Pages 1-100 - Tel Dor Excavation Project

Le Luminaire antique
Lychnological Acts 3
Monographies Instrumentum
44
Collection dirigée par
Michel Feugère
sous la direction de L. Chrzanovski
Le Luminaire antique
Lychnological Acts 3
Actes du 3e Congrès International d'études de l'ILA,
Université d'Heidelberg, 21 - 26.IX.2009
éditions monique mergoil
montagnac
2012
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Texte : auteur
Saisie, illustrations : idem
Rédaction : Laurent Chrzanovski
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SoMMaire
Laurent Chrzanovski / avant-propos ......................................................................................................................................... 7
Dr. Eckart WürznEr, oberbürgermeister der Stadt heidelberg / grußwort anlässlich der eröffnung
des 3. Kongresses der international Lychnological association in der alten aula der Universität ...................................................... 9
Martin auEr / Die römischen Firmalampen aus dem Municipium claudium aguntum ................................................................... 11
Doina BEnEa / Die lokale Lampenproduktion in Dakien zwischen Kunst und imitation ................................................................. 25
Dorel BonDoC / Firmalampen found in the roman fort of Slăveni, olt county, romania ............................................................. 37
Jacopo BonETTo, Diana DoBrEva / nuovi ritrovamenti di lucerne romane ad aquileia (italia) .............................................. 43
Manuela BroisCh / Brenndauer und rußentwicklung von antiken Lampenölen - eine Versuchsreihe ......................................... 49
Jean BussièrE / Production et circulation des lampes tardives d’algerie ...................................................................................... 55
Jean BussièrE / Qui était Quintus cupidus ? ................................................................................................................................. 69
Marco CavaLiEri, Gloriana PaCE / Forme di iluminazione nella villa tardoantica
di aiano-Torraccia di chiusi (Siena, italia) .......................................................................................................................................... 77
Custode silvio FioriELLo, annarosa ManGonE / importazioni e imitazioni di lucerne fittili
tardoantiche a Egnatia: archeologia e archeometria ............................................................................................................................. 85
Custode silvio FioriELLo / repertorio morfologico e iconografico delle lucerne tardoantiche
nel contesto dell’Apulia: casi di studio ................................................................................................................................................ 99
karen GarnETT / Select Lamps from the Late roman Fountain of the Lamps in ancient corinth, greece .............................. 115
Mojca voMEr GoJkoviČ / Motives on the oil lamps in Poetovio ............................................................................................ 123
Elisa Grassi, Chiara ManDELLi / Una produzione “ellenistica” in norditalia:
imitazioni di herzblattlampen pergamene ......................................................................................................................................... 129
andreas hEnsEn / roman Lamps from heidelberg: evidence for an energy crisis
(Lecture held at the official inauguration of the congress and the exhibition ‘Licht’) .................................................................... 137
Marcus heinrich hErManns / Staatsallegorie oder Technikstolz?
anmerkungen zu Schiffsdarstellungen auf römischen Lampen ....................................................................................................... 145
Malka hErshkoviTz / Mould-made grey lamps with floral decorations .................................................................................. 163
Constanze hÖPkEn, Eva sTroThEnkE / Lampen vom Dülük Baba Tepesi /
Doliche (Tr) ...................................................................................................................................................................................... 169
ioannis iLiaDEs / The light in the byzantine church (with four plates) ........................................................................................ 177
zoi koTiTsa / Lampen aus Pydna: importe, nachahmungenund und lokale Produktion
in spätklassischer und frühhellenistischer Zeit ................................................................................................................................. 189
Lambrini kouToussaki / Les lampes en terre cuite découvertes dans l`agora et les Thermes d`argos.
