigranus (M. Pere- nius Tigranus) upuéuje na maloazijsko podrijetlo. Najranije primjerke aretinskih kupa s mitoloskim motivima i raznim erotskim i glazbenim prikazima, nastale u radionicama Pereniusa, datira- mo tridesetim godinama stare ere i smatramo poéetkom aretinske manu- fakture. Glatka sigilata u vecim se koliginama poéela proizvoditi oko pet- naeste godine stare ere.’ Keramitki proizvodi ove manufakture ubrzo su osvojili trzi8ta Italije, Galije, Germanije i ostalih provincija Carstva, no veé u drugoj polovici prvog stoljeca nove ere proizvodnja je u tolikoj mjeri reducirana, da nema 7 Dragendorff je u spomenutom radu o sigilati ustanovio 55 oblika ovog posuda. Prvih 14 oblika (formi) pripisao je aretinskoj keramici, a od tih aretinskih oblika 8 pripada neukra- Senom posudu (glatkoj sigiati, dok ostalih 6 oblika pripada reljefno dekorirano] Keramich, Nakon Dragendorffa, dija je Klasifikacija najéeSce u upotrebi, javlja se publikacija Loesch: kea, gdje autor na temelju materijala iz logora u Halternu (od 12. godine prije do 9. poslije n. €,) izdvaja 20 tipova. Od 16 oblika klasificirao je Loeschke éetiri karakteristiéne grupe na os- novi profila rubova, koje je nazvao »servis I—[V«. Servisi I i IT imaju originalne karakteristi- ke, dok su servisi IiT i IV varijacije prethodnih (S. LOESCHKE, Keramische Funde in Hal- tern, Ein Beitrag zur Geschichte der augusteischen Kultur in Deutschland, MAW, 5, 1909). Najnovija klasifikacija Puccija odnosi se na italsku sigilatu, a dana je kroz 48 oblika na osno- vi ranijih nalaza i novijih istrazivanja glatke sigilate iz Bolsene (G. PUCCI, n. dj, 365). 8 Prougavanje reljefne dekorirane sigilate, osobito one iz aretinskih radionica, zapoce- lo je jos Eetrdesetih godina proslog stoljeéa. Pojedini nalazi objavijeni su u zadnja dva dece- nija proslog stoljeca u »Notizie degli scavie, a najveci dio materijala i vremenske odrednice nastale su na osnovi materijala iz porajnskih logora. Bazu za kompletni pregled reljefne sige- late, koju je na osnovi materijala iz Tibingena napravio Dragendorff, objavio je nakon njego- ve smrti Watzinger (H. DRAGENDORFF — C. WATZINGER, n. dj.). Iscrpne preglede i razvoj reljefne aretinske keramike dao je COMFORT u RE, Suppl. VII, 1940, 1295-1352), i A. STE- NICO u »Enciclopedia dell’arte antica«. Osim publiciranja pojedinih reprezentativnih pri- mjeraka reljefne aretinske keramike iz pojedinih kolekcija (A. C. BROWN, Cataloge of Itali- an Terra-Sigillata in the Ashmolean Museum, 1968), matajan je napredak napravijen obja- vom matrica za utiskivanje keramike iz, pojedinih radionica u Arecu i okolici (A. STENICO, Ta ceramica arretina, Rasinius, 1, 1960, dalje: Rasinius); ISTI, La ceramica arretina, Collect. oni diverse, Punzioni, calchi ecc., 1966). ° G. PUCCI, n. dj. 376; A. OXE, n. dj., 30 i d.; H. COMFORT, n. dj. 1308. 81Z. BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 79-106 vise ni traga izvozu u provincije. Koncem prvog stoljeéa nove ere jaéaju lokalne keramiéke radionice u pojedinim provincijama a veliko trziSte op- skrbljuju keramiéarski centri iz sjeverne Italije (padanska sigilata) i sje- verne Afrike. Na podruéju Liburnije nadena je italska sigilata na vi8e nalazi8ta."! Primjerci reljefne sigilate potjecu iz grobova na nekropoli Velike Mrdako- vice kod Sibenika," iz Nina"? i iz. podmorskog nalazi8ta kod otoka Zlarina nedaleko Sibenika." Primjerci glatke sigilate poznati su iz nalazi8ta u Ni- nu,'’ Zadru, mjestu brodoloma kod Zlarina, iz nalaza u Osoru'* (vidi kar- tu). Italska sigilata dobro je zastupljena na liburnskim nalaziStima, s ob- zirom na njenu slabu zastupljenost na pojedinim nalazistima u Jugoslavi ji. U naSoj zemlji poznata je reljefna sigilata iz Liubliane,” Pule,'* Osijeka i 19 Zavréetak reljefne aretinske’ keramike prema Dragendorffu i Watzingeru datirao bi se negdje od 25. do 30. godine nove ere (H. DRAGENDORFF — C. WATZINGER, n. dj 17). Stenico ovaj datum pomice za éetvrt stoljeca kasnije (A. STENICO, Ceramica arretina a Ter- ra Sigillata tardoitalica, RCRF, 2, 1959, 51 i d.). Aretinska keramika iz brodova nadenih na je- zeru Nemi daje, po misijenju Comforta, moguénost jos kasnije datacije (H. COMFORT, Sigi- lata from the ship at Lake Nemi, RCRF, 2, 1959, 5—12). Za glatku italsku sigilatu Goudineau msli da se prestala izradivati oko Sezdesetih — sedamdesetth godina nove ere (C. GOUDINE- AU, n. dj. 366), a prema nalazima iz Pompeja mogao je taj datum biti i kasniji (G. PUCCI, n. dj., 377). 11 7, BRUSIC, The importation of Greck and Roman Relief Pottery into the Therritory od Southern Liburnia, RCRF, 17-18, 1977, 90; ISTI, Import reljefne helenisticke i rimske ke- ramike u Liburniju, disertacija, Zagreb 1981 (neobjavljeno), 42—57 i t. 19-22, (dalje: Import). 12 Z. BRUSIC, Import, 251; ISTI, Neke osobitosti pokopa u Liburniji, MatSADJ, 20, 1985, 141 i d. (dalje: Neke osobitosti); ISTI, Helenisti¢ka reljefna keramika w Liburniji, Dia” dora 10, 1988, 28-32; ISTI, Reljefna sjevernoitalska terra sigillata iz Liburnije, Diadora 11, 1989, 96-110, (dalje: Reljefna sjevernoitalska sigillata). © Podaci, osim nalazista, nepotpuni su jer Arheolo8ki muzej u Zadru posjeduje samo ulazne knjige kerami¢kih predmeta do 1927. godine dok su ostale inventarske knjige odnese- ne za vrijeme rata u Ttaliju 4 Z, BRUSIC, Rt Plavac, Zlarin kod Sibenika — ostaci antitkog brodoloma, AP, 16, 1974, 103104; ISTI, Import, 239 i 264. 