 Good afternoon. First of all I would like to thank the organizer of this EAA session for giving me the opportunity to participate in the discussion about centuries in Ethiopia and its colonies. Another special thanks must go to the Foundation Theodore Lagonico that found my project. The main aim of my project is to provide insights into the cultural interaction and social transformation between Greeks and italic population during their early iron age. Today I will present the preliminary results of my study focused on the comparison between the production and cultic use of Benhotrian UBM pottery from the century of Franka Villa Maritima and the UBM geometric pottery from the century of Apollo in Eretria. I have conducted two study campaigns in the Archaeological Museum of Eretria and in the Archaeological Museum of the Sibaritidae in order to select the appropriate vessel for the implementation of the project. Subsequently I have analyzed by digital microscopy, micro traces and x-ray analysis the two pottery productions. I have registered parallels and differences in the ceramic assemblage. The cultural influence that Greek newcomers and on the local community of southern Italy during the early iron age recently been subject of intense discussion. Scholars interpreted these encounters either as a completewal interactions or a more complex and dynamic process. Both theories are based on formal stylistical and contextual features of the material culture and on the cultural behavior and transformation of the italic population. Research in the centuries of Eretria offer field of reflection about shared ritual practice and the relationship between Greeks and native people in a wider perspective. Like in the most of cult plays, ceramic artifacts are the most important source of information to understand the ritual acts performed while offering access to social practice within communities. For instance, locally produced vessel recently found in the site of Francavilla Maritima in the Sibaritidae exhibit a hybrid character between Ubean, well-thrown pottery and local Enotrian-Ubean shapes. The production of this so-called Enotrian-Ubean pottery will suggest peaceful contacts with Greeks prior to the foundation of the Greek colony of Sibaritidae. Most of the Enotrian-Ubean pottery was found during the excavation in the Sanctuary on the Timpone della Motta. The archaeological site of Timpone della Motta is located on an hill between the today's village of Francavilla Maritima and the Ragganello river nearby the Greek polis of Sibarit on the Ionian Sea. An important sanctuary was located on its top. The first structure of this hill is a middle Bronze Age house on top of which much later an obsidian-long house was constructed which was in use during the last during the free quarter of the 8th century BC. It was replaced by a tangular wooden building with Greek plan around the last quarter of the 8th century BC. However, in the second half of the 7th century BC the sanctuary was apparently a place where Sibaritese people celebrated large festivals. The repertoire of the Enotrian-Ubean production consists mostly on Greek-type Ski-foy and indigenous-type Scodelle bow. But during the second half of the 8th century BC the production expanded to include larger craters, lecanae, calatiscoe, inocoi, amphorae, and biconical jars decorated with typical Eubian motifs. In the sanctuary the largest proportion of Sibs identified in contests related to the sacred building 5B and 5C which were in use during the 8th century BC. At the same moment they were produced also other kinds of vessels like the gray ware, the impasto pottery, and the matte painted pottery. Why is it important to study how pottery was produced in the ancient society? The study of pottery production is correlated to the determination of how pottery was made and for whom it was made. These questions are related to the manufacturing technology, to the rule and status of producers, to the integration between test organization of production and relationship between producer and consumer. With the aim to reconstruct the production of the selected vessels, to distinguish the different sharp eratoires of local and foreign pottery practice, I perform microscopic, microscopic and x-ray analysis. Microscopic and microscopic analysis allow the technique that the superficial traces of manufacturing and finishing techniques. These marks can contribute to a reconstruction of the technological process involved in shaping of a vessel and its surface treatment. In the first image you see the throwing grooves inside a crater fragment. In the second one this is the external surface of a crater showing traces of the preparation sketch. The other images related to a groove on bottom foot were created when the potter cut vessel of wheel with a cord. Then we have the regular striations left by a brush to paint the internal surface of a skiffus. The striation made by fingers running over the back clay in the inner surface of a skiffus. And the last images is about an hole cast by lamp popping showing an internal rim of a skiffus. For the identification of the manufacturing technique itself I use the x-ray analysis. By studying the orientation of the pores it is possible to detect manufacturing technique. Oblique inclusions and pores indicate wheel throwing. Horizontal ones at the joint indicate coiling technique and the pores around them means that the vessel is probably made by pinching. Now I will discuss the results of the technological analysis performed on the select vessels. I will start with the production of a typical UBM vessel since it's a good example of the first stash of pottery specialization. The rim to body fragment of the cup has one vertical handle attached to the rim and to the belly. This kind of handle lying at the same height of the rim. The decoration is composed of vertical lines painted with the multiple brush which is a typical tool used for decoration of UBM model. The decoration is quite simple vertical lines starting from the lip go over the base of the cup sometimes coming across each other. This type of decoration is painted also in the handle. All the decoration in this kind of cups has been made with only a single instrument and we can suppose that it was decorated without the help of the potter's wheel. Through the metroscopic analysis it was possible to detect on the external surface a fingerprint left by the potter that you can see in the first image. Probably while she was decorating the inside of the vessel which is covered with black dune paint. The radiographic analysis reveals some horizontal voids, fissures in the lower part and incision that are at the bottom or part of the vessel. These results indicate that there were imperfections and sometimes probably related with the primary forming technique. Similar microscopic characteristics have been identified in other similar cups. In the first image she is a small fingerprint was detected on the internal surface and the similar incision placed on the lower part of the cup was identified showing that this kind of vessel were made by potters that were at the same stage of specialization. The large bowl decorated in UBM style wheel made in decorating glossy glaze is a very unique piece due to the combination of local shapes in Francavilla with borrowed technique. The native bowl is its stake based on sorry Italian shape and it seems not to have been produced in Greece. We need stative shape and produced with a Greek technique. This bowl with concentric circles and wavy bands is a typical hybrid product. It was produced already from the beginning of the 8th century BC. Here we have another example. In the first image to the left the rim to shoulder fragment of a ski fos decorated with two horizontal wavy lines. This kind of ski fos was produced in Francavilla Maritima. The paint is black matte very similar for what it was used to depict the local matte painted basis. Fuller influenced by the local enotria pottery production is the upright stately incurving lip and carries a thin pink slip which is similar to that on native enotria pottery. The radiographic analysis reveals purling and continuous distribution of inclusions and obliquely oriented pores and inclusions. I'm now presenting the different stage of specialization of pottery production according to the studies of the evolution of specialist production. I summarized the many characteristics of each kind of specialization here in this image. Concerning this topic Rue and Corbetta ethnographic and experimental work has demonstrated that progress in learning wheel throwing is expressed by an increase in pot size and the pottery becomes more and more competent. According to these scholars the first specialization includes vessel up to three centimeters with potters using holding simple thumb index finger pressure because they do not yet know how to center a lump of clay on the wheel. A good example of the first stage of pottery specialization in erythria is well represented by the cups production. These kind of cups produced scientifically in the late geometric and it was produced for more than one century without significant changes. As cups are easy to make and were used in one of drinking heavens they did not require advanced skills and any failures in the production were inconsequential. Therefore they made ideal learning object for beginners. All cups for example show heresies in clay preparation. Another important things concern the fact that the cups were not exported or reproduced in Frankarilla Maritima. The production of this keyfoil requires a second stage specialization by the potters. This keyfoil as you can see in the first image was part of the grave goods in one of the graves of Machiavata necropolis in Frankarilla Maritima. Unfortunately the decoration is not present anymore probably the external surface was original covered with a light flip before painting the decoration. The clay is well depurated only few mica inclusions have been detected by microscopic analysis. The second keyfoss from erythria is chronologically older than the one from Frankarilla. The whole surface on the keyfoss is covered with a red glossy paint except the rim and the handle area. The paint has been applied with a brush without taking much care. The clay is also well depurated. For producing this kind of vessel the potters must be competent centering on the clay. While progression from beginner to expert potter is primarily indicated by vessel A there is a far-reaching diversity among the most experienced potters reflecting in the repertoire of shapes they could produce. A good example of this third stage of specialization is the crater. The crater here in the first images we have a crater found in a tomb of Frankarilla Maritima. It was manufactured in two or more parts. The traces on the attachment of the different parts are still visible inside surface of the vessels. What is very important is these plastic knobs that are made on the external rib of both the vessels both in Frankarilla and in erythria. This is a characteristic applied decoration found on a bionic crater of this period and it can put together the two bases. For what concern the application of the decoration it has been observed two different levels of execution. This image compares the decorative motifs of two different vessels. The first is a rim to body fragments of Kifos from Frankarilla and the second one is a rim fragment of a cantaross from erythria. The one from Frankarilla and has a single cross-seged losanga with interspaced dots and encircled by dots. A brown bed is covering the upper part. On the band a light brown horizontal wavy line has been applied. For the decoration of the cantaross light paint was used and inside the losanga and this vastic are was used as a motif. In the second case that I want to show you we have the upper wall in the upper part the wall fragment of a closed vessel from Frankarilla that present the same kind of motif pattern of a fragment of a cantaross from erythria. It is possible to make a comparison of the level of execution between the central similar pattern. It is clear the way the potter paints the dots that before filling the dots with the paint in the in the case of erythria he has painted a scratch meaning that the potter want to be very precise in the decoration. This is not observed in the upper example of the vessel from Frankarilla which has been decorated with the black paint without the outline. In the last part of the presentation we focus on the positive views of this ubn pottery ubn anothrium pottery from different contextual context in Frankarilla erythria. So what is very important regarding the development of the cult in the century on the timpana de la mota and the late 8th century society are the sin painted on apixas. The body of the vessel show a line of boys and girls offering a cup of water to assist godness while on the lead a girl and a boy dance together. The girl also in Idriska a smaller version of the vessel that increased world always contained water. According to Klaybrink it seems possible to interpret this shan as coming to age rituals to prepare adolescence for marriage. Susan Langdon has identified some shans and others I thought they're sanctuaries mainly in Greece and interpreted them along similar lines. The apixas depict specific rites that reflect the association of young panniers and girls with a godness. A more direct interaction with the Greek word is a tested in a grave of an eye-ranking anothrium leader found in the Burial Heria de l'Eau in the necropolis of Machiavata. The grave can be dated to about the third quarter of the 8th century BC. However, in accordance with the anothrium tradition a set of vessels was deposited by the feet of the disease. However, these vessels differ considerably from the grave's gift of contemporary burials in the Machiavata for a presence of a will-made crater of the Anothrium Ubia pottery class. Next to the crater a locally produced kiffos and a small handmade chocolate were placed. Of particular importance to weather is the discovery of a bronze vessel a calderon that was deposited together with the crater. The two vessels serve similar purpose in the Greek word that contain around wine mixed with water unlike the crater. However, the calderon has had several additional functions and was used to boiling meat and eating water as well. Indeed, several small bones found at the bottom of the calderon clearly attest to its function in the grave. The arrangement of the grave goods in the grave de l'Eau differs from anothrium burial's traditions and point to a very far-reaching alienization of the man buried in this grave. The last images that I want to show you is an assemblage of materials found in the context from the temple 5c. These samples of the blotch include pottery from the Ubia style in the upper part and at the same time the matte painted pottery and impasto pottery. So this kind of vessel we know were used for ritual activities in the same moment in the last quarter of the 8th century BC. Even in the images I didn't put the numbers of vessels we found. The majority of the shirts we found in this context was from the local impasto pottery. So it's possible to draw some conclusion. So far, unique are the potters on workshop producing the so-called anothrium ubn pottery on the potter's wheel decorated in glossy glaze. This production contains indigenous cork like codical naked bases and large poles but also Greek type stands from large craters and the craters themselves as well as a variety of nice thin walled drinking cups like skifold. It is evident that this production originated in the wish to make use of sophisticated wine drinking sets. We cannot be sure that where a ubn potter sitting on the wheel because there is no enough evidence of genuine important ubn material from the sanctuary or from the tombs. Local potters might have learned to produce this pottery not necessary at Francavilla Maritima because other sites which come into view are Ponte Cagnano, Pitecusa and Canalei Ankina but as yet there is a little evidence of such schooling of local artisans. Thank you for your attention.