Arheoloski muzej Zadar LUX IN TENEBRIS CMP OAE OU) sbiuuin KATALOZI I MONOGRAFIJE 7 Zadar 2009Katalozi i monografije 7/ Catalogues and Monographies 7 Trdava’ / Publisher Arheolo’k! muzej Zadar wwwamzd.hr Urednik / Editor Draven Marsié Autor teksta ‘Text Authors Lektor 2a br Jakoy Vutig Kornelija 4. Gi vatski jezik /Proof-reader for Croatian Ziata Derossi Prijevod na englesit jezik / Translation into English Marijana Birtié Vugig Lektor za engleski jezik Proof-teader for English, Odlikovanje koriea / C Susan Manenica crs Design ‘Wan Condié Fotografie! Photos Ivan Condié RaSunana obrada i prijelom / Typesetting and Layout Marija Marfat Tisak / Printed by Zrinski d.d., Cakovee Naklada /Tssued 300 IZLOZBA/ EXHIBITION Organizator / Organizer Arheologki muze| Zadar Autort ilodbe / Exhibition authors Jakoy Vadis, Kornelija A. Giunio, Timka Alihodaié Suradnici na izlothi / Professional Associates Ivan Condié, Mar ISBN 978-953-7484-06-4 CIP Katalog zac u public Znansivena knjznica Zadar 908:748.2°652"(004) ‘Wuste, Jako Lucia tenedris nthe exjatike u Arheoloskom muzeju Zadar = Luxin tenebris: ancient lamps in the ‘Archaeological Must 1m in Zadar Jakov Yusi, Koma A, Giurio prijevod Mariana Biié Vie atograt Ivan ondié>- Zadar Arneclosk muze), 2009, 48 Se: ust u bojama ; 21 em. -(Kelaloai| monogratie | Arheoiagki maze, Zadar; 7) Biblografe. ISBN 978-059-7404.06-4 1. Giunio, Korea A serr26002 Duka, Marija Karmolié, Robert Marsié, “Font Saloy Frane Sun} SADRZAJ / CONTENTS: Sakupljanje i prougavanje anti¢kih svjetiljki u Arheologkom muzeju Zadar (Jakov Vutig) / The Collection and Study of Ancient Lamps in the Archaeological Museum in Zadar 4 Pojava i razvoj svjetiljki (lakoy Vutié) / The Appearance and Development of Lamps 6 Proizvodnja i trgovina (Jakov Vutié) / Production and Trade 9 Svjetiljke u svakodnevnom Zivotu (Jakov Vudié) / Lamps in Everyday Life 2 BoZanstva i mitoloski prikazi na svjetiljkama (Komelija A. Giunio) / Divinities and Mythological Accounts on Lamps 4 KrS¢anski prikazi na svjetiljkama (Jakov Vucié) / Christian Portrayal on Lamps 7 LITERATURA / BIBLIOGRAPHY 19 KATALOG (Jakov Vuéié) / CATALOGUE 20Sakupljanje i prouéavanje antiékih svjetiljki u Arheoloskom muzeju Zadar Arheoloski muzej Zadar jedna je od najstarijih ustanova te vrste na prostoru Republike Hrvatske. Poéetci njegova djelovanja seZu u davnu 1832. godinu.! Uz brojnu i raznovrsnu arheolosku. gradu u Muzeju se danas Cuva vise tisuéa anti¢kih svjetiljki saguvanih u cijelosti ili u ulomeima, Ta bogata zbirka prikupljala se postupno, tijekom vise od 170 godina postojanja muzeja. Prviprimjerci anti¢kih syjetiljki dospjeli su u muzejsku zbirku netom nakon osnutka. Krajem 19. i poéetkom 20. stolieéa iznimno velik broj antickih syjetiljki dospio je u Arheoloski muzej Zadar s prostora nekropola Nina, manjim dijelom, zahvaljujuéi arheoloskom istrazivanju, a veéim pak otkupu od sludajnih nalaznika? Uz ove brojne ninske nalaze u muzej je naknadno prispjela i vrijedna zbirka svjetiljki koja je bila u vlasniStvu D, Medoviga iz Nina Znagajan broj svjetiljki: muzeju su podarile i antiéke nekropole Zadra, posebno tijekom novijih istraZivanja u drugoj polovici 20, i pogetkom 21 stoljeéa, Svjetilike se danas u muzejskom spremistu euvaju u okviru zbirke syjetiljki ili pak kao sastavni dijelovi_pojedinih grobnih cjelina u kojima su pronadene. O svjetiljkama, kao i o ostaloj muzejskoj gradi, tijekom vremena skrbili su muzejski kustosi. Kao prvog kustosa koji je posebnu pozornost posvetio antigkim svjetiljkama svakako treba istaknuti Josipa Bersu, koji je 1898, godine na mjestu kustosa zamijenio Mihovila Glaviniga i na toj funkeiji ostao sve do 1927. godine. Bersa je ubrzo nakon preuzimanja dudnosti kustosa zapoteo suyremeno yodenje inventarskih knjiga muzejske grade, U dvije knjige inventara Catalogo Luceme I* i Catalogo Lucerne Il“, inventirao je progresivno 889 svjetiljki, te naknadno jo8 80 svjetiljki Upaovié, 1982, 5, 1,12. 2 Bersa, 1906, 1,2 The Collection and Study of Ancient Lamps in the Archaeological Museum in Zadar ‘The Archaeological Museum in Zadar is one of the oldest such institutions in the Republic of Croatia. The founding of the Museum dates back to 1832.1 Along side numerous and various archaeological materials, there are several thousand ancient clay lamps either entirely or partially preserved. This rich collection has been gradually collected over more than 170 years of the Museum’s existence. The first examples of ancient clay lamps came to the Museum’s collection just after its estab- lishment. At the end of the 19th and at the beginning of the 20th Century, a large number of ancient lamps came to the Archaeological Museum in Zadar from the necropolis of Nin, partially due to archaeological excavations but mostly due to their purchase from accidental finders.? Together with these numerous finds from Nin, a very valuable lamp collection owned by D. Medovié from Nin subsequently came to the Museum, A significant number of lamps also came from Ancient necropolises of Zadar, especially during excavations that took place in the second half of the 20th Century and at the beginning of the 21st Century. Today, the lamps are kept in the Museum within the Lamp Collection or as @ constituent part of some grave units in which they were found. Over a petiod of time, the museum's curators took care of the lamps as well as to other Museum materials, Josip Bersa stands out as the first curator who paid special attention to the ancient lamps. In 1898, he replaced Mihovil Glavinié as curator and remained in the same position until 1927, Soon afler assuming the position of the Museum’s