15 Y Ninu je nadeno nekoliko tanjura i pladnjeva italske sigilate sa Zigovima. Primjer- ke posuda iz starijih istrazivanja ustupila mi je B. Nedved, kojo} se ovom prilikom zahval jem. Pojedini Zigovi s ovog posuda objavljeni su ranije (G. BERSA, Bolli, marche di fabrica ed iscrizioni su oggetti antichi del Museo di S. Donato in Zara, BASD, 8—11, 1903, 150; V. BRUNELLI, Storia della citta di Zara, 1913, 104). Noviji primjerci, koje mi je ljubazno ustu- pio J. Medini, nadeni su prilikom istradivanja 1971. godine oko crkve sv. Kriza. 16 R. MAKLIANIC, Terra sigilatta iz rimskih nekropola u Osoru i Bakru, Prilozi, 2, 1985, 39 id. 17 |. MIKL CURK, Vom Beginn der Rémerzeit im nérdlichen Jugoslavien, AI, 14, 1973, 42. 8 Jedna kupa sa figuralnim prikazima i Zigom L. VERETVS izlozena je u postavi Arhe- oloskog muzeja u Puli. ~ 82DIADORA 12, 1990, 79-106 2. BRUSIC: ITALSKA! BRA SIGILLATA, Karta 1: Nalazista italske terre sigillatee u Liburnifi. Map 1: Sites of Italic »terra sigillatae in Liburnia 83Z.BRUSIC: ITALSKA TERRA SIGILLATA.... DIADORA 12, 1990, 79-106 Mitrovice,”” dok su rani Zigovi glatke sigilate na naSem podruéju prilitno rijetki. Ulomke reljefne italske sigilate na liburnskom podruéju u veéim koli- éinama smo pronaili na nekropoli gradinskog naselja Velike Mrdakovice kod Sibenika. Na toj nekropoli reljefna sigilata nadena je u grobovima s incineracijom i inhumacijom, a pojedini ulomci sluéajnih nalaza na nekro- poli pretpostavljamo da su se nalazili u devastiranim grobovima. Sva reljefna sigilata nadena je u fragmentima, a mogla se jedino re- konstruirati posuda iz groba 86 (T. I, sl. 1 iT. VIII, sl. 3 i 4). Prema rekon- struiranom primjerku i profilima ostalih nadenih ulomaka zakljuéili smo da reljefna sigilata iz ove nekropole pripada oblicima kupa, svrstanih pre- ma klasifikaciji Dragendorffa u tip 11.” Manji dijelovi kupe fine fakture nadeni su u grobnici I, (T. IV, sl. 11 T. VIL, sl. 1 i 2), zajedno s veéom koli- dinom helenistiéke reljefne keramike liburnske grupe,” a nekoliko uloma- ka nadeno je u grobu 4 (T. IV, sl. 2). Medu ostacima tereta i opreme antié- kog broda, koji je kod otoka Zlarina dozivio nesreéu, nadena su dva pri- mjerka italske sigilate. To je reljefna kupa, od koje je saéuvan veci dio (T. IILiT. IX, sl. 2), i tanjur (7. V, sl. 41 T. IX, sl. 5). U Arheoloskom muzeju u Zadru éuvaju se ulomci reljefne kupe koja je, vjerojatno, pronadena pri starim istrazivanjima u Ninu (T. 11), zatim vise tanjura koje prema Zigovi- ma mojemo atribuirati italskoj sigilati: Zigovi — CN.ATEI. EROS (T. VII i T. IX, sl. 1), C. MVRRIVS, P. CLODIVS PROCVLVS, C. BOVIVS GENT .., C.M.R. (I. VI, sl. 2) Tijekom novih istrazivanja u Ninu i Zadru takoder su pronadeni ulomci sigilate sa Zigovima italskih majstora. U Ninu je prili- kom istrazivanja sedamdesetih godina uz vige Zigova, koji pripadaju sje- vernoitalskim i maloazijskim lonéarima, naden i Zig PERE.SAT in planta pedis — M. PERENNIVS SATURNINVS® (T. V, sl. 3), dok je prilikom istrazivanja 1986. godine u dvori8tu bivSeg samostana Sv. Dominika u Zadru u najdonjem antiékom sloju naden dio tanjura sa Zigom P. HER- TORIVS (T. VI, sl. 1iT. IX, sl. 3). Glatka italska terra sigillata nadena je i prilikom ranijih istrazivanja u Osoru, a na njoj se, uz vise Zigova sjevernoitalskih majstora, nalaze i Zi- govi M. PERENNIVS CRESCENS, C. MVRRIVS i C. M. R* 19 O. BRUKNER, Rimska keramika u jugoslovenskom delu provincije Donje Panonije, 1981, 18 1 19 it. 20. 20 U publikaciji Dragendorif—Watzinger navodi se 14 karakteristiénih oblika reljefne keramike. Oblik kupe (Forma I), na osnovi profilacija, razraden je u vise varijanti. Usporedi takoder i N. TAMBOGLIA, Appuntes sobre cronologia ceramics, Publiciones del seminario de arqueologia y numismatica aragonese, 3, 1952, 39 i t. 5. 21 Z, BRUSIC, Tehnike grobne i stambene arhitekture na nekim gradinskim naseljima juine Liburnije, Materijali, tehnike i strukture predantickog i antickog graditeljstva na istoé- nom jadranskom prostoru, 1980, 9 t. 10; Z. BRUSIC, Helenisti¢ka reljefna keramika 19 i d. 22 A. OXE—H. COMFORT, Corpus Vasorum Arretinorum, Cataloque of the Signatures, Shapes and Chronology of Italian Sigillata, 1968, br. 1042, 159, 454, 333 i 976. 23 A. OXE—H. COMFORT, n. dj. br. 1284 i 788. 4 R. MAKLIANIC, n. dj., br. 43; A. OXE—H. COMFORT, n. dj., br. 1281 84DIADORA 12, 1990, 79105 Z, BRUSIC: ITALSKA TERRA SIGILLATA KARAKTERISTIKE I DATIRANJE ITALSKE SIGILATE IZ LIBURNIJE Reljefna italska sigilata iz Liburnije oblicima je analogna ranijim po- luloptastim kupama koje imaju jednostavnu profilaciju gornjeg nedekori- ranog dijela posude. Primjerak naden na mjestu brodoloma kod Zlarina jedini ima razvedenu plastiénu dekoraciju, koja je kod italske sigilate bila tek neSto kasnije u upotrebi. Najraniji su zasigurno primjerci reljefne ke- ramike iz grobnice I na V. Mrdakovici (T. IV, sl. 1 i T. VII, sl. 1i 2), na ko- jima su prikazane zenske figure s kitarama. Na jednom od ulomaka vidi se cijela Zenska figura s kitarom, dok je na dva druga ulomka prepoznatljiv identiéan motiv. Motivi muzikusa na kitari pripadaju najranijim likovnim motivima koje nalazimo na keramici aretinskih