Art and Archaeology

Poiesis is the simple title of the first book under review, and its front cover carries a view of that well-known Attic red-figure kylix in Berlin, the Foundry Cup', showing bronze sculptors at work. But librarians may wonder where exactly to classify Peter Acton's monograph on craftsmanship in classical Athens. The author himself is categorically unusual: a Classics graduate who became vice-president of a major global management consultancy firm before undertaking his doctoral dissertation, he clearly enjoys the transfer of intellectual property from academia to the world of commerce, and vice versa. The ancient economy' is probably where this belongs, though its most substantial case study is focused upon pottery production. Some of Acton's opening declarations are made over-confidently: that craftsmen were well-regarded' (7) is debatable, given the various literary instances of patent disregard for those engaged in banausic' activity (both concept and reality of the banausos are conspicuously avoided throughout). And there is carelessness in the presentation of details: the potter Cachrylion becomes Cachsilion' (281), for example, and the account of bronze and stone sculpture (215-25) is somewhat muddled. Nonetheless, Acton does well to insist upon a city of creators, not consumers. A famous passage in Plutarch concerning the multiple trades involved in building the Parthenon (Vit. Per. 12) implies as much, but our stereotypical image of Athens tends to exclude all workshop smoke and grime.