curator, Bersa introduced modem cataloguing of the inventory books of the Museum’s materials. In the two inventory books Catalogo Luceme I* and Catalogo Luceme II he progressively inventoried 889 lamps along with a subsequent further 80iz zbirke D. Medoviéa iz Nina, Paralelno s inventiranjem Bersa je od 1902. do 1906. godine, a potom i 1915. godine u éasopisu ,Bullettino di archeologia e storia dalmata*, sustavno objavijivao Katalog, glinenih syjetiljki iz Arheolokog muzeja u Zadaru pod naslovom ,,Le lucerne fittifi romane di Nona conservate al Museo archeologico di S. Donato di Zara’ U svom radu Bersa je, na osnovu forme, zadarske antitke svjetiljke podijelio na Sest tipova. Osim tih Sest naje&éih tipova posebno je izdvojio syjetilike s dva nosa i ranokrSéanske syjetiljke Uz Josipa Bersu znatniju pozomost posvetio je anti¢kim svjetiljkama dr, Boris Hakovae, koji je radio na mjestu kustosa u Arheoloskom muzeju Zadar od 1962, do 1983. godine, Od njegovih djela posveéenih syjetiljkama posebno treba istaknuti rad ,,Bronéane syjetilike iz Arheoloskog muzeja u Zadru%, tiskan 1973. godine, u kojem je kataloski obradio 14 metalnih svjetiliki, U stalnim postavima Arheoloskog muzeja Zadar, formiranim nakon njegova osamostaljenja, svjetiljke su zauzimale znagajan polozaj. U prvom postavu u Sv, Donatu veéina ih je bila izlozena u dvije vitrine u srediSnjoj apsidi matroneja. U vitrini XIX bile su izlogene syjetiljke s radionigkim pegatima, a u vitrini XX syjetiljke s prikazima na disku, Nakon preuredenja zbirke od 1928. do 1931. godine izlozene su u poligonalnoj vitrini, takoder u sredisnjoj apsidi matroneja.3 Kako bi se mogle objesiti o kukice u vitrini, na dnu svjetiljki probusene su male rupe. Godine 1954, Arheoloski muzej preseljen je u zgradu biv8eg Zavoda sv. Dimitrija, danaSnje Sveutiliste u Zadru, Unutar tog prostora 1964. godine otvorena je i antitka 2birka, Syjetiljke su tada bile izlozene u drugoj dvorani, koja je prikazivala pregled materijaine kulture po tematskim cjelinama. Antitke syjetiljke bil izloZene iu stalnom postavu antike koji se poceo uredivati 1974, godine u prostoru u kojem se muzej i danas nalazi 5 2 Valemi, 1938, 23, 24; Abramid-Rersa-Stmirich-Red 4 Batovie, 1996, 275, 5 Barovig, 1980, 559, 561 lamps from the collection of the Medovié family from Nin. Parallel with keeping an inventory, Bersa published a tematic catalogue of the clay lamps under the title ,,Le lucerne fittili romane di Nona conservate al Museo archeo- logico di S. Donato di Zara“in the Archaeological Museum in Zadar from 1902 to 1906 and then in 1915 in the journal, ~Bullettino di archeologia ¢ storia dalmata". In his work Bersa divided clay lamps from Zadar into six types based on their form. Besides the six most common types, he singled out clay lamps with two nozzles and Early Christian lamps. Besides Josip Bersa, greater attention to the ancient lamps was paid by Boris Hakovac Ph, D. who worked as a curator in the Archaeological Museum in Zadar from 1962 to 1983. Amongst his works dedicated to the lamps, the work “Bronze Lamps from the Archaeological Museum in Zadar, published in 1973, should be emphasized. There were fourteen metal lamps published in it, Within the permanent exhibitions of the Archaeological Museum in Zadar, formed after its inde- exhibition in the Church of St. Donatus, most of them were exhibited within two glass cases in the central apse of the matroneum, In glass case XLX there were lamps with the manufacturers” names stamped on the base, and in cabinet XX, lamps with a depiction on the discus. After the Collection was reorganized from 1928 to 1931, the lamps were displayed in a polygonal ease, also in the central apse of the matroneum.} In order to display the lamps in the case, little holes were drilled at the bases of the lamps to fasten them. In 1954, the Archaeological Museum was transferred (o the building of the former College of St, Demetrius, the present day University of Zadar. In that building, the Antiquity Exhibit was opened in 1964, The lamps were then displayed in another hall which presented the review of the material culture according to theme units. Ancient lamps were also displayed within the permanent exhibition of Antiquity which wi ‘Museum is housed today pendence, the lamps had an important position. In the fi begun in 1974 in the space where thePojava i razvoj syjetiljki Otkriée vatre Ijudima je zasigumo olak¥alo preZivljavanje hladnoée, pripremu hrane i obranu od divljih zvijeri, no uz to omogueilo im je i pobjedu nad do tada nesavladivom tamom, Vatra je oko sche, uz toplinu, Sirila toliko Zudeno svjetlo pomoéu kojeg je Eovjek mogao nastaviti dio svojih aktivnosti i dugo nakon zalaska sunca, U poéetku kao nosilae te vatre mogla je posluziti obiéna zapaljena grana, Razvojem tehnologije proizvedena je najprije glinena, a kasnije i metalna svjetiljka, koja je omoguéila laksu manipulaciju i duze odrZavanje syjetla. Za svjetiljke se u antici najéedée koristio gréki naziv iychnus (Atngv0c) i latinski lucernae, Jako mogu biti razligita oblika, syjetiljke se u pravilu sastoje od tijela ili rezervoara, u koji se ulijeva gorivo. Rezervoar stoji na nozi i prekriven je s gornje strane ramenima i diskom. Na prednju stranu tijela nastavlja se nos, kroz koji prolazi stijenj za gorenje, a nasuprot_njemu u velikom broju sluajeva nalazi se drika, Na disku su najée8ée jedan ili dva otvora za ulijevanje goriva, ana nosu ili disku mala rupa koja je sluzila za dovod zraka i za izvlavenje stijenja. Disk i ramena obiéno su ukraseni Svjetiljke su radile na jednostaynom principu, Kroz otvor na disku ulijevalo se gorivo uw rezervoar. U gorivo se, kroz otvor na nosu umetao stijenj i potom palio. Prema anti¢kim pisanim izvorima kao gorivo diljem Mediterana najdeSée je koristeno maslinovo ulje. Uz to u Mezopotamiji kori8teno je sezamovo ulje, w Egiptu laneno, a na Siciliji i u Babilonu upotrebljavala su se ak i mineralna goriva (tekuéi bitumen). Stijenj je pak bio naginjen od bilinih i Zivotinjskih vlakana: papirusa, konoplje, lana, vune i sligno.