Die Römischen Firmalampen aus dem Municipium Claudium Aguntum

MARTIN AUER (Innsbruck)

Die römischen Lampenfunde aus den, in den 30er Jahren des 20. Jahrhunderts begonnenen Ausgrabungen in Aguntum wurden letztmalig 1982 vorgestellt (J. Marsa, Die Lampen von Aguntum, Mitteilungen der österreichischen Arbeitsgemeinschaft für Ur- und Frühgeschichte 32, 1982, 97-100), die angekündigte Ver-öffentlichung des Gesamtmaterials blieb jedoch aus. Durch die jährliche Grabungstätigkeit (bis 1990 unter Leitung des Österreichischen Archäologischen Instituts, ab 1991 unter Leitung des Instituts für klassische und provinzialrömische Archäologie der Universität Innsbruck) hat sich der Material¬umfang bis heute wesentlich erweitert.
Besonders eine bei der Vorbereitung des Grabungsgeländes im Frühjahr 2008 aufgefundene Lampe des CRESCES mit bisher einzigartiger Stempel¬vari¬ante ließ es lohnend erscheinen, die Firmastempel des gesamten Aguntiner Materials zusammen¬zustellen und statistisch auszuwerten. War 1982 noch von 22 verschiedenen Lampenherstellern im Aguntiner Material die Rede, so ist diese Zahl bis heute auf 35 angewachsen. Zum größten Teil handelt es sich hierbei um Nord- bzw. Oberitalische Importe, daneben sind allerdings einige bislang wenig bekannte, auch im oberitalischen Material kaum vertretene Hersteller zu nennen.

Die lokale Lampenproduktion in Dakien zwischen Kunst und Imitation

Doina BENEA (Timişoara)

Die lokale Produktion von Tonlampen in der Provinz Dakien ist zum größten Teil mit Modeln hergestellt worden. Typologisch gesehen sind die¬se Lampen Nachahmungen von mehrere Typen: die meisten sind Firma¬lampen, aber es gibt auch Lampen mit Voluten, runde Lampen u.a. Die Exem¬¬¬plare sind meistens ohne Ornamente auf dem Deckel, obwohl in einigen Fällen die Stempeln Zeichen für eine lokale Herstellung sind. Aber es gibt auch Lampen, welche auf dem Rand des Deckels einige eingeritzte geometrische Motiven haben. Das kann ein direkter Einfluß der Töpfereien sein, in welchen diese Lampen produziert wurden.Unsere Arbeit analysiert solche Ornamente auf den Lokallampen aus der Provinz Dakien, welche in die Zeit der römischen Provinz zu datieren und direkt eine Zeichen für eine spezifischen Produktion sind.

Firmalampen found in the Roman fort of Slăveni, Olt Country, Romania

Dorel BONDOC(Craiova)

The Roman camp from Slăveni was the greatest Roman camp of stone from Oltenia (Dacia Inferior/Malvensis). Its importance followed very clear from its geo-strategical position and also, from the big and the varied archaeological discoveries. There are just few motifs for the great interest of the historiens and the archaeologists for this camp, who was considered by D. Tudor the very most important point of the Roman defense from the line of Olt river («Limes Alutanus»). Inside the camp there was discovered a lot of lamps, some of them of Firmalampen type. These belong to the fol¬low¬ing producers: Armenius, Strobilus, Ianuarius, Cassius, Flavius and Fortis.

Brenndauer und Rußentwicklung von antiken Lampenölen

Manuela BROISCH (Köln)mailto:Manuela2303@gmx.de

Grundlage der Beleuchtung in der Antike war vor allem Öl, das in verschiedenen Lampen verbrannt wurde. Als Lichtquellen wurden Öllampen aus Keramik, Metall und Glas (u.a. vermutlich Diatretgläsern) benutzt. Doch welche Öle kamen dafür in Frage? Welche Öle erzeugen ausreichend Licht, dass sich diese als Brennmaterial für Lampen eignen?
In verschiedenen Versuchen wurde die Brennfähigkeit, die Brenndauer und die Rußentwicklung verschiedener Öle untersucht und die Ergebnisse miteinander verglichen. Da die Versuche in Anlehnung an einen Gebrauch von Diatretgläsern als Lampe in einem Glasgefäß vorgenommen wurden, konnte gleichzeitig die Eignung von verschiedenen Kühlflüssigkeiten (Wasser, Wein) überprüft werden.

The use of lighting, decoration and cult images
in the aedes Augustalium at Ulpia Traiana Sarmizegetusa

Sorin BULZAN (Oradea)

Ulpia Traiana Sarmizegetusa is one of the few towns with epigraphical and archaeological attestation of an aedes Augustalium, the building being erected by M. Procilius Niceta, flamen coloniae. The presentation proposes an analysis of the use of lighting of can]delabra aerea duo which an unknown augustal donated to the collegium of Augustales in charge (IDR III/2, 4). The cultic and architectural context and also the occurrence in the roman word of two paired candlesticks and other lighting instruments with imperial imagines clearly suggest that in this case the decoration of the aedes had religious purposes and can serve for “Bilderdienst” more specific to the Augustales. The imperial representations can be identified here with sigilla presented also in the inscribed text by the donor. In this way at Sarmizegetusa is confirmed “an attractive speculation … supported indirectly by finds of candelabra associated with other cults” as D. Fishwick proposed.

Qui était Quintus Cupidus?

Jean BUSSIERE (Castelnau-de-Guers)

Une lampe publiée entre autre par M.C.Hellmann (B.N. 1985, n° 9, p. 12) et dont plusieurs attestations sont connues, présente un décor complexe et insolite et une inscription qui ont fait couler beaucoup d’encre. Certains y ont vu Ceres, le génie de la fertilité, un cavalier lisant un cadran solaire ou faisant de la main un geste obscène, ou encore une allusion à la coutume de la sportula. De l’avis général aucune de ces interprétations n’est pleinement satisfaisante. Grâce au rapprochement fait avec le décor d’une autre lampe offrant des analogies certaines mais aussi des éléments nouveaux nous proposons une nouvelle lecture à la fois du décor et de l’inscription de la lampe énigmatique.

L’iconôgraphie d’une lampe de Potaissa –destin et histoire

Ana CĂTINAŞ(Turda)

Parmi les bronzes romains de Potaissa, se trouve une belle lampe ornamentée, immortalisée sur l’une des planches photographiques par la collectioneur Botár Imre.
La publication de la liste contenant les représentations de la planche et la conservation dans le Musée d’Histoire de Turda des planches photographiques, nous a aidés à identifier cette lampe. La redécouverte de la pièce dans le “Szépművészeti Múzeum” de Budapest a été possible grâce à ces photographies. La collection s’est dissipée mais le destin fait que par l’intermédiaire des photos on identifie le propriétaire actuel des pièces.
La lampe, à réservoir circulaire a le bec étroit et long, flanqué des vplutes rudimentaires. Sa partie supérieure est décorée d’un chien couché qui tient sa patte sur le dos d’un chiot qui se trouve devant lui.
La lampe a une anse tubulaire, attachée au réservoir par une palmette à neuf pétales. La particularité de ce type d’anse courbée au dessus de la lampe, est constituée par la terminaison dans une calice de fleur. La partie inférieure du réservoir est découpée de manière circulaire, donc il manque á cette pièce de grande dimension la base ou le pied.
Dans le monde romain des lampes à représentations d’animaux couchés, on connaît des récipiens à volutes, fabriqués autant en bronze qu’en argile.

Forme di illuminazione nella villa tardoantica
di Aiano-Torraccia di Chiusi (Siena) [Poster]

Marco CAVALIERI e Gloriana PACE (Louvain-la-Neuve)

La villa tardoantica di Aiano-Torraccia di Chiusi è situata nel cuore della Toscana, in Val d’Elsa, tra Siena, Volterra e Firenze. La vita della villa è databile a partire dal III-IV sec. d.C. al VII sec. d.C.
Tra il 2005-2008 si è indagato 1/10 della superficie totale della villa, pari ad 1 ha. Le strutture architettoniche rinvenute sono suddivise in numerosi ambienti, tra cui si segnala una a sala a pianta triangolare, con absidi in corrispondenza dei vertici.
Il complesso subisce una profonda trasformazione tra seconda metà del V e il VI sec. d.C., acquisendo una forte connotazione produttiva, così come mostrano lo scavo di alcuni ambienti ove, ad esempio, sono emerse fornaci ed altri apprestamenti per la lavorazione dell’argilla, dei metalli e del vetro.
Dalla ‘sala triabisdata’ e dagli ambienti attigui proviene la maggior dei materiali ceramici, rinvenuti negli strati di abbandono del sito, relativi al probabile riutilizzo tardoantico dell’edificio, tra V-VII sec. d.C.: tra questi anche un discreto numero di lucerne, frammentarie e integre.
Tra i pezzi più interessanti, attualmente in fase di studio, si segnalano una lucerna integra di produzione probabilmente locale imitante produzioni siro-palestinesi di V sec. d.C., e lucerne in Terra Sigillata Africana con monogramma di Cristo.

