Chapter XX

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Little has at present been done in the way of a scientific investigation of Roman lamps, but the results of a rough classification according to shapes show that certain forms are more specially associated with Greek sites, and moreover frequently bear names of makers in Greek letters. This is particularly the case with one form, which appears to be confined to Athens, Corfu, the coast of Asia Minor, and Cyprus. These lamps, of a pale yellow clay, have a circular body with flat top, round the edge of which runs a border of impressed egg-pattern, interrupted on either side by a small plain raised panel.[381] The handle is small and pierced with a hole, the nozzle also small, with straight sides. These lamps bear the makers’ names (in the genitive), Primus ([ΠΡΕΙΜΟΥ]), Abaskantos ([ΑΒΑCΚΑΝΤΟΥ]), etc., the former being especially common; all are in Greek letters. Some again only have a single letter or monogram engraved underneath. They are often very carefully executed, with sharply cut details, and the subjects are usually mythological (see Plate IV. fig. 1); they appear to be of very late date, not earlier than the third century after Christ.

Another form which appears to be specially characteristic of Greek sites is that with a plain or heart-shaped nozzle, sometimes with a groove incised at the base, but without a handle. They are usually quite small, with circular bodies. Large numbers of these were found by Mr. Newton at Knidos in 1859,[382] and by Mr. Barker at Tarsos in 1845.[383] The subjects are mostly poor and devoid of interest, including animals, rosettes, and various floral patterns. Many of these lamps bear the signature ROMAINE(N)SIS, the form of the word indicating that they were made by a Roman residing abroad (_i.e._ at Knidos), not in Rome.[384] A third form, approximating to the Christian type, has a small solid handle and plain nozzle, and is confined to sites on or near the coast of Asia Minor. These, with the remaining types of lamps, will be more fully dealt with in the Roman section of this work. It may, however, be worth while mentioning here that Mr. Newton found at Knidos several lamps of a coarse black ware, covered with thin glaze, which are mostly of large size. They are circular, and convex above, and are supplied with two or more long nozzles with blunt terminations radiating round them (see Plate IV. fig. 6). Between the nozzles are roughly stamped devices of Satyrs’ heads, flowers, etc., in relief. These may fairly be regarded as a Greek type.

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The subject of Greek =sculpture in terracotta= is so wide as to demand a volume to itself; but a discussion of the uses to which clay was put by the Greeks would not be complete without some mention of their achievements in this direction. We propose therefore briefly to review the main features of Greek terracotta statuettes and reliefs, by way of illustrating the purely artistic use which they made of this material.

The subject may be divided under four heads: (1) Large statues; (2) Statuettes or figurines; (3) Reliefs; (4) Moulds. Large or life-size statues belong more particularly to the earlier phases of Greek art, but appear again in its later developments, under Italian influences. Statues of terracotta were also a common feature of Italian art, being, in fact, the usual material employed by Etruscan statuaries, as well as for the decoration of temples (see