campagnes de fouilles 1972-1991. Quelques résultats significatifs ................................................................................................. 201
ruggero G. LoMBarDi / Produzione e diffusione delle lucerne africane tardoantiche nell’insediamento
rurale di Masseria Seppannibale grande (Fasano-Br) ..................................................................................................................... 213
John LunD / a north african lamp showing a woman with a transport amphora ......................................................................... 229
—5 —
nadja MELko / Wie dicht waren Tonlampen? eine Versuchsbeschreibung. ................................................................................ 237
hüseyin METİn / a lamp production center in Western anatolia: Local Production and imitation of cibyra ............................. 243
sylvia MiTsChkE, sabine LEih, Petra BECkEr, ronny MEiJErs, annette PaETz gen. sChiECk /
ohne Textilien kein Licht! Untersuchungen zu römischen Lampendochten .................................................................................... 251
ioannis MoTsianos / Torches as lighting devices in Byzantium ............................................................................................... 263
ioannis MoTsianos, ioannis nazLis / Some intriguing metal lighting devices in Museum of Byzantine
culture: their interpretation and their analysis with X-ray fluorescence (XrF) ............................................................................... 181
Dorel ParasChiv, George nuȚu / roman lamps from Poșta (Moesia Inferior) ..................................................................... 287
Jean-Louis PoDvin / creation et imitation dans le luminaire isiaque .......................................................................................... 295
Jutta ronkE / Das Fallbeispiel helmlampe Zu einer Sonderform römischer Lampen ................................................................ 303
renate rosEnThaL-hEGinBoTToM / Lamps from Tel Dor (Dora) - local production
and egyptian iconographic influence ................................................................................................................................................. 311
verena sChuMaChEr / Die Sammlung römischer Lampen im Tiroler Landesmuseum Ferdinandeum .................................... 321
Yvonne sEiDEL / innovation oder imitation – zur Ursprungsfrage von Beleuchtungsgeräteständern ........................................... 331
reinhard sTuPPEriCh / Kallimachos’ golden lamp ................................................................................................................... 337
hector WiLLiaMs / Lamps at ancient Stymphalos ....................................................................................................................... 341
Laurent WiLMET / Dieux, déesses et scènes mythologiques sur les lampes
du Musée de Louvain-la-neuve (Belgique) ....................................................................................................................................... 345
Birgitta Lindros WohL / ancient corinth: lamps, sculpture and travel ........................................................................................ 355
Denis zhuravLEv / Bosporan hellenistic “jug-shaped” lamps .................................................................................................. 365
—6 —
avant-propos
Je me prosterne devant la lampe qui s’allume; sa
lumière est la Connaissance Suprême qui chasse
l’obscurité de l’ignorance et grâce à laquelle tout devient
réalisable.
Prière hindoue à l’allumage des lampes
Le volume que vous tenez entre vos mains revêt une
importance considérable pour l’association Lychnologique internationale. il est en effet le témoin d’un pari
réussi, celui de la continuité et de la persévérance. ces
deux axiomes, vitaux pour une jeune association, constituent un défi qui était loin d’être gagné lors de la fondation de l’iLa à nyon en 2003.
notre congrès fondateur s’étant déroulé avec le succès
que l’on sait, le second congrès, tenu à Zalau et cluj en
2006, a pu bénéficier de l’effet de nouveauté et de la
bienveillance qui est accordée à toute association dont les
débuts sont prometteurs.
cependant, nous étions tous conscients que le véritable
enjeu était celui de la réussite de la troisième rencontre
internationale. Toutes les études démontrent, en effet, que
c’est là le moment de vérité pour toutes les nouvelles
associations scientifiques ; c’est là que l’on peut juger si
celles-ci vont perdre de leur intérêt et commencer à
décliner ou, au contraire, réussir à survivre au milieu des
structures similaires bien établies – pour l’iLa, il
s’agissait surtout de voir si elle trouverait sa place parmi
les associations nombreuses nationales et internationales
d’étude de la céramique et des petits objets antiques, non
pas dans un but de concurrence, mais bien par un souci de
compléter le spectre de recherches proposé par ces
dernières en offrant une approche spécialisée –.
avec le congrès d’heidelberg, ce cap est désormais
franchi et il nous est désormais possible d’envisager
l’avenir avec plus de sérénité. cependant, le fait d’avoir
été, six ans seulement après sa création, reconnue et
accueillie par une université d’une telle renommée place
l’iLa devant de nouvelles responsabilités, de nouveaux
devoirs : il nous faut désormais nous montrer dignes,
année après année, de l’honneur que nous a fait l’institut
d’archéologie de l’Université d’heidelberg en organisant
la rencontre immortalisée par le présent ouvrage.
Si sa tenue d’un congrès lychnologique à heidelberg a
été rendue possible, nous le devons en premier lieu à notre
collègue, le Dr. andreas hensen, qui a su convaincre les
autorités académiques de sa Faculté, mais aussi les élus de
la Ville d’heidelberg, de l’intérêt d’héberger et de
soutenir un tel événement.
L’iLa et son comité tiennent à exprimer ici leur plus
profonde reconnaissance au Maire d’heidelberg, le Dr.
eckart Würzner, ainsi qu’au Prof. Dr. Diamantis
Panagiotopoulos, Directeur de l’institut d’archéologie de
l’Université d’heidelberg. Sans leur précieux soutien,
cette entreprise n’aurait pas pu voir le jour.
nos remerciements les plus chaleureux s’adressent
bien entendu à tous ceux qui ont oeuvré jour après jour
pour nous offrir un congrès aussi réussi sur le plan
scientifique que chaleureux sur le plan humain.
