Relief Images on Two Corinthian Bowls

A type of Roman period relief ware of cylindrical form featuring a relief frieze at the middle zone of the vessel’s upright walls is named after Corinth, the site of its production and the area in which numerous sherds have since been recovered. Corinthian Roman relief-ware was manufactured from the second half of the 2nd c. to very early in the 4th c. This ware spread across the Mediterranean along the standard commercial routes of the time, and numerous archaeological investigations have confirmed its broad distribution. Apart from Corinth itself, sherds have been recovered in significant quantity along the western shores of the Mediterranean: the Ionian coast, the south of Italy, France, Spain, and, in particular, along both sides of the Adriatic Sea. This ware has been found sporadically in the north of Greece, along the eastern shores of the Mediterranean (Asia Minor and Cyprus), and in the north of Africa. The ware is found both in settled environments—at cult areas and shrines, residential complexes, villas, and thermae—and outside settlements, i.e., at necropolises, as grave goods, where it is often found alongside Corinthian lamps.

This ware was mould made of fine purified clay and finished on a potter’s wheel. Matrices set into the mould formed the images of the frieze as the clay was pressed into the mould. The final detailing of the decoration was done by hand once a formed vessel had been removed from the mould. Prior to firing, the still wet ware was dipped into a vessel containing coloured glaze up to the rim, while the inside was done with a brush. The clay is well fired, yellow-buff, grey, or reddish in colour, while the glaze to the outside varies from orange and reddish to brown.

The typology developed by Daniele Malfitana classifies this ware into three groups. The first group comprises cups/pyxides (cylindrical bowls, similar to the Dragendorff 30 type), the second group comprises cups/plates (Latin: catinus/catillus), and the third pans (Latin patera/trulla). The terminology varies, adapted to variation in the sizes of these vessels (rim diameters ranging from six to 15 cm). This is especially true of the first group, where a smaller vessel would be a cup, and a large vessel of the same form a bowl (pyxis).

It has been proposed that the Corinthian Roman relief-ware was used as drinking vessels or to serve solid foods and sauces. The appearance of the vessels and the decorative elements: the Labours of Hercules, the Dionysian scenes, and the theoxenia (divine banquet) scenes, are relatable to the context in which these vessels were used, i.e., the consumption of beverages. One of Hercules attributes is the drinking cup known as a scyphus, which had a pair of handles just below the rim. The cantharus is a Dionysian attribute, a deep beverage vessel, narrow at the base and wide at the mouth, with a pair of upswung handles connected low on the vessel and arching above the level of its rim. All of these scenes are related to the consumption of beverages in the context of symposia. In ancient Greece the symposium was a social gathering involving singing, the playing of instruments, recitals, and deliberations, all accompanied by the consumption of copious quantities of wine. On the other hand, finds of this Corinthian ware in residential structures along with other types of tableware indicate that it may also have been used for daily beverage consumption, and to serve foods and sauces. It has also been proposed that it may have been used to store fragrant liquids, ointments, or powders.


Sherds from two Corinthian relief-ware vessels were recovered in the spring of 2005 in the course of the archaeological investigation of the St Theodore quarter site in Pula’s Kandlerova street. The vessels were reconstructed not long thereafter and are now presented here as exhibits. Both vessels are from the first group as described by Malfitana: type 3 pyxis cups. They are large and may also be considered pyxis bowls. They have everted rectangular rims and almost vertical walls. Just below the rim there is a smooth band, the lower edge of which is moulded, where the relief frieze begins. There is a band bordered by two ribs and filled out with discs (nubs) in relief where the body meets the base, just below the relief frieze. The base is almost entirely level and has a ring foot. The relief frieze on bowl A-42191 shows a battle scene (possibly the Amazonomachy), which Malfitana has attributed to his second figural group. The first scene (Fig. 1), reading from left to right, shows a mounted warrior facing left (Malfitana’s Scene D). With his left hand the rider holds the reins while the.

right holds a spear ready to launch high above his head. The rider wears a short tunic, armour, and a soldier’s cloak fluttering in the wind. The horse is shown in gallop, with forelimbs raised and bent. Integral to this scene is a tree behind the rider, visible in the upper right behind the solder’s cloak.

To the right of this scene is the depiction (Fig. 2) of a warrior raising his fallen comrade (Malfitana’s Scene A). The warrior’s garb is loose, with folds, and the left arm is raised holding up a shield, defending himself and his comrade. The right arm is lowered in an effort to catch hold of his comrade’s right arm to help him rise to his feet. The sense of space is created by the trees in the background, set above the recumbent figure in the relief image.

The following scene (Fig. 3) is identical to the first scene: the depiction of a mounted warrior facing left (Malfitana’s Scene D). We have already noted that some vessels had repeated scenes. Also characteristic of this scene of a mounted warrior facing left were minor variations. These differences are so minor that they were not necessarily produced using two different matrices. Rather, this is likely the same scene, further worked by hand following removal from the mould.

Although surviving only in part, we can clearly make out the following scene (Fig. 4), which depicts a wounded warrior and a trumpeter (Malfitana’s Scene I). The smaller figure to the right is a naked and likely wounded warrior. The right hand rests atop a walking stick. The figure to the right is another warrior, taller, blowing a long trumpet held by both hands. He wears a long tunic, which drapes down from the raised left arm.

A very small segment of the following scene (Fig. 5) has survived, making it difficult to identify. This is most likely the hilt of a sword (or dagger) and a part of the right arm of a mounted warrior facing right, shown ready to strike a blow with a sword or a long dagger (Malfitana’s Scene K or its variant, Scene O). In these scenes a warrior is shown riding a galloping horse facing right. The warrior wears armour (lorica squamata) and a short, pleated tunic, and what is likely a helmet on his head. The left hand holds the reins, while the right grips a sword or long dagger

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Bowl A-42193 shows ritual, i.e., Dionysian scenes that Malfitana attributes to his third figural group. Two segments of the relief frieze survive.

In one segment the first scene, reading left to right, (Fig. 6) shows two women in profile, facing one another (Malfitana’s Scene N). They wear long chitons. The woman to the left side leans slightly forward, arms extended downward holding a basket full of fruit. At the centre of the scene, on the ground, is an object, likely a basket (possibly a liknon type basket). The figure to the right is fully bent over, with both arms extended towards the central basket. A pleated curtain in the background is supported at the middle by a column and to the sides by two small thyrsi. The thyrsus was one of the attributes of Dionysus, a staff wrapped with vine or ivy leaves and topped by a pine cone. It was carried by Dionysus, by maenads, and by other participants of the Dionysian cult. This scene is separated to the next scene to its right by the image of a tall and narrow tree, possibly a cypress.

To the right of the tree is the image of a maenad and a satyr (Malfitana’s Scene C) (Fig. 7). The maenad is shown walking to the left. She wears a long and loose robe. She holds the thyrsus in her left hand, while the right arm is lowered, holding an object. The satyr is shown from the back and stepping to the right. He is naked, with a short belt to his back. On his left shoulder he carries a waterskin.

To the other side of the vessel is the second segment of the relief with four scenes in all. The first scene, reading from left to right (Fig. 8), shows a Dionysian procession (Malfitana's Scene I). To the left is a naked young man stepping to the right holding a small parasol with a long shaft (handle) with both hands, such that the parasol is above the head of another naked male figure to the right (likely Dionysus). Dionysus leans upon a long staff, holding it with his left hand, while the right arms rests against his hip from which the folds of a robe descend.

The following scene (Fig. 9), reading to the right, depicts a sacrificial offering at an altar (Malfitana’s Scene B). A male figure (possibly a priest), wearing a tunic (the exomìs), in profile facing right, prepares for a sacrificial offering at a round altar facing him. He holds a platter full of fruit with his raised left hand, while the right hand, lowered to his side, holds an oinochoe jug. Facing him on a low base is a round altar on top of which there is likely some fruit. The scene is bordered by a tree to each side, an integral part of this scene.

1. A reconstructed Corinthian Roman relief bowl (pyxis) with frieze done in relief showing battle scenes. Orange with matte red slip. Base with low foot was not recovered and has been fully reconstructed.
Inventory code: A-42191
Materials/techniques: ceramic; mould made, finished on a potter's wheel
Dimensions: H 8.3 cm; rim DIA 14.3 cm
Findspot: Pula, Kandlerova ulica, St Theodore quarter, 6 May 2005
Date: late 2nd–3rd C


2. A reconstructed Corinthian Roman relief bowl (pyxis) with frieze done in relief showing religious (Dionysian) scenes. Orange with matte red slip. Base with low foot was not recovered and has been fully reconstructed.
Inventory code: A-42193
Materials/techniques: ceramic; mould made, finished on a potter's wheel
Dimensions: H 8.5 cm; rim DIA 16.4 cm
Findspot: Pula, Kandlerova ulica, St Theodore quarter, 6 May 2005
Date: late 2nd–3rd C