radionica. U publikaciji o aretinskoj keramici, u kojoj je Watzinger publicirao sakupljeni i djelomiéno obrade- ni Dragendorffljev materijal, dekoracija na aretinskoj keramici klasificira- na je u 23 ciklusa. U drugom i petnaestom ciklusu prikazani su razni likovi s kitarama, koji se pojavljuju pojedinaéno ili u ansamblu figura na posu- dama. Na ve¢ini posuda iz aretinskih radionica viSekratno se ponavljaju pojedinaini Zenski likovi s kitarama, Sto je sluéaj i na dijelovima nage ku- ¢ iz grobnice I. Naime na ulomcima uoéavamo tri zenska lika s kitarom. Ric se tice detalja prezentacije lika, instrumenata i kostima, otigledna je istovjetnost na razini lika instrumenata i kostima s motivima na kupama M. Perenniusa i M. Perenniusa Tigranusa, koji izraduju ovakve kupe ne- gdje do 15. godine stare cre, kada se u okviru ovih radionica javljaju lonéa- ri Credo, Pilades i dr.* Kupa iz groba 86 (T. I. i T. VIII, sl. 3 i 4) iz iste nekropole oblikom pri- pada poznatim, jednostavnim aretinskim kupama (Drag ll), koje su u spo- menutoj publikaciji Dragendorff—Watzinger prema profilu otvora i sveu- kupnoj profilaciji ra8élanjerie u vie varijanti. Na’ primjerak, po obliku otvora i profilaciji, pripada najranijim primjercima ovih kupa klasificirani oznakom Ib. Bez obzira na o8teéenja, razlikujemo nekoliko figura od ko- jih se tek pojedine mogu identificirati: prepoznajemo dvije figure Zeusa s orlom (T. VIII, sl, 4) i zasigurno dvije figure Atene s kacigom i kopljem (T. VIII, sl. 3). Likovi su poredani u parovima koji se ponavljaju (Zeus, Atena), Sto je Gest sluéaj, kako smo veé spomenuli, na aretinskoj keramici. Vigek- ratno pozno prikazivanje istih mitoloskih likova kazuje nam da majstor keramiar mitske figure shvaéa prvenstveno kao dekoracije, a ne pokuSa- va likovnim sredstvima nanovo realizirati mitsku priéu, Ovakvi motivi, po- put niza Hora, Menada, ali i raznih grotesknih likova, plesatica i dr., esto se susrecu na ovoj keramici. Kupa iz paljenog groba 86, po svome obliku, profilaciji te po dekoraciji gornje limitirajuée bordure ukrasnog polja ina osnovi tretmana figura, vrlo je sliéna jednoj kupi iz Kapue, koja pripada radionici Cn. Ateiusa iz Areca. Kod najranijih kupa iz ove radionice sa Zi- 25 H. DRAGENDORFF—C. WATZINGER, n. dj. 15 i 90. 852. BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 73-108 gom ATEI pojavljuju se Hore, Nike u profilu, grupe iz eleusijskih misteri: ja, eroti u borbi s panterama, te borbe Grka s amazonkama.”* Svi su likovi poput nasih, dani u parovima, a karakteriziraju ih izduzene figure. Na na- Sem primjerku satuvano je i nekoliko slova imena majstora. Vidi se obli dio vjerojatno slova C i jo8 slova A Ti V, Sto bismo mogli pripisati majsto- ru Cn. Ateius C/N./ AT /EI/ V /S/. Vrijeme nastanka kupe pronadene u grobu 86 odgovaralo bi ranoj fazi ovih radionica, u kojoj se pojavljuju Cisti likovi u ambijentu bez vegetabilnih detalja, Sto vremenski odgovara prije- lazu stare u novu eru.”” Tri ulomka kupe iz paljenog groba 4 (T. IV, sl. 2) imaju vegetabilni uk- ras, koji ovako fragmentiran nije dovoljan za precizniju usporedbu i data- ciju. Na pronadenoj kupi elementi vegetabilne dekoracije sastoje se od girlandi s nizovima rozetica s privjescima, uz koje valja spomenuti delfine uz zonu ovula. Elementi vegetabilne dekoracije pojavljuju se tek u kasnijoj fazi razvoja aretinske dekoracije. U toj fazi vegetabilni dekor upotpunjuje likovne prikaze ili, kao Sto je to vjerojatno ovdje sluéaj, vegetabilni ukras. postaje dominantan na posudi. Girlande s nizovima rozeta i privjescima uz ostalu vegetabilnu dekoraciju, te razne maske i zoomorfni elementi, ka- rakteriziraju sigilatu iz radionice Rasinius,* koja se koncem stare ere po- put drugih radionica poéela masovno koristiti vegetabilnom dekoracijom. Nakon primjene u velikoj umjetnosti (Ara Pacis), vegetabilna se dekoraci- ja kako u keramici tako i drugim materijalima poéela reproducirati. Kupa iz Nina, koja je djelomiéno rekonstruirana iz ulomaka (T. I), oblikom je istovjetna kupama iz Mrdakovice. Ukras na ovom primjerku sastoji sé od figuralnih prikaza i vegetabilne dekoracije. Kompozicija se sastoji od bahantica sa tirsom, atleta, figure s amforom, upotpunjena je stablom, hermom, girlandama, te pticama, kornjaéama, siringom i kita- rom. Prikazana je vesela povorka u prirodi, a atmosfera je dionizijska. Faktura ove kupe logija je od sigilate iz V. Mrdakovice. Primjecuje se da su pojedini likovi otisnuti bez detalja, éemu je mozda uzrok istroSenost kalupa. Glede ukrasa mozemo ovu kupu datirati u prva desetljeca nove ere. Figure plesatica, prikaz stabla, ptica, te lika s amforom, analogna je dekoracija takvim motivima radionice Rasinius. Kupu iz Nina trebamo stoga datirati u ne’to mlade vrijeme od ulomaka kupe iz groba 4 na V. Mrdakovi Sljedeée nalaziste italske sigilate, kako reljefne tako i glatke, je pod- morsko nalazi8te kod rta Plavac na otoku Zlarinu. Ovdje je u prvoj éetvrti- ni prvog stoljeca nove ere jedna antiéka trgovatka lada dofivjela brodo- lom. Postoje odredene paralele izmedu materijala iz broda i keramike iz susjedne V. Mrdakovice. Konkretni klimatsko-geografski uzroci brodolo- 2 H. DRAGENDORFF, n. dj., 64; A. OXE, n. dj., 78 i t. 32-34; G. MEATZKE, Notizie sulla esplorazione dello scarico della fornace di CN.ATEIVS in Arezzo, RCRF, 2, 1959, 27. 