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Yet while Thurii and Herakleia are no longer regarded as significant centres of red-figure pottery production, Taras continues to be regarded as the initial and primary production centre of Apulian red-figure, despite gaps in our archaeological evidence that are really no less serious today than they were in Lenormant's time.
The lack of Apulian red-figure finds at Taras--downplayed by the contemporary non-Italian scholarship--loomed large in Patroni's arguments.
Like Patroni before him, Macchioro recognised a continuous arc of stylistic development in the vases of Ruvo, and concluded that Ruvo had been the birthplace of Apulian red-figure.
Though less explicitly, Moon followed Tillyard's assumption that Apulian red-figure had been produced on an industrial scale, and that it was likely to have been transmitted from Athenians to a community of fellow Greeks capable of sustaining such a 'great industry'.
Furthermore, Moon settled on Taras as the most probable centre of production for both Lucanian and Apulian red-figure, adducing the city's 'importance and prosperity during the early part of the life of the industry' (Moon 1929: 48).
For Tillyard and Trendall, the relative Greekness of the potential destinations was a decisive factor in where Apulian red-figure workshops took root.
Metaponto is the only South Italian site for which Apulian red-figure production has been verified through the discovery of workshop contexts.
In sum, scholars have tended to favour the colonial-Greek candidates for hosting the first Apulian workshops, but these candidates receive only the slimmest support from the archaeological record.
Apulian red-figure vases could be used to illuminate Italic cultures that are not well understood.