De 2006 à 2009, le Professeur Dr. reihnard Stupperich
et le Dr. andreas hensen ont travaillé sans relâche pour
réussir une organisation parfaite et proposer aux participants, de surcroît, une très belle exposition diachronique
sur l’éclairage.
avec le soutien du Prof. Dr. Matthias Untermann, de la
Faculté d’histoire de l’art, du Dr. hermann Pflug,
conservateur des collections d’archéologie de
l’Université, ils ont su nous offrir les meilleures conditions pour stimuler les débats et les prolonger devant de
très beaux artefacts.
L’engagement du personnel administratif et des étudiants de l’institut d’archéologie, en particulier de Mmes
gaby Frischkorn et yasemin Leylek, a assuré à la logistique un parcours sans fautes, surmontant avec brio tous
les impondérables liés à tout grand congrès international.
aujourd’hui, c’est donc à l’iLa et à son comité qu’il
revient de continuer sur une aussi belle lancée et de
maintenir la flamme.
—7 —
Le premier de nos engagements est de proposer aux
chercheurs, dès à présent, un site internet entièrement
renouvelé, qui comporte toujours plus de données
bibliographiques, mais aussi de publications disponibles
en ligne. De plus en plus référencé et consulté, notre site
se devait de ‘faire peau neuve’, afin d’être aussi facile
d’usage, intéressant et complet que possible.
nous vous attendons donc nombreux sur
www.lychnology.org et espérons, bien entendu, votre
participation active afin de publier sur le « web » le plus
grand nombre possible d’articles et de recherches dédiés à
notre domaine.
Le second engagement de l’iLa est bien entendu de
continuer à organiser des rencontres régulières et de tout
faire pour que le plus grand nombre possible de collègues
puissent y assister. en ce sens, le quatrième congrès
international, tenu à Ptuj (Slovénie) en mai de cette année
et suivi par plus de 120 participants, établit un nouveau
record de fréquentation que nous aurons à coeur de
maintenir dans le futur.
rencontres. en ce sens, saluons d’une part la publication,
il y a quelques mois, des actes de la table-ronde d’amman
(2005) édités par Dina Frangié et Jean-François Salles
sous le titre Lampes antiques du Bilad es Sham. Jordanie,
Syrie, Liban, Palestine. Ancient lamps of Bilad es Sham.
D’autre part, signalons le travail de nos collègues Dorina
Moullou et ioannis Motsianons, qui achèvent de réunir, en
vue d’une publication imminente, tous les textes des
tables-rondes jumelles d’olten (2007) et de Salonique
(2011) consacrées à l’éclairage de l’antiquité tardive et du
moyen âge.
en vous souhaitant à toutes et à tous la plus agréable et
enrichissante des lectures, nous formulons tous nos voeux
pour que l’iLa puisse proposer longtemps encore, à
travers ses colloques et son site, des lieux d’échanges
privilégiés pour les chercheurs actifs dans ce domaine si
particulier qu’est l’éclairage dans l’antiquité et au-delà.
Le dernier engagement, et non des moindres, est de
continuer à assurer la publication des actes de nos
LichT !
Lampen von der antike bis zur neuzeit
Pour le comité de l’iLa
Dr. Laurent chrzanovski
Secrétaire général
[email protected]
Universitätsmuseum und institut für Klassische archäologie
laden herzlich ein zur
eröffnung des iiird international congress of the
international Lychnological association
und zur eröffnung der ausstellung „LichT !“
heidelberger Studierende haben
eine ausstellung zur frühen geschichte der künstlichen
Beleuchtung erarbeitet. einfache Lampen,
luxuriöse Leuchten, Lampen in kultischem und
sakralem gebrauch geben erhellende einblicke in
ein zentrales Thema menschlicher Kultur.