Lychnological investigation and scientific events 2003-2009:
new researches, new challenges, new perspectives

Laurent CHRZANOVSKI(Genève)

Has everything remained unchanged after the creation of the ILA in 2003? Did we succeed or fail in our aim to unite research and to help lychnologists to communicate and to meet? What can we do better?
Though the topic of this opening lecture will not be focused on the Association’s activities, the above mentioned questions will be answered in detail, and hopefully also discussed with the help of the specialists.
The ILA commitment to organize periodical meetings (general congresses and topical round-tables) has been fulfilled, reaching an even superior number of colloquia than what was thought at the Association’s creation. Moreover, all the acts of all the reunions are (or will shortly be) published, leaving a durable trace of the papers and the discussions that took place.
Our common activities with Instrumentum helped greatly to diffuse our news on a printed and well distributed support, together with short articles and book reviews, twice a year in the Bulletin. In exchange, our website hosting also Instrumentum’s site knows since this agreement a “boom”of visitors, constantly superior of 10’000 monthly visits. We still have a lot of work waiting for us to make a better site with more bibliography and more informations, but the goal to be a major bibliographical resource for scholars and students has already been reached.
But, moreover, the essential success of the ILA, proved by its actual meeting in one of Europe’s most prestigious universities, is that our work is now broadly known and appreciated. That means that we constantly receive mails and post not only from our members, but from new colleagues working on lamps, and that we can hence put at everyone’s disposition these informations. This will be the main topic of our speech: what is going on in lychnological research?
Without entering in the details of the conference, we can underline the publication of long awaited and previously almost unknown types or areas: we will mention the corpora of lamps of Algeria, Bosnia, and Dacia Porolissensis, the complete publication of large collections such as the National Museum of Antiquities of Saint-Germain-en-Laye or the Kerch Archaeological Reserve; a first volume finally devoted (in part) to late antique Sicilian lamps; a volume dedicated to a very little known type of turned lamps of the late classical period from recent excavations in Kyme (Turkey), and much more.
We will also salute the creation of new working groups investigating the instrumentum domesticum, who will certainly open a lot of new research directions and opportunities in the following years.
Lastly, we will also point out areas and types unsufficiently researched, not to say abandoned, in our hope to stimulate studies and activities for a better comprehensive lecture of lychnological antiquity.

Lucerne dalle terme romane a Deultum-Debelt (Bulgaria)

Diana DOBREVA (Padua)

L’arrivo dei Romani a sud del Danubio portò dei cambiamenti politici, amministrativi e sociali. Nel 70 d.C. l’imperatore Tito Flavio Vespasiano fondò, su un insediamento tracio, una colonia di veterani della legio VIII Augusta a cui diede nome Colonia Flavia Pacis Deultensium, nota dalle fonti storiche anche come Deultum.
Dal 2003 sul territorio della colonia è stato rinnovato un progetto con lo scopo principale di indagine, conservazione e valorizzazione dell’area della riserva nazionale Deultum-Debelt.
In questa sede sono stati presi in considerazione i dati dall’ultima campagna di scavo (2008) durante la quale è stata portata alla luce una parte del sistema idrico delle terme romane della città. Particolarmente nutrito di materiale fittile è stato il riempimento del condotto che ha restituito oltre 1200 frammenti di lucerne romane inquadrabili tra l’inizio del II fino al IV d.C. e riconducibili in buona parte ad un ambito produttivo locale e regionale: con valori minori sono attestate le produzioni importate. I tipi che predominano sono Loeschcke VIIIH, Loeschcke IV, Loeschcke I, Vogelkopfenlampen, Sunburst lamps e le lucerne attiche. Oltre alle lucerne un’ampia percentuale dei ritrovamenti è rappresentata dalla ceramica a pareti sottili.
Il presente contributo propone un’analisi tipo-cronologica dei ritrovamenti di lucerne fittili con lo scopo di creare un quadro generale sui consumi e traffici che interessano la colonia durante l’arco cronologico analizzato. Infine verrà avanzata un’ ipotesi cronologica riguardante le prime fasi d’uso dell’edificio termale.

Nuovi ritrovamenti di lucerne romane ad Aquileia (Italia)

Diana DOBREVA (Padova) – Jacopo BONETTO (Padova)

Dalla primavera del 2009 la Fondazione Aquileia e il Dipartimento di Archeologia dell’Università degli Studi di Padova, d’intesa con la Soprintendenza per i Beni archeologici del Friuli Venezia Giulia, hanno avviato un rapporto di cooperazione finalizzato alla conoscenza e alla valorizzazione dell’area dei fondi ex Cossar, posti a circa 150 metri dal complesso basilicale paleocristiano verso nord.
La prima campagna è stata condotta tra il 4 maggio e 17 luglio 2009 ed ha interessato una fascia centrale dell’isolato tra la strada orientale e lo spazio occupato da una delle abitazioni private. Sono stati qui aperti due saggi di scavo denominati 1 e 2. All’interno di saggio 1, nella zona di passaggio tra lo spazio domestico e l’area delle botteghe contigue alla strada orientale, è stata identificata una piccola vasca/pozzetto. All’interno della struttura lo scavo ha identificato un rivestimento delle pareti costituito da incrostazioni di materiale di probabile natura organica e due riempimenti di defunzionalizzazione. Tra i materiali recuperati all’interno dei due riempimenti si segnala la presenza di materiale vitreo e litico e materiale fittile rappresentato per lo più di ceramica comune depurata, terra sigillata, ceramica a pareti sottili e frammenti di lucerne fittili.
Il presente contributo ha come scopo una duplice funzione: da una parte l’analisi tipo-cronologica di questi nuovi ritrovamenti di lucerne all’interno dei loro contesti di provenienza; i risultati ricavati diventeranno base per l’interpretazione cronologica e funzionale della struttura analizzata; e dall’altra sollevare alcune problematiche relative all’origine e la distribuzione dei diversi tipi di lucerne nell’agro aquileise.

Danubian Loeschcke VIII lamps – regional variations

Mariana EGRI (Cambridge) – Aurel RUSTOIU(Cluj-Napoca)

The Italic Loeschcke VIII lamps were copied by a series of workshops from the middle and lower Danube region soon after their appearance. The character of the early local production seems to indicate the involvement of some craftsmen coming from Italy.
However, during the first decades of the 2nd century AD, certain Danubian workshops created their own versions of the Loeschcke VIII lamps and their products were popular in certain areas and sites from this region until the beginning of the 3rd century AD.
Therefore the paper will investigate the ways in which the Italic Loeschcke VIII prototype was transformed by the Danubian craftsmen. Another aim is to identify these workshops through a series of morphological characteristics, as well as the areas in which their products were distributed.

Importazioni ed imitazioni di lucerne fittili tardoantiche ad Egnatia: archeologia ed archeometria[Poster]

C. Silvio FIORIELLO – Annarosa MANGONE (Bari)

Egnatia, importante municipio lungo il litorale adriatico, è oggetto dal 2001 di campagne di scavo e di ricognizione topografica (condotte nell’ambito del ‘Progetto Egnazia: dallo scavo alla valorizzazione’, diretto dalla prof.ssa R. Cassano – Università di Bari), che ne stanno rivelando la vitalità economica e la articolazione urbana. Fra i materiali ceramici rinvenuti, prodotti localmente e importati, le lucerne registrano un vasto repertorio tipologico che esprime interessanti potenzialità diagnostiche.
Lo studio presentato è stato applicato ad esemplari delle ‘Forme Atlante X, XIII, XV’, prodotti in Africa settentrionale e ampiamente esportati nel Mediterraneo, dove si contano fenomeni di manifattura imitativa, su scala locale e comprensoriale.
Le analisi archeometriche condotte su lucerne ‘locali’ e ‘importate’ hanno permesso di caratterizzare le produzioni consentendone la precisa classificazione. I risultati sostengono l’ipotesi – già avanzata su base crono-tipologica – della diversa provenienza e della differente filiera tecnologica dei reperti. Quanto alle ‘imitazioni’, è stato possibile determinarne la produzione egnatina: dirimente appare il confronto con le coeve anforette del tipo ‘broad line ware’, rinvenute all’interno di una fornace crollata alla fine del VI secolo. Le indagini mineralogiche hanno inoltre identificato nei depositi alluvionali, affioranti attorno ad Egnazia, la materia prima impiegata per la realizzazione dei manufatti.