2 4. OXE, n. dj.7i 79, 28 A. STENICO, n. dj., 64-68. 2 A. STENICO, n. dj., 30, 106, 134 i dr. 86DIADORA 12, 1990, 79-106 2. BRUSIC: ITALSKA TERRA SIGILLATA ma tine plauzibilnom pretpostavku da je brod plovio od sjevera k jugu i da je pri udesa pristao u nekom liburnskom pristaniStu u donjem toku rijeke Kr Keljefaa, kupa ix slaringkog brodoloma n potpmnosti. odgowsra itel- skoj sigilati, koju po obliku i profilaciji mozemo svrstati u formu III d pre- ma klasifikaciji Dragendorffa i Watzingera (T. III, sl. 1). Osnovna dekora- cija na kupi je niz bukranija povezanih festonima Sto teku oko donjeg dijela posude. Glave Silena ili bukranije povezane festonima éesti su uk- noj sigilati, bilo da dopunjuju ostalu dekoraciju ili, kao Sto je ovdje sluéaj, postaju primarna dekoracija posude.” Moguénost za blizu dataciju ove kupe daju nam dva Ziga otisnuta na posudi. Prvi, itljiv Zig, otisnut je in tabula ansata (T. IX, sl. 2), a drugi, necitljiv, na dnu je kupe — ig in planta pedis. U gornjem dijelu éitljivog Ziga prepoznaju se slova .OLVSI, dok se u donjem redu éita POTITI, a na jednoj od ansa vide se slova ET. Ovaj zig odgovara lonéarima Volusus et Potitus, kojih Oxe i Comfort u publikaciji o aretinskim Zigovima svrstavaju u juznogalske ma- nufakture.! Za dataciju ove kupe vazan je drugi Zig in planta pedis koji, iako netitljiv, daje moguénost okvirne datacije — vrijeme pojave ovih Zigo- va. Isticanje imena lonéara in tabula ansata pripada starijem na¢inu Zi- govanja posuda, dok se zigovi in planta pedis pojavijuju od 15. godine nove ere.” Buduci da su na ovoj kupi otisnuta oba Ziga, starija i mlada va- rijanta, moZemo pretpostaviti da je kupa nastala u vrijeme samog potetka upotrebe Ziga u stopici (in planta pedis), jer lonéar jos uvijck istice zig in tabula ansata. Imajuéi u vidu dvostruk i dvojak Zig na kupi nadenoj kod Ziarina, svjesni upotrebe jednog i drugog Ziga, smatramo da bi posudu mogli datirati u vrijeme izmedu 15. i 20. godine nove ere. Medu nalazima iz brodoloma kod Zlarina paznju privlaéi i tanjur for- me X (varijanta 11 ili 17) sa Zigom aretinskog lonéara Tettiusa (TETTI). Po obliku tanjura, kvaliteti izrade i Zigu moZemo i ovaj tanjur staviti u vrije- me poéetaka upotrebe Ziga in planta pedis oko 20. godine nase ere (T. V, sl. 4i T. IX, sl. 5). Od ostale glatke sigilate iz Liburnije jedino éemo spomenuti jo dva rana primjerka ove keramike. Jedan je primjerak velikog pladnja, kojem nedostaje obod, iz Nina, sa zigom aretinskog lonéara CN. ATEI EROS, ime kojega je pisano u ligaturi i otisnuto u kvadratu na éetiri radijalna mijesta na dnu pladnja (T. VIL. iT. IX, sl. 1). Drugi primjerak pladnja pro- naden je prilikom spomenutih radova u dvoristu bivSeg samostana Sv. Dominika u Zadru. Ulomci pladnja, sacuvani u nekoliko dijelova (T. VI, sl. 1iT. 1X, sl. 3), nadeni su u donjem sloju zajedno s ranom rimskom i ka- snom helenistitkom keramikom. Pladanj je bio ne8to manjih dimenzija 30 A. OXE, n. dj., 143 a i 74; H. DRAGENDORFF—C. WATZINGER, n. dj., br. 177-180 i 506; A. STENICO, Rasinius, br. 128, 130-133 i 274. 3 4, OXE-H. COMFORT, n. dj, br. 2231. 32 H. COMFORT, RE, VII, 131 GOUDINEAU, n. dj. 353; M. SCHINDLER—M SCHEFFENEGGER, n. dj., 293; G. PUCCI, n. dj., 374. 872, BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 79-106 od ninskoga, a imao je, izyleda, pet istih Zigova (€etiri radijalno utisnuta i jedan u sredini). Ime aretiaskog lonéara P. HERTORIUS.a otisnuto je i ov- dje u ligaturi i u kvadratnom Zigu. Oba ova pladnja, sudeéi po kvaliteti rade, obliku profila noge, te po Zigovima i njihovu rasporedu na posudi, datiramo posljednjim desetljeéem stare ere, iako smatramo da je pla- danj iz Nina neSto stariji od zadarskoga. Ostala sigilata iz Nina (T. VI, sl. 2) i Osora, sudeéi po oblicima posuda, kvaliteti keramike i na osnovi Zigo- va in planta pedis, datira se sigurno u vrijeme nakon 15. godine nove ere, ali ipak vecina ovog posuda vjerojatno nastaje sredinom prvog stoljeéa. Import italske sigilate u Liburniju nastavak je permanentnog priliva dobara iz grékog i italskog prostora, koji zapoéinje jo8 u prvoj polovini prvog tisucljeca stare ere, a u zadnjoj éetvrtini 1. st. stare ere postaje vrlo obiman. U vrijeme rimske dominacije, osim italske sigilate, posebno are- tinske reljefne keramike, importirana je u ve¢oj koligini i reljefna kerami- ka sjevernoitalskih radioni¢kih centara, a osobito je brojno posude tipa Sarius, koje bog svoje raznovrsnosti i koligine zahtijeva posebnu studi- ju Predrimski import keramitke i druge luksuzne robe iz anti¢kih radio- nica Mediterana sigurno je u évrstoj vezi s diferencijacijom Liburna i stva- ranjem aristokracije;* koja je ekonomski postala toliko jaka da je mogla nabavljati apulsku i reljefnu helenisti¢ku keramiku u zadnja dva vijeka stare ere, a u vrijeme rimske dominacije — luksuzno keramitko posude aretinskih radionica. Najljep8i primjerci reljefnih kupa pronadeni su u grobovima kod V. Mrdakovice, gdje je pokopano domaée liburnsko sta- novnistvo obliznjeg gradinskog naselja, vjerojatno anti¢ke Arauzone. Luk- suzno bojano i kasnije reljefno dekorirano posude, koje u Liburniji nala: mo sve do sredine petog vijeka nove ere, pripada najée8¢e onoj vrsti posu- da koje su u antici upotrebljavali za mijeSanje i posluzivanje vina. Vjeruje- mo da je i kod Liburna ova vrsta posuda sluzila za posluzivanje vina kod raznih sveéanosti i gozbi, posebno kod pogrebnih rituala, Najée8¢i nalazi ove skupocjene keramike u grobovima nisu u funkciji priloga, poput lam- Pi, lakrimarija, fibula kao i neukragene keramike. Ovo posude ima vainu unkciju u ceremonijalu pokopa, ono je razbijeno za vrijeme incineraci a ulomci razbijene keramike polagani su oko urne i iznad nje.