eine ausstellung aus anlass des iiird congress of the
international Lychnological association (iLa) in heidelberg
22. September bis 5. Dezember 2009 im Universitätsmuseum
—8 —
am 21. September 2009, 18 Uhr, in der alten aula
Begrüßung:
Dekan Prof. Dr. heinz-Dietrich Löwe
oberbürgermeister Dr. eckart Würzner
Dr. arja Karivieri (Stockholm), Präsidentin der iLa
Vortrag: Dr. andreas hensen: römische Lampen aus
heidelberg – indikatoren einer energiekrise
einführung in die ausstellung: Prof. Dr. reinhard Stupperich
lamps from tel Dor (Dora) - local production
and egyptian iconographic influence
Renate Rosenthal-heginbottom
in the hellenistic and Roman periods the coastal city of
Dora was a major harbour and trade emporium. During
the Roman period the most common class of lamps was a
relatively homogenous type: a regional derivation of
broneer XXV with about fifty figure-types identified,
among them an unusual repertoire. a typical example of
the quality products is the intact lamp from the burnt
house in the Jewish Quarter in Jerusalem (Fig. 1). though
not found in the destruction levels of the house the stratigraphic context is definitely the late second temple
period prior to the destruction of Jerusalem in 70 Ce
(geva 2010: 129-130, Pl. 4.8:9). thus the beginning of
production can be definitely placed into the second half of
the first century Ce with good quality lamps continuing
throughout the second century. Ca. 8-9 cm long and 2-3
cm high the circular flat lamps were small, thin-walled
and with a small round nozzle and a sunken, usually
relief-decorated discus. there is framing ring surrounding
the discus. the filling-hole is set not to damage the image.
the outward sloping shoulder can be plain or ornamented.
the most common decoration is the impressed ovolo
pattern, often resembling impressed circles. there are
other foliated or geometric impressed designs. the double
axes in relief placed centrally on each side of the shoulder
are a particular hallmark of the type. Close to the nozzle,
there are generally double volutes in relief. there are no
handles. Potters’ marks are frequent and include names,
monograms, letters, and emblems. the clay is mostly
light-coloured, with a red, brown, grey, or black slip of
different standards; few lamps are without a slip. by
visual inspection the production centres were thought to
be located in Phoenicia and the type was classified as
south syrian/north Palestinian productions. a renewed
study of the iconography and distribution of the lamps
have convinced the author to locate a manufacture centre
at Dora, particularly since several lamps and fragments
made from different moulds were found. in the other parts
of the empire the images occur first on italian products
and in the course of the first century Ce, especially from
the second half onwards, they are copied in local and
regional production centers in the levant like Pergamon,
Cnidos, tarsus as well as in egypt, north africa and the
western provinces. in most cases the chronological earlier
types of broneer XXii and XXiii are initially imitated,
followed by the later versions of the discus lamps with
small round nozzles. so far this development was not
noted in Judaea / Palaestina, but the picture has changed
with the discovery of an assemblage near the eastern
cardo in Jerusalem, attributed to Roman army units
stationed there during the years 70 – 135 Ce (to be
published by the author).
While the majority of the fifty subjects depicted on the
discus of Dora lamps follows the greco-Roman tradition
and does not differ from the production in other provinces
of the Roman empire there are several singular subjects
suggesting an egyptian iconographic origin or influence,
which are represented in domestic contexts with several
examples each. these are the representations of dwarfs
and pygmies (Fig. 2), the cinaedos (Figs. 3-4), the griffin
with the wheel (Figs. 5-6), the heron facing the crab (Figs.
8-9) and the locust devouring a bunch of grapes (Fig. 10).
the lamps from Dora were found in securely dated
contexts, attributed to Phase i, the last phase of the settlement on the upper city and dated by a coin elagabalus,
minted in 218 Ce at Caesarea Philippi (guz-Zilberstein
1995: 404, Fig. 6.50:15-16, 19 and forthcoming report on
area g by the present author). the reign of elagabalus
marks the end of the autonomous coinage in the early
third century when a decline set in and apparently caused
the abandonment of the upper city the middle of the third
century. During the last phase of settlement under the
severan emperors Dora prospered – a large temple and a
public building were erected in the time of septimius
severus. the emperor was responsible also for substantial
building activities at nearby Caesarea maritima and
Caesarea Philippi. these activities can be related to the
division of the province of syria under septimius severus
and the ensuing administrative and military reorganisation. Dora became part of syria Phoenicia and a military
unit was stationed at the site.
the five subjects are quite unusual in the repertoire of
the lamps from Dora, but wide-spread in the Roman
empire. When looking for comparisons there is a substantial number of parallels in wall paintings and mosaics in
private and public buildings and tombs, on sarcophagi, in
sculpture and on reliefs, on gems, tesserae, coins, textiles,
and precious vessels in metal, clay and glass; however, a
detailed study is not possible here (see the discussion in
leibundgut 1977: 196-201 who concludes that most
images reproduced on lamps go back to late hellenistic
prototypes).
— 311 —
Renate Rosenthal-heginbottom
the first egyptian motif is the depiction of dwarfs
and/or pygmies (Fig. 2). two dwarfs are depicted as two
entertainers performing on a tight-rope. the kneeling
male on the right has an overlarge male organ. there are
parallels in museum collections (heres 1972: 92, no. 653;
bailey 1980: 61, 327, no. 1296) and from north african
sites (Carthage: Deneauve 1968: 137, no. 478 and sidi
Khrebish-berenice: bailey 1985: 36, nos. 210-211;
compare also the two grotesque figures advancing to the
right on a lamp from Corinth in broneer 1930: nos. 656657 and Cahn-Klaiber 1977: no. 310 for egyptian
products). Dwarfs and pygmies must be distinguished,
though small-scale representations seldom permit a clear
differentiation. Dwarfs are shown with disproportionate
limbs, large heads, and projecting buttocks and pygmies
are negroid people of reduced nature. From the first
century bCe onwards they were popular images in nilotic
waterscape scenes on mosaics and wall-paintings
throughout the Roman period. the question what these
images are meant to convey cannot be discussed here. the
interpretations range from a merely decorative purpose
meant to underline the exotic nature of the nile
waterscapes to a “colonial” attitude meant to express a
sense of superiority and a display of power with regard to
the indigenous population of the nile valley, to a
stereotypical concept of egypt and the orient and to an
apotropaic purpose (tybout 2003; Versluys 2002: 436443; Clarke 2007; meyboom and Versluys 2007; nenna
2008; Pasquier 2008).
in egypt and classical greece dwarfs were regarded as
full human beings who had a specific place in the
community’s socio-religious system, f. ex. as most
capable goldsmiths. however in the hellenistic and
Roman periods the attitude to physical malformation
changed and negative associations were evoked.
Considered to be “monsters” the dwarfs became part of a
profit-earning business. Causing rejection and laughter
they were employed as entertainers who danced, made
music and performed sportive and artistic games. to be
ridiculed they were shown in grotesque movements with
grimacing faces and exaggerated features such as large
genitals (Dasen 1993: 247). they are taken as
a symbol of sexual potency and of fertility and were
depicted in symplegmata (Versluys 2002: 275-277, 282284, 292-293) and were part of the nile inundation rituals,
illustrating the happy state of egypt due to the nile flood
and the affluence and fertility of nature (meyboom 1995:
150-154). a lamp from hawara, broneer type XXi, is a
good illustration. the discus bears a nilotic waterscape
with lotus flowers, water plants, and birdsin the lower
part. in the upper part a papyrus canoe with three dwarfs
is sailing on the river, a dwarf with a large phallus raises
his right hand in the air while tending the rudder, and on
the forecastle there is a symplegma between a standing
male and a kneeling female (Versluys 2002: 451-452, Fig.
156).
Related to the images of dwarfs and pygmies is the
cinaedos, an emaciated male or female dancer, depicted
caricaturally with distorted limbs. the two fragmentary
lamps from Dora (Figs. 3-4) can be reconstructed on the
basis of a complete lamp in the schloessinger Collection,
Jerusalem, acquired at beirut (Rosenthal and sivan 1978:
33, no. 117), on which the arms are raised above the head
and the left leg is raised in a dance pose. the image seems
to be a misunderstood copy of an alexandrian prototype
of which a dozen examples came to light in egypt. the
dancer with an exaggerated male organ holds a stave stick
in each hand and conveys a clearly insinuating message
(Versluys 2002: 452, Fig. 157). the numerically small
number, yet geographically wide distribution of the image
on italian and on provincial lamps underlines its popularity (collections: heres 1972: 62, no. 654; Cahn-Klaiber
1977: no. 248; bailey 1980: 60, Q 1076, Q 1368; 1988:
62, Fig. 75; thöne 2004: 53, no. 83 and 159-160, motif
67; excavations: goldman and Jones 1950: 120, nos. 272273; Perlzweig 1961: 92, no. 236; Fitch and goldman
1994: 157, nos. 791-794; heimerl 2001: 197, motif 170;
bémont 2002: 80, VD 076; bémont and Chew 2007: 111,
D179). in general the cinaedoi are thought to express
weakness, lustfulness, and sensuality and are part of the
public amusement programs in the Roman period
(Versluys 2002: 80, 88, 90. 283, 293).
the third image is the griffin with the wheel (Figs. 56), sitting on its hindquarters to the left on a plinth. the
outstretched right paw is resting on a wheel. the two
discus fragments (Fig. 6) from the Roman fills are
stylistically close, though made from different moulds.
both have a relatively long neck and schematic large
wings. the head and the beak of the griffin on the left
belong to a bird of prey. on two other lamps the griffins
have thick necks and large heads, too massive in proportion to the body, their shape recalling the head of a horse
(leibovitch 1955: 83, Pl. Vi: 2 and an unpublished
fragment from area g). additional finds from the region
include a surface find from byblos (Dunand 1937-1939:
403, no. 6060, Pl. ClXXiV) and three lamps in
collections. the lamp in the schloessinger collection (Fig.