Repertorio morfologico e iconografico delle lucerne tardoantiche
nel contesto dell’Apulia: casi di studio

C. Silvio FIORIELLO (Bari)

Il considerevole numero di soggetti relativi ad episodî del Vecchio e del Nuovo Testamento e ad elementi del culto cristiano sulle lucerne tardoantiche – soprattutto di produzione africana – ha suscitato da sempre per questa classe ceramica un vasto interesse, nonché numerosi approfondimenti dei temi di iconografia cristiana e delle dinamiche di tassonomia tipologica. Problematico appare altresì il rapporto tra produzione di lucerne ‘africane’ e manifatture vascolari coeve in sigillata – con le loro rispettive imitazioni locali – soprattutto nel merito sia del confronto tra i relativi motivi decorativi sia della differenziazione regionale delle figlinae.
Gli studi più recenti e i dati forniti dagli scavi condotti negli ultimi decenni in ambito apulo – l’area della Puglia centro-settentrionale – consentono tuttavia non solo di delineare una articolata tipologia degli stilemi iconografici attestati sulle lucerne fittili tardoantiche, ma anche di contribuire a tracciare un più complesso quadro dei contesti esaminati, pure in ordine al profilo storico e sociale della committenza, nonché alle forme ideali e materiali dell’utilizzo di questo particolare instrumentum domesticum.

An ‘Hellenistic’ production from Northern Italy:
imitating the Herzblattlampen from Pergamon

Elisa GRASSI – Chiara MANDELLI(Milano)

The lamps we deal with are of the italic type coming from Pergamenian Herzblattlampen.These italic lamps are modelled on the hellenistic-oriental lamps, especially referring to the principal characteristic of the Pergamenian Herzblattlampen. They are very rare and found in two separate areas; in northern Italy (particularly the Po-Adriatic) and in the Magdalensberg. The style dates from the end of the first century BC to the beginning of the first century AD.
Ten lamps have been found in a Roman villa discovered in Gazzo Veronese, near Verona, and a few more come from three excavations carried out in Milan. These finds are very important, because it is the first time lamps of this sort have been found intact and coming from stratigraphic excavations. In fact the only systematic studies relating to this type of material are the cataloguing of the Aquileia lamps done by Di Fillippo Balestrazzi, intact specimens but without the stratigraphic data, and Farka’s studies of the Magdalensberg lamps. Once again, intact specimens but unfortunately without the data of the context.

Europe’s first oil crisis? Fuel-supply for Roman lamps

Andreas HENSEN (Heidelberg)

Over the few last years, a research programme has been evaluating the finds from the Roman cemetery of Heidelberg-Neuenheim. One of the most popular grave-goods are ceramic lamps, which were used both at the cremation on the pyre and during the interment ceremonies beside the open grave.
The cemetery was in use between AD 80 and 190. Over this period we note the increasing frequency of specific types of lamp and manipulated specimens that either reduce the consumption of oil or use alternative kinds of fuel. Finds at other sites in Germany and in neighbouring provinces, and research on the Roman economy suggest that these phenomena are directly attributable to shortages of olive-oil in the western Mediterranean area.

Staatsallegorie, Siegespropaganda, Prestigeobjekte?
Zu Schiffsdarstellungen auf römischen Lampen

Marcus Heinrich HERMANNS (Köln)

Die Typologie antiker Schiffe ist bis heute nicht hinreichend geklärt. Weder sind die Typen klar voneinander zu trennen noch sind diese treffend zu benennen. In den Digesten (533 n.Chr.) werden die Schiffe nach ihrem Antrieb und ihrer Funktion in vier Gruppen unterteilt: naves longae, naves onerariae, naves actuariae, naves piscatoriae.
Schiffsdarstellungen werden von der maritim-archäologischen Forschung meist nur unter technischen Gesichtspunkten als Realia betrachtet. Ikonologisch werden Kriegsschiffe oder deren ausgewählte Bestandteile wie Bug, Rammsporn oder Heck meist kulturhistorisch in der antiken Siegesikonographie verankert. Jedoch ist dies nur in den Fällen einer dazugehörigen Inschrift oder zeitgleichen literarischen Überlieferung methodisch legitim.
Zu den nicht leicht deutbaren Schiffsdarstellungen zählen daher diejenigen auf römischen Lampen. Ihre Einbindung in mythologischen, politischen und sozialen Bildkontexten ist sehr heterogen. Anhand der zeitlichen wie auch räumlichen Verbreitung wird in dieser Abhandlung versucht, einen neuen Ansatz zu deren Lesung zu erarbeiten. Ein Vergleich zu anderen Gattungen (Reliefkeramik, Kameen, Graffiti, Staatsrelief) soll mögliche Alternativen oder sich ergänzende Sichtweisen aufzeigen.

Mould made grey lamp with floral decoration

Malka HERSHKOVITZ(Jerusalem)

In the first century CE we find in excavations in Israel a new type of a mould made grey oil lamp together with the common wheel-made knife-pared lamp. Similar grey oil lamps were found in Southern Lebanon in a tomb near the village of “De Baal”.
The lamps are made of high quality grey ware with a black glossy slip. The body is rounded, with a low base-ring, and has a pierced loop-handle at the rear. The nozzle is usually splayed with volutes on the sides. Some lamps have two nozzles. Handsome floral decorations are arranged on the shoulder in high relief and include olive twigs with leaves and fruits, myrtle twigs, oak leaves and acorns. Stylized flowers are also fairly frequent with a wreath and ribbons represented.
The mould made grey oil lamps with floral decorations in high relief represent a unique kind of lamp. In this period the cultural atmosphere was open to changes and innovations. The lamps belong to the general trend of luxurious local table-ware, and their decorations assumed motives of Jewish art and architecture of the second Temple Period.
We can identify the inspiration and influence of the Roman imported oil lamps of Broneer type XXI. This was not an imitation but a creative development of technological skill and a new type of oil lamps in the first century CE in Judea and Jerusalem.

Die Lampen vom Dülük Baba Tepesi/Doliche (Türkei)[Poster]

Constanze HÖPKEN(Köln) – Eva STROTHENKE(Münster)

Auf dem Düluk Baba Tepesi bei Gaziantep befand sich seit der Eisenzeit ein überregionales Heiligtum des Wettergottes Teşub/Hadad – in römischer Zeit wurde der Kult auf Jupiter übertragen, der den Beinamen Dolichenus erhielt. Nach der Zerstörung des Heiligtums im Jahr 256 n. Chr. blieb der Platz bis in das Mittelalter besiedelt.
Aus den hellenistischen und römischen Siedlungsphasen sind trotz intensiver Nutzung des Platzes nur wenige Lampen belegt, zumindest ist aber eine für Heiligtümer charakteristische Ringlampe überliefert. Das weitgehende Fehlen von Lampen des 2. und 3. Jahrhunderts ist sicherlich u.a. dadurch bedingt, dass das Heiligtum mit einem Plattenpflaster ausgelegt war, das sich ‚besenrein’ sauber halten ließ – entsprechend wenige Funde blieben auf dem Gelände zurück. In der Spätantike kommen Glaslampen auf, wozu vermutlich auch ein Diatretglas zu zählen ist. Für die islamische Zeit sind es wieder Keramiklampen aus dem Model, die im 9. Jahrhundert von gedrehten Schalenlampen abgelöst werden.
Die Zahl der Lampenfunde bestätigt den Gesamteindruck des Fundmaterials, das immer wieder einen chronologischen Schwerpunkt im frühen Mittelalter erkennen lässt. Eine Kartierung der verschiedenen Lampen lässt zudem unterschiedliche chronologische Besiedlungsschwerpunkte auf den Hügel erkennen und Überlegungen zu den Bewohnern und ihrer Raumorganisation innerhalb der Siedlung zu.

Benutzung von Lampenmodeln durch nachfolgende Töpfer

Ingeborg HULD-ZETSCHE (Frankfurt am Main – Oberursel)

Die Aufarbeitung der Lampenproduktion in Frankfurt am Main-Nied erbrachte nicht nur die Zahl der verschiedenen Typen von Firmalampen und Wetterauer Lampen. Doppelte Signaturen auf einzelnen Lampen belegen außerdem, daß einige Töpfer die Model ihrer Vorgänger weiterbenutzt haben.

The Light in the Byzantine Church

Ioannis ILIADES (Kavala)

The aesthetics of light in the Byzantine church is achieved on one side with the help of exterior natural light, which enters inside the naos through the windows and, at some way, keeps the faithful in contact with the reality of perceptible world, and on the other hand via the light that flows from the figures, the colours, the symbols and the iconography.
However, it is not only the natural lighting. During night the artificial light substitutes the natural one, transporting its source inside the naos. The light of candles, the chandeliers and candlesticks grow the shades of the monks that participate in the Liturgy, giving in the space “unearthly” dimension.
In order to comprehend better the role of light in the Byzantine church, we started the research in churches of Northern Greece, such as Rotunda at Thessalonike (4th c.), in the katholikon of Panagia Kosmosoteira (1152), in katholikon of Hagios Ioannis Prodromos Monastery (1310) at Serrai, in Holy Apostles (1315), in Hagia Aikaterini (1320-30) and in “Prophitis Elias” (1360-70) at Thessalonike. Τhe research is based on some observations and measurements in the interior of the above churches.
Apart from the research in natural light, there were also made measurements with the candles in the interior of katholikon of Panagia Kosmosoteira.

Egyptian Gods on Athenian Lamps of the Late Roman Period

Arja KARIVIERI (Stockholm)

The aim of this paper is to discuss the iconography and forms of Late Roman Athenian lamps that represent Egyptian divinities and to put these lamps in their context in the city of Athens. Archaeological evidence and literary sources give us information about the persistence of Egyptian cults in Late Antique Athens, terracotta lamps being the most important group. Egyptian gods are depicted, among others, on lamps of Broneer Type XXVII with kite-shaped nozzles, oversized lamps and rectangular lamps with several wick-holes.
Another special group consists of large boat-shaped lamps with several wick-holes; as many as 64 fragments derive from the ‘Töpferschutt’ in the Kerameikos (Böttger 2002: 53). The boat-shaped lamps were given as votive offerings to the Egyptian gods during the celebration of the Navigium Isidis that marked the beginning of the navigation season. The fragments of boat-shaped lamps from the Kerameikos ascertain the popularity of Egyptian cults in Late Antique Athens, where pagan cults survived far longer that in many other city centres of the Roman world.

“Their Shield was the Lid of a Lamp” – Casting Light on Roman Mice

Philip KIERNAN(Vancouver)

A large series of bronze mice figurines are known in museums throughout Europe, and have been found at sites throughout the Roman world. They have often been associated with the god Apollo Smintheus. This attribution is based solely on the fact that the Homeric god’s main attribute is a mouse, and a closer examination of the bronzes proves that it is entirely erroneous. Most of the bronze mice are the attachments of oil lamps, or come from other furniture related to Roman
lighting. The figurines must have been a popular motif for a long period of time. Far from being a divine attribute, their iconography relates to night-time human activity, especially banqueting, and the humorous literary image of mice found in certain Hellenistic and Roman texts. The bronze mice play a potentially multi-layered joke upon the viewer, which at its simplest level invites confusion between art and reality, and at its most advanced level makes a specific literary reference.

Lampen aus Pydna: Importe, Nachahmungen, lokale Produktion
in spätklassischer und hellenistischer Zeit

Zoi KOTITSA(Würzburg)

Unter den 65 Lampen aus den spätklassischen und frühhellenistischen Gräbern der Nordnekropole von Pydna lassen sich hauptsächlich attische Importe, attisierende Nachahmungen und eine lange Reihe von einheimischen Erzeugnissen erkennen. Darüber hinaus dürften einige Exemplare aus der makedonischen Hauptstadt Pella nach Pydna eingeführt sein.
Die Importe aus Attika vertreten vorwiegend Rundschulterlampen, wobei man auch Beispiele von Diskus- und Stocklampen festgestellt hat. Sie dauerten bis zum späten 4. Jh. v. Chr. an und wurden bereits im 3. Viertel des 4. Jh. v. Chr. von den pydnäischen Töpfern nachgeahmt. Der zeitliche Abstand zwischen Importen und lokalen Nachahmungen ist nicht nennenswert, wie aus der Untersuchung der Grabkontexten hervorgeht.
Parallel dazu haben die lokalen Werkstätten in dem zu untersuchenden Zeitraum auch ältere attische Lampentypen aufgegriffen und bis zum frühen 3. Jh. weitergeführt. Dabei veränderten die einheimischen Töpfer die ursprünglichen Typenelemente und Proportionen der Lampen, fügten eigene Formmerkmale hinzu und erzeugten dadurch Produkte mit eigenem Charakter. Die Vorstellung der Typologie dieser Exemplare wird einerseits die Lampenproduktion der einheimischen Werkstätten in spätklassischer und frühhellenistischer Zeit verdeutlichen, andererseits, und in Zusammenhang mit den ‚geschlossenen’ Grabkontexten der Lampen, die für eine Chronologie der lokalen Lampen aussagekräftigen Formelemente aufzeigen.

Lampes d’Argos. Les lampes en terre cuite de l’Agora et des Thermes. Campagnes de fouilles 1972-1991. Quelques résultats significatifs

Lambrini KOUTOUSSAKI (Fribourg)

Der Beitrag soll in Kürze einen Überblick über die Resultate der inzwischen abgeschlossenen Doktorarbeit geben. Diese befasst sich mit den Lampen, die während der Ausgrabungskampagnen der Ecole Française d’Athènes(EfA) zwischen 1972 und 1991 in der Agora und den Thermen von Argos gefunden wurden. Mehr als 5500 Lampen und Lampenfragmente sind katalogisiert und ausführlich behandelt worden. Zeitlich umfassen diese etwa elf Jahrhunderte, vom späten 6. Jh. v. Chr. bis zum 7. Jh. n. Chr. Typologisch sind fast alle bisher bekannten Lampentypen vertreten, lokale oder importierte. Dabei sind mehrere Typen als „argivisch“ zu bezeichnen, die einerseits die Kreativität der lokalen Ateliers zeigen und andererseits einen florierenden Lampenhandel bestätigen. Es handelt sich jedoch mehrheitlich um Imitationen, die vorwiegend im 4. und 5. Jh. n. Chr. hergestellt wurden. Von den importierten Lampen bilden diese aus Korinth und Attika die größte Gruppe, einzelne Typen sind ohne Zweifel im kleinasiatischen Raum entstanden.

Roman clay lantern from Bijan Island (Iraq) – how unique is it?

Maria KROGULSKA(Warszawa) – Iwona ZYCH(Warszawa)

The lantern is an old find from Polish excavations (PCMA) on Bijan Island on the Euphrates River, conducted as part of a 1980s archaeological salvage program in Iraq. A recent successful reconstruction of fragments of this object has restored the object to its complete shape and has permitted the identification of the terracotta animal representation decorating it. The context in which the lantern was found ― a Roman garrison on this Euphrates island ― is well-dated by contextual material, but direct parallels to the lantern itself have failed to appear so far. The paper will concentrate on presenting this piece and discussing how unique it may be in the context of finds from the region and broader analogies.

Poseidon at Isthmia: Sculpture on Lamps

Birgitta LINDROS WOHL (Los Angeles)

Lampmakers of the Roman period notoriously borrowed their images from other media. This paper focuses on the relationship between disk-decor and known local sculpture, a connection especially strong in the Corinthia. Examples are many (e.g. Herakles, Tyche or Aphrodite), often corroborates by comments in ancient literature.
However, the most prominent divinity of the Isthmus, Poseidon, presents something of an enigma. Several sculptures are known to have existed, but tying the one sure Corinthian lamp type to any specific sculpture is problematic. Especially, why ist there no evidence of a representation of the cult-statue in his primary, most famous sanctuary, the temple at Isthmia, a sculpture group amply desctibed by Pausanias? Analysis and comparisions with other local sculptures and their manufacture are offered to suggest some possible answers.

Lucerne africane importate ed imitate
nell’insediamento rurale di Seppannibale (Fasano BR)

Ruggero G. LOMBARDI (Barletta)

Durante le campagne d’indagine archeologica nei pressi del tempietto anonimo di Seppannibale (Fasano-BR) sono state rinvenute quarantacinque lucerne delle quali solo trentaquattro sono state individuate tipologicamente. Le lucerne attribuite alla tipologia africana sono sedici delle quali cinque sono in terra sigillata africana e undici sono in impasto locale: le prime sono databili attraverso il confronto con lucerne rinvenute in altri siti pugliesi in un periodo compreso tra la fine del V secolo d.C e il VI, le seconde, invece, sono databili tra la seconda metà del VI secolo d.C. e gli inizi del VII secolo attraverso l’associazione ad altri materiali provenienti dallo stesso contesto stratigrafico.
La netta maggioranza delle lucerne di imitazione su quelle di importazione indica la presenza di un mercato che non poteva forse rifornirsi di materiale proveniente dall’estero ma preferiva per questioni economiche, data la povertà del villaggio indagato, rivolgersi ad officine locali. La prevalenza dei prodotti imitati su quelli importati e la presenza delle due diverse produzioni fittili all’interno degli stessi contesti stratigrafici permettono di rilevare ancora meglio le difficoltà in cui doveva svolgersi la vita nel sito.

North African lamps showing a woman with a transport amphora

John LUND (Kopenhagen)

The paper publishes a lamp in the Collection of Classical and Near Eastern Antiquities, which was sent to Copenhagen in 1828 by the then Danish Consul General in Tunis, C.T. Falbe. It was part of a larger consignment of finds seemingly originating in Sidi Daoud in Cap Bon.
The lamp is signed by CIVN[DRAC], and its discus motif is a running woman with a transport amphora. The paper gathers the other lamps with this motif from the same workshop as well as version in which the person carrying the amphora is male. It also considers lamps with related motifs from other workshops and discusses their relationship, priority and geographical distribution in order to detect – if possible – differences from one workshop to the other.
The iconography is set on the background of other Roman representations of persons carrying amphorae, and an attempt is made at identifying the types of amphorae involved.

Herstellung antiker Tonlampen nach Adam Winter

Nadja MELKO(Heidelberg)

Adam Winter (1903-1978) gilt als einer der ersten experimentellen Archäologen. Rund 30 Jahre lang widmete sich der ehemalige Bildhauer verschiedenen Brennverfahren antiker Keramik und gelangte als Erster hinter die Geheimnisse des Glanztonüberzugs, sowie der griechischen Technik der schwarz- und rotfigurigen Vasenmalerei. Ausschlaggebend für seine Forschung war der direkte Kontakt zu rezenten Töpferwerkstätten.
Im Zuge des ILA-Kongresses spielen seine Ergebnisse zur Herstellung römischer Tonlampen eine Rolle. Das Aufarbeiten und die Nachstellung seiner Versuche geben im Bezug auf den Gebrauch von Modeln, die Vorgehensweise von scheibengedrehter Ware, das Anbringen von Appliken und die Oberflächenbehandlung einen arbeitsnahen Einblick in die antike Lampenproduktion.

A Lamp Production Center in Western Anatolia: Local Production and Imitation of Cibyra

Hüseyin METİN(Burdur)

Kibyra is an ancient city which is located on the slopes in North of Gölhisar district of Burdur province. The environment of the city was known as Kabalya or Kabalis in ancient times. This area is a transition region between ancient Phrygia, Psidia, Lycia and Caria. This is why it has the common marks of the cultural character of the areas between which it is located.
During surface research of the city, in the south slope of the hill where the theatre and bouleuterion are, some indications have been found that there was a ceramic studio in the area. During surface examination in the field a very intense stream of ceramics has been observed and many fragments of vessels have been gathered there. Working on the basis of the burial chamber underground a Kibyra workshop is discussed with the local production Kibyra we interpret as, in the plant, figurative decorations and inscriptions that are oil lamps.
From the 1st century BC to the 7th century AD, a large part of the findings that cover a long period resemble the Ephesos oil lamps described in publications, but one can say that the Kibrya examples are of higher quality than the Ephosos ones according to the property and also the decorative quality of the materials. By way of excavation and confiscation, more than 1000 pieces of oil lamps have been gathered and most of them have floral and figurative adornment. But there exist candle molds and defective productions as well. When examining the decoration of the faulty ones, it can detect similar ones among the faultless production as well.

Roman lamps from (L)Ibida

Marian MOCANU – Dorel PARASCHIV(Tulcea)

Archaeological research from Slava Rusă, the ancient (L)Ibida – in central Dobrudja, Romania – between 1987-1988 and since 2001 until today has lead to the discovery of a large quantity of archaeological artefacts from the Roman age: the monastic complex, the city necropolis, the external habitations in the city’s immediate vicinity, from within it and from its territory (Kurt Bair). The chronological horizon in which the lamps from (L)Ibida can be classified is between the 2nd- 7th century AD. Of the almost 150 lamps from (L)Ibida, most of them fragmentary, 75 pieces and a mould have drawn our attention. Among the most representative are 19 intact lamps of which we highlight a Firmalampe with IANUARIUS stamp, two lamps with cordiform beaks, two fragments with cross-shaped handle, three fragments with anthropomorphic handle, three fragments with vegetal motifs and a Arabische Lampe.

Lamps and amphorae in the ager Potentinus from late republican to imperial times (Potenza Valley, Porto Recanati, Marche)

Patrick MONSIEUR (Gent)

The site of Potentia lies near actual Porto Recanati (c. 25 km south of Ancona) and was founded in 184 B.C. Since the seventies of last century the ancient colony and its ager were studied by Italian historians and archaeologists, most of them active at the Soprintendenza of the Marche and at the University of Macerata. In 2000 a Belgian team from Ghent University started a survey project in the valley of the river Potenza, the former Flosis. The survey is mainly concentrated on the lower Potenza valley, that is to say the ager Potentinus and the city itself. Last two years the archaeological fieldwork was supplemented by excavations on the West gate zone in Potentia and on an amphora workshop some 3 km to the south (actual Potenza Picena).
In this study some methodological problems on lamp finds are presented, especially its visibility (with emphasis on some early types), its meaning in different sorts of contexts and the difficulties concerning the chronology extracted from urban and funeral contexts of Potentia. Problems concerning local production and imports are mostly not tackled now because substantial work on the fabrics still has to be done. Some 20 types of lamps are known from the ager Potentinus, most of them imperial and late antique. The spectrum is heavily biased by the overrepresentation of imperial lamps (Loeschke Ic and IV, Firmalampen) discovered in the Northern necropolis and the urban excavations. When considering survey finds, as well on rural as on urban sites, one can notice that lamps, all types confounded, are underrepresented. This is the more the case for late republican (Italic plain and black gloss and of Hellenistic tradition) types, that even in excavations are generally rarely considered and on which we want to insist here. Maybe imports of Greek amphorae could be related with here (Rhodos, Knidos). In a second part, we want to consider the presence or absence (and eventually its meaning) of imperial lamps (especially two plain, locally made types, one close the Dressel 22 type) in three urban contexts, one industrial context in the countryside (amphora workshop) and in a group of graves. Finally, some problematic internal dating (1st and 2nd century urban and funeral contexts) is presented and wants to invite to discussion, eventually in confrontation with new external dating clues. From our experience with amphorae (locally made, imported Greek and Tyrrhenian) we think that this type of pottery can add much to the debate on the chronology of lamps.

Torches as lighting devices in Byzantium

Ioannis MOTSIANOS(Thessaloniki)

The study of the subject matter was prompted by the 3rd International ILA Round-Table (Τhe 3rd International ILA Round-Table entitled: “Dark Ages? History and archaeology of lighting devices in Continental Europe, from late Antiquity to late Mediaeval Ages”, Historisches Museum Olten 2007), the Exhibition organized in the framework of such Round-Table and the Exhibition Catalogue accompanying it (L. Chrzanovski, P. Kaiser (eds.), Dark ages? Licht im Mittelalter/L’éclairage au moyen âge, Exhibition Catalogue, Historisches Museum Olten 2007).
To date, the insight we have regarding these lightning devices during the Byzantine period (3rd -15th century AD) is rather poor. The main reason for this is the destructible material they were made of, and our consequent inability to form a whole picture of what they might have looked like through archaeological findings. In most cases, these objects were completely burnt, but even when they are found they may give the impression that they are materials which have been put on fire casually. Therefore, we shall attempt to collect information on these objects through written sources, iconography, but also through information deriving from the study of material originating from other areas outside Byzantium as well as other time periods.
On the one hand, references to torches in written Byzantine sources constitute clear indications that the Ancient Greek and Roman tradition relating to torches had subsisted also in Byzantium; on the other hand, the representation of the Parable of the Ten Virgins and Judas’ Betrayal of Jesus, constitute important sources enabling us to form an opinion about the aspect of torches in the Byzantine era. Indeed, they offer us the possibility to attempt a preliminary typology.
Lastly, ethnographic parallels in association with information deriving from Byzantine sources and Byzantine iconography allow us to identify some of the circumstances in which torches were used as lightning devices.

X-ray fluorescence (XRF) analysis of metal lighting devices[Poster]

Ioannis NAZLIS – Ioannis MOTSIANOS (Thessaloniki)

This paper presents the results of the analysis of eleven metal objects related to lighting. The objects are part of the collection of the Museum of Byzantine Culture in Thessaloniki and are dated to the Byzantine period (4th-15th century A.D.). The method used was X-ray fluorescence analysis (XRF), and the objects’ content in copper, lead and tin is presented in a series of diagrams.

Studien zu den kaiserzeitlichen Oellampen aus Stratos in Akarnanien

Georg A. Th. PANTELIDIS(Berlin/Darmstadt)

Bei den deutsch-griechischen Ausgrabungen in Stratos in Akarnanien (1990-2000) wurden in den Nekropolen und auf der Agora von Stratos zahlreiche Fragmente kaiserzeitlicher Oellampen gefunden. Das Formenspektrum der in Stratos gefundenen Lampen umfasst Exemplare des fruehen 1. Jhs. v. Chr. im “westlichen Typus” ebenso wie die fruehen “korinthischen” Typen Broneer XXV und XXVII. Aufgrund verschiedener Faktoren wurde fuer die Bearbeitung der Lampen aus Stratos ein eigenes Klassifikationssystem entwickelt, das an dieser Stelle vorgestellt werden soll. Die Ergebnisse der Analyse von Form, Ware und Dekor und die Signaturen deuten darauf hin, dass meisten Stuecke in den Werkstaetten der nahe gelegenen roemischen Kolonie Patras hergestellt wurden. Die bis heute verbreitete Annahme, eine griechische Lampenproduktion habe sich im spaeten 1. und fruehen 2. Jh. massgeblich in Korinth entwickelt, wird durch die Aufarbeitung dieser und anderer in Griechenland gefundener Lampen immer unwahrscheinlicher.

Roman Lamps from Poşta (Moesia Inferior)[Poster]

Dorel PARASCHIV – George NUŢU (Tulcea)

Archaeological researches from Poşta in the years 2000 and 2003 inside the Roman settlement and cemetery reveals among ohter materials, ten lamps. The research has a salvation character in an area extremely rich in archaeological remains situated in the territory of Noviodunum, statio of Classis Flavia Moesica.
The lamps types are:
- one lamp, immitation of a bronze piece
- another one presents five rostra and has on the base a production stamp CL MAXIS unknown till present
- one lamp is of firmalampen type presenting the stamp SEXTI
- seven lamps are of West Pontic local production
All lamps may be dated between the end of 1th – 3rd century AD.

Roman Lamps from Emona

Verena PERKO(Kranj) – Bernarda ŽUPANEK – Irena SIVEC (Ljubljana)

Emona was situated in Regio X as the most eastern Italic town. Colonia Iulia Emona was established in the Octavian or Augustan period and played an important role along the merchant route from Aquileia towards the East. It was situated by the river Nauportus, which connected the town with the Black Sea. Many Emona citizens belonged to prominent Aquileian and North-Italic merchant families. The latest settlement researches below the Ljubljana Castle have given evidence of the Roman army presence. However, the question about its foundation remains unsolved.
Emona is known with well researched and published cemeteries where about 3000 graves were unearthed. Among other rich materials are numerous finds of oil-lamps. Italic products prevail, some oil-lamps are the products of nearby Aquileian potter’s workshops, and a few are of Aegean origin. Oil-lamps were also produced in the Emona local workshops. This contribution will be dealing with motifs of decoration on the oil-lamps from Emona cemeteries – regarding their Italic and local production.

Création et imitation dans les lampes à décors isiaques

Jean-Louis PODVIN (Boulogne-sur-Mer)

Dans le domaine des lampes à décors isiaques, des modèles sont élaborés en Egypte, mais aussi en d’autres lieux: certains espaces comme l’Italie, mais aussi l’Espagne ou l’Afrique sont de véritables lieux de création, d’autres apparaissent davantage comme des régions qui se contentent de copier tel ou tel modèle. Cela a des conséquences et peut mener à des absurdités, généralement dues à l’incompréhension du décor recopié (usure des moules, absence de bagage culturel susceptible de permettre de réaliser convenablement les médaillons ou les anses). Dans d’autres cas, on constate au contraire de réels efforts des potiers pour adapter leur production à leur clientèle locale.

Das Fallbeispiel Helmlampe: Zu einer Sonderform römischer Lampen

Jutta RONKE (Esslingen)

Darstellungen von Gladiatorenkämpfen u.ä. haben bekanntlich aufgrund ihrer zentralen Bedeutung für das Leben im gesamten Imperium Romanum materiellen Niederschlag in unterschiedlichsten Gattungen der römischen Kunst gefunden. Sie begegnen folglich auch auf Gebrauchsgeräten des Alltags wie Lampen. Einen Sonderfall stellt dabei die zahlenmäßig begrenzte Gruppe solcher plastischer Lampen dar, die unterschiedlichen Gladiatorenhelmen mehr oder weniger realistisch en miniature nachgebildet sind.
Im Mittelpunkt der Ausführungen steht weniger der technologische Sektor mit seinen Verflechtungen als der Verwendungszweck dieser Lampen. Die vorgeschlagene Deutung geht dahin, daß die Lampen in Form eines Gladiatorenhelms in erster Linie im Umfeld der Gladiatoren-Spiele, als Fanartikel, geschätzt gewesen sein dürften. Es handelt sich bei ihnen zwar überwiegend um Erzeugnisse typischer Massenproduktion, manche Exemplare besitzen dennoch kunsthandwerklichen Reiz. – Im Umfeld von Circus und Arena verbreitet und verkauft, dürfen sie als Maßstab für Wohnkultur und Luxus, aber auch als Romanisierungsindikator angesehen worden sein und zielgruppenrelevante Mentalität aufzeigen.

Lamps from Tel Dor (Dora) – local production and Egyptian iconographic influence

Renate ROSENTHAL-HEGINBOTTOM (Berlin)

The Tel Dor Excavations (1980-2008) have yielded a wealth of lamps from the Hellenistic and Roman periods. The round discus lamp with a short nozzle is the prevailing type of the late first to early third centuries, produced in local and regional workshops. So far, about fifty pictorial subjects can be traced – most of them represented at Dora. Of particular interest are subjects found for the first time in Israel and uncommon in the Italian and provincial production centers. These include the griffin with the wheel, the nude dwarfs walking on the tight rope, the dancing cinaedos, the heron with a crab, and the locust devouring a bunch of grapes, all pointing to Egyptian influence. The finds enrich the known corpus of iconographic subjects and provide valuable information on the population’s ethnic identity. The lamps and additional finds can be related to the activities of military units apparently transferred from Egypt and stationed at Dora under Septimius Severus in connection with the reorganization of the province of Syria.

Depictions of Dionysos / Baccus / Liber Pater
on Lamps from Roman Dacia

Viorica RUSU-BOLINDEŢ(Cluj-Napoca)

Dionysos/Baccus/Liber Pater is one of the most popular divinities venerated in Dacia. Numerous inscriptions dedicated to him and statues or sculptural groups depicting him, discovered in his temples and sanctuaries throughout the province, testify to such popularity. The god is also represented on clay and bronze lamps from Dacia. Having the traits of a young man, his head features on the lids of certain lucernae. The artistic manner of execution of these representations (especially on one item from Apulum) is of exceptional quality. The god is depicted according to all canons of classical sculpture; his attributes are rendered in great detail: the ivy wreath, the two corymbi flanking the ribbon holding his hairdo, etc. Liber Pater’s melancholic expression, created with an exceptional artistic talent, incites debate on both the place where these items were produced and the model(s) used in the creation of lamp molds. It seems clear that metal objects served as models in the copying of molds employed in the creation of such lamps. If one also takes into consideration the fact that the best analogies for this type of oil lamps with volutes, decorated with the figure of Liber Pater, have been discovered in Trier and Augsburg, the discussion on the imported/local character of the items can turn into a real debate.
The bronze lamp with the same decoration discovered in Porolissum is certainly an import, but it is of lesser artistic quality than the clay lamp from Apulum.
My presentation with start with the overview of bronze and clay lamps decorated with the head of Dionysos/Baccus/Liber Pater discovered on the territory of Dacia, focusing on the frequency of such items. Special attention will be paid to possible analogies or models of the lamps in the rest of the Empire.

