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Workshop I have been hesitating quite a long time about the way to introduce to you the purpose and the method of this study on the Amykos painter. I am very aware myself, indeed, of the complexity of the universe of South Italian vase-painters, and therefore, of the difficulty to map it clearly. Before beginning to work on the early South Italian workshops, I had spent a lot of years on Attic pottery, especially red-figure, and I must say that it appears to me as being an essential training to integrate the solid beazleyan methodology for the study of the style, and secondly, to be able to adapt it – through the work of A.D. Trendall- to the specific phenomena offered by South Italian pottery. The comparison with Attic pottery is a good starting point, however, since Athens’primary role as a model, both artistic and commercial, for the first red-figure South Italian production, and even later in the course of the development of the workshops, is obvious1. When we study Attic black-figure and red-figure pottery, we have to deal with a nearly continuous phenomenon, going on from Early Archais