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SZILÁGYI, JÁNOS GYÖRGY: "La gigantesque horreur de l'ombre Herculéenne" Apulian Red-Figure Vases Decorated in Superposed Colours

ously belong in this context, considering their shape and the technique and placement of the decoration: a water-fowl turning left in the medallion, executed in applied colours.

9 In the chapter of his Etruscan Vase Painting discussing vases decorated in superposed colours, Beazley supplemented the discussion of Etruscan vases with an almost unprecedented section, an Addendum to all intents and purposes, with his first attempt at the classification of Campanian and Apulian' pottery decorated in added red,

10 "as these have sometimes been confused with Etruscan" vases. Even though he could hardly rely on unquestionable provenances, and the number of objects at his disposal was minimal, separating the Campanian and 'Apulian production he managed to define the centres of the production of the objects in question, which still holds true until today. Within the Apulian, he named and outlined three groups: the Xenon, the Hanau and the Red Swan Group. Approximately fifty vases served as a basis for this classification; about one in five of these pieces had a recorded site of discovery, but not a single one of them could be placed in a known context. From the following decade on, increasingly intense research disclosed material several times over this in number and (at least in part) published the new findings, in some cases supplemented by a thorough description of their context. The substantial change in research opportunities is well illustrated by the fact that the author of the latest comprehensive study on Apulian vases decorated in superposed colours catalogued more than one thousand items hailing from nearly forty sites - a tiny fragment of the conceivably existing amount, still, to quote his words: "not intending to be at all exhaustive".

11 After Beazley's death, the illusory feeling of relief brought along an almost fashionable tendency to turn against his work either by criticizing it in its entirety or by amending certain points; according to the above, this time the temptation to fight his shadow was nearly irresistible. The opinion that the Xenon and Red Swan Groups should not be separated was introduced explicitly first in 1985.

12 Soon after, but independently, the idea emerged that it was "inevitable" that the Hanau Group also be incorporated in this grouping.

13 The author of the above mentioned new 9 NSc (1972), 497, fig. 7, and ibid. (1980), 217, fig. 130, 6, from Oppido Lucano; G. Greco, MEFRA 94 (1982), 72-73 and 85-86, figs. 11, 14 (the former^ Attività archeologica in Basilicata 1964-1977. Scritti in onore di D. Adamesteanu, Matera 1980, 403, pl. 15, in the third row, to the right), from Serra di Vaglio. 10 J. D. Beazley, Etruscan Vase-painting, Oxford 1947 (henceforth EVP), 218-29. 11 E. M. De Juliis, La ceramica sovraddipinta apula, Bari 2002, citation from ibid., 13. A complete catalogue of published and unpublished material is mentioned above, but it clearly is an error. 12 E. G. D. Robinson, in Greek Colonies and Native Populations. Proceedings of the First Australian Congress of Classical Archaeology, held in honour of A. D. Trendall, Sydney 1985, ed. J.-P. Descoeudres, Canberra and Oxford 1990, 252; id., in Arte e artigianato in Magna Grecia, ed. E. Lippolis, Napoli 1996, 451, n. 14. 13 A. Panayides, HASB 12 (1987), 14. See, however, D. Graepler, Tonfiguren im Grab, München 1997, 60, with note 39.