Local vs. imported Firmalampen – an archaeometric study

Gerwulf SCHNEIDER(Berlin) – Malgorzata DASZKIEWICZ(Warszawa)

The most common type of Roman lamps were Firmalampen. From stamps on those lamps some hundreds of potters are known of which the most prolific one was Fortis whose firm was working as well in Modena as in branch workshops at various places in the Northern provinces. A large series of chemical analyses by WD-XRF determined the places of production and distinguished between local and imported lamps. Various sites have been regarded: Vindonissa, Trier, Frankfurt, Heidelberg, Regensburg, Rome, Cosa, Aquileia, Carnuntum, Aquincum, Poetovio and Emona. The relation of local and imported lamps and the provenances of the latter will be discussed in terms of organisation of production and distribution.

No light without textiles. Investigations on lamp wicks

Annette PAETZ GEN. SCHIECK (Tübingen) – Sylvia MITSCHKE(Mannheim)

Within the EU-project “Clothing & Identities. New Perspectives on Textiles in the Roman Empire (DressID)” the textile components of two roman oil lamps from Xanten and Nijmegen were examined. In a poster and a short lecture the potential of the applied optical investigation methods will be illustrated. While reflected light microscopy provides a close view to the outward appearance of a fabric and the construction of its threads, transmitted light microscopy is utilised to trace identifiable features of textile fibres and their structure. Scanning electron microscopy visualizes characteristics of fibres in an even greater degree of magnification and a greater depth of sharpness.
The results of both technical and fibre analysis will be presented and also the connection to DressID will be explained.”

Die Sammlung römischer Lampen
im Tiroler Landesmuseum Ferdinandeum

Verena SCHUMACHER (Innsbruck)

Das Tiroler Landesmuseum Ferdinandeum sammelt und bewahrt seit seiner Gründung im Jahre 1823 unter anderem archäologische Fundstücke aus dem Alttiroler Raum, welcher das heutige Tirol, Südtirol und das Trentino umfaßt. Im Sammlungsbestand befinden sich 118 überwiegend der römischen Zeit zuzuordnende antike Lampen. Dieses für den Romanisierungsgrad der damaligen „Tiroler“ Bevölkerung aussagekräftige Material wurde mir dankenswerterweise für die Bearbeitung zur Verfügung gestellt und steht im Zentrum dieses Vortrages. Bei der Auswertung des Lampenbestandes wurden 34 Objekte ausgeschlossen, da diese entweder ohne Fundortangabe inventarisiert waren oder nicht aus dem hier relevanten geographischen Raum stammten.
Öllampen sind zu Beginn der römischen Okkupation in den nördlichen Gebieten spärlich vertreten, was sich durch die geringe Siedlungstätigkeit im Betrachtungsgebiet erklärt. In diesem Zusammenhang nehmen die beiden Municipien Aguntum und Tridentum als erste Stützpunkte der Romanisierung einer Sonderstellung ein. Auch in der Mittelkaiserzeit setzte sich dieser Trend fort, doch stieg die Quantität nun auch in den übrigen Teilen des hier betrachteten Raumes. Der Großteil des zu dieser Zeit verbreitet vorkommenden Lampenmaterials dürfte aus Oberitalien importiert worden sein. Die spätantike, nordafrikanische Lampenproduktion spiegelt sich im betrachteten Fundmaterial nur mehr vereinzelt wider, allerdings zeichnen sich die vorhandenen Exemplare im Gegensatz zum Massenprodukt der mittleren Kaiserzeit durch ihre hohe Qualität aus.

Innovation oder Imitation -
zur Ursprungsfrage von Beleuchtungsgeräteständern

Yvonne SEIDEL (Wien)

Die gewöhnlich als Kandelaber bezeichneten schlanken Ständer für Öllampen sind in zahlreichen Ausprägungen von archaischer bis in spätantike Zeit überliefert. Unterschiede sind vor allem auf die Entstehungszeit, aber auch auf lokale Ausprägung zurückzuführen. Dennoch verbinden diese Geräte unübersehbare prinzipielle Übereinstimmungen in Aufbau und Funktionalität, darüber hinaus sind Ähnlichkeiten in der Herstellungstechnik gelten zu machen. Diskutiert werden Aspekte der Kontinuität der Funktion, der antiken Bezeichnung und der Herkunft dieser Gerätegattung.

Das Iudicium Orestis und Octavian[Poster]

Martin SPANNAGEL(Heidelberg)

Ein in mehreren ikonographischen Varianten vorkommendes Bildmotiv römischer Tonlampen zeigt eine Kernszene des anderswo in größerer Ausführlichkeit dargestellten ‚Iudicium Orestis’, nämlich die Stimmabgabe der Athena/Minerva, die zum Freispruch des vor dem Areopag des Mordes an seiner Mutter Klytaimnestra angeklagten Orest führte. Die frühesten derartigen Lampen, darunter solche aus einer Töpferwerkstatt in Haltern aus augusteischer Zeit, zeigen das Geschehen als zweifigurige Szene: rechts von einem Tisch mit einer Urne steht die Göttin, die einen Stimmstein in die Urne wirft, links davon ihr gegenüber eine Erinye. Die Bilder wurden bisher lediglich als Illustration der auf die Eumeniden des Aischylos zurückgehenden Szene betrachtet; ihre Verwendung unter Augustus besaß jedoch einen aktuellen politischen Hintergrund, da sie sich auf eine Ehrung Octavians aus dem Jahr 30 v. Chr. beziehen lassen.

Die griechischen und römischen Tonlampen in der Sammlung antiker Kleinkunst des Archäologischen Instituts der Universität Heidelberg

Cornelia THÖNE (Heidelberg)

Das Antikenmuseum des Archäologischen Instituts der Universität Heidelberg besitzt eine vorzügliche Sammlung antiker Tonlampen mit über 250 Exemplaren, welche im Jahre 2004 in einem umfangreichen Katalog vorgelegt wurden. Die Heidelberger Autorin führt in einem kurzen Streifzug durch das vielfältige Material der Sammlung und ihrer Geschichte. Anschließend sind alle Teilnehmer zu einer Besichtigung der ausgestellten Originale eingeladen.

Darstellungen des Amor auf Tonlampen aus dem römischen Dakien[Poster]

Călin TIMOC(Temeswar) – Simona REGEP-VLASCICI (Temeswar)

Die Ikonographie Amors als kleines Kind mit lockigen Haaren und Engelsfügeln ist ein sehr verbreitetes Motiv auf Lampen der römischen Welt. Die Darstellungen sind sehr unterschiedlich, und nicht immer ist es möglich, die Symbolik sicher zu interpretieren. Der Zusammenhang zwischen der Flamme auf der Lampe und der Figur des “Engelchens” erinnert eher an das Bild des Thanatos, des Todes, der als Sohn der Nacht (Nyx) und Bruder des Schlafes (Hypnos) seine Opfer in die Unterwelt entführt. Im Bezug mit das Ausehen der Amor-Darstellungen auf den Tonlampen aus dem römischen Dakien kann man festellen, daß einige Modelle verschiedene Hersteller gemeinsam waren. Zum Beispiel kommen im Falle des wichtigen Legion- und Stadtzentrums von Apulum (Alba Iulia) dieselbe ikonographischen Formeln vor wie bei den Monolychnis-Tonlampen von Aprio, Festi und Luci.

Le lucerne della collezione Baguer dei Musei Provinciali di Gorizia[Poster]

Paola VENTURA (Trieste)

Si presentano in questa sede le lucerne fittili di età romana pervenute nel 1927 a seguito di donazione ai Musei Provinciali di Gorizia, già appartenenti al conte Silverio de Baguer e conservate presso il Museo di Castel Dobra (attualmente in Slovenia), fondato dalla famiglia Baguer nel 1885.
Si tratta di poco meno di una cinquantina di pezzi, per lo più integri, provenienti in gran parte dal commercio antiquario e quindi privi di contesto; vi figurano alcune lucerne di tradizione ellenistica, quindi i più comuni tipo a disco, a volute (mono- e bilicni), Firmalampen (a canale chiuso ed aperto, con vari marchi ben attestati in ambito nord-italico) e quindi le produzioni africane e dal Mediterraneo orientale.