5; Rosenthal and sivan 1978: 87, no. 356; Rosenthalheginbottom 1981: 90, 104; 1999: 52*, Fig. 87) was
acquired in beirut. With the lamps in the national
museum in Damascus (Zouhdi 1974: Pl. 6:36) and in the
israel museum in Jerusalem (israeli and avida 1988: 31,
no. 41) the pictorial type of the griffin seated to the left
with the forepaw on the wheel is attested in six different
moulds, originating in the Roman province of syria with
a concentration in southern Phoenicia. in fact, there are no
parallels among the sphinxes and mythical creatures
depicted on lamps in other Roman provinces (leibundgut
1977: 152-153; heimerl 2001: 193-194). the creature’s
posture and orientation on the discus is always the same.
Due to the restricted size of the discus the designer had to
concentrate on the outlines without being able to carve
fine details clearly in the mould.
From where does the prototype for the lamps originate?
iconographically close is the griffin on a plaster mould
from egypt in the british museum in london (Fig. 7;
— 312 —
lamps from tel Dor (Dora) - local production and egyptian iconographic influence
marshall 1913: 95, Fig. 3 – diameter 11.4 cm; hornum
1993: Pl. V). although of unknown provenance, it is most
probably of alexandrian origin. the details are carefully
executed: the bird’s head with pointed beak and high ears,
the breast and three tits, the forepaw resting on the fourspoked wheel. the upwards pointed griffin’s tail takes the
shape of an uraeus, underlining the egyptian origin. the
large wing finishes in an elegant curve. on the other side
the goddess nemesis (Rosenthal-heginbottom 2010: 213,
Fig. 1) is depicted with a wreath and palm-branch at her
side. the identification is supported by inscriptions on
both sides mentioning elpis = spes (hope) and nemesis
nicaea, the epithets reflecting the goddess character. the
mould has the inscription in retrograde. the purpose of
the plaster mould is not clear. it has been suggested that it
served for the preparation clay or metal discs used in the
agones, the public contests in theatres, amphitheatres,
hippodromes, and stadia. either such discs were given as
amulets to the contestants or they were presented to the
victor (Perdrizet 1914: 94-95).
in the second and third centuries Ce the griffin is
depicted alone on a variety of artefacts and can be taken
as the zoomorphic image of the goddess nemesis.
Depictions of the griffin with the wheel are restricted to
the eastern Roman provinces and are related to the cult of
nemesis which was particularly popular in eastern half of
Roman empire. the existence of cult sites from egypt
through syria, asia minor, and aegean islands is
supported by literary and epigraphic as well as material
evidence. of particular interest are two marble sculptures
from the southern coastal area near ashkelon. the first,
dedicated by mercurios, son of alexander, during his
priesthood is from Kibbutz erez (avida 1986: 234-235,
no. 120; hornum 1993: 227, no. 135; 318) and is dated
by a greek inscription to 210/211 Ce. a sketch of the
second sculpture was published by Clermont-ganneau
(1896: 430). he saw it in a private house in the area of
saraphia (Kh. esh sheraf, 105114). Deriving the name
saraphia from serapeum, a temple to serapis, it is
suggested that the erez griffin should be attributed to the
same find-spot, where a nemeseion, a sanctuary to the
goddess, existed (leibovitch 1958: 141-142). a small
marble fragment of a paw resting on a wheel came to light
at Dora and is evidence for the existence of a third
sculpture and a shrine dedicated to nemesis.
nemesis assumes diverse roles, responsibilities, and
functions. she personifies the instability of fate, she
punishes transgressions and avenges injustice, she is the
protector of the cities, and as the embodiment of imperial
Virtues such as Fortuna, iustitia, Victoria, and Pax she is
associated with the ruler cult (hornum 1993: 39). last not
least, nemesis plays an important role in the context of the
agones or contests in the Roman arena, though not so
much as patroness for fighters and gladiators, but
primarily in her power of maintaining state order
(hornum 1993: 89-90). sharp-sighted watchfulness is
attributed to the griffin supporting the goddess in
avenging and punishing (hornum 1993: 28-29). the
wheel is the symbol of success of failure as a constant
feature of human life (hornum 1993: 26-27). nemesis and
the griffin are also important in the funerary cult in the
function of supporting, punishing, and judging the
deceased (hornum 1993: 30). in the Roman imperial
period, particularly in the second and third centuries, the
goddess achieved immense popularity and was revered
among all classes of society. the military personnel often
were responsible for spreading her cult. it was during the
rule of septimius severus that the province of syria was
divided and in the ensuing military and administrative
reorganization military units transferred from egypt to
syria were most likely stationed at Dora. there are several
finds which point to a strong association with army
personnel or members of the civil administration of the
province of Phoenicia. these include votive lead plaques
of a horseman, a votive lead mirror with the Roman
military eagle, the handle of a bronze wine jug, an Aucissa
– type fibula, two bronze boxes for storing the wax used
in the sealing of letters and documents and the occurrence
of flat-bottomed pans used for preparation of a quiche,
related to Roman eating habits and not common among
the local population (Rosenthal-heginbottom 2008: 97*99*). the unexcavated theatre located at the northern part
of the tell with a view onto the sea is most likely of Roman
date and had architectural marble decorations. it could
have been used by the pagan population for entertainment
and games which were a valuable social element in urban
life and which could have taken place under the auspices
of nemesis and the imperial family.
the heron with a crab and the locust devouring a bunch
of grapes are among the animals depicted on the lamps
from Dora. the wading bird with the crab (Rosenthalheginbottom 1999: 49*, Fig. 80) is identified as a heron
by the elongated ornamental crest of two feathers
protruding from behind the ears as well as the long neck,
bill and legs. it is depicted on several complete lamps and
fragmentary lamps from Dor and is recorded from the
excavations in Jerusalem, samaria (for references see
Rosenthal-heginbottom 1981: 116 – erroneously
identified as crane), antipatris (neidinger 1982: Pl. 23:5)
and ein ez-Zeituna (glick 2006: 57, Fig. 12:2), a station –
mansio – or highway rest stop – mutatio – established on
the important Roman road near the legionary camp of
legio-lejjun at the end of the first or the beginning of the
second century Ce. the lamp in the schloessinger
Collection (Rosenthal and sivan 1978: 89, no. 365;
Rosenthal-heginbottom 1999: 41, Fig. 81) was acquired
in Jerusalem and another in the Whiting Collection,
University of Yale, in beirut (Kennedy 1963: 73, no. 505,
Pl. XXii – erroneously identified as ibis).
in egyptian art both in the secular and religious realm
the heron is one of the most frequently represented birds;
it is the egyptian benu – bird, the greek phoenix,
venerated as the incarnation of the god Ra, the sun-god of
— 313 —
Renate Rosenthal-heginbottom
heliopolis, and osiris, the god associated with death,
resurrection, eternal life, and fertility (houlilan 1986: 1316). the ancient egyptian tradition continued through
greco-Roman times into the Christian era, when the
phoenix became the symbol of resurrection. For the
combination with the crab i have found no parallels.
Wading birds of insecure identification are found on
lamps at tarsus (goldman and Jones 1950: 118, no. 249)
and in the lebanon (Rey-Coquais 1963: 156, no. 29),
while two herons are depicted on a lamp from Carthage
(Deneauve 1969: 118, no. 357).
the locust perched on a bunch of grapes and vineleaves about to devour is generic in character (Fig. 10;
Rosenthal-heginbottom 1995: 280, Fig. 5.22:4; 1999: 43,
Fig. 86) and a common subject (bailey 1980: 84, Q 1087;
1988: 85, Fig. 109). Regional parallels include three
complete lamps, a lamp from Petra (Cat. Cologne 1987:
242, no. 238) and two in collections, one in the israel
museum, Jerusalem (israeli and avida 1988: 27, no. 26),
the other in the schloessinger Collection (Rosenthal and
sivan 1978: 25, no. 71 – acquired in Jerusalem) as well as
two fragments from antipatris (neidinger 1982: 161, no.
13) and masada (bailey 1994: 81, no. 146, Fig. 23 on p.