® Ulju se obiéno dodavala sol, koja je sluzila za zguénjavanje ulja, dobivanje svjetlosti Zuée boje i ugodnijeg mirisa, te je spregavala pregrijavanje.? 5 Roman, 2006, 21; Gosthert, 1997, 7 Zaninovié, 2004, 18. ‘The Appearance and Development of Lamps The discovery of fire most certainly eased the sur- vival of cold, food preparation and defence from wild ani- ‘mals, but it also ensured that people had victory over, until then, the invineible darkness. Apart from warmth, fire gave out such longed-for light by means of which man was able to continue with some of his activities even long after sun- set. At first, an ordinary lit branch could have been used. The development of technology brought clay lamps and afterwards metal lamps, whi and longer retention of light. In Antiquity, the most common term for the lamps was the Greek word ychius (abgvos) and the Latin fucer= nae. h enabled easier manipulation Although they can vary in shape, the lamps consist of a body in which the fuel is poured. ‘The body stands on a foot and it is covered with a rim and discus on top. There is a nozzle at the front part of the body and a wick opening passes through it. In most cases there is a handle opposite the nozzle. There are usually one or two fuel openings on the discus. On the nozzle or the discus, there is a little hole to ket in the air and for pulling out the wick. The discus and the rim are usually decorated, The lamps worked, based on a simple principle. Fuel was poured into the body through the discus open- ing. A wick was inserted into the fuel through the nozzle opening and then lit, According to Ancient written sources, throughout the Mediterranean, olive oil was used as fuel. Also, sesame oil was used in Mesopotamia, linseed oil in Egypt and in Sicily and Babylon even min- eral fuels (liquid bitumen) were used. The wick was however made of plant and animal fibres: papyrus, hemp, flax, wool and similar.© Salt was added for thick- ening the oil, for getting a brighter yellow shade of light and more pleasant smell, it also prevented the over-heat- ing of the lamp.?Veé u vrijeme poznatoga grékog poyjesnigara Herodota glinene su svjetiljke bile uobigajena pojava, pa je pisac predveterje, bez imalo dvojhe, mogao nazvati vremenom kada se pale syjetiljke (Herodot VI. 215), U svom djelu opisao je kako se za religijskih svetanosti diljem Egipta palilo mnoStyo syjetiljki napunjenih uljem i solju, u kojima je plivao zapaljen stijenj (Herodot Il. 62.) U 2. stoljeéu nakon Krista, nabrajajuci vrline pojedinih naroda, Klement Aleksandrijski izum syjetiljki pripisao je Egipéanima (Stromati 1. 16.). Prema arheoloskim spoznajama prve glinene svjetiljke upotrebljavane na Sirem prostoru Mediterana izradivali su Fenigani.§ Prvi oblici svjetiljki nalikovali su otvorenim posudama i izradivani su slobodnom rukom. Iz praktiénih razloga, kako bi se sprijetilo prolijevanje goriva, s vremenom su se potele izradivati svjetiljke zatvorena tijela, a kako bi proizvod bio So. lje usavrSena je izrada na lontarskom kolu. Najstarija antitka syjetiljka koja se Cuva u Atheoloskom muzeju Zadar pripada tipu grékih emo glaziranih. svjetiljki izradenih na lontarskom kolu (kat, 1). Kod ove svjetiljke primjecuje se zatvaranje recipijenta, iako je rupa na disku jo8 uvijek dosta Siroka, Radi lakSeg drZanja svjetiljka je bila opremljena trakastom horizontalnom drikom koja se na Zalost nije saéuvala, Na kasnohelenisti¢koj svjetiljci bikoniéna tijela, takoder izradenoj na lonéarskom kolu, rupa za ulijevanje ulja na disku dosta je uZa (kat. 2). U 3. st. prije Krista na prostoru Gréke i Egipta razvila se tehnika oblikovanja syjetijki utiskivanjem u dvodijelni kalup. Ova, naprednija tehnika, postupno je istisnula proizvodnju svjetiljki na lontarskom kolu Svjetiljka kat. 3. primjer je toga novog nagina proizvodaje. Nakon utiskivanja u kalup na straznjem joj je dijelu aplicirana vertikalna dr8ka, koja se nije satuvala, Razvijeniji oblik svjetiljki izradenih u kalupu predstavljaju kasnohelenistitke svjetilike kat, 4 1 8, koje se prema pretpostavijenom sredistu proizvodnje nazivaju Efeski tip. Ovim je svjetiljkama_nakon oblikovanja u kalupu uz dréku dodan i tanjurasti disk 8 Roman, 2006, 2, Hayes, 1980, 2. Already, in the time of the well-known Greek historian Herodotus, clay lamps were a common phe- nomenon so without any doubt, the writer could have called the carly evening, the time when the lamps were lit (Herodotus VII, 215). In his work, during religious festivities throughout Egypt, a large number of lamps filled with oil and salt and a buming wick were lit (Herodotus I]. 62). In the 24 Century A.D., numbering the virtues of some nations, Clement of, Alexandria attributed the invention of lamps to the Egyptians (Stromati I, 16). Archaeological discoveries however, revealed that the first clay lamps which were used in the Mediterranean area were made by the Phoenicians.