Beit Natiff Lamps and their Imitations

Anna de VINCENZ (Jerusalem)

In two cisterns at Beit Nattif a large assemblage of not used lamps has been found. In cistern II most of the lamps have a bow-shaped nozzle, a rounded body with a large filling hole which is usually surrounded by a ridge. The ware of these lamps is pinkish-white and very friable.
This type of lamp has been found on many sites throughout the region, but not always they are made of the same material as those from the cisterns. It has been argued that they are imitations of the “real” Beit Nattif lamps. A large amount of this type of lamps has been found at a site called Nesher-Ramle, which is situated in vicinity to Beit Nattif. The lamps from this site are made of similar ware as the Beit Nattif lamps. Most of the lamps also bear a slip, but they were clearly used as can be seen from the soot remains on the nozzle. The geographic vicinity of the site to Beit Nattif suggests that the lamps were produced and sold in Beit Nattif and then exported and used elsewhere in the region.
Moreover there is also a problem of dating of these lamps. Usually the lamps from Beit Nattif are dated to the middle of the 3rd century. The lamps at Nesher-Ramle, assuming they are “real” Beit Nattif lamps seem to continue into well into the Byzantine period.

Motives on the oil lamps in Poetovio

Mojca VOMER GOJKOVIČ(Ptuj)

The crossroads of aquatic ways and roads had certainly influence on the development of Poetovio. A favourable position along the main road, Amber Road, offered the town the possibility for trading with imported semimanufactures and products from the west and east, their completion and trading with own made goods.
In Poetovio various artisans’ workshops have been found. At first small potter’s, respectively, brick production workshops produced large quantities of pottery and bricks that was sufficient for the needs of neighbouring towns and provinces.
Initially imported oil lamps had been used, but their forms were soon being copied by local potters. The deposits of quality clay and the tradition were a good reason for recognized potters to open their branch workshops in Poetovio. Sometimes it was not easy to distinguish imported oil lamps from the copies made by branch workshops. The local production of relief oil lamps ranges from the best to the low-grade quality. The motives on relieves represented animals, deities … Oil lamps with depictions in relief were produced in Ptuj from the second half of the 1st century to the 4th century.

Early Byzantine and Early Islamic ovoid lamps
from Jiyeh (Porphyreon) and Chhîm(southern Lebanon).
Some remarks on the local lamp production in the chora of Sidon

Tomasz WALISZEWSKI (Warszawa)

This particular type of lamp has an ovoid shape with sunken discus, small filling hole, trapezoidal, sometimes sunken channel on the nozzle, small, triangular or piramidal handle or the protruding tub, decorated shoulders and oval base – in some cases flat, in other with accentuated ridges. Ovoid lamps of this type were widespread on the Levantine coast, especially in Phoenicia, Galilee and on the Palestinian coast but also on Cyprus during the Early Byzantine and Early Islamic period.
More than 100 ovoid lamps or their fragments from Jiyeh (Porphyreon) and 200 from Chhîm were recorded during the last seasons of excavations on these two sites in southern Lebanon. The morphological homogeneity of the finds but also a variety of wares they represent, invites us to reconsider the production of local workshops in the region of Sidon during the 6th – 8th c. AD, especially in what concerns their typology and possible prototypes.

Greek and Roman Lamps from Ancient Stymphalos

Hector WILLIAMS (Vancouver)

Excavations by the University of British Columbia at the site of the ancient Arcadian city of Stymphalos in the northeastern Peloponnese between 1994-2005 produced over three hundred Greek and Roman lamps from the 5th c. BC to the 6th c. AD. The largest number (which date from ca. 350-146 BC) came from a sanctuary on the acropolis, possibly to Athena, and seem to have been used for votives as well as lighting. A few date from 1st-early 3rd c. Roman reuse of the area and include Broneer Type 16s and 27s. Others came from household assemblages of the Hellenistic and early Roman periods in the lower city while a few came from early Christian graves of the 5th c. AD. Few lamps from Arcadia have been published and this paper will put the Stymphalian lamps in their context.

Dieux, déesses et scènes mythologiques
sur les lampes du Musée de Louvain-la-Neuve

Laurent WILMET (Louvain-la-Neuve)

Les collections lychnologiques du Musée de Louvain-la-Neuve rassemblent une dizaine de lampes à huile romaines dont le médaillon
est orné d?une représentation à caractère mythologique, principalement des divinités isolées, figurées en pied ou sous forme de buste de face
ou de tête de profil. Ces luminaires appartiennent à des types divers. Le principal objectif de notre communication est de présenter une étude iconographique des représentations à caractère mythologique attestées sur les lampes du Musée de Louvain-la-Neuve. Nous envisagerons également la diffusion des motifs étudiés à travers l?Empire romain ainsi que les éventuelles corrélations entre iconographie et typologie.

Lighting devices of the Northern Pontic area
between Europe and Asia from Archaic to Byzantine times

Denis ZHURAVLEV (Moskva)

A big series of lamps which imitated imported originals could be distinguished among the materials from the Black sea littoral, the earliest ones dated to the 6th and 5th centuries BC and imitated Ionian open lamps with bands of the slip on their shoulders. The production of these lamps (one and two-nozzled) continued on the Bosporus till the 4th century BC. Attic black-glazed lamps of Type Howland 21B, dated to 480-415 BC, were prototypes for the very widespread group of local Bosporan red clay lamps. All of them were produced without slip. The earliest examples dated to the same time, as Attic ones, but the main part came from the context of the late 5th and 4th century BC. Some other types of black-glazed lamps were the prototypes for the Bosporan craftsmen.
Late Hellenistic mouldmade lamps of Knidian and Ephesian origin were copied in the Bosporus in local workshops. Some of these lamps were produced even in the 1st century AD.
The wide production of gray clay Bosporan lamps in the early Roman period used very often some Mediterranean motifs in the lamp-making. Bosporan craftsmen copied not only lamps shape, but also the main details of the decoration – for example, volutes and shape of the handles.
Some Italian volute lamps have also been found in the Black Sea littoral. This type was very popular in Italy and almost all other provinces during the 1st century AD; then it was progressively replaced by a similar shape, also round, but with a short, rounded nozzle without volutes. In regard to the round lamps found in South Russia, it is particularly interesting as it was already noticed by Donald Bailey, on the exemplars found in the Northern Pontic area, of the most imperative presence of the handle on lamps whose parallels in other regions of the Roman Empire were sold without handle.
We also could distinguish finds of local lamps, which are always made badly with not clear contours and images on discuses. Pontic craftsmen seem to have made a mould from original imported lamps and not to have thought a lot about local iconography. In Russian literature this type of lamps is called “Roman lamps of Northern Pontic type”.
In the 3rd and 4th century AD the quantity of Athenian lamps increases at all the Pontic sites. Athenian lamps are the most widespread type of imported lamps for the 4th to 5th century. Wide popularity of Attic lamps in the North Pontic Area caused appearing of local imitations. One of the most popular images was the Eros playing syrinx, dated from mid 3rd to mid 4th century. According to the clay they look like local imitations of Elpidephoros lamp. A great amount of rough lamps with an image of a female bust turned left have been found in the territory of Pantikapaion. These are the imitations of Athenian lamps with Aphrodite wearing a stephane and a necklace, dated from the 3rd to 5th century In the Bosporan kingdom the main part of such imitations came from the deposits of the 5th century.

Moulds for oil lamps in Poetovio workshops

Ivan ŽIŽEK (Ptuj)

The great majority of potters in Roman Poetovio worked within the tradesman’s quarter spreading between the creek Grajena in the west, Ljudski vrt in the east, in the eat and north to the hillsides of Slovenske gorice, in the south to the first terrace of the Drava River. On this area the archaeologists researched about 130 ceramic kilns. Some plants for ceramic production have been found also in Zgornji Breg, Spodnja Hajdina, in the town nucleus in Vičava and under the castle hill in the east. Till nowadays we have found in Ptuj a great quantity of various moulds used for oil lamps production and some models for mould making. For today we have determined about ten craftsmans which produced oil lamps. Very interesting is also a double mould used for oil lamp production with the handle in the form of a leaf and with a relief on which we can recognize Bacchus.

The lamp assemblage from Polish excavations in Marina el-Alamein in Egypt – imports from outside Egypt vs. local production

IWONA ZYCH(Warszawa)

This overview of the collection of Roman and Late Roman lamps from Polish (PCMA) and Egyptian excavations at the Roman harbor town of Marina el-Alamein on the Mediterranean coast of Egypt will concentrate on a breakdown of the assemblage by category ― whether imported from outside of Egypt or locally made ― and period. The presentation will contribute to an understanding of the town’s position on the maritime and land trade routes of Roman times in the Mediterranean in various periods and will pose questions regarding the scope of the actual trade in lamps as exemplified by the findings from this site.