recall Boeotian and Euboean models. Other regions Alabastrons with cylindrical bodies from Andros are rare, as are lekanis from Thasos. These are reminiscent of Boeotian products except that they have two animal friezes instead of the single frieze common for Boeotia. Thasian plates rather followed Attic models and with their figured scenes are more ambitious than on the lekanis. Imitations of vases from Chios in the black-figure style are known. Local black-figure pottery from Halai is also rare. After the Athenians occupied Elaious on the Dardanelles, local black-figure pottery production began there as well. The modest products included simple lekanis with outline images. A small number of vases in black-figure style were produced in Celtic France. They too were almost certainly inspired by Greek vases. Research and reception Scholarly research on these vases started especially in the 19th century. Since this time the suspicion has intensified that these vases have a Greek rather than an Etruscan origin. Especially a Panathenaic prize amphora found by Edward Dodwell in 1819 in Athens provided evidence. The first to present a proof was Gustav Kramer in his work Styl und Herkunft der bemalten griechischen Tongefäße (1837). However it took several years for this insight to be generally accepted. Eduard Gerhard published an article entitled Rapporto Volcente in the Annali dell’Instituto di Corrispondenza Archeologica in which he systematically investigated the vases; he was the first scholar to do so. Toward this end in 1830 he studied vases found in Tarquinia, comparing them, for example, with vases found in Attica and Aegina. During this work he identified 31 painter and potter signatures. Previously, only the potter Taleides was known. The next step in research was scientific cataloging of the major vase collections in museums. In 1854 Otto Jahn published the vases in the Munich State Collection of Antiquities. Previously, catalogs of the Vatican museums (1842) and the British Museum (1851) had been published. The description of the vase collection in the Berlin Collection of Classical Antiquities, put together in 1885 by Adolf Furtwängler, was especially influential. Furtwängler was the first to classify the vessels by region of artistic origin, technology, style, shape, and painting stye, which had a lasting effect on subsequent research. In 1893 Paul Hartwig attempted in his book Meisterschalen to identify various painters based on kalos inscriptions, signatures and style analyses. Edmond Pottier, curator at the Louvre, initiated in 1919 the Corpus Vasorum