® The first shapes of lamps looked like open ve: sels and were handmade. With time, due to practical re sons and to avoid spillage of fuel, closed-body lamps started to be made and also in order to make the produet more appealing, manufacture using the potter’s wheel was perfected. The oldest Ancient clay lamp kept in the Archaeological Museum in Zadar belongs to the wheel- made Greek metallic black gloss paint type (Cat. 1) ‘This lamp has a partially closed body and a wide hole on the discus. For easier holding, the lamp had a broad band handle applied horizontally which was unfortu- nately not preserved. Also on the wheel-made ie biconical-body lamp, a hole on the discus for pouring in the oil was made much narrower (Cat. 2). A technique for forming the lamps by pressing them into a two-part mould originated in Greece and Egypt in the 3° Century B.C.° This more advanced technique gradually replaced the manufacture of wheel- made lamps. The lamp Cat. 3 is an example of that new method of production, After pressing it into a mould, a vertical handle was applied to its back part but it was not preserved. Late-Helienistic lamps Cat. 4 and 5 also known as the Ephesian ape, according to the centre of its production, represent the more developed shape of mould-made lamps. After forming them in a mould, \e described how Hellenizraden na kolu, koji je spretavao prolijevanje ulja pri punjenju, U 1. stoljeéu prije Krista Rimljani su takoder zapodeli proizvodnju svjetiljki upotrebom dvodijelnih kalupa, Svjetiljke kat. 9, 10 i U1 pronadene pri istrazivanju kod antivkog foruma Jadera primjer su jednog od prvih tipova u kalupa oblikovanih italskih syjetiljki proizvodenih tijekom 1 st. prije Krista!” Ove su syjetiljke na straznjem kraju imale drske, koje s Zalost kod zadarskih primjeraka nisu sa karakteristinom ukrasu na ramenima i tijelu nazvane su bradavii syjetiljkama. Krajem I. st. pr. Krista u aliji se razvio nov oblik svjetiljke, koji je obiljezio iduca stoljeca. Osnovnu novinu kod ovih svjetiljki Ginio je Sirok konkavan disk koji je priligno olakao—_njihovo Proporcionalno poveéanju diska kod ovih je svjetiljki smanjena veligina ramena, a sukladno tome uktagavanje koje je ranije bilo vecinom usmjereno na ramena, sada je preseljeno na disk. Najraniji tip ovih svjetiljki imao je trokutasto zavrsen nos ukragen volutama (kat. 12-32), Nedto kasnije javio se tip oblo zavrSena nosa s volutama (kat, 33-45) i naposlietku tip obla, kratka nosa (kat. 46- 59). Kod ovih tipova svjetiljki u pravilu ne susreéemo drSke. Tip svjetiljke obla kratka nosa kasnije su preuzele radionice s prostora Gréke. Na ovim kasnijim primjercima, koji datiraju iz 2. i 3. stoljeéa, udestalije se potinje pojavljivati dréka (kat, 60-64), U pravilu je izradena u kalupu i naknadno perforirana, U drugoj polovici 1. st. nakon Krista na sjeveru Italije razvio se jedan drugi tip syjetiljke, k gotovo redovite pojave radioni¢kog p nazvan firma syjetiljka. Za razliku od tipova s ukragenim diskom, ove svjetiljke nisu imale konkavan, nego ravan i najtese neukrasen disk. Kako bi se pri punjenju spremi rijedilo prolijevanje ulja, disk je okru%en jednostavnim reljefno istaknutim kruznim rebrom, Ove su syjetiljke imale nesto Sira ramena na kojima su se nalazile po dvije ili tri sitne drske. Te su drske veéinom imale ukrasnu funkeiju, no uw rijetkim na vale, Prema punjenje. 19 Guatandi Genito, 19 0, plate-like wheel-made discus was added to prevent the spillage of oil while pouring it in. In the 18' Century A.D. the Romans also started the production of the two-part mould lamps. The lamps Cat. 9, 10 and 11 found during excavating the Ancient Forum of lader are the examples of one of the first mould- made Italic types produced during the 18t Century B.C.!° These lamps had handles at the back, but on Zadar types they were unfortunately not preserved. According to the characteristic decoration on the rim and the body, they were known as clay lamps with globules (Warzenlampen), Anew shape of lamp, which marked the following centuries, was developed in Italy towards the end of the 1St Century. The basic novelty with these lamps was a wide concave discus which eased their filling to a great extent. Enlargement of the discus proportionally de; size of the rimn and because of that, decoration which was earlier directed to the rim, was now moved to the discus. ‘The earliest type of these lamps had a triangularly-ended nozzle decorated with volutes (Cat. 12 ~ 32). Sometime later, round-ended nozzle types with volutes appeared (Cat. 33 ~ 45) and in the end, the round-nozzle type (Cat. 46 59), In general, there are no handles with these type of Jamps. The round-nozzle type of lamps was later taken over by the Greek manufacturers. A more frequent appear- ance of a handle was evident on these later examples which date back to the 2° and the 3°4 Century (Cat. 60 -64), In general, they were made in a mould and additionally per- forated. In the North of Italy, in the second half of the 1St Century A-D., another type of lamp was developed. Because of the almost regular occurrence of the manufac- turer’s stamp on the base of a lamp, this type was known as the Factory lamp. Unlike the types with the decorated dis- cus, these lamps did not have a concave discus, but a flat and usually a non-decorated one, In order to prevent the spillage of oil during filling, the discus was enclosed with a collar. To some extent, these lamps had a broader rim on. which there were two or three knobs. These knobs mostly had a decorative purpose and only in rare cases were they sed theslucajevima bile su probugene, i kao takye mogle su posluziti za vjeSanje svjetiljke. Firma svjetiljke dijele se na vise tipova, ovisno o obliku nosa, Najranije s jednostavan nos s urezanom uzduznom brazdom u obliku slova I (kat. 71-73). Kasnije se javlja tip nosa s uskim kanaligem u kojem je rupa za zrak (kat. 74-77), potom tip 5 uskim kanaliéem otvorenim prema disku (kat. 78, 79), Pogetkom 2, st, nakon Krista, razvio se tip sa Sirokim, prema disku otvorenim kanalom, i to u dvije verzije, s dugim (kat. 80-86) i nesto rjede s kratkim nosom (Kat, 87, 88). Verzija s dugim nosom proizvodila se u nekvalitetnoj i dosta robusnoj izvedbi do u kasnu antiku (Kat, 89-95). U razdoblju kasne antike na zadarskom prostoru najéesée su u upotredi wy. aftiéke 1 njima srodne svjetiljke. One poput firma svjetiljki imaju na nosu Sirok, prema disku otvoren kanal, Za razliku od firma svjetiljki u pravilu su ukrasene, i to po ramenima i na disku. Prema naginu oblikovanja i ukrasavanja aftitke svjetiljke dijele se na dva osnovna tipa. Stariji tip karakteriziraju oborena Konveksna ramena, najéeiée ukragena motivom palmina lista i ovalan disk ukraSen jednostavnim motivima (kat. 105-113, 120). Mladi tip karakteriziraju ravna ramena ukraSena_ peéatnim motivima i bogato ukrasen kruzan disk (kat. 115-119) imale Proizvodnja i trgovina U razvojnoj liniji proizvodnje glinenih svjetiljki razlikuju se tri osnovne tehnike iztade. Prvi i najstariji nagin proizvodnje obiljezen je oblikovanjem svietilike slobodnom rukom. Drugi nagin obiljeZilo je oblikevanje na lonéarskom kolu, Trecu fazu predstavlja oblikovanje svjetiliki upotrebom dvodijelnoga kalupa, Ta treéa faza u tehni¢kom je smistu vrhunae proizvodnje. Izrada_utiskivanjem u dvodijeine kalupe “omoguéila je da glinene svjetiljke postanu roba masovne i jeftine proizvodnje, a time i Siroke potrosnje. Osnovna prednost ovog naéina oblikovanja odnosila se na brzinu i kvalitetu izrade proizvoda. Umjesto mukotrpnog modeliranja svake pojedine svjetiljke bilo slobodnom drilled and as such they could have been used for hanging the lamps. Factory lamps are divided into several types, depending on the shape of the nozzle. The earliest ones had a simple nozzle with an incised longitudinal groove shaped in the form of a letter I (Cat. 71 — 73). Subsequently, a type with a narrow channel with an air hole appeared (Cat, 74 — 77) and afterwards a type with a narrow channel with an opening towards the discus (Cat. 78, 79). In the end, at the beginning of the 24 Century A.D., a type with a broad channel, with an opening towards the discus was developed in two versions, with a long and in rare eases, with a short nozzle (Cat. 87, 88). The version with a long nozzle was of poor quality and rough making until Late Antiquity. Alvican red slip ware lamps and similar ones are the most frequently used ones in the Zadar area in the peri- od of Late Antiquity. Like the factory lamps, they had a broad channel on the nozzle, open towards the discus. Unlike the factory lamps, they were generally decorated on the rim and on the discus. According to the shape and method of decoration, Aftican red slip ware lamps can be divided into two basic types. The older type is character- ized with a sloping convex rim usually decorated with a palm tree leaf motif and a circular discus decorated with simple patterns (Cat. 105 ~ 113, 120), The newer type is characterized with # flat stamp-decorated rim and elabo- rately decorated circular discus (Cat, 118 ~ 119), Production and Trade ‘There are three basic production techniques in the development of the production of clay lamps. The first and the oldest method is handmade production of lamps. The second method is the wheel-made production, The third phase is represented by the two-part mould-made produc- tion. In the technical sense, the third phase represents the highest point of production, Produ moulds enabled the c! of massive and cheap production and thus of wide con- sumption, The basic advantage of this method of shaping referred to the speed and quality of production. Instead of ion by pr ng the lamps into two-part lay lamps to become the merchandiserukom ili na Tonéarskom Kolu, sada je i nevjest radnik mogao jednostavno utisnuti syjezu glimu u kalup i relativno brzo oblikovati gotovo neogranivenu koliginu svjetiljki Postupak proizvodnje svjetiljki iz dvodijelnih kalupa move se razdijeliti na dvije osnovne faze. Prvu Gini izrada kalupa, za Sto su prijeko potrebni visokokvalificirani majstori, a drugu oblikovanje i izrada samih syjetiliki, Sto je mogao raditi bilo koji priugen majstor. Pri izradi Kalupa, bilo iz gline ili pak gipsa, prvo se izradivao prototip svjetiljke. Prototip se obitno oblikovao uw punoj glini, Nakon sugenja ili petenja prototip se utiskivao u svjezu glinu, cime se dobivao glineni kalup, ili se pak oko prototipa nalijevao zips u tekuéem stanju, gime se dobivao dvodijelni gipsani kalup. U gomjem dijelu kalupa nalazio se, u negativu utisnut, gornji dio svjetiljke, to jest ramena disk i gomja strana nosa, a u drugom, donjem dijelu kalupa nalazilo se utisnuto dno, recipijent i donji dio nosa svjeliljke, Od jednog prototipa mogao se izraditi_ veéi broj kalupa. Glineni kelupi doradivani su i peceni, dok su gipsani jednostavno astavijani da se osuse i potom doradivani, Nakon pripreme kalupa pristupalo se drugoj fazi proizvodnje. U toj fazi najprije se pripremala syjeza glina, koja se potom razvlaéila na plohe odredene debljine. Iz plohe su se izrezivala po dva komada odgovarajuée veligine i utiskivala u dvodijelni kalup. Na mjesto spoja gomjeg i donjeg dijela svjetiljke nanosila se itka glina. Kalupi su potom spajani, pri temu je dolazilo do prianjanja gornjeg i donjeg dijela svjetilike. Nakon razdvajanja kalupa dobivala se cjelovita svjetiljka, Svjetiljka je nakon toga doradivana i s Poslije suSenja umakala se u Zitku glim ili pak neku rugu smjesu, a potom ponovno susila, Nakon konaénog susenja svjetiljke su slagane jedna na dmgu u keramigarskim