* Crteze izradili: Danica Radojéié i Branko Vukorepa. 33 A. OXE—H. COMFORT, n. dj., 581 it. 11. % Z. BRUSIC, Import, 129 i d.; ISTI, Reljefna sjevernoitalska sigilata, 93 i d 3 S. CACE, Liburnija u razdobliu od 4. do 1. stoljeca prije ni 1985, dissertaci (nepab aE ne Lie fo 1. stoljeca prije nove ere, 1985, dissertacija 36 Z. BRUSIC, Neke osobitosti, 141. id, 88DIADORA 12, 1990, 75106 ‘Z. BRUSIC: ITALSKA TERRA SIGILLATA Zdenko BRUSIC: ITALIC TERRA SIGILLATA FROM LIBURNIA Abstract Examples of Italic terra sigillata found at five sites in Liburnia are published in this article. The term »ltalic terra sigillata« refers to the earliest examples of this type of pottery manufactured in the city of Arezzo in Italy (Arretine sigillata). Examples of plates, platters and pedestal bowls from Liburnia include both relief and plain wares, most commonly signed with the stamps of the potters or workshops which produced this pottery. According to the identified stamps and the types of decorations, as well as the forms of the vessels, this type of terra sigillata imported from Italy may be dated to the period of Augustus and Tiberius. 89Z_BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 79-105, Zdenko BRUSIC ITALIC TERRA SIGILLATA FROM LIBURNIA The term terra sigillata is used for pottery reminiscent of Hellenis- tic models in its shape and ornamentation which had been manufac- tured in large quantities from the Ist century BC onwards in work- shops in the vicinity of the city of Arezzo in Etruria, as well as other Italian centres.' One of the main characteristics of this pottery, parti- cularly examples with relief decoration, is the coral red colour of the slip and the beauty of the ornamentation. It appears that the Romans called this pottery — mentioned by Pliny and other classical writers — »vasa rubra« because of its colour, or »vasa Arretina« according to its site of manufacture. The term »terra sigillata«, proposed by Dragendorff in his work on Roman pottery, soon became common, and is now synonymous with Italic, Gallic and Germanic pottery and other developed pottery manufactured in the first several centuries AD? Italian ‘terra sigillata is usually divided into two classes: pottery with relief ornamentation (often called Arretine relief pottery) and un- decorated pottery. This division is more a result of the manner of pro- duction of individual lots than of differences in form or decoration. Undecorated sigillata was wheel made, while minimal decoration in the form of garlands, masks or various figures was added later, as was the potter’s stamp. The production of relief pottery required a mold with the ornamentation executed in negative. The potter, filling this mold, in effect cast the vessel, while the undecorated part was made by hand, and sections such as the base, handles and other elements were added subsequently, while the clay was still malleable.‘ The high quality of this pottery and its coral red colour were due to the clay used and its composition, as well as a special process of purifying the clay, followed by a specific process of firing in kilns which enabled air reduction and the extrusion of gases.5 In discussion of the origins of Italic sigillata, two tendencies resul- ting in the production of the pottery must be mentioned: the first is the local pottery tradition with a long continuity in the central Italian region, and the other is evidence of direct influence from the produc- tion centres of the eastern Mediterranean.* It can be stated that undecorated sigillata was mainly produced under the influence of the local pottery tradition, and parallels in the form and the distribution of stamps may be found in black burnished pottery (Ja ceramica a vernice nera) and Campanian pottery, which pre-dated sigillata in these regions.” 90DIADORA 12, 1990, 79-106 2, BRUSIC: ITALSKA TERRA SIGILLATA, The red colour of Italic and other sigillata is the result of a spe- cial firing technology known to the Hellenistic master potters of Syria and Asia Minor (Oriental sigillata A and Pergamon pottery). This tech- nology might have been imported into Italy by craftsmen who came to organize the production of pottery in Arezzo, but it could also have been perfected by local potters. The relief sigillata, particularly from Arretine workshops, which is assumed to be earlier than undecorated sigillata, probably resulted from the influence of Aegean-Egyptian traditions.’ Namely, the earliest pottery bowls from Arezzo have stamps of slave potters with names of obviously eastern extraction (Cerdo, Nicaphorus and Philemo), and the somewhat later cognomen of the manufacturer for whom these slaves worked, Tigranus (M. Perenius Tigranus) indicates Asia Minor. The earliest Arretine bowls made in the Perenius workshops with mythological motifs and various erotic or musical scenes are. dated to ca. 30 BC, and are considered to represent the beginning of Arretine production. Undecorated sigillata began to be mass produced ca. 15 BC? This pottery soon conquered the markets of Italy, Gaul, Germany and the other provinces of the empire, but as early as the second half of the first century AD production was so reduced that no trace of ex- ports to the provinces can be noted.'? Local workshops in some prov- inces developed near the end of the first century AD, and the extensive market was supplied by the pottery centres of northern Italy (Po Val- ley sigillata) and northern Africa. Italian sigillata has been found at several sites in Liburnia.!’ Examples of relief sigillata were found in graves from the cemetery of Velika Mrdakovica near Sibenik,'? from Nin,’ and from the underwa- ter site at the island of Zlarin, near Sibenik. Examples of undecorat- ed sigillata have been found at sites in Nin,'* Zadar, Ziarin and at Osor'® (see map). Italian sigillata is well represented at Liburnian sites, particularly in comparison to its scarcity at other sites in Yugoslavia. Relief sigilla- ta has been found in Yugoslavia at sites in Ljubljana,” Pula,'* Osijek and Sremska Mitrovica, while early stamps on Italian sigillata are rather rare. Fragments of Italian relief sigillata have been found in considera- ble quantities in the Liburnian region at the cemetery of the hillfort at Velika Mrdakovica near Sibenik. Relief sigillata was found at this cem- etery in both cremation and inhumation graves; some examples were chance finds and it is assumed that they had been among the invento- ries of destroyed graves. The relief sigillata was discovered in fragmentary state, and the only vessel that could be reconstructed was from grave 86 (T. 1, 1 and T. VII, 3-4). Based on this reconstruction and the profiles of the other discovered fragments, it is concluded that the relicf sigillata from this 91Z..BRUSIC: ITALSKA TERRA SIGILLATA, DIADORA 12, 1980, 79-106 necropolis may be attributed to the type of bowls classified by Dragen- dorff as type 11. Small fragments of a bowl with fine fabric were found in grave 1 (T. IV, 1 and T. VIII, 1-2), together with a large amount of Hellenistic relief pottery of the Liburnian group,! and a few frag- ments were found in grave 4 (T. IV, 2). Two examples of Italic sigilla- ta were found among the cargo and equipment of a shipwreck off the island of Zlarin: one is a mostly preserved relief bowl (T. HI and T. IX, 2) and the other is a plate (T. V, 4 and T. IX, 3). The Archacologi- cal Museum in Zadar has fragments of a relief bowl in its collection which was probably found during earlier excavations at Nin (T. II), as well as several plates which may be classified as Italic sigillata be- cause of their stamps: CN. ATEI. EROS (T. VII and T. IX, 4), C. MVRRIVS, P. CLODIVS PROCVLSVS, C. BOVIVS GENT..., C. M. R. (T. VI, 2)2? Fragments of sigillata with stamps of Italic potters were also found during more recent excavations at Nin and Zadar. During excavations performed at Nin in the 1970s, in addition to several stamps of potters from northern Italy and Asia Minor, the stamp PERE. SAT was found in planta pedia — M. PERENNIVS SATURNINVS (T. V, 3). During excavations in 1986 in the cloister of the former monastery of St. Dominic in Zadar, a fragment of a plate with the stamp P. HERTORIVS was found in the lowest roman stratum (T. VI, 1 and T. IX, 5).3 Undecorated Italian terra sigillata was also found during earlier excavations at Osor, and contained, among the stamps of several nor- thern Italian potters, those of M. PERENNIVS CRESCENS, C. MVRRIVS and C.M.R** THE CHARACTERISTIC AND DATING OF ITALIC SIGILLATA FROM LIBURNIA The Italian relief sigillata from Liburnia is analogous in form to the earlier hemispheric bowls with a simple profile of the upper, undec- orated section of the vessel. The example found at the site of the shipwreck at Zlarin is the only one with elaborate plastic decoration, which started being used on Italic sigillata at a later date. The earliest examples of relief pottery are those from grave 1 at Velika Mrdakovica (T. IV, 1 and T. VIII, 1-2), which show female figures with lutes. An entire female figure with a kithara can be seen on one of the frag- ments, while the same motif is recognizable on another two. The motif of a muse with a kithara is among the earliest to be found on the pottery of Arretine workshops. Decorations on Arretine pottery were classified into 23 groups in Watzinger’s publication of the artially completed study of Arretine pottery by Dragendorff. Various figures with lutes are represented in the second and fifteenth groups, either individually or collectively. Individual female figures with kitha- ras are repeated several times on most of the vessels from Arretine workshops, as is the case with the bowl fragments from grave 1: three 92DIADORA 12, 1990, 79-106 2. BRUSIC: TTALSKA TERRA SIGILLATA, separate females figures with lutes may be noted on the fragments. In terms of the details of the image of the figure, instrument and dress, it may be established that these were identical to the motifs on the vessels of M. Perennius and M. Perennius Tigranus. Such vessels were produced until approximately 15 BC, when the potters Credo, Pilades and others made their first appearance in these workshops.?