Etudes de céramique campanienne, I : L'atelier des petites estampilles

Pottery Goes Public. Performing Archaeological Research Amid the Audience

“…From the third century BC onwards, the pots were produced by a large number of workshops spread throughout Central Italy (Gruppo dei Piccoli Stampigli, Stanco, 2009), for a regional as well as a supra-regional market. Due to the apparent homogeneity in the morphological and stylistic repertoire, the identification of the various production centres is still subject to debate: detailed local studies have only recently started, as for a long time Rome was considered/assumed to be the main production centre (the so-called Atelier des Petites Estampilles, Morel, 1969).…”

Imitaciones de cerámica de barniz negro procedentes de las excavaciones del Patio de Banderas del Real Alcázar de Sevilla: estudio tipológico

“…No obstante, es Morel el primero que habla de la necesidad de definición de talleres locales, dándose cuenta de que la mayoría de los estudios se centran en cuestiones formales, apenas considerando las características técnicas. En esta nueva línea, Morel publica una obra en 1969 sobre un taller de producción local anterior a la difusión de la Campaniense A. Este taller se corresponde con la producción de las Pequeñas Estampillas, denominado así por su característica decoración (Morel 1969).…”

Black Gloss Pottery: Production Sites and Technology in Northern Etruria, Part I: Provenance Studies

“…Many archaeologists have been involved in the study of the different assemblages and in the establishment of fundamental typologies (for those of greatest importance and diffusion, see Lamboglia 1952, 1958, 1960, 1961; Morel 1969, 1981, 1987, 1990). Archaeological studies have made these distinctions on the basis of the observed morphology and style of finds, the investigation of production sites and the analysis of the distribution of artefacts; however, the identification of a single production site is sometimes awkward or uncertain.…”