Study Group for Roman Pottery

Roman Pottery Bibliography

Departments of France: page 81a

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81 Tarn :
Journal of Roman Pottery Studies  Vol 3, 1990 page 123
668  Simpson, G, 'Production céramique de Montans (Tarn) et masque de théâtre de Wilderspool dans le Cheshire', Revue Arch. de l'Est et du Centre-Est Tome XXXVIII, fasc. 1-2, Mélanges offerts à Marcel Lutz, 1987, 251-255.
col/mil,ind,ptp/Domitian-c145/usf
tsg (Montans)/theatrical mask
A brief paper on some Montans sherds at Warrington museum, accompanied by a theatrical mask, all apparently found at Wilderspool (that provenance is given only in the title of the paper). It is suggested that the mask is typical of the orange- rose coloured wares of the kilns of Stockton Heath. Unfortunately it seems likely that the paper could have benefitted from a somewhat more sympathetic translation.

Journal of Roman Pottery Studies  Vol 4, 1991 page 106
*945  Bergés, G, Les lampes de Montans (Tarn). Une production céramique des ler et IIe s. ap J-C: modes de fabrication, typologie et chronologie. Documents d'Archéologie Francaise, No. 21, Paris, 1989.
syn/---/1st-2nd/typ
obj (lamps)
This covers an aspect of the Montans pottery industry not previously studied.

Journal of Roman Pottery Studies  Vol 5, 1992 page 154
1243  Tilhard, J-L, Moser, F &: picon, M, 'De Brive à Espalion: bilan des recherches sur un nouvel atelier de sigillée et sur les productions céramiques de Brive (Corrèze)', SFECAG, Actes du Congrès de Cognac, 1991, 229-258.
syn,chm,exc/lst-late 2nd/usf
tsg (Espalion & Brive)/hpb/ccc/rgh/osd
It seems that the joyous announcement by Alain Vernhet following the paper by Moser and Tilhard at Toulouse, "we have just witnessed the birth of a new child: the workshop at Brive" (see JRPS 3, entry nos. 650 & 651), was perfectly justified, but they had got the wrong baby! This paper shows that while the moulds and various fine wares found at Brive were indeed probably locally-made, the samian wares were probably made at Espalion, in the valley of the Lot to the northwest of La Graufesenque. Although the writers had had some doubts about the homogeneity of the Brive material from the start, confirmation of this surprising turnabout was possible only following an intensive programme of chemical analyses, which included examination of the kiln furniture and the moulds as well as the pottery from both sites. Obviously the full understanding of the two sites was initially hampered by the relative lack of archaeological investigations, and recent survey work has still not produced the kilns or kiln deposits which might resolve many outstanding questions, but the analyses have clarified the most important questions. While Brive does not now appear to have been a major production centre for early samian, it was undoubtedly a producer of fine wares, such as 'hairpin' barbotine-decorated beakers and rouletted bowls - material dating from the end of the 1st century through the end of the 2nd. Espalion, or, more precisely, a workshop somewhere in the region 
    of Espalion, and probably in the Lot Valley, was undoubtedly a producer of both plain and mould-decorated samian from the reign of Tiberius (probably) to that of Domitian or early Trajan. Espalion, and also Carrade (further west on the Lot) are workshops heavily influenced by La Graufesenque -Espalion is described here as a satellite to that major production centre - whereas they show, by contrast, no influence at all of either Banassac or Montans.
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