J. Vučić - Ranokršćanske glinene svjetiljke u Arheološkom muzeju u Zadar

naslovna:Layout 1 25.1.2009 18:38 Page 1

Arheoloki muzej Zadar

Jakov Vui

Ranokranske glinene svjetiljke u Arheolokom

muzeju Zadar

Early Christian Clay Lamps

in the Archaeological Museum in Zadar

Zadar, 2009.

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Arheoloki muzej Zadar / Archaeological Museum in Zadar

Katalozi i monografije 6 / Catalogues and Monographies 6

Jakov VuiRanokranske glinene svjetiljke u Arheolokom muzeju Zadar

Early Christian Clay Lamps in the Archaeological Museum in Zadar

Nakladnik / PublisherArheoloki muzej Zadar

www.amzd.hr

Urednik / EditorDraen Mari

Recezenti / Rewied byakademik Nenad Cambi, dr. sc. Branka Migotti

Lektor za hrvatski jezik /Proofreader for CroatianZlata Derossi

Prijevod na engleski jezik / Translation into EnglishBarbara Smith - Demo

Fotografije / PhotosIvan ondi, Jakov Vui

Crtei / DrawingsRobert Mari, Jakov Vui

Raunalna obrada i prijelom / Typesetting and LayoutMarija Marfat

Oblikovanje korica / Cover designIvan ondi

Tisak / Printed by

Naklada / Issued600

ISBN 978-953-7484-05-7

CIP-Katalogizacija u publikacijiZnanstvena knjinica Zadar

738.8.033.1:069>(064)904:738.8>(064)069(497.5 Zadar).51:738.8

VUI, Jakov

Ranokranske glinene svjetiljke u Arheolokom muzejuZadar = Early Christian Clay Lamps in the ArchaeologicalMuseum in Zadar / Jakov Vui ; .- Zadar : Arheoloki muzej, 2009. 80 str. : ilustr. ; 27 cm. -(Katalozi i monografije / Arheoloki muzej, Zadar ; 6)

Bibliografija.

ISBN 978-953-7484-05-7

121126001


SA DRAJ

Predgovor / Preface ...........................................................................................................................................................................5

1. UVOD / INTRODUCTION ...........................................................................................................................................................6

1.1. Povijest muzeja / The history of the museum .............................................................................................................................6

1.2. Poetci sakupljanja i prouavanja antikih svjetiljki u AMZd / The beginnings of the collection

and study of Roman lamps in the Archaeological Museum ..............................................................................................................6

1.3. Radovi o ranokranskim svjetiljkama na zadarskom prostoru / Works

about Early Christian lamps from the Zadar area ............................................................................................................................8

1.4. Kratak pregled radova o ranokranskim glinenim svjetiljkama na

prostoru Hrvatske / A brief review of works about Early Christian clay lamps in Croatia .............................................................9

2. RANOKRANSKE GLINENE SVJETILJKE / EARLY CHRISTIAN CLAY LAMPS ............................................................10

2.1. Terminologija / Terminology ....................................................................................................................................................10

2.2. Tipologija / Typology ................................................................................................................................................................10

2.3. Podrijetlo / Origins ...................................................................................................................................................................13

3. ZBIRKA SVJETILJKI ARHEOLOKOG MUZEJA ZADAR / THE LAMP

COLLECTION OF THE ARCHAEOLOGICAL MUSEUM IN ZADAR ..........................................................................................14

3.1. Ope napomene / General information ....................................................................................................................................14

3.2. Pregled po tipovima / Classification by type ...........................................................................................................................15

3.2.1. Forma VIII / Form VIII .........................................................................................................................................................15

3.2.2. Forma IX / Form IX ..............................................................................................................................................................20

3.2.3. Svjetiljke izraene po uzoru na afrike forme VIII / Lamps modelled on African form VIII ..............................................20

3.2.4. Forma X / Form X .................................................................................................................................................................21

3.2.5. Svjetiljke izraene po uzoru na afrike forme X / Lamps modelled on African form X ......................................................26

4. ZAKLJUAK / CONCLUSION ................................................................................................................................................27

5. LITERATURA / BIBLIOGRAPHY ..............................................................................................................................................35

6. KATALOG / CATALOGUE .........................................................................................................................................................43


.


PRED GO VOR

U Arheolokom muzeju Zadar uva sevelika koliina pokretne arheoloke grae sprostora Zadarske upanije i ire. Zbogogranienog prostora unutar stalnog postava veinaspomenika ostaje trajno pohranjena u muzejskimuvaonicama te je stoga teko dostupna irojkulturnoj ili znanstvenoj javnosti. Namjera je ovograda barem jedan mali dio spomenika uinitidostupnijim. Ovim katalogom eli se nastaviti sasustavnim katalokim objavljivanjem antikihsvjetiljki koje su davno prije zapoeli kustosiArheolokog muzeja Zadar Josip Bersa i BorisIlakovac.

PREFACE

The Archaeological Museum in Zadarcontains a large quantity of mobile archaeologicalmaterial from the area of Zadar County and beyond.The limited amount of space available forpermanent display means that most of the materialremains permanently stored in the museumstorerooms, and is hence inaccessible to the broadercultural or scientific public. This work is intendedto make at least a small section of this materialmore accessible. The desire with this catalogue is tocontinue the publication of Roman lamps that wasstarted long ago by the curators of theArchaeological Museum in Zadar, Josip Bersa andBoris Ilakovac.

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1. Uvod

1.1. Povijest muzejaArheoloki muzej Zadar jedna je od

najstarijih ustanova te vrste na prostoru RepublikeHrvatske. Kao slubeni datum osnivanja muzejaprihvaen je 30. 11. 1832.1 Muzej tada nije nastaokao samostalna institucija, ve je bio dio Narodnogmuzeja.2 Nakon dueg djelovanja u sklopuNarodnog muzeja, godine 1880. izdvojen je kaosamostalna jedinica, nakon ega je arheolokazbirka, u razdoblju od 1893. do 1896., premjetenau prostor Sv. Donata.3 Godine 1954. Muzej jepreseljen u zgradu biveg Zavoda sv. Dimitrija,dananje Sveuilite u Zadru, a potom 1974. godineu novoizgraen prostor kod Samostana sv. Marije,gdje se i danas nalazi.4

1.2. Poetci sakupljanja i prouavanjaantikih svjetiljki u Arheolokom muzeju Zadar

Bilo kakvo prouavanje zbirke antikihglinenih svjetiljki nezamislivo je bez spomenaJosipa Berse, koji je 1898. godine zamijenioMihovila Glavinia na mjestu kustosaprapovijesne i antike zbirke u Arheolokommuzeju Zadar. Netom prije njegova dolaska umuzej se slilo obilje pokretnih arheolokih nalazaotkrivenih na prostoru antikih nekropola Nina.Uz ostalo muzejska je zbirka bila obogaena i sgotovo 600 glinenih svjetiljki.5 Odmah nakondolaska na radno mjesto Josip Bersa zapoeo je nasuvremen nain inventarizirati muzejsku grau.6