* The bowl from grave 86 (T. I and T. VIII, 3-4) at the same cemete- ry may be classified according to its form to the well-known simple Arretine bowls (Drag. II), which have been divided into several vari- ants according to rim and general profile in the Dragendorff-Watzinger publication mentioned above. Our example, judging by these criteria, belongs to the earliest group of bowls classified under the type 1b. Al- though it is damaged, several figures may be discerned, only some of which can be identified: two figures of Zeus with an eagle (T. VIII, 4), and two certain figures of Athena with helmet and lance (T. VIII, 3). The figures were arranged in successive pairs (Zeus-Athena), which, as has already been noted, was often the case in Arretine pottery. This repetitive representation of the same mythological figures indicates that the master potter considered the mythic personages primarily as decorative elements, and did not attempt to reiterate myth by pictorial means. Similar motifs, such as series of Horai or Maenades, as well as various grotesque figures, dancers, and so forth, may also be found on this pottery. The bow! from cremation grave 86 is similar in its form, rofile and decoration of the upper boundary frieze of the ornamental ‘jield to a bowl from Capus, attributed to the workshop of Cn. Ateius from Arezzo. The earlier bowls from this workshop with the stamp ATEI show Horai and Nike in profile, groups from the Eleusian myster- ies, erotes fighting panthers, and battles between the Greeks and the Amazons. All the figures are in pairs, as in our example, and are char- acterized by their elongated form. Our example has several letters from the workshop stamp preserved, including the curved section of a C, and the letters A, T and V, which might represent the stamp of the potter Cn. Ateius: C (N.) AT (EI) V (S). The period of manufacture of the bowl found in grave 86 would correspond to the early phases of these workshops, in which distinct figures were shown without floral details, which is characteristic of the transition from the Ist century BC to the first century AD.” The three fragments from cremation grave 4 (T. IV, 2) have floral ornamentation, but this is not sufficient for precise dating or even comparison because of its fragmentary state. The elements of floral de- coration on the discovered bowl consist of garlands with a series of small appliqué rosettes; dolphins and some oval ornamentation should also be mentioned. Floral decorative elements only appear in the later phase of development of Arretine ornamentation. Floral decoration then either supplements the figures or, as seems to be the case here, becomes dominant on the vessel. Garlands with series of appliqué ro- settes and other floral decoration, together with various masks and zo- omorphic elements, are characteristic of the Rasinius workshop,* 93Z.BRUSIC: ITALSKA TERRA SIGILLATA DIADORA 12, 1990, 79-108 which like other workshops, began to utilize floral decoration to a great extent towards the end of the Ist century BC. After its use in monu- mental art (Ara Pacis) floral ornamentation was reproduced in pottery and other material. The bowl from Nin, partially reconstructed from fragments (T. Il), is identical in form to those from Mrdakovica. The decoration consists of figural representations and floral ornamentation. The composition features bacchae, an athlete, figures with an amphora, and is completed with a tree, hermae, garlands, birds, turtles, a syrinx and a kithara, and represents a merry Dionysian procession through a field. The fabric of this bowl is not as fine as that of the sigil/lata from Velika Mrdakovi- ca, but some figures are missing details, which may be the result of a worn mold. This bowl may be dated from the decoration to the first decades of the Ist century AD: the figure of a dancer, the image of a tree, the birds and the figure with an amphora are all analogous to the motifs of the Rasinius workshop. Strictly speaking, the bowl from Nin should be dated slightly after the bowl fragments from grave 4 at Velika Mrdakovica.” The next location with Italic sigillata, both relief and undecorated, is the underwater site near Plavac Pt. on the island of Zlarin. A mer- chant ship was shipwrecked here in the first quarter of the Ist century AD. There are certain parallels between the material from the ship and the pottery from nearby Velika Mrdakovica. The geographical con- ditions of the shipwreck make it seem likely that the ship was sailing from north to south, and that prior to capsizing it had docked at some Liburnian harbour in the lower section of the Krka River. The relief bowl from the Zlarin shipwreck corresponds entirely to the Italic sigillata which can be classified as type Illd according to Dragendorff and Watzinger (T. III, 1). The main decoration on the bowl is a chain of bucraniae (horned heads) connected by garlands ringing the lower part of the vessel. The heads of Silenus or bucraniae connected by garlands are a frequent decoration on relief sigillata, both as a supplement to the other decoration and, as is the case here, as the primary decoration of the vessel.