This collection of conference papers is divided into five sections, each dealing with different forms of communication conveyed by Greek vases: communication of divine imagery, mythology in relation to image and shape, intermedial communication and intercultural exchange. In the introduction, Claudia Lang-Auinger and Elisabeth Trinkl make clear the intricacies of deciphering the communicated meaning of vase depictions, the polysemy of some iconography and the importance of archaeological, historical and social context in illustrating the interpretations of these images for both users and vase-painters, a pursuit somewhat neglected in vase scholarship.

Alan Shapiro’s contribution to the first section examines red-figure images of Athena libating among mortal Athenian women, suggesting a humanization of the goddess following the Persian Wars, providing a persuasive interpretation for these unusual depictions. This paper is excellently complemented by that of Antonia Rüth, who argues that Athena’s common presence in scenes alongside heroes not only illustrates her omnipresence but illustrates Athenian social values and norms. The final contribution to this section by Georg S. Gerleigner addresses invocations to the gods in ‘speech bubbles’ inscribed by vase-painters, which, among other things, underscores the utility of vases in reconstructing contemporary religious practices.

In the second section analysing the communication between the mythological and real worlds, Anne Mackay illustrates the possibility of polysemy in images on black-figure vases, and that iconography probably held dual meanings. While the possible meanings of the case studies analysed are often hypothetical, this paper pleasantly challenges the tendency to seek one meaning of vase iconography and opens new opportunities for future discussion. In Cornelia Isler-Kerényi’s contribution, the possibilities of metaphorical interpretation are also expounded, analysing the conceivable metaphorical meanings of duck askoi and duckly depictions on vases, illustrating the need for creative approaches to iconography.

Anastasia Bukina’s contribution to the third section surveys the owl skyphos, demonstrating that even the most ubiquitous of vases have much to offer when re-examined with fresh perspectives. Anna Petrakova highlights a cup in the Hermitage (B.1535), depicting a youth wearing a bonnet and simultaneously holding a stick, suggesting that one side of the cup presents model male behaviour, while this image of a seemingly cross-dressing youth implies improper behaviour, perfectly demonstrating that attention to easily overlooked details can illuminate latent meanings. Nina Zimmermann-Elseify analyses the common motif of Amazons on lekythoi, suggesting Amazons to be an appropriate iconography for the deceased, particularly for unmarried women. This paper provides a refreshing reminder to consider the shape of the vessel on which iconography is found, often a neglected consideration.

In the fourth section, Thomas Mannack’s appraisal of the Epeleios Painter illustrates iconographic exchange between painters in the Athenian Kerameikos and makes clear the continued utility of individual painter studies. Eleni Manakidou assesses images of pinakes and miniature paintings on vases, a welcome synthesis of this oft-overlooked phenomenon, and Junker provides a stimulating addition on Paestan vases, a welcome contribution to an otherwise Athenocentric volume.

The last section, dedicated to intercultural contact, offers some of the strongest papers in this volume. Afurther non-Athenian paper opens: Anne Coulié and Cécile Jubier’s analysis of a Laconian kantharos, depicting a komos (revel) scene, showing clear Corinthian influence, a welcome addition to the well-established corpus discussing Corinthian-influenced Athenian pottery (Louvre, MNE 1324). Despoina Tsiafaki analyses depictions of Thracians on Athenian ceramics, highlighting two kalathoid beakers potted in a Thracian shape, adorned with images of Thracians, possibly special commissions, indicating cross-cultural communication between Athens and Thrace, a further suggestion of extra-cultural awareness among Athenian ceramicists. This is complemented by Alexandra Villing’s contribution on ‘Egyptianizing’ archaic Greek pottery from Egypt, masterfully categorizing the material and analysing their implication for transcultural dialogue. The possible merging of the meaning of the apobates race (involving leaping on and off a chariot) and apotheosis of Herakles within an Iberian context is also explored by Diana Rodríguez Pérez, who convincingly suggests the two may have been synonymous.

Martin Trefny’s paper offers an excellent summary of the presence and impact of Greek pottery in the Transalpine region, bringing together Attic imports, local imitations and recent discoveries. The use of red-figure pottery in Etruscan funerary contexts is explored by Ann Steiner, analysing three case studies, challenging the narrow view of shape use in the ancient Mediterranean, an exciting area of research with many further avenues. Kathleen M. Lynch offers a neologism to replace the now discredited term ‘Hellenization’, hellenisme, a framework which returns agency to non-Greek consumers of ceramics and will assuredly be utilized in future scholarship. Anew date range is given for the Himera Painter by Marco Serino, who also highlights iconographic connections with the poet Stesichorus, and the use of vases in local ritual, a stirring springboard for future research, as well as a hopeful reminder of the possible importance of future excavations on the study of Greek pottery. In the final paper, Elizabeth Heuer surveys south Italian iconography, suggesting deliberate polysemy designed for flexible understanding, providing an interesting interpretation of the oft-slighted corpus of south Italian vases.

Overall, this compendium offers new and exciting perspectives on Greek vases, often challenging and rectifying pre-existing conceptions. Excellently illustrated, it will make an indispensable addition to any archaeological library.