1. Introduction

1.1. The History of the Museum The Archaeological Museum in Zadar is one of

the oldest such institutions in the Republic of Croatia. Theofficial date of the founding of the museum is consideredto be the 30th of November 1832.1 The museum did notoriginate then as an independent institution, but wasrather a part of the National Museum.2 After lengthyactivities in the framework of the National Museum, itwas singled out as an independent entity in 1880, afterwhich the archaeological collection was transferred in theperiod from 1893 to 1896 to the former church of St.Donatus.3 In 1954, the museum was transferred to thebuilding of the former College of St. Demetrius, thepresent day University of Zadar, and subsequently to thenewly built building by the Convent of St. Mary, where itis still housed.4

1.2. The beginnings of the collection andstudy of Roman lamps in the ArchaeologicalMuseum

Any consideration of the collection of Romanclay lamps would be inconceivable without mention ofJosip Bersa, who in 1898 replaced Mihovil Glavini ascurator of the prehistoric and classical collections in theArchaeological Museum in Zadar. Just before hisarrival, the museum had been flooded by an abundanceof mobile archaeological finds discovered at the Romancemeteries of Nin, near Zadar. In addition to othermaterial, the museum collections had been enriched byalmost 600 clay lamps.5 Immediately after his arrival,Josip Bersa began to classify the museum material in amodern manner.6 He paid particular attention to the

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1 Batovi, 1982, 5, 11, 12; Bersa, 1926, 120; Abrami- Bersa- Smirich-Reisch, 1913, 23.2 Batovi, 1982, 11-17.3 Batovi, 1982, 11-18; Batovi, Medini-Beloevi, 1979, 5; Valenti, 1932, 3; Abrami-Bersa-Smirich-Reisch, 1913, 24.4 Batovi, 1982, 31.5 Bersa, 1906b, 1, 2.6 Batovi, 1982, 18.


Posebnu pozornostposvetio je i antikimglinenim svjetiljkama. Udvije knjige inventara,Catalogo Lucerne I iCatalogo Lucerne II,inventirao je progresivno889 svjetiljki, te naknadnojo 80 svjetiljki iz zbirkeobitelji Medovi iz Nina.Paralelno s inventiranjemBersa je od 1902. do 1906.godine, a potom i 1915.godine u asopisuBullettino di archeologia

e storia dalmata sustavnoobjavljivao katalogglinenih svjetiljki izArheolokog muzejaZadar, pri emu je objavioukupno 947 primjeraka.7

To je prvi i do danas jedinikatalog ove skupine graeu Arheolokom muzeju uZadru.8 Znatan brojglinenih svjetiljki koje jeBersa objavio bio je izloen u stalnom postavuArheolokog muzeja u crkvi sv. Donata. Veina ihse nalazila u dvjema vitrinama u srednjoj apsidimatroneja Sv. Donata.9 Nakon preureenja zbirkeod 1928. do 1931. godine izloene su upoligonalnoj vitrini, takoer u sredinjoj apsidi

Roman clay lamps. In twobooks cataloguing themuseum holdings, CatalogoLucerne I and CatalogoLucerne II, he progressivelyinventoried 889 lamps,along with a subsequentfurther 80 lamps from thecollection of the Medovifamily from Nin. Parallelwith this classification,Bersa published asystematic catalogue of theclay lamps in theArchaeological Museum inZadar from 1902 to 1906,and afterwards in 1915, inthe journal Bullettino diarcheologia e storia

dalmata, where 947examples altogether werepublished.7 This was thefirst, and to the present, theonly catalogue of this groupof material from theArchaeological Museum inZadar.8 A considerablenumber of the lamps that

Bersa published were on display in the permanentexhibit of the Archaeological Museum in the Church ofSt. Donatus. Most of them were located in two cases inthe central apse of the matroneum of St. Donatus.9 Afterthe collection was reorganized from 1928 to 1931, theywere displayed in a polygonal case, also in the central

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Sl. 1. Profesor Josip Bersa, kustos Arheolokog muzeja uZadru / Fig. 1. Josip Bersa, curator in the ArchaeologicalMuseum in Zadar.

7 Bersa, 1915; Bersa, 1906b; Bersa, 1906a; Bersa, 1905; Bersa, 1904; Bersa, 1903; Bersa, 1902. (Stvaran broj je neto manji, jer su pojedinesvjetiljke obraene u vie navrata.) / Bersa 1915; Bersa 1906b; Bersa 1906a; Bersa 1905; Bersa 1904; Bersa 1903; Bersa 1902. (The actualnumber is somewhat less, as individual lamps were discussed on several occasions.

8 Uz Bersu jedini katalog, ali bronanih svjetiljki, objavio je Boris Ilakovac. U njemu je obraeno 14 metalnih svjetiljki iz Arheolokog muzejaZadar. Vidi: Ilakovac, 1973. / Other than Bersa, the only other catalogue (of bronze lamps) was published by Boris Ilakovac. It discussed 14 metallamps from the Archaeological Museum in Zadar. See: Ilakovac 1973.

9 Abrami-Bersa-Smirich-Reisch, 1913, 71-74.


matroneja.10 Kao tragovi izlaganja ostale su nadnu svjetiljki izbuene rupe koje su sluile zanjihovo fiksiranje.

1.3. Radovi o ranokranskimsvjetiljkama na Zadarskom prostoru

U radu Le lucerne fittili romane di Nonaconservate al Museo archeologico di S. Donato di

Zara Josip Bersa je opisao 10 svjetiljki koje nazivaLucernae cristiane ili Lucerne di tipo cristiano, akoje su tema ovog rada.11 Poslije Berse tek unekoliko radova donose se ranokranske glinenesvjetiljke sa zadarskog prostora. Jednu cjelovitusvjetiljku ukraenu kristogramom, a pronaenu ugrobu kod ostataka ranokranske crkve na nalazituBiina Polaa objavio je Boris Ilakovac.12 ZdenkoBrusi donosi crte i fotografiju svjetiljke otkriveneispred rta Brtelia u Privlaci.13 Cjelovitu svjetiljku,pronaenu kao sluajni nalaz, vjerojatno u grobu, naDraevcu kod Zadra, donosi Ivo Fadi.14 Uopsenijem radu, posveenom ranokranskimsimbolima na keramikim i staklenim nalazima sprostora Liburnije, Smiljan Gluevi obradio je, uzostalo, i dvije ranokranske keramike svjetiljke izArheolokog muzeja u Zadru, jednu iz Muzejaninskih starina i jednu iz Zaviajnog muzeja Biogradna moru.15 Posljednji u nizu radova u kojima sedonose ranokranske svjetiljke sa zadarskog

apse of the matroneum.10 Traces of their displayremained as holes drilled into the bases of the lamps,which served to fasten them.

1.3. Works about Early Christian lampsfrom the Zadar area

In the work Le lucerne fittili romane diNona conservate al Museo archeologico di S. Donato

di Zara, Josip Bersa described 10 lamps that hecalled Lucernae cristiane or Lucerne di tipocristiano, and which are the subject of this work.11

After Bersa, only a few texts offer information aboutEarly Christian clay lamps from the Zadar region.One entire lamp decorated with a Christogram anddiscovered in a grave by the remains of the EarlyChristian church at the site of Biina Polaa waspublished by Boris Ilakovac.12 Zdenko Brusipublished a drawing and photograph of lampsdiscovered at Brteli Point by Privlaka.13 An entirelamp, found as a chance find, probably from a grave,at Draevac near Zadar, was published by IvoFadi.14 In a more extensive work devoted to EarlyChristian symbols on pottery and glass finds fromLiburnia, Smiljan Gluevi along with other objectsdiscussed two Early Christian clay lamps from theArchaeological Museum in Zadar, one from theMuseum of Nin Antiquities, and one from theRegional Museum of Biograd na moru.15 The last inthe series of works dealing with Early Christianlamps from the Zadar area was written by Ante

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10 Batovi, 1982, 23; Sui, 1954, 20, 21; Valenti, 1932, 23, 24, 32.11 Bersa, 1906b, 89, 90, T. IV, 1, 5; Bersa, 1915, 85, 86, T. III(V), 5, 7.12 Ilakovac, 1971, 112, 118, sl. 34. Ovu svjetiljku, koja je izloena u Zaviajnom muzeju Biograd na Moru, naknadno je objavio SmiljanGluevi. Navodi da je izgubljena i da se ne zna mjesto nalaza. Vidi: Gluevi ,1998a, 248, bilj. 34. / Ilakovac 1971, 112, 118, fig. 34. This lamp,which is exhibited in the Regional Museum in Biograd na moru, was subsequently published by Smiljan Gluevi. He noted that it was lost and

that the site of discovery was unknown. See: Galuevi 1998a, 248, n. 34.

13 Brusi, 1973, 431, T. VIII, sl. a, b.14 Fadi, 1989, 100.15 U prvoj verziji rada autor donosi dvije svjetiljke iz Arheolokog muzeja u Zadru, Gluevi, 1998b, 333, 334, T. 1: 4, 5. Druga dopunjenaverzija objavljena je u Diadori: Gluevi, 1998a, 248-250, T. 1: 4, 5; T. 2: 1, 2; T. 5: 1, 2; T. 6: 1, 2. / In the first version, the author publishedtwo lamps from the Archaeological Museum in Zadar, Gluevi 1998 b, 333, 334, Pl. 1: 4, 5. The second, supplemeneted version was published

in the journal Diadora: Gluevi 1998 a, 248-250, Pl. 1: 4, 5; Pl. 2: 1, 2; Pl. 5: 1, 2; Pl. 6: 1, 2.


prostora napisao je Ante Uglei.16 Rad donosi dvijesvjetiljke pronaene kao naseobinski nalazi kodcrkve sv. Kria u Ninu.

1.4. Kratak pregled radova oranokranskim glinenim svjetiljkama naprostoru Hrvatske

Tek malobrojne bibliografske jedinice udomaoj literaturi posveene su ovoj tematici. RadLucerne cristiane don Frane Bulia vjerojatno jeprvi na prostoru Hrvatske posveen iskljuivoranokranskim svjetiljkama. U njemu je F. Bulikataloki obradio 52 glinene ranokranskesvjetiljke iz Arheolokog muzeja u Splitu.17 To jedo danas u Hrvatskoj i jedini rad koji prikazujemuzejsku zbirku ranokranskih svjetiljki. Ostaliradovi, takoer rijetki, prikazuju cjelokupne zbirkeantikih svjetiljki, unutar ega se donose iranokranske.18 Neto su ei radovi u kojima seobrauje jedna svjetiljka (ili vie njih) s pojedinihnalazita ili iz manjih zbirki,19 te katalozi izlobi ukojima se uz ostalu grau donosi vei ili manji brojranokranskih glinenih svjetiljki.20 Ranokranskesvjetiljke obrauju se i u radovima sintetskogakaraktera, kao vaan segment umjetnikog obrta.21

Nezaobilazan su izvor u prouavanju ranokranskesimbolike.22

Uglei.16 It dealt with two lamps found assettlement finds by the Church of the Holy Cross inNin.

1.4. A brief review of works about EarlyChristian clay lamps in Croatia

Only a few bibliographic units in thedomestic literature are dedicated to this theme. Thework Lucerne cristiane by Mon. Frane Buli wasprobably the first in Croatia to be dedicatedexclusively to Early Christian lamps. This was acatalogue of 52 Early Christian clay lamps in theArchaeological Museum in Split.17 This hasremained to the present the only work in Croatia thatpresents a museum collection of Early Christianlamps. Other texts, similarly scarce, presentcomplete collections of Roman lamps, includingEarly Christian examples.18 Works are somewhatmore common where one or more lamps fromindividual sites or small collections are discussed,19

or exhibition catalogues where along with othermaterial, large or small numbers of Early Christianclay lamps are presented.20 Early Christian lamps arealso discussed as an important segment of artisticcraftworking in works of a synthetic character.21

They are indispensable material in the study of EarlyChristian symbolism.22

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16 Jednu svjetiljku u ranije spomenutom radu objavio je Smiljan Gluevi, dok je druga prvi put objavljena. Uglei, 2000. / One lamp waspublished by Smiljan Gluevi in the above mentioned work, while the other was published for the first time. Uglei 2000.

17 Buli, 1894.18 Bolec, 1982; Viki-Belani, 1971; Dautova-Ruevljan, 1971.19 Na primjer: Sanader, 2000; Mari, 2000; Brusi, 1988; Uji, 1997; Petri, 1994; Fiskovi, 1970. / For example: Sanader 2000; Mari 2000;Brusi 1988; Uji 1997; Petri 1994; Fiskovi 1970.)

20 Na primjer: Zaninovi, 2004; Mardei, 1994; Rano kranstvo, 1994. / For example: Zaninovi 2004; Mardei 1994; Rano kranstvo 1994.21 Na primjer: Cambi, 2002, 308; Migotti, 1997, 80-86. / For example: Cambi 2002, 308; Migotti 1997, 80-86.22 Vidi: Cambi 1977. / For example: Cambi 1977.


2. Ranokranske glinene svjetiljke

2.1. TerminologijaZa ovu skupinu svjetiljki u svjetskoj su se

literaturi uvrijeili nazivi kranski, afriki ili pakmediteranski tip svjetiljke. Naziv kranski vezan jeuz motive kojima su svjetiljke esto ukraene, afrikiukazuje na izvorne centre proizvodnje, amediteranski na podruje rasprostiranja.23 Uhrvatskoj literaturi najuestaliji je naziv kranske,odnosno starokranske ili ranokranskesvjetiljke.24 Neki autori upotrebljavaju opisni naziv,krukolike svjetiljke s drkom.25 U ovom radusvjetiljke se nazivaju ranokranskima. Iako nazivnije u potpunosti primjeren, s obzirom na tradiciju iuestalo pojavljivanje u domaoj literaturi ini se ipaknajadekvatnijim.

2.2. TipologijaRanokranske glinene svjetiljke prikazane

u ovom radu spadaju u skupinu svjetiljki izraenihutiskivanjem svjee gline u dvodijelne gipsane iliglinene kalupe. Veina ih pripada tipu koji se premaosnovnim klasifikacijskim shemama antikihsvjetiljki naziva Brants tip XXIX, Brooner tipXXXI, Ivanyi tip XII odnosno Ponisch tip IVB/C.

Prvu detaljnu klasifikaciju unutar ovog tipasvjetiljki nainio je Gerhard Pohl. On je svjetiljkeprema obliku podijelio na etiri tipa, a potom jetipove na temelju naina ukraavanja diska iramena podijelio na podtipove.26 Tip 1 opisuje kaosvjetiljku izduene krukolike forme s izraenimkanalom. Ramena su im ukraena nizom peatnihgeometrijskih motiva: rozetama, listolikim i

2. Early Christian clay lamps

2.1. TerminologyInternationally, this group of lamps is

usually called Christian, African, or evenMediterranean type lamps. The term Christian is tiedto the motifs with which the lamps are oftendecorated, while African refers to the originalproduction centers, and Mediterranean to the area ofdistribution.23 The most common term in Croatianliterature is Christian or Early Christian.24 Someauthors use a decorative term, pear-shaped lampswith a handle.25 The lamps are called EarlyChristian in this work. Although the term is notcompletely perfect, given the tradition and frequentappearance in the local literature, it nonethelessseems most appropriate.

2.2. TypologyThe Early Christian clay lamps presented in

this work belong to the group of lamps produced bypressing fresh clay into a two-part plaster or potterymould. Most of them belong to a type that accordingto the basic classification scheme of Roman lamps isvariously called Brants type XXIX, Brooner typeXXXI, Ivanyi type XII, or Ponisch type IV.

The first detailed classification of this type oflamp was made by Gerhard Pohl. He divided the lampsinto four types according to form, and furtherdistinguished them as subtypes on the basis of thedecoration of the discus and shoulder.26 Type 1 wasdescribed as a lamp of elongated pear shape with anemphasized channel. The shoulders are decorated with aseries of stamped geometric motifs: rosettes, leaf andheart shaped motifs, and so forth. The handle is flat,angled, tapered towards the tip, and protruded beyond

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23 Franchi, 1993, 106; Provoost, 1970, 17, 18; Pohl, 1962, 219.24 Petri, 1994, 313-318; Cambi, 1977, 67, 68, 83, 84.; Fiskovi, 1970; Bersa, 1915, 85; Bersa, 1906, 89; Buli, 1894. 25 Zaninovi, 2004, 29; Viki-Belani, 1971, 118.26 Pohl, 1962.


srcolikim motivima i sl.Drka je ploasta,nakoena, pri vrhustanjena, stri iza tijelasvjetiljke. Prstenasto dnorebrom je povezano sdrkom. Ovaj tip svjetiljki,prema razlikama u izvedbidiska, ramena i kanala G.Pohl dijeli na 7podtipova.27 Tip 2predstavljaju svjetiljkepunanije forme, nalikrombu zaobljenih rubova.Ramena su im konveksnaili oborena, ukraenaveinom motivom palminalista. Drka je masivnija,ukraena lijebom.Poloena je gotovovertikalno, tako da rijetkoprelazi iza tijela svjetiljke i nije povezana s dnom.Dno je bez stajaeg prstena, okrueno lijebom kojise esto kao ukras nastavlja prema stranjem dijelusvjetiljke.28 Ovaj tip podijelio je na 6 podtipova.Tip 3 objedinjuje neke karakteristike tipa 1 i tipa 2.Drka i tijelo su kao kod tipa 2, dok su ramena ikanal ravni kao kod tipa 1. Ramena su najeeukraena motivom palmina lista, a diskKonstantinovim kriem, tj. krizmonom.29 Tip 3Pohl dijeli na tri podtipa. Kao jedan od primjera zapodtip 3a G. Pohl navodi svjetiljku kat. 26, koju jepreuzeo iz rada Josipa Berse.30 Obiljejakarakteristina za tip 4 su konveksna ramena

the body of the lamp. Theringed base is connected bya rib to the handle. This typeof lamp was classified by G.Pohl into 7 subtypes on thebasis of variants in theworkmanship of the disc,rim, and channel.27 Type 2consists of lamps ofplumper form, similar to arhomb with rounded edges.Their shoulders are convexor curved downwards,mostly decorated with apalm leaf motif. The handleis more massive and isdecorated with a groove.The handle is placed almostvertically, so that it rarelypasses beyond the body ofthe lamp and is notconnected to the base. The

vase lacks a standing ring, but is encircled by a groovethat often continues as a decoration toward the back partof the lamp.28 This type is classified into 6 subtypes.Type 3 combines certain characteristics of types 1 and 2.The handle and body are similar to type 2, while theshoulders and channel are straight as in type 1. Theshoulders are most often decorated with a motif of palmleaves, and the disc with a cross of Constantine, i.e. aChi-Rho monogram or Christogram.29 Pohl dividedtype 3 into three subtypes. As one of the examples forsubtype 3a, G. Pohl cited the lamp cat. no. 26, which hehad taken from the work by Josip Bersa.30 Thecharacteristic traits for type 4 are convex shouldersdecorated with motifs of volute tendrils and an always

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Sl. 2. Vitrina s izloenim svjetiljkama u apsidi matroneja Sv.Donata u Zadru / Fig. 2. Ancient clay lamps in the glass casein the matroneum of St. Donatus.

27 Pohl, 1962, 224.28 Pohl, 1962, 225.29 Pohl, 1962, 225.30 Pohl, 1962, 225, T. 25, 3.


ukraena motivom volutne vitice i uvijek probuenadrka.31 Sljedeu podjelu na tipove s podtipovimanainio je Arnold Provoost.32 Njegov podtip 6Codgovara dijelom Pohl tipu 2, podtip 6D identianje Pohl tipu 4, podtip 7A odgovara dijelom Pohltipu 2 i podtipu 3a, a 7B podtipu 3c. PodtipoviProvoost 9B i 9C odgovaraju Pohl tipu 1.Openitiju podjelu na dva tipa s podtipovimaponudio je J. W. Hayes.33 Tip Hayes IA odgovaratipu Pohl 4a. Tip Hayes IB opisom odgovara Pohltipu 2 i podtipu 3a. Hayes IIA i IIB, koji se

perforated handle.31 The next classification into typeswith subtypes was made by Arnold Provoost.32 Hissubtype 6C corresponds in part to Pohl type 2; subtype6D is identical to Pohl type 4; subtype 7A correspondsin part to Pohl type 2 and subtype 3a; and 7B to subtype3c. The subtypes Provoost 9B and 9C correspond toPohl type 1. A more general division into two types withsubtypes was offered by J. W. Hayes.33 Type Hayes IAcorresponds to Pohl type 4a. Type Hayes IB indescription corresponds to Pohl type 2 and subtype 3a.Hayes IIA and IIB, which do not differ in terms of form,but rather quality of workmanship, correspond to Pohl

12

Sl. 3. Ranokranska svjetiljka s nalazita Polaa - Biina (foto: Iva Zori) / Fig. 3. Early Christian lamp from Polaa Biina site.

31 Pohl 1962, 225, 226.32 Provoost, 1970.33 Hayes, 1972, 310-314.


meusobno ne razlikuju po formi, ve po kvalitetiizrade, odgovaraju Pohl tipu 1. Tip IIA karakterizirafina keramika s tankim uglaanim premazom ijasno i otro izvedenom dekoracijom. Tip IIBkarakterizira loija keramika debljih stijenki sdebljim premazom, dekoracija je prilino zamuenai izvedena s manje otrine.34 Prema Hayesu razlikemeu tipovima IIA i IIB nisu kronoloke prirode,ve su posljedica izrade u razliitim radionikimcentrima. Naime, autor pretpostavlja da svjetiljkeIIA dolaze veinom iz centralnog Tunisa, dok susvjetiljke IIB tipine za prostor Kartage.35

Noviju, iznimno detaljnu podjeluranokranskih svjetiljki nainili su LucillaAnselmino i Carlo Pavolini.36 Uz razraenutipologiju autori donose podatke o rasprostiranjupojedinih tipova, datiranju i proizvodnim centrima.