° Two stamps on the vessel of- fer the possibility of more precise dating. The first, legible stamp is in tabula ansata (T. IX, 2), and the second, illegible one is at the bottom of the bowl — in planta pedis. The letters .. OLVSI can be recognized in the upper part of the legible stamp, while POTITI can be read in the lower row, and the letters FT can be noted on one of the handles. This stamp corresponds to the potters Volusus et Potitus, who are classified as southern Gallic manufacturers by Oxe and Comfort in their publication on Arretine stamps.! The second stamp — in planta pe- dis — is important for the dating of this bowl. Althought it is illegible, it offers the possibility of a general dating to the period when such stamps appeared. The placing of the potter’s name in tabula ansata corresponds to the earlier method of marking the vessels, while stamps 94DIADORA 12, 1990, 99-106 7. BRUSIC: ITALSKA TERRA SIGILLATA in planta pedis were in use from 15 AD.? As both the old and new type of stamp had been used on this vessel, we can surmise that it was produced in the period which saw the introduction of a stamp on the base of the vessel (in planta pedis), as the potter has nonetheless also placed his stamp in tabula ansata. Considering the twofold nature of the stamp on the bowl from Zlarin, as well as the use of both stamp types, it is suggested that the bowl be dated to between 15 and 20 AD. Attention was also attracted to another find from the Zlarin ship- wreck: a plate of the X form (variant 11 or 17), with the stamp of the Arretine potter Tattius (TETTI). Judging by the shape of the plate, the quality of the workmanship and the stamp, this plate can be dated to the beginning of the use of stamps in planta pedis, ic. ca. 20 AD (T. V, 4 and T. IX, 3). Only two early examples of other undecorated sigillata from Li- burnia will additionally be discussed. One is a large plate lacking a rim, found at Nin, with the stamp of the Arretine potter CN. ATEI EROS. The name is written in ligature and imprinted radially four times in a square frame on the base of the plate (T. VII and T. IX, 4). The second plate was found during the already mentioned excavations in the cloister of the former monastery of St. Dominic in Zadar. Frag- ments of the plate (T. VI, 1 and T. IX, 5) were found in the basal stra- tum, together with carly Roman and late Hellenistic pottery. The plate was slightly smaller than the one from Nin, and apparenily had five stamps — four radially imprinted and one in the centre. The name of the Arretine potter P. HERTORIUS was also written in ligature within a square frame. Judging by the quality, raised base profile, the stamps and their placement, both of these plates may be dated to the last de- cades BC, althought the plate from Nin is considered to be some- what earlier than the one from Zadar. The remaining sigillata from Nin (T. VI, 2) and Osor, judging by its form, quality and stamps in planta pedia may certainly be dated post 15 AD; it is likely, however, that most of these vessels were from the mid Ist century. The importation of Italic sigillata to Liburnia was the continuation of a permanent flow of Greck and Italian goods which had begun in the first half of the first millenium BC, and became very extensive in- deed in the last quarter of the Ist century BC. During the Roman do- minion, in addition to Italic sigillata, especially Arretine relief pottery, large quantities of relief pottery from northern Italian production cen: tres were imported. The Sarius type vessels were particularly common, and would require a separate study because of their diversity and quantity.* 7 The pre-Roman importation of pottery and other luxury goods from the classical workshops of the Mediterranean certainly had a di- rect connection to social stratification among the Liburnians and the creation of an aristocracy,*> which became so affluent that it could acquire Apulian and Hellenistic relief pottery in the last two centuries 95‘2. BRUSIC: TTALSKA TERRA SIGILLATA - DIADORA 12, 1990, 79-106 BC, and luxury Arretine pottery in the period of Roman dominion. The most beautiful examples of relief vessels have been found in_ the graves at Velika Mardakovica where the Liburnian inhabitants of the nearby hillfort settlement (probably ancient Arauzona) were buried. The luxuriously painted, and later relief decorated, vessels which were pres- ent in Liburnia until the mid 5th century AD were usually of types used in antiquity for the preparation and serving of wine. It is be- lieved that these vessels served the same purpose in Liburnia at various ceremonies and banquets, and particularly in funeral rituals. The most frequent discoveries of this kind of luxurious pottery do not indicate a function as offerings, in contrast to clay lamps, eames fibulae and undecorated pottery. These vessels had an important function in the funeral ceremony — they were shattered during the cremation, and the fragments were placed around and above the urn.** 96na DIADORA 12, 1990. 7DIADORA 12, 1990 4090909909 0000 Ta 99DIADORA 12, 1990, 9 Sem ——— sey) CREASE SS S 101DIADORA 12, 1950 102DIADORA 12, 1980. nvr 103,DIADORA 12, 1990. T.VIDIADORA 12, 1990 Tax 105,