chapter  I
'That Great Curse of Archaeology'
Pages 33

All this has given the vases an appeal to students of classical literature, mythology and history who are looking for visual substantiation of their own studies. Such an appeal is not likely to wane, but parameters on the conclusions to be derived from the comparison are now more strictly drawn. For archaeologists not reared on a detailed study of the classical world in the traditional way of language and literature, the questions to be asked and answered are different. Classicists look more to the immediate foreground, with its accent on individuals and historical development; archaeologists have their eyes fixed more firmly on the slow-moving background. But the terms 'classicists' and 'archaeologists' are not sufficiently precise; within those categories there lurk the students of Greek religion, the social and economic historians, the archaeometrists, the statisticians. Depending on the approach, Greek pottery will be studied for itself (technique, use, price, contents, etc.) or for external reasons (contexts, art, myth, life). Greek pottery belongs to no single camp: it serves many purposes in the attempts that are made to construct a clearer picture of the Greek world.