95). egyptian finds are discussed by Cahn-Klaiber (1977:
336-337, no. 170 with references)
the insect depiction can represent any of the various
plant-eating insects, whether locust, cricket, cicada, or
grasshopper, and the subject of eating grapes is found also
in combination with hares and rabbits on lamps of
broneer types XXii and XXiii (goethert-Polaschek
1985: 253, motif 176), goats, ibexes Rosenthalheginbottom 1999: 40, Fig. 79), and apes (goethertPolaschek 1985: 251, motif 171). the combination of
locust and grape vine is attested on a marble crater of
unknown origin, on which a vine tendril, a bunch of
grapes, the head of a youth, a locust, and a bird are shown,
in this case the only known representation of a long-horned grasshopper, common in lower egypt (boessneck
1988: 149, Fig. 246). in antiquity, the insects roused both
negative and positive connections. Vast swarms of desert
locusts can descend upon a region with destructive force,
strip the land of vegetation, and leave it bare, thus
standing for threat and fear of destruction (boessneck
1988: 148-149, Figs. 243-246). in the metaphorical
context the locust signifies multitude, weakness, and
damage. Related to the chirping cricket the insect was
kept in the home as playmate and singer and considered
an apotropaion and the guardian of the soul (Cahn-Klaiber
1977: 194-195).
in conclusion, i wish to underline that while lamps are
objects of daily use in secular and funerary contexts,
mass-produced, and often without artistic quality, and
with the pictorial representations frequently assumed to be
merely decorative, bought casually and not purposely, the
iconographic singularity of the lamps from Dora in
association with a new population element from egypt ,
namely military personnel during the reign of septimius
severus, justifies a new look at the message they might
convey. in a society in which the average person could
neither read nor write, pictorial images assumed a spiritual
language that is no longer evident to the modern spectator.
the griffin is connected to a specific deity, nemesis, and
magical powers, through which human beings can be
positively or negatively influenced, are attributed to
animals such as herons and locusts and persons
grotesquely depicted such as dwarfs, pygmies and the
cinaedoi. Private possessions are a matter of personal
taste, whether in modern or ancient times. When,
however, objects occur in certain quantities, they also
reflect the religious and profane beliefs and practices of
the multi-cultural population of the levant. besides the
use of lamps in the domestic and military contexts and in
funerary rituals we should consider the role of lamps in
public entertainment and amusement.
Particularly the picture types of the griffin with the
wheel and the heron and the crab are singular subjects in
imperial lamp production, while the motifs of sphinxes
and wading birds are common. the distribution of the
images according to excavations and provenance on the
antiquities market is concentrated in the regions of syria
Phoenicia and Judaea / Palaestina. i suggest that the lamps
bearing these images were acquired and used by army
personnel and their families in rituals performed in shrines
and as objects with apotropaic intent in the public
entertainment in theatres, amphitheatres, stadia, and
hippodromes. it is recorded in the mishnah and the
talmud that the rabbies vehemently rejected and condemned every form of theatre spectacles popular not only with
the non-Jewish population (Weiss 1999).
— 314 —
lamps from tel Dor (Dora) - local production and egyptian iconographic influence
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— 316 —
lamps from tel Dor (Dora) - local production and egyptian iconographic influence
Fig. 1 – lamp from the burnt house in the Jewish Quarter, Jerusalem (courtesy of h. geva, Jewish Quarter excavations)
Fig. 2 – lamp from Dora, area g, l9231, Reg. no. 92689, length
8.7 cm, height 3.1 cm (drawing Vered Rozen)
Fig. 3 – lamp from Dora, area e1, l6106, Reg. no. 61469, preserved length 6.7 cm
(drawing Vered Rozen)
— 317 —
Renate Rosenthal-heginbottom
Fig. 4 – lamp from Dora, area b, l2481, Reg. no. 30214 (photo
gabi laron, institute of archaeology, the hebrew University of
Jerusalem)
Fig. 5 – lamp acquired in beirut, schloessinger Collection,
institute of archaeology, the hebrew University of Jerusalem, inv. no. 6046,
length 8.8 cm, height 2.7 cm (photo Zeev Radovan)
Fig. 6 – two fragmentary lamps from Dora, area D2, l17825, Reg. no. 177752 and area D2, l17825, Reg. no. 177721 (drawings Vered Rozen)
— 318 —
lamps from tel Dor (Dora) - local production and egyptian iconographic influence
Fig. 7 – the reverse of a plaster mould from egypt, london, the british
museum inv. no bmC 1079, reproduced from marshall 1913.
Fig. 8 – lamp from Dora, area b1, l7011, Reg. no. 70051, length 8.5 cm,
height 2 cm (drawing Vered Rozen)
Fig. 9 – lamp acquired in beirut, schloessinger Collection, institute
of archaeology, the hebrew University of Jerusalem, inv. no. 6051,
length 8.2 cm, height 2.1 cm (photo Zeev Radovan)
Fig. 10 – lamp from Dora, area C1, l4019, Reg. no. 40042,
reconstructed length 8.5 cm (drawing Vered Rozen)
— 319 —
— 320 —