wares now known as Gallo-Belgic, and in South and Central Gaul, it was not long before local potters also began to emulate the mould-made decoration and the glossy red slip itself. The most recognisable decorated Arretine form is Dragendorff 11, a large, deep goblet on a high pedestal base, closely resembling some silver table vessels of the same period, such as the Warren Cup. The iconography, too, tended to match the subjects and styles seen on silver plate, namely mythological and genre scenes, including erotic subjects, and small decorative details of swags, leafy wreaths and ovolo (egg-and-tongue) borders that may be compared with elements of Augustan architectural ornament. The deep form of the Dr.11 allowed the poinçons (stamps) used making the moulds of human and animal figures to be fairly large, often about 5–6 cm high, and the modelling is frequently very accomplished indeed, attracting the interest of modern art-historians as well as archaeologists. Major workshops, such as those of M.Perennius Tigranus, P. Cornelius and Cn. Ateius, stamped their products, and the names of the factory-owners and of the workers within the factories, which often appear on completed bowls and on plain wares, have been extensively studied, as have the forms of the vessels, and the details of their dating and distribution. Italian sigillata was not made only at or near Arezzo itself: some of the important Arezzo businesses had branch factories in Pisa, and by the beginning of the 1st century AD, the Ateius and Rasinius workshops had set up branch factories at La Muette, near Lyon in Central Gaul. Nor were the classic Arretine wares of the Augustan period the only forms of terra sigillata made in Italy: later sigillata industries in the Po Valley and elsewhere continued the tradition. The history of sigillata manufacture in Italy is succinctly summarised in Hayes 1997, pages 41–52. In the Middle Ages, examples of the ware that were serendipitously discovered in digging foundations in Arezzo drew admiring attention as early as the 13th century, when Restoro d'Arezzo's massive encyclopedia included a chapter praising the refined Roman ware discovered in his native city, "what is perhaps the first account of an aspect of ancient art to be written since classical times". The chronicler Giovanni Villani also mentioned the ware. The first published study of Arretine ware was that of Fabroni in 1841, and by the late 19th and early 20th centuries, German