DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18131#0018
•I, Imvo a flowing vine brauch on a globular
body. 5, 6, 8 are geometrical derivations of
the same. 10, 12 liave the vine spray on a
flat top. 16 has a wreath of leaves. 20, 21
are coarser variations of the branch with grapes.
20 seems to be the same, much degraded. 30
has three flowers formed of leaves. 32 has
three leaves. 36 has five leaves, alternating
up and down. 40 is a degraded form of leaf
pattern, with hollow spots. 45 is a regulär
wreath. 50, 52, 54 the same, more conven-
tional. 58 has two acanthus leaves at the
sides. 60 has a formal made wreath of small
flowers. 64, 65 show the wreath influenced by
the palm branch. In 68, 70 it almost passes
into branches. In 73 the made wreath becomes
a mere pattern ; in 75 influenced by the arms
type; in 76, 77 influenced by the boss type.
78-90 show the decay of the wreath type.
93 is one of the deep-cut class described further
on. 97, 98 are almost piain, but seem to
show a trace of the wreath ridge : 97 is of the
Illrd Century.
K. Echinus lamps. The real origin of this
type is not clear; but I have named them
from their resemblance to some species of
echini. 2 is a guilloche pattern which may be
an early stage of this. 5 has a modified wreath
pattern, which might also be connected. 10 is
the best and earliest type of echinus pattern.
14 to 35 show small variations and decay. 40
is later, and 45 is of hard salmon-coloured
pottery of the Constantine age.
A few miscellaneous unclassecl types are
included in pl. lviii; a is probably a wreath ;
h derived from the frog and corn type ; d with
a rude ibex belongs to the deep-cut type; /
has a wreath, and the inscription, +ToY
AToV AÜA <t>olBAMoV + in honour of Saint
Phoibamoun.
O. Round-body lamps. PI. lix. These have
no space for designs, but merely round bodies
with slightly ornamented spouts. 5, 10 show
the clescent from the wreath pattern : and on
to 32 thcy all have the oc pattern. 5 is
perhaps one of the earliest products of the
maker A. 48, 50 are influenced by the
wreath. 34=42 have the scroll across the
neck, which is probably derived from the
! oc. 50, 63 point to the rise of the groove
lamp from the oc curves. No. 74 is of the
TVth Century.
The very small sizes 90, 92 are doubtless for
putting into the pottery shrines. 80 to 86
are deeper bodied.
S. Shouldered lamps, which vary into spur
lamps with two knobs at the side. By 8 and
10 it seems that this type arose from the oc
curves. At 24 a flat topped formbegins, which
seems derived from hammer work on a metal
plate. It runs down to 38.
At 40 the Spur lamps begin, at first in a good
classical style, and the influence of the oc curves
is seen in almost all. The rouo-hest at the end,
98, is of the IVth Century.; and probably nearly
all are before Constantine.
V. Dolphin lamps. PI. Ix. The commoner
of these might well be called thumb lamps, from
the thumb-piece at the side for holding them.
But as all the early examples show that this
projection was at first a dolphin, this name is
here adopted. The form is evidently connected
with the spur lamp just described ; probably
the Shoulder or spur was found useful for the
thumb to hold, and so it was made more
prominent in the form of a dolphin. That
about one in twelve have left-handecl projec-
tions does not imply that they were held in the
left hand, but only that the spout was held
more towards the person. The sub-divisions
are, with oc curves down to 48 ; which become
a groove and bosses at 50-55. Radiated with
palmetto 56 to 64. Other radiated 65 to 72.
Palmetto 73, 74. Tie on neck, 75 to 86. Deep
bodies 87 to 99. Six other examples which All
the series are in the supplementary pl. lxixA.
No. 89fr is remarkable for having CX€AIA
hand-written in a sunk space, as if it was
body. 5, 6, 8 are geometrical derivations of
the same. 10, 12 liave the vine spray on a
flat top. 16 has a wreath of leaves. 20, 21
are coarser variations of the branch with grapes.
20 seems to be the same, much degraded. 30
has three flowers formed of leaves. 32 has
three leaves. 36 has five leaves, alternating
up and down. 40 is a degraded form of leaf
pattern, with hollow spots. 45 is a regulär
wreath. 50, 52, 54 the same, more conven-
tional. 58 has two acanthus leaves at the
sides. 60 has a formal made wreath of small
flowers. 64, 65 show the wreath influenced by
the palm branch. In 68, 70 it almost passes
into branches. In 73 the made wreath becomes
a mere pattern ; in 75 influenced by the arms
type; in 76, 77 influenced by the boss type.
78-90 show the decay of the wreath type.
93 is one of the deep-cut class described further
on. 97, 98 are almost piain, but seem to
show a trace of the wreath ridge : 97 is of the
Illrd Century.
K. Echinus lamps. The real origin of this
type is not clear; but I have named them
from their resemblance to some species of
echini. 2 is a guilloche pattern which may be
an early stage of this. 5 has a modified wreath
pattern, which might also be connected. 10 is
the best and earliest type of echinus pattern.
14 to 35 show small variations and decay. 40
is later, and 45 is of hard salmon-coloured
pottery of the Constantine age.
A few miscellaneous unclassecl types are
included in pl. lviii; a is probably a wreath ;
h derived from the frog and corn type ; d with
a rude ibex belongs to the deep-cut type; /
has a wreath, and the inscription, +ToY
AToV AÜA <t>olBAMoV + in honour of Saint
Phoibamoun.
O. Round-body lamps. PI. lix. These have
no space for designs, but merely round bodies
with slightly ornamented spouts. 5, 10 show
the clescent from the wreath pattern : and on
to 32 thcy all have the oc pattern. 5 is
perhaps one of the earliest products of the
maker A. 48, 50 are influenced by the
wreath. 34=42 have the scroll across the
neck, which is probably derived from the
! oc. 50, 63 point to the rise of the groove
lamp from the oc curves. No. 74 is of the
TVth Century.
The very small sizes 90, 92 are doubtless for
putting into the pottery shrines. 80 to 86
are deeper bodied.
S. Shouldered lamps, which vary into spur
lamps with two knobs at the side. By 8 and
10 it seems that this type arose from the oc
curves. At 24 a flat topped formbegins, which
seems derived from hammer work on a metal
plate. It runs down to 38.
At 40 the Spur lamps begin, at first in a good
classical style, and the influence of the oc curves
is seen in almost all. The rouo-hest at the end,
98, is of the IVth Century.; and probably nearly
all are before Constantine.
V. Dolphin lamps. PI. Ix. The commoner
of these might well be called thumb lamps, from
the thumb-piece at the side for holding them.
But as all the early examples show that this
projection was at first a dolphin, this name is
here adopted. The form is evidently connected
with the spur lamp just described ; probably
the Shoulder or spur was found useful for the
thumb to hold, and so it was made more
prominent in the form of a dolphin. That
about one in twelve have left-handecl projec-
tions does not imply that they were held in the
left hand, but only that the spout was held
more towards the person. The sub-divisions
are, with oc curves down to 48 ; which become
a groove and bosses at 50-55. Radiated with
palmetto 56 to 64. Other radiated 65 to 72.
Palmetto 73, 74. Tie on neck, 75 to 86. Deep
bodies 87 to 99. Six other examples which All
the series are in the supplementary pl. lxixA.
No. 89fr is remarkable for having CX€AIA
hand-written in a sunk space, as if it was