peéima i zatim petene. Unutar same proizvodnje u kalupima moguée je pratiti postupne izmjene koje su izazvane Zeliom da se proizvodnja pojednostavni i ubrza, Tako kod ranijih svjetiljki izradivanih uw kalupu, gotovo uvijek imamo naknadno apliciranu trakastu dr8ku (kat. 8-11), a kod ena. 10 the hard work involved modelling every single lamp, either by hand or on a potter wheel, now, an unskilled worker simply could press fresh elay in a mould and fairly quick- ly form almost an unlimited number of lamps. The process of producing the two-part mould- made lamps can be divided into two fundamental phases. The first one is the making of moulds, for which highly qualifix and the second one is the shaping and making of the lamps, which could have been done by any semiskilled workman. With the making of a mould, whether from clay or plaster, the prototype of a lamp was first developed. The prototype was first formed in clay. After drying or baking it, the prototype was pressed into fresh clay, which resulted in a clay mould, or a liquid form cast was poured on the prototype which resulted in a tovo-part east mould. In the top part ofa mould, the upper workmen are necessar part of a lamp was impressed, ic. the rim, the discus and the upper part of a nozzle and in the second, lower part of a mould there was the impressed base, the body and the lower part of a nozzle. One prototype could produce a lot of moulds. Clay moulds were finished and baked whereas the cast ones were left to dry and then finished. After preparing the moulds, the second stage of production took place, In this phase, fresh clay was first prepared which ‘was then rolled out flat into sheets of specified thiekne Two pieces of suitable size were then cut out from a sheet and impressed into a two-part mould. Liquid clay was put on the joining poinis of the two parts, The moulds were then linked, at which point adhesion of the top and bottom part took place, After separating the moulds, a complete lamp was made. The lamp was afterwards finished and dried. After drying it, it was immersed into liquid clay or some other mixture and then it was dried again. After the final drying, the lamps were placed in the furnace one on top of the other and then baked. Within the mould production itself, it is possible to follow gradual changes caused by the wish to speed up and to simplify the production, Thus with the earlier mould- made lamps, there is almost always a broad band handle applied additionally (Cat. 8 ~ 11) and the specially made plate on the discus (Cat. 4, 5) with the Late-Hellenistickasnohelenistickih syjetiljki efeskog tipa, Cak i posebno izraden tanjur na disku (kat, 4, §). To je u svakom slucaju kompliciralo proizvodnju i éinilo je skupljom. U kasnijem razvoju napustaju se clementi koje je potrebno naknadno aplicirati, tako da klasi¢ne trakaste drske gotovo u potpunosti nestaju (kat, 12-59). Nakratko ih zamnjenjuju ispupéenja poput onih na firma svjetiljkama, Usavréavanjem proizvodnje razvijena je izrada tev. plogastog tipa dréke u kalupu, gime je drska ponovno postala sastavni dio syjetiljke. Te su plogaste drike u pogetku perforirane (kat. 60-64, 66-70), a kasnije, od povetka 4, st. nakon Krista, i na tom se planu naginio ustupak pojednostavnjenju proizvedinje, pa se drike vise nisu busile (Kat, 104-119), Na primjeru dr8ki jasno vidimo nakanu proizvedata da proizvodnju ucini Sto jednostavnijom, a time i Sto jeflinjjom. Koliko su jeftine bile glinene svietilike u anti¢ko doba, najbolje mozemo vidjeti usporedimo li njihovu cijenu s cijenama ostalih roba i usluga. Prema uredbi cara Dioklecijana kojom se propisuje najveéa cijena za odredene proizvode i usluge 2,301. godine nakon Krista, cijena 10 glinenih svjetiljki iznosila je 4 denara.!! Istodobno dnevnica stolara ili pekara iznosila je 50, a poljodjelea i pastira 25 denara Cijena litre ernog vina iznosila je oko 40 denara, cijena litre kvalitemnog m 1 ulja oko 80, a loSijeg oko 50 denara. Cijena pak kilograma svinjetine iznosila je oko 36 denara, Tako nisku cijenu svjetiljki nemoguée je bilo postiéi bez dobro organizirane i efikasne proizvodnie. U helenisticko vrijeme svjetiljke su se u nase krajeve vesinom uvozile s prostora istognog Mediterana i juga Ttalije. Od sredine 1. st. prije Krista jaéa uvoz iz sredignje Italije, Neke od tih radionica oznagavale su svoje proizvode radionitkim petatima koji su se veéinom sastojali od jednog ili rjede vi8e utisnuti ili reljetno istaknutih slova (kat, 18, 27, 29, 31, 35-37, 41, 59}. U drugoj poloviei 1. st. nakon Krista jaéaju sadionice na sjeveru Italije. Na tom prostoru razvio se novi oblik tzv, firma svjetiljki. Njih je osim specifi¢na ika karakterizirao i gotovo uvijek prisutan radioni¢ki no al 1 Gocthent, 1997, 20, lamps of the Ephesian type. This definitely complicated the production and it made it more expensive. In the later development the elements which had to be applied addi- tionally were abandoned and thus classic broad band han- dles almost disappeared completely (Cat, 12 — $9). They were replaced with the knobs as with the Factory lamps. The improvement of production brought the manufacture of the so-called tablet-shaped mould-made handle with which the handle once again became the constituent part of a lamp. At the beginning, these plate-like handles were per forated (Cat. 60 — 64, 66 — 70) and afterwards, from the 4¢ Century A.D. the production was again simplified, in the sense that the handles were no longer perforated (Cat, 104 — 119). On the example of handles, we may notice the manufacturer's intention to simplify the production and thus to make it cheaper. How cheap the lamps were in Antiquity may best be seen if their price is compared to the prices of other goods and services. According to Diocletian's Decree from 301 A.D., which regulated the highest price of certain produets and serviees, the price of 10 clay lamps amounted to 4 denars.!! At the same time, a carpenter's or a baker's daily allowance was 50 denars and farmer’s or shepard’s was 25 denars. The price of a litre of black wine was about 40 denars, the price of better quality olive oil was about 80 and the price of poorer quality olive oil came to about 50 denars. The price of pork per kilo was about 36 denars. Such a low price of lamps was impossible ieve without a well-orgunized and efficient produc- tion. In the Hellenistic period, the lamps were mostly imported from the Eastern Mediterranean and the South of ttaly, Some of these manufacturers marked their produets with workshops’ stamps which mainly consisted of one and rarely of more letters, either impr (Cat. 18, 27, 29, 31, 35 — 37, 41, 59). In the second half of the 1S¢ Century A.D. workshops in the North of Italy grew stronger. A new shape of lamp was developed in that area, the so-called Factory lamp. Besides a specific shape, they were characterized by the almost always presence of ed or in relief 1peéat reljefnim slovima predogen na dau syjetiljke (kat 71-88). Od sjevernoitalskil proizvedata na zadarskom prostoru najzastuplienije su syjetilke firmi FORTIS, COMMVNIS, ATIMETI, CRESCES, STROBILI i VIBIANI. Od sredine 2. i kroz 3, st. nakon Krista zabiljezen je znaajan uvoz s prostora Ativkog poluotoka, to jest iz proizvodnih centara Atene i Korinta, Na ovim syjetiljkama takoder je esto utisnut radioni¢ki peéat, u pravilu ispisan utisnutim slovima grvkog alfabeta, kao na primjer nacpopov, TIPEIMOY i Roveiov (kat. 60-64). Neke su se istoéne radionice koristile i pecatima ispisanim latinignim pismom, poput jake radionice ROMANESIS (kat. 44). Od podetka 4, stoljeca i kroz ditavo 5. i 6, stolje¢e nakon Krista tri8tem su dominirale sjevemoafriéke radionice. Njihovi proizvodi rijetko nose radionitki pedal, a kada ga imaju, on se najéeSée sastoji od jednog slova ili pak kakvog znaka utisnutog na dnu svjetiljke (kat. 112, 120), Syjetiljke u svakodneynom Zivotu U antigko vrijeme syjetiljke su pratile ljude od rodenja do smrti. Osim praktine funkeije imale su i simbolignu, Pri rodenju, vjenganju i obiteljskim sveEanostima pz poklanjale su se prijateljima za novu godinu, darivale bogovima u zalog za ispunjenje Zelja, no8ene su u pogrebnim povorkama, a desta su kao prilog pokojnicima polagane u grobove, kao da u smrti prizivaju negdasnji Zivot. Osyjetijavale su privatne kuée, Irgove, trgovine, ulice, kazali8ta, javne kuée i kupatila.!? Odligan primjer upotrebe syjetiljki_ uw svakodnevici antitkih gradova nalazimo u Pompejinna, gdje su u jednoj uliei otkrivene 132 trgovine osvijetljene s 390 svjetiljki postavlenih nad yratima ili na pultu, a male terme sjeverno od foruma osyjetljavalo je gotovo 900 svjetiljki. Carevi i ugledni gradani éesto su plaéali osvjetljavanje kazalista, javnih kupatila ili pak gradskiiy prostora, dime su kupovali naklonost puka, Bogati i ugledni stanovnici Carstva svjetlom su se sluzili kako bi ile su se iznad vrata ili na prozorima, 2 Mocdesig, 2002, 381; Goethert, 1997, 19, 12 workshop’s stamp with letters in relief at the base of a lamp (Cat, 71 - 88). From the North-Italic manufacturers, the most represented factories in the Zadar area were FORTIS, COMMVYNIS, ATIMETI, CRESCES, STRO- BILI and VIBIANI. From the middle of the 2" and throughout the 3°4 Century A.D. a significant import from the Attic Peninsula was marked, i.c, from the manufactur- ing centies of Athens and Corinth, These lamps also had the manufacturer’s stamp impressed and they regulaly had impressed letters from the Greek Alphabet, for exam- ple TIPEIMOY and hovewov (Cat, 60 ~ 64). Some of the Eastern manufacture stamps, like the very famous ROMANESIS workshop (Cat, 44). From the beginning of the 4" and throughout the 5" and the 6 centuries A.D., North African work- shops dominated the market. Their products rarely had workshops’ stamps and if they had it, it was usually a one- letter stamp or some sort of a sign impressed on the base of a lamp (Cat. 112, 120). used the Latin-script written Lamps in Everyday Life In Ancient times, lamps followed people from birth to death, Except for being practical, they also had a sym- bolic function. At birth, weddings and family celebra jons they were lit above doors or in windows, they were given to as gifts for New Year, they were given to Gods as votive gifts, they were carried at funerals and often they ‘were put in graves with the deceased, as if appealing to for- mer life. They used to light up private houses, squares, shops, streets, theatres, brothels and public baths.|? We may find an excellent example of the use of lamps in everyday ancient towns in Pompeii, where 132 shops in one street were found to be lit up by 390 lamps placed above doors or on counters whereas the little ther- mae north of the Forum were lit up by 900 lamps. The ‘emperors and well-respected citizens often paid for illumi- nating theatres, public baths or town spaces with which they bought the sympathy of the common people. The rich and the well-respected inhabitants of the Empire used the friendspred okolinom potvrdili svoj status, Tako su desto organizitali bankete koji su trajali do dugo w noé okupani svjetloséu vide desetaka svjetiljki skupocjene izrade punjenih finim mastinovim uljem, U kuci C Julina Polibija u Pompejima pronadene su 72 keramicke svjetilike i jedna brongana. Svjetiljke su obitno smjeStane u posebnim nigama u zidu, na staleima ili su pak yjeSane 0 lancima. Metalne su syjetiljke bile pravo bogatsivo, pa su se vadile samo za posebnih prigoda, a znale su se Guvati iu oklopljenim Skrinjama (kat. 121- 125).13 Prosjetna svjetilika zapremine 0,028 1, s kratko izvutenim stijenjem, mogla je gorjeti po nekim auto 3 sata, a po nekima 10, Prema istrazivanjima za oplimalno osyjetljavanje prostorije prosjecne veliine potrebao je 10 svjetiljki. Syjetiljke s vi8e nosova davale 1 vige syjetlosti, no razmjerno tome su i br¥e trosile gorivo, Siromasniji stanovnici anti¢kih gradova tesko su si moglipriustiti vie od jedne svjetiljke. Takva syjetiljka, napunjena najée8ée nekvalitetnim uljem omoguéavala im je da uz neugodan miris, éadu i slabo svjetlo obavljaju prijeko potrebne kuéanske poslove.!+ Syjetiljke su izzadivane u raznim veli¢inama Od iznimno velikih (kat. 40, 71), Giji su spremnici zaprimali znatnu koliginu goriva, sto je osiguravalo dugotrajan neprekidni rad, do oni sasvim malih, 2a koje Je. jako se na njima nalaze tragovi gorenja, upitno jesu li stvarno sluvile svojoj primarnoj svrsi ili pak samo za jeg igra (kat. 100). Gotovo sve syjetilike, osim dijelova potrebnih za rad, sadrze i ukrase. Pa iako ukras ponekad mozda ima i praktiénu funkeiju, kao na primjer bogato ukraSene dliSke na svjetiljkama s vise nosova (kat. 98), koje su spretavale prevrtanje syjetiljke na nos, ipak mu je najéeSéa svrha udiniti syjetiljku primamljivom kupeitna Kako bi se zadovoljili prohtjevi i najizbirljivijih kupaca, ukraSavane su najrazligitijim motivima. Dio nosi jednostavne geometrijske i geometrizirane ukrase, poput koncentrignih keuZnica, radijalnih kanelura ili, pak na 83 Roman, 2006, 26, 27: Goethart, 1997, 19,20 ' Roman, 2006, 26: Zaninovie, 2004, 16, 1% light to confirm their status. So they would often organize banquets which would last long into the night surrounded with the light of a number of high quality lamps filled with fine olive oil. Seventy-two clay lamps and one bronze lamp were found in the house of C. Tulius Polibius in Pompeii The lamps were usually placed in special niches in walls, on stands or they were hung on chains. Metal lamps repre sented a real fortune and they were taken out for special occasions only, and also, they were known to be kept in open chests (Cat. 124 ~ 125), '3 An average volume lamp of 0, 028 I, with a short- ly pulled out wick, according to some authors could burn for about 3 and according to others for about 10 hours. 10 lamps were needed for optimal illumination of an average size room. Lamps with more According to research, nozzles produced more light but in proportion to that they would use up the fuel more quickly. Poorer inhabitants of Ancient towns could hardly afford more than one lamp. Such a lamp, usually filled with oil of poor quality enabled them to perform necessary housework accompanied by a bad smell, soot and poor lighting. !+ Lamps were made in different sizes, From the extremely big ones (Cat. 40, 71), whose body could hold a Jarge amount of fuel, which ensured continuous and long- lasting work, to the very little ones, for whieh it is ques- tionable, although there may be found evidence of burning on them, if they served their primary purpose or if they were only used for children’s play (Cat. 100). Almost all the lamps, apart from the parts neces sary for their function, contained decorations. Even if the decoration sometimes had a practical purpose, such as lav- ishly decorated handles on lamps with more nozzles (Cat 98), which prevented them rolling onto their nozzles, still their main purpose was to make the lamp more attractive for the customers. In order to satisfy the needs even of the choosiest customers, they were decorated with various pat- terns. Some of them had simple geometrical and gcometrized decorations, such as concentric circles, radial grooves or stylized rosettes, Motives from everyday 13stiliziranih rozeta, Cesti su i motivi preuzeti iz anti¢ke svakodnevice. Prikazi kazalignih maski, gladijatorskih borbi, psa koji lovi jelena i utrka konjskih zaprega uvode nas u svijet razonode i industrije zabave. Erotski prikazi oslikavaju intimnu stranu Zivota anti¢kih stanovnika, Iznimno zanimijiva scena Govjeka koji sjedi okruzen majmunom, posudom i kruhom, dogarava prizor s ulice anti¢kog grada. Dupin u skoku nad valovima i lada podsje¢aju na plovidbe Sredozemnim morem. Uz prizore svakodnevnice éesti su i prikazi nestvarnih biéa, poput zaigranih krilatih erota, Viktorije ili pak grifona. Osim zanimljivim prikazom syjetiljke su mogle zaokupitipozomost kupaca naginom bojenja, poput svjetiljke kat. 65, ili pak speci rijetkim natinom ukraSavanja poput glazirane svj kat. 102. ancient life were also frequent. Illustration of theatre masks, gladiators’ fights, a dog chasing after a deer and chariot wheel races take us to the world of entertainment and the industry of fun, Erotic aecounts described the inti- mate side of life of ancient time inhabitants. A very inter- esting scene of a man sitting down surrounded with a mon- key, a dish and bread evokes a scene from an ancient town. A dolphin jumping over waves and a ship resemble a voy- age on the Mediterranean Sea, Together with accounts of everyday life, portrayals of imaginary creatures such as playful winged Cupids, Victoria or griffons were also fre- quent. Other than an interesting account on a lamp, cus- tomer’s attention could have also been drawn with the way mp was painted (Cat. 65) or with a specific and in ancient times rather rare method of decoration such as glazed lamps (Cat. 102).