Taranto

Taranto was founded in 706 BC by Dorian Greek immigrants as the only Spartan colony, and its origin is peculiar: the founders were Partheniae ("sons of virgins"), sons of unmarried Spartan women and Perioeci (free men, but not citizens of Sparta); these out-of-wedlock unions were permitted extraordinarily by the Spartans to increase the prospective number of soldiers (only the citizens of Sparta could become soldiers) during the bloody Messenian Wars, but later they were retroactively nullified, and the sons were then obliged to leave Greece forever. Phalanthus, the Parthenian leader, went to Delphi to consult the oracle: the puzzling answer designated the harbour of Taranto as the new home of the exiles. The Partheniae arrived in Apulia, and founded the city, naming it Taras after the son of the Greek sea god, Poseidon, and of a local nymph, Satyrion. According to other sources, Heracles founded the city. Another tradition indicates Taras as the founder of the city; the symbol of the Greek city (as well as of the modern city) depicts the legend of Taras being saved from a shipwreck by riding a dolphin that was sent to him by Poseidon. Taranto increased its power, becoming a commercial power and a sovereign city of Magna Graecia, ruling over the Greek colonies in southern Italy.
Its independence and power came to an end as the Romans expanded throughout Italy. Taranto won the first of two wars against Rome for the control of Southern Italy: it was helped by Pyrrhus, king of Greek Epirus, who surprised Rome with the use of war elephants in battle, a thing never seen before by the Romans. Rome won the second war in 272 BC. This subsequently cut off Taranto from the centre of Mediterranean trade, by connecting the Via Appia directly to the port of Brundisium (Brindisi).
 
Ancient art
Like many Greek city states, Taras issued its own coins in the 5th and 4th centuries BC. The denomination was a Nomos, a die-cast silver coin whose weight, size and purity were controlled by the state. The highly artistic coins presented the symbol of the city, Taras being saved by a dolphin, with the reverse side showing the likeness of a hippocamp, a horse-fish amalgam which is depicted in mythology as the beast that drew Poseidon's chariot.

Taras was also the center of a thriving decorated Greek pottery industry during the 4th century BC. Most of the South Italian Greek vessels known as Basilican ware were made in different workshops in the city.

Unfortunately, none of the names of the artists have survived, so modern scholars have been obliged to give the recognizable artistic hands and workshops nicknames based on the subject matter of their works, museums which possess the works, or individuals who have distinguished the works from others. Some of the most famous of the Apulian vase painters at Taras are now called: the Iliupersis Painter, the Lycurgus Painter, the Gioia del Colle Painter, the Darius Painter, the Underworld Painter, and the White Sakkos Painter, among others.

The wares produced by these workshops were usually large elaborate vessels intended for mortuary use. The forms produced included volute kraters, loutrophoroi, paterai, oinochoai, lekythoi, fish plates, etc. The decoration of these vessels was red figure (with figures reserved in red clay fabric, while the background was covered in a black gloss), with overpainting (sovradipinto) in white, pink, yellow, and maroon slips.

Often the style of the drawings is florid and frilly, as was already the fashion in 4th-century Athens. Distinctive South Italian features also begin to appear. Many figures are shown seated on rocks. Floral motifs become very ornate, including spiraling vines and leaves, roses, lilies, poppies, sprays of laurel, acanthus leaves, etc. Often the subject matter consists of naiskos scenes (scenes showing the statue of a deceased person in a naos, a miniature temple or shrine). Most often the naiskos scene occupies one side of the vase, while a mythological scene occupies the other. Images depicting many of the Greek myths are only known from South Italian vases, since Athenian ones seem to have had more limited repertoires of depiction.