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Identification and Creation

Object Number
1977.216.3407
Title
Lamp
Classification
Lighting Devices
Work Type
lighting device
Date
late 1st-2nd century CE
Places
Creation Place: Ancient & Byzantine World
Period
Roman period
Culture
Roman
Persistent Link
https://hvrd.art/o/304233

Physical Descriptions

Medium
Copper alloy
Technique
Cast, lost-wax process
Dimensions
4.7 x 5.3 x 11.3 cm (1 7/8 x 2 1/16 x 4 7/16 in.)
Technical Details

Technical Observations: Six of the seven lamps (1920.44.181, 1965.87, 1977.216.3406, 1977.216.3407 1977.216.3423, 1978.495.32, and 1992.256.93) have mostly green patinas. 1977.216.3407 is mostly brown and black with areas of dark green. 1977.216.3423 has a large area of blue. 1978.495.32 and 1920.44.181 are more mineralized, and large lumps of raised corrosion products obscure the finer details of their surfaces. 1920.44.181 has lost the tip of its spout and much of its handle due to its fragile, mineralized condition.

All of the lamps except 1977.216.3406 were cast, presumably using a lost-wax technique. The interior surfaces generally conform to the exterior profiles, including the small feet, and it is likely that molds were used to form the wax models of the main portions of these lamps. The perfectly circular central elements may be the result of using a wheel to create the original models from which the wax casting molds were made. These shapes were then altered manually to form the spouts and decorative elements. The handles were probably added manually to the cast-wax body models. The rather substantial handle of 1965.87 could easily have been molded at the same time as the body of the lamp, although there is no indentation in the interior to prove this. The separately cast lid on this lamp is intact and held in place with an oversized—but seemingly original—copper alloy pin.

The bowl section of 1977.216.3406 is so thin and its interior surface is so smooth that it appears to have been raised rather than cast. Its thickness varies between 0.5 and 1.0 mm. An x-radiograph of the lamp reveals distinct hammer marks, which confirm that the surface was raised. The cast base is attached with lead solder. Its shape is perfectly circular, implying that its model was turned on a wheel. A projecting rim at the bottom of the base indicates that it was attached to a larger base section or mount. Solder is also present there and at a spot at the back of the lamp, where a handle had been attached but is now lost.

The exterior surface of 1920.44.181 has elongated fiber-shaped carbon inclusions embedded in its corrosion products. All of the lamps, except 1977.216.3406, appear to have oil residues mixed with accretions and corrosion products in their interiors.


Henry Lie (submitted 2001)

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Transfer from the Department of the Classics, Harvard University
Accession Year
1977
Object Number
1977.216.3407
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Published Catalogue Text: Ancient Mediterranean and Near Eastern Bronzes at the Harvard Art Museums
This lamp is pear-shaped with a flat top that is surrounded by a sharp, thin rim (2.4 mm thick) extending along the top of the nozzle and around the wick hole. There is no evidence for an attached lid over the large, round pour hole (2.6 cm in diameter). A crescent-shaped handle guard, from which one tip is missing, was cast with the body. Below it is a flat strap handle that is attached at the low point of the crescent and the center of the body. On either side, at the point where the nozzle and body join, is the stub of a suspension ring. A complete, very small ring is at the center of the crescent. The underside of the ring foot (3.39 cm in diameter) shows concentric turn marks with a button in the center. The height of the reservoir is 3.1 cm, and the height of the handle is 2.45 cm.

The lamp is similar to several examples found at Pompeii and Herculaneum with preserved suspension devices. It is also similar to an example with a stopper for the fill hole and a ring through the loop on the crescent, which holds chains attached to the stopper and an implement for adjusting the wick (1). Such lamps were popular throughout the Roman Empire (2). The type appears to be specifically Roman, developed in the first century CE, and it is the forerunner of factory lamps such as one from Thrace that has the name of the maker cast on its crescent symbol (3).

NOTES:

1. See M. Conticello de’ Spagnolis and E. De Carolis, Le lucerne di bronzo di Ercolano e Pompei (Rome, 1988) 195-200, nos. 129-30. See also A. Kirsch, Antike Lampen im Landesmuseum Mainz (Mainz, 2002) nos. 613-16, pls. 27-28. Note that no. 615 preserves the stopper and chain.

2. For an almost identical lamp said to be from England, see J. W. Hayes, Greek, Roman, and Related Metalware in the Royal Ontario Museum: A Catalogue (Toronto, 1984) 134-35, no. 209; Haynes lists examples from Europe to the Levant. For the type, see D. M. Bailey, A Catalogue of Lamps in the British Museum 4: Lamps of Metal and Stone and Lampstands (London, 1996) 36-37; close to the Harvard lamp is no. Q3660, pl. 43, from the Hamilton collection, dated to the second half of the first century CE, which Bailey compares to examples from graves dated by coins to the late first to early second centuries CE. See also P. Dyczek, “Bronze Finds from the Site of the Valetudinarium at Novae (Moesia Inferior),” in Acta of the 12th International Congress on Ancient Bronzes, Nijmegen 1992, ed. S. T. A. M. Moles, Nederlandse Archeologische Rapporten 18 (Nijmegen, 1995) 367-68, fig. 2, for an example from the military hospital at Novae, still in use in the third century CE.

3. S. Krunić, “The Bronze Lamp from Boljetin (Smorna),” Zbornik Narodnog muzeja: Archeologija 15 (1994): 81-86 [in Serbo-Croatian with an English summary]. The lamp comes from the pre-Trajanic building phase of the auxiliary camp at Boljetin and is dated to the last decade of the first century CE. Two Greek inscriptions cast with the lunula are translated “Posidoro’s lamp” and “Hore, son of Moikaporo.” Krunić posits that the first is the maker and the second is the first owner. The name Suro is incised on the top, perhaps a subsequent owner.


Jane Ayer Scott

Subjects and Contexts

  • Ancient Bronzes
  • Roman Domestic Art

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu