At Calvi (Cales) Greek painted vases are almost unrepresented,[[262]] but this site is distinguished as the origin of two late varieties of fictile ware. One is formed by the Calene phialae (p. [502]), or bowls of black ware with interior designs in relief, sometimes signed with the names of local potters; the other consists of large vases highly ornamented with terracotta figurines attached in different places, or else modelled in the form of female figures or heads. Strictly speaking, the latter must be classed under the heading of terracottas (see p. [119]).
Lastly, we have to speak of Nola, which, like Capua, was always a city of considerable importance, and is represented by a large series of vases of all periods.[[263]] Here again we can detect no signs of a special local fabric, though for a long time the so-called “Nolan” amphorae of the red-figured period were thought to have been made on the spot, so frequently have they been found. The name is still retained as convenient for describing this particular form of amphora (see p. [162]), with its exquisite black varnish, graceful outlines, and simple yet effective decoration; but it is, of course, quite conventional. The vases are purely Attic (some are signed by Athenian artists), and it can only be supposed that they found especial favour in the Nolan market. Corinthian and Attic black-figured vases occur in large numbers, and both here and at Capua there seems to have been a tendency to imitate the exported Athenian wares. Thus we find not only vases with black figures on buff ground on which the drawing is obviously free and developed, but also imitations of the “Nolan” amphorae, both classes dating from about the fourth century B.C.
At Sorrento and the neighbouring Vico Equense a few vases of different periods have been found, including a fine R.F. krater signed by Polygnotos, which was discovered in 1893, and is now in the British Museum.[[264]] Salerno is also mentioned as a site where Greek vases have come to light.
The famous city of Paestum lay actually within the borders of Lucania, but all its relations were with Campania, and it may practically be regarded as a Campanian city. Little has been found here except local fourth- and third-century fabrics, but these are for the most part so remarkable that they have established the existence of a school of vase-painting at Paestum quite distinct from and earlier than the fabrics of the three districts of Southern Italy.[[265]] Nearly all the vases found here (including three signed by the master Assteas) have the distinguishing characteristics of this class. They are mostly to be seen in the Naples Museum; a fuller account of them is given in Chapter [XI].
Among the sites in Lucania on which vases have been found,[[266]] the most important is Anzi, the ancient Anxia, which appears to have been the chief centre for the manufacture of the Lucanian vases. Earlier examples of Greek red-figured vases have also come from this site, but the majority are of the Lucanian class.[[267]] Provenances in this district are, however, always doubtful, and in many cases nothing more definite than “Basilicata” can be ascertained. But discoveries on the following sites seem to be well attested: Armento,[[268]] Eboli,[[269]] Missanello, Grumento, Potenza,[[270]] Pomarico, and Pisticci.[[271]] The British Museum collection includes a fine B.F. krater (B 360) from Armento, the famous vase with the Doloneia (F 157 = Fig. [130].) from Pisticci, several from Anzi, and a few from Pomarico. In the Naples Museum are vases from Pomarico, Pisticci, and elsewhere (chiefly in the Santangelo collection), while the Koller collection, now in the Berlin Museum, contains many from Castelluccio, S. Arcangelo, and other sites. But none of these finds compare in any sense with those of Apulia and Campania. There were no ancient cities of special importance in this region, and hence no large cemeteries, while the local fabric was probably not of long duration.
In Apulia the site above all others important is that of Ruvo, which was no doubt the chief centre of the local pottery-manufactures, and has yielded a great majority of the vases known as “Apulian,” as well as many of earlier style. Excavations began here in the eighteenth century, but it was not until 1828 that they were undertaken on any large scale. Vases are still found from time to time at the present day, and one of the largest private collections still existing, that of Signor Jatta, is extraordinarily rich in the vases of Apulian style collected by this gentleman and preserved on the spot. It is curious that Ruvo (Rubi) had no special importance in antiquity; it may, however, be worth noting that remains of a pottery with furnaces, etc., have come to light.[[272]] The Apulian vases from Ruvo have no special characteristics which distinguish them from the other Apulian fabrics.
It would be futile to attempt a detailed description of the finds at Ruvo,[[273]] which include such a large proportion of the magnificent Apulian vases covered with paintings of an elaborate nature. Of earlier specimens, an isolated Corinthian vase, two Panathenaic amphorae, and sundry other B.F. vases are known, as also occasional R.F. vases, but these are almost exceptions. Among the most famous Apulian vases are those representing the Death of Talos, the Death of Archemoros, preparations for a Satyric Drama, and so on.[[274]]
More important in antiquity, though less productive in vases, is Canosa, the ancient Canusium, where a set of fine vases was first discovered in 1813 and published by Millin. Among the best of these is the great Dareios vase at Naples (see Chapter [XIV]. ad fin.). Nearly all are of the Apulian class, with preferences for certain forms and details (such as the use of purple) not appearing at Ruvo, and a typical local product is a kind of prochoös or tall jug.[[275]] Canosa was also a centre for the large terracotta vases which have been also found at Calvi (see p. [119]).
At Bari vases have been found from time to time, and there is a fair collection in the local museum[[276]]; they include the famous Poniatowski vase with Triptolemos’ setting-out, now in the Vatican, and the krater in the British Museum (F 269) with the burlesque combat of Ares and Hephaistos over Hera. Ceglie has chiefly supplied the Berlin Museum with its Apulian specimens (from the Koller collection), others passing into a private collection at Naples. They are mostly of the later over-elaborated style.
Altemura has supplied a few, but chiefly fine, vases, including the R.F. krater with the birth of Pandora (Brit. Mus. E 467) and the magnificent vase representing the Under-world found in 1847 and now in Naples. Other finds have been made at Polignano, Putignano, and Fasano (Gnatia), which last site is interesting as the probable centre of a late fabric. Most of the vases found here have figures or patterns painted in opaque white and purple on the black glaze, and represent the latest stage of vase-painting in Southern Italy.[[277]] They are found almost exclusively on this site. It is also represented by some late R.F. vases with polychrome decoration.