2.3. PodrijetloOvaj tip svjetiljki razvio se u keramikim

radionicama sjeverne Afrike, tonije na tlu provincijaProconsularis i Bizancea, otkuda se masovno izvoziodiljem Rimskog Carstva.37 Izvozile su se ak i naprostore Carstva koje su okupirali barbari.38 Njihovaproizvodnja usko je vezana uz proizvodnju afrikecrveno glaane keramike, s kojom dijele fakturu ivelik dio dekorativnih motiva.39 Mnoge peatnemotive svjetiljke tipa Hayes II, na primjer, dijele safrikom crveno glaanom keramikom stila D, jedinaje razlika u tome to su motivi na svjetiljkama reljefno

type 1. Type IIA is characterized by a fine-grained fabricwith a thin burnished slip as well as clear and sharpdecoration. Type IIB is characterized by a poorer qualityfabric with thicker walls and a thicker slip, while thedecoration was considerably blurred and lessarticulated.34 According to Hayes, the differencesbetween types IIA and IIB were not chronological,rather being the result of manufacture in variedproduction centers. The author had in fact noted thatlamps of type IIA mainly came from central Tunisia,while IIB lamps were typical for the area aroundCarthage.35

A more recent and exceptionally detailedclassification of Early Christian lamps has beenpublished by Lucilla Anselmino and Carlo Pavolini.36 Inaddition to a typological system, the authors also presentdata about the distribution of individual types, theirdating, and production centers.

2.3. OriginsThis type of lamp developed in the pottery

workshops of Roman North Africa, specifically in theprovinces of Proconsularis and Bizancea, and wasexported massively throughout the Roman Empire.37

They were even exported to areas of the empire that hadbeen occupied by barbarian peoples.38 The productionwas closely related to the manufacture of African redslip pottery, with which they share fabrics and manydecorative motifs.39 Many of the stamped motifs oflamps of type Hayes II, for example, are shared with theAfrican red slip ware of style D, the only differencebeing that the motifs on the lamps are in relief, while

13

34 Hayes, 1972, 310, 311.35 Hayes, 1980, 66.36 Anselmino-Pavolini, 1981.37 Franchi, 1993, 107; Coscarela, 1983, 155; Joly, 1974, 44; Hayes, 1972, 310.38 Pru, 2006.39 Direktnu vezu izmeu proizvodnje afrike crveno glaane keramike i ovih svjetiljki prvi je sigurno utvrdio J. W. Salomonson. Vidi:Salomonson, 1968, 94, 95; Na prostoru sjevernog i centralnog Tunisa otkrivene su brojne radionice afrike crveno glaane keramike, koje su meuostalim proizvodile i ovaj tip svjetiljki. Vidi: Mackensen, 1998. / A direct connection between the production of African red slip ware and theselamps was first established with certainty by J. W. Salomonson. See: Salomonson 1968, 94, 95. In the region of northern and central Tunisia

numerous production centers of African red slip ware were discovered, which also manufactured this type of lamp. See: Mackensen 1998.


istaknuti, dok su oni na posudama utisnuti.40 Jaanjemradionica afrike crveno glaane keramike ove susvjetiljke kao jedan od njihovih proizvoda preplaviletrita.41 Keramika sjevernoafrikih radionica tijekom4., 5. i 6. stoljea u velikim je koliinama brodovimadovoena i na nau obalu, o emu zorno svjedoenalazi iz antike luke u Polaama na Mljetu.42 Zbogiznimne popularnosti sjevernoafrikih svjetiljki brojnesu lokalne radionice izvan matinog prostora ubrzopoele kopirati njihovu proizvodnju.43

3. Zbirka ranokranskih svjetiljkiArheolokog muzeja Zadar

3.1. Ope napomeneZbirka ranokranskih svjetiljki

Arheolokog muzeja u Zadru ovdje je predstavljenasa 103 djelomino ili pak u cijelosti sauvanaprimjerka. Brojka ni u kom sluaju nije konana.Stalna revizija starog fundusa i sreivanjematerijala s najnovijih istraivanja nesumnjivo e ubudunosti znatno poveati njihov broj. Za odreenbroj obraenih svjetiljki nisu poznati, a za dio nisupronaeni podatci o mjestu i okolnostima nalaza,kao ni o nainu njihova dospijea u Arheolokimuzej. Veina ih zasigurno potjee s nalazita nazadarskom prostoru. Za cjelovite primjerke upravozbog ouvanosti moe se pretpostaviti da supronaeni u kasnoantikim grobovima, to na nekinain potvruje svjetiljka kat. 1 koja jenajvjerojatnije pronaena u grobu.44 Naime,poznato je da su, osim za osvjetljavanje profanih isakralnih objekata, ranokranske glinene svjetiljke

those on the vessels are impressed.40 Through theexpansion of the workshops making African red slippottery, these lamps flooded the market as one of theirproducts.41 The pottery from the North Africanproduction centers was brought by boat to the Croatiancoastline in large quantities during the 4th, 5th, and 6th

centuries, as is shown by the finds from the Romanharbour at Polae on the island of Mljet.42 Theexceptional popularity of the North African lamps meantthat numerous local workshops beyond their original areaof manufacture soon began to copy and produce them.43

3. The collection of Early Christian lamps in the Archaeological Museum inZadar

3.1. General informationThe collection of Early Christian lamps of the

Archaeological Museum in Zadar is presented hereby 103 partially or completely preserved examples.This number, however, is definitely not final. Theamount will certainly increase considerably in thefuture from the constant revisal of the old materialand the classification of the finds from the mostrecent excavations. For a certain number of thelamps, data about the site and circumstance of thefinds remain unknown, and for others have not yetbeen ascertained, nor is the manner they wereacquired by the Archaeological Museum known.Most certainly must have come from sites in theZadar region. The state of preservation of the entirespecimens means that they were probably discoveredin late Roman graves, which is confirmed in a certainmanner by the lamp cat. 1, which was most probablyfound in a grave.44 It is known, in fact, that otherthan lighting secular and sacral structures, Early

14

40 Coscarela, 1983, bilj. 5; Anselmino-Pavolini, 1981, 199; Hayes, 1972, 312.41 Anselmino-Pavolini, 1981, 199.42 Brusi, 1998.43 Franchi, 1993, 107; Coscarela, 1983, 155; Hayes, 1980, 63; Graziani Abbiani, 1969, 14.44 Fadi, 1989, 100.


esto koritene i kao grobni prilozi.45 U prilog tojinjenici govore i brojni primjeri s prostoraHrvatske, poput svjetiljki iz grobova u istarskomNovigradu,46 Brelima kod Makarske,47 Vojniimakod Garduna,48 Polai kod Zadra,49 u graduHvaru50 i na Majsanu kod Peljeca.51 Svjetiljkekoje su sauvane djelomino ili tek u manjimulomcima, potjeu veinom iz naseobinskihslojeva. Ranokranske svjetiljke koje se uvaju uArheolokom muzeju Zadar potjeu s nalazita:Nin, Sali na Dugom otoku, Muline i Preko na otokuUgljanu, Draevac kod Zadra, Biljane i Podgraekod Benkovca (Aserija), Sikovo, Sv. Filip i Jakov, anajveim su dijelom iz samog Zadra.52

3.2. Pregled po tipovimaSvjetiljke iz zbirke Arheolokog muzeja

Zadar podijeljene su prema tipologiji koju supredloili Lucilla Anselmino i Carlo Pavolini. Gdjeje mogue, navode se i odrednice prema drugimtipolokim shemama.

3.2.1. Forma VIII (Hayes IA, IB, Provoost6C, 6D, 7A, 7B, Pohl tip 2, 3 i 4)

Formu VIII openito karakteriziraju tijelo idisk izduena oblika, izduen nos s kanalom kojinije jasno izdvojen od tijela. Drka je postavljena

Christian clay lamps were often also placed asofferings in graves.45 This can be confirmed bynumerous examples from coastal Croatia, such aslamps from graves in Istrian Novigrad,46 Brele nearMakarska,47 Vojnii near Gardun,48 Polaa nearZadar,49 in the city of Hvar,50 and at Majsan on thePeljeac peninsula.51 Lamps that were partiallypreserved or only in fragments tend to come fromsettlement strata. The Early Christian lamps held bythe Archaeological Museum in Zadar come from thefollowing sites: Nin, Sali on the island of Dugi Otok,Muline, Draevac near Zadar, Podgrae nearBenkovac, Preko on the island of Ugljan, Sv. Filip iJakov, and in the largest quantities from Zadaritself.52

3.2. Classification by typeThe lamps from the collections of the

Archaeological Museum in Zadar are classifiedaccording to the typology suggested by LucillaAnselmino and Carlo Pavolini. Where possible,determinations based on other typological schemes arealso cited.

3.2.1. Form VIII (Hayes IA, IB, Provoost6C, 6D, 7A, 7B, Pohl types 2, 3, and 4)

Form VIII is in general characterized by a bodyand disc of elongated form, with an elongated nozzleand a channel that is not clearly separated from the body.

15

45 Franchi, 1993, 123; Hayes, 1980, 63.46 Uji, 1997, 220, 221, T. 3, 2.47 Medini, 1970, 17, bilj. 18; Boek-Kunac, 1998, 156, kat. 191. 48 Sanader, 2000, 232, sl. 8.49 Ilakovac, 1971, 112, sl. 34.50 Petri, 1994, 313, 314.51 Fiskovi, 1970, 696.52 Dvije svjetiljke otkrivene nedavno tijekom arheolokog istraivanja u Preku na otoku Ugljanu nisu ukljuene u ovaj rad. Najvei broj svjetiljkipronaen je na zadarskom poluotoku, unutar urbanog tkiva antikog Jadera, na nalazitima Sv. Marija, Forum, kod Zdravljaka i Klaustarsamostana sv. Ivana. Ovom prigodom posebno zahvaljujem kolegici, vioj kustosici Korneliji A. Giunio, koja mi je nesebino ustupila grau zaobjavu. / Two lamps discovered recently during archaeological excavations at Preko on the island of Ugljan were not included in this work. Thegreatest number of lamps were found on the Zadar peninsula, within the urban fabric of Roman Iader, at the sites of sv. Marija, Forum, Zdravljak,

and the cloister of the monastery of St. John. On this occasion I would particularly like to thank my colleague, senior curator Kornelija A. Giunio,

who kindly made this material avaiable for publication.


vertikalno, na stranjem dijelu spremnika, najeenije probuena, ne stri iz tijela svjetiljke i ukraenaje vertikalnim lijebom po hrptu. Dno je laganoudubljeno i okrueno lijebom koji se u obliku vrpcenastavlja prema drci. Prikazi na disku nisu brojni.U mnogim tipovima uobiajen je neukraen disk, ilidisk ukraen kristogramom, koljkom, rozetom ilipak geometrijskom dekoracijom. Ukras na ramenuogranien je na vegetabilne ili isto ornamentalnemotive. Forma se ovisno o obliku ramena dijeli naetiri tipa. Tip A i B imaju konveksno ispupenaramena. Kod podtipa A1 ona su ukraena motivompalmina lista, kod A2 nizom urezanih kanelira. Kodtipa B na ramenima se nalazi stiliziran biljniornament. Tip C ima ravna ramena, a kod tipa Dramena nisu odvojena od diska, ve dekoracija sdiska prelazi na ramena.53 J. W. Salomonson ovuformu klasificira kao tip j to jest takozvani Henchires Srira tip, prema radionici u kojoj dri da seizraivao.54 Za vrijeme izrade navodi drugu i treuetvrtinu 4. stoljea.55 Provoost ih je na osnovu dotada rijetkih stratigrafski potvrenih nalaza datiraood druge etvrtine do kraja 4. stoljea (tip 6A, B iC), odnosno u 4. i 5. stoljee (tip 7).56 Hayes ovaj tipvezuje uz etvrto i poetak 5. stoljea.57 CarloPavolini dri da se forma VIII proizvodila odpoetka druge etvrtine 4. stoljea do poetka 6.stoljea.58 Lucilla Anselmino navodi razdoblje od350. do 450. kao vrijeme vrhunca proizvodnje.59

Proizvodnja ovih svjetiljki zapoela jenajvjerojatnije izmeu 325. i 350. godine.60

The handle is placed vertically on the back part of thereceptacle, and most often is not perforated, does notprotrude from the body of the lamp, and is decorated witha vertical groove along the spine. The base is slightlydeepened and is encircled by a groove that continues in theform of a ribbon towards the handle. Images on the discare not numerous. In many types, an undecorated disc iscommon, or a disc decorated with a Christogram, a shell,rosette, or geometric ornamentation. The decoration on theshoulder is limited to vegetative or purely ornamentalmotifs. The form is divided into four types depending onthe shape of the shoulder. Types A and B have convexlyprotruding shoulders. In subtype A1 they are decoratedwith a motif of palm leaves, an in subtype A2 by a row ofincised grooves. The shoulders in type B exhibit a stylizedfloral ornament. Type C has straight shoulders, and in typeD the shoulders are not separated from the disc, rather thedecoration on the disc continues onto the shoulders.53 J.W. Salomonson classified this form as type j, the so-calledHenchir es Srira type, according to the workshop inwhich he considered them to have been made.54 He citedthe second and third quarter of the 4th century as theperiod of their production.55 Provoost dated them on thebasis of then rare stratigraphically confirmed finds fromthe second quarter to the end of the 4th century (types 6A,B, and C), or the 4th and 5th centuries (type 7).56 Hayesrelated this type to the 4th and the beginning of the 5th

centuries.57 Carlo Pavolini considered that form VIII wasproduced from the beginning of the second quarter of the4th century to the beginning of the 6th century.58 LucillaAnselmino cited a period from AD 350 to 450 as the timeof the peak of production.59 Production of these lampsmost probably began between AD 325 and 350.60 The

16

53 Anselmino-Pavolini, 1981, 192-195.54 Salomonson, 1968, 87, 88, 95, 123.55 Salomonson, 1968, 88.56 Provoost, 1970, 46, 48.57 Hayes, 1972, 313.58 Anselmino-Pavolini, 1981, 193.59 Anselmino-Pavolini, 1981, 199.60 Franchi, 1993, 107.


Povlaenje ove forme s trita krajem 5. ilinajkasnije poetkom 6. st. potvreno je zatvorenimarheolokim kontekstima.61

Svjetiljke i ulomci svjetiljki kat. 1-12pripadaju podtipu VIIIA1 (Hayes IB, Provoost 6C,7A, Pohl 2a, 2b i 2d). Unutar ovog podtipanainjena je podjela na temelju naina ukraavanjadiska. Tako svjetiljke kat. 4-7 i 12 spadaju u podtipA1a. Karakterizira ih disk s dvije slobodnopoloene rupe za ulje, ukraen u pravilu prikazomivotinja. Svjetiljka kat. 9 zbog motiva na diskuokruenog krunicom spada u podgrupu A1b.Svjetiljke kat. 1-3 i 8, odgovaraju podgrupi A1c, zakoju je tipian centralno poloen ukras, s rupom zaulijevanje ulja po sredini. Proizvode se veinom udrugoj polovici 4. i prvoj polovici 5. st.62

Svjetiljke i ulomci svjetiljki kat. 13-24,pripadaju podtipu VIIIA2 (Hayes IB, Provoost 7A,Pohl 2h). Svjetiljke i ulomci kat. 13-16 i 18, spadajuu podgrupu A2a, koju karakterizira slobodanraspored ukrasa na disku. Datiraju se od prvepolovice 5. do u 6. stoljee.63 Svjetiljka kat. 17moda odgovara podtipu A2b, kod kojeg je disk upravilu ukraen centralnim motivom po sredinikojeg je otvor za ulijevanje ulja. Ostale ulomkezbog djelomine ouvanosti nije mogue preciznijeklasificirati.

Glinena svjetiljka kat. 25 pripada tipu VIIIB(Hayes IA, Provoost 6D, Pohl 4a). Pohl je za ovajtip pretpostavio da je podrijetlom iz Aleksandrije.64

Provoost se sloio s tom idejom i na temeljuodsutnosti kranskih motiva naziva ga prijelaznimtipom koji datira u kraj 3. stoljea.65 Hayes svoj tipIA, koji karakterizira probuena drka, upravo zbog

removal of this form from the market at the end of the 5th

century or at the latest at the beginning of the 6th centurywas confirmed by finds from closed archaeologicalcontexts.61

The lamps and lamp fragments published as cat.1 12 belong to the subtype VIIIA1 (Hayes IB,Provoost 6C, 7A, Pohl 2a, 2b, and 2d). A division wasmade within this subtype on the basis of the decorationof the disc. The lamps published as cat. 4 7 and 12belong to subtype A1a. They are characterized by a discwith two freely placed holes for holes, as a ruledecorated by a zoomorphic image. The lamp cat. 9,because of the motif on the disc encircled by a circularline, belongs to subtype A1b. The lamps of cat. 1 3 and8 correspond to subtype A1c, where a centrally placeddecoration was typical, with a hole for filling oil in thecenter. These were mostly produced throughout thesecond half of the 4th and first half of the 5th century.62

The lamps and lamp fragments published as cat.13 24 belong to subtype VIIIA2 (Hayes IB, Provoost7A, Pohl 2h). The lamps and fragments cat. 13 16 and18 belong to subtype A2a, characterized by a freearrangement of decoration on the disc. They are datedfrom the first half of the 5th into the 6th century. 63 Thelamp published as cat. 17 perhaps corresponds tosubtype A2b, whose disc as a rule is decorated with acentral motif with an opening for the oil in the center.The other fragments could not be more preciselyclassified because of their only partial preservation.

The lamp published as cat. 25 belongs to typeVIIIB (Hayes IA, Provoost 6D, Pohl 4a). Pohlconjectured that this type was originally fromAlexandria.64 Provoost agreed with this, and on thebasis of the absence of Christian motifs called it atransitional type that he dated to the end of the 3rd

century.65 Hayes dated his type IA, characterized by a

17

61 Pavolini, 1998, 123; Mackensen, 1993, 150, 151.62 Anselmino-Pavolini, 1981, 195.63 Anselmino-Pavolini, 1981, 195.64 Pohl, 1962, 225, 226.65 Provoost, 1970, 47.


drke datira u sam poetak 4. st.66 Ovaj tip svjetiljkeizvorno se proizvodio na prostoru sjeverne Afrike,posebno u Tunisu.67 Prema stratigrafskim nalazimamoe se datirati u 5. st.68 Svjetiljka kat. 25 izraenaje iz loeg kalupa, zbog ega je prikaz dosta nejasan.Bojom gline i premaza odudara od proizvodasjevernoafrikih radionica i oito je imitacija nastalaiz kalupa nainjena kopiranjem originalnogasjevernoafrikog proizvoda.

Svjetiljke i ulomci kat. 26-30 spadaju u tipVIIIC. Svjetiljka kat. 26 pripada podtipu C1a,koji se datira od 4. do polovice 5. st.69 Svjetiljkakat. 27 i ulomak kat. 28 pripadaju podtipu C1e zakoji je karakteristian disk oblika osmerokutaravnih ili uvijenih stranica, a svjetiljke kat. 29 i 30spadaju u podtip C2c, za koji su karakteristinaramena ukraena nizom reljefnih ovala.

Tip VIIID predstavljen je svjetiljkom kat. 32i ulomcima kat. 31, 33-36. Ulomak kat. 31 pripadapodtipu D1, koji karakterizira motiv koljke nadisku. Svjetiljka kat. 32 i ulomci kat. 33, 34pripadaju podtipu D4 za koji je tipian disk oblikaosmerokuta uvijenih stranica. Ulomak kat. 34bojom gline i premaza odudara od sjevernoafrikihproizvoda i vjerojatno je nastao iz kalupanainjenog po uzoru na svjetiljke afrike produkcijepodtipa D4. Ulomci kat. 35 i 36 spadaju u podtipD6 koji je prepoznatljiv po kvadratnom diskuproirenom na bonim stranama s po jednimpolukrugom.

Ulomcima kat. 37-49, koji takoer spadaju utip VIII nedostaju elementi potrebni za preciznijetipoloko odreivanje. Ipak za ulomak kat. 39 moemopretpostaviti da pripada podtipu C1a, C1b ili C1c.

perforated handle, to the very beginning of the 4th

century because of this handle.66 This type of lamp wasoriginally produced in the area of North Africa,especially in Tunisia.67 On the basis of stratigraphicfinds it can be dated to the 5th century.68 The lamppublished as cat. 25 was made in a poor quality mould,and the image is quite unclear. The color of the clay andthe slip differ from the products of the North Africanworkshops, and this imitation evidently was created in amould made by copying an original North Africanproduct.

The lamps and fragments published as cat. 26 30 belong to type VIIIC. Lamp cat. 26 belongs tosubtype C1a, which is dated from the 4th century to themid 5th century.69 Lamp cat. 27 and lamp fragment cat.28 are of subtype C1e, characterized by an octagonaldisc with straight or curved sides, and lamps cat. 29 and30 belong to subtype C2c, with characteristic shouldersdecorated by a row of relief ovals.

Type VIIID is represented by lamp cat. 32 andfragments cat. 31, 33 36. The lamp fragment cat. 31belongs to subtype D1, characterized by the motif of ashell on the disc. Lamp cat. 32 and fragments cat. 33, 34belong to subtype D4, with a typical octagonal disc withcurved sides. The fragment cat. 34 differs from theNorth African products in the color of clay and slip andprobably was made in a mould modeled upon lamps ofAfrican production of subtype D4. Fragments cat. 35and 36 belong to subtype D6, which is recognizablefrom the square disc broadened on each lateral side withone semicircle.

Fragments cat. 37 49, which also belong totype VIII, are missing the elements necessary for a moreprecise typological determination. Nonetheless fragmentcat. 39 can be suggested to belong to subtype C1a, C1b,or C1c.

18

66 Autor pretpostavlja, na osnovu nalaza u Ateni, da probuene drke izlaze iz upotrebe nakon 300. godine. Hayes, 1972, 313. / Hayes consideredon the basis of finds from Athens that perforated handles went out of use after AD 300. Hayes 1972, 313.

67 Paleani, 1993, 93, 94, 105, 106.68 Anselmino-Pavolini, 1981, 195.69 Anselmino-Pavolini, 1981, 195.


Na est svjetiljki forme VIII (kat. 9, 13, 18,26, 29 i 30) disk je ukraen prikazom krizmona, tj.Kristova monograma, koji se sastoji od grkih slovahi (X) i ro (P). Taj simbol predstavljaabrevijaturu imena () = Hristos i otvorenose javlja na novcu, uporabnim predmetima ispomenicima od vremena Konstantina Velikog.70

Nenad Cambi dri da je to najea formaprikazivanja Krista na spomenicimaranokranskog doba u Dalmaciji.71 Na sedamsvjetiljki prikazane su ivotinje, meu kojima seprepoznaju lav, pas, jelen i paun (kat. 6, 7, 12, 14-16). U tim su ivotinjama krani lako moglipronai simbolino znaenje. Tako paun ve odkraja 2. i poetka 3. stoljea unutar kranskihzajednica simbolizira uskrsnue i besmrtnost.72

Simbolino znaenje jelena ita se iz rijei Ps. 42.1, 2: Kao to kouta udi za izvor-vodom, takodua moja ezne, Boe, za tobom.73 Lav se paktumai kao simbol Krista.74 Na pet primjeraka diskpoprima oblik osmerokuta (kat. 27, 28, 32-34). Brojosam u kranskoj simbolici ima iznimno vanoznaenje i simbolizira Kristovo uskrsnue, jer jeKrist ustao iz groba osmi dan nakon sveanogulaska u Jeruzalem.75 etiri svjetiljke ukraene sureljefnim prikazom koljke (kat. 2, 8, 31 i 50), dvijeprikazom cvijeta (kat. 1, 38), a na dvije disk jeukraen prikazom krunice (kat. 3, 17).

Na svjetiljkama kat. 2, 13, 29 i 32 i naulomcima kat. 41-43 sauvali su se utisnutiradioniki peati. Kod ove forme svjetiljki peat je,kako se iz navedenih primjera vidi, obino prikazanslovom ili pak nekim simbolom utisnutim u dno

On six lamps of form VIII (cat. 9, 13, 18, 26,29, and 30) the disc is decorated with a Christogram,composed of the Greek letters chi (X) and rho(P). This symbol represents an abbreviation of thename () = Hristos = Christ, and appearedopenly on coins, objects of everyday use, andmonuments from the period of Constantine theGreat.70 Nenad Cambi considers this to be the mostfrequent form of depicting Christ on the monumentsof the Early Christian period in Dalmatia.71 Sevenlamps bear images of animals, including a lion, dog,deer, and peacock (cat. 6, 7, 12, 14-16). Christianscould find a symbolic meaning in such animals. Inthis manner the peacock symbolized resurrection andimmortality within the Christian community as earlyas the end of the 2nd and beginning of the 3rd

centuries.72 The symbolic meaning of a deer can bederived from the words of Psalm 42: As the hartpanteth after the fountains of water, so my soulpanteth after thee, O God.73 The lion can also beinterpreted as a symbol of Christ.74 On five examplesthe disc is octagonal (cat. 27, 28, 32-34). The numbereight in Christian symbolism has an exceptionallyimportant significance and symbolizes theresurrection of Christ, as Christ rose from the graveon the eighth day after his triumphal entrance intoJerusalem.75 Four lamps are decorated with reliefimages of a shell (cat. 2, 8, 31, and 50), two with animage of a flower (cat. 1, 38), and on two the disc isdecorated with an image of a circle (cat. 3, 17).

Lamps cat. 2, 13, 29, and 32 and lamp fragmentscat. 41-43 bear impressed workshop stamps. In this formof lamp, the stamp is usually represented by a letter orsome symbol pressed into the base of the lamp, as can beseen from the above examples. It is more rarely placed

19

70 Leksikon 1990, 54; Graziani Abbiani, 1969, 175.71 Cambi, 1977, 90.72 Leksikon 1990, 453; Graziani Abbiani, 1969, 184, 185.73 Leksikon 1990, 296; Graziani Abbiani, 1969, 183.74 Gluevi, 1997, 247, 248; Leksikon 1990, 373; Fiskovi, 1970, 696.75 Leksikon 1990, 442, 443.


svjetiljke. Rjee je smjeten izvan dna, kao kodsvjetiljke kat. 2 ili pak reljefno istaknut kao kodsvjetiljke kat. 29.

3.2.2. Forma IXForma IX ima oblo tijelo, izduen nos s

kanalom, nos nije jasno izdvojen od tijela i prikorijenu je ukraen s dva istaka. Za tu formukarakteristina su i dva lijeba koja se pruaju oddna prema nosu.

Svjetiljka kat. 51 pripada tipu IXA2 za kojije karakteristian centralni ukras na disku, posredkojeg je jedan otvor za ulje. Kako oblikovanjemdna i drke ova forma nalikuje formi VIII, Pavolininjezinu proizvodnju stavlja u isto vrijeme.76

3.2.3. Svjetiljke izraene po uzoru na

afrike forme VIIISvjetiljke i ulomci kat. 52-56 raene su od

gline ute boje peenja, s tamnocrvenim premazom.Po tim karakteristikama jasno se izdvajaju odproizvoda sjevernoafrikih radionica. Kakoposjeduju karakteristike atipine za formu VIII,poput prstenastog dna ili pak ploaste drke bezkanelure na hrbatu, oito je da nisu nastalidirektnim kopiranjem afrikih proizvoda, ve suoblikovane po uzoru na njih. Kao potvrda izradesvjetiljki forme VIII izvan prostora Afrike moguposluiti glineni kalupi pronaeni u Italiji.77

Svjetiljka kat. 52 i ulomci kat. 53 i 54posjeduju dosta srodnih karakteristika na temeljukojih se mogu promatrati kao zasebna skupina.Prema priloenim primjerima skupinu bikarakterizirala krukolika forma tijela, neto manjihdimenzija od afrikih proizvoda, i neukraen disk srupom za ulje po sredini. Ramena su konveksna,

beyond the base, as on lamp cat. 2, or emphasized inrelief, as on lamp cat. 29.

3.2.2. Form IXForm IX has a rounded body and an

elongated nozzle with a channel; the nozzle is notclearly distinguished from the body, and at its base itis decorated with two horns. Also characteristic forthis form are two grooves that extend from the basetowards the nozzle.

Lamp cat. 51 belongs to type IXA2,characterized by a central decoration on the disc, inthe middle of which is one opening for the oil. As theformation of the base and the handle of this formresemble those of form VIII, Pavolini placed itsproduction in the same period.76

3.2.3. Lamps modelled on African formVIII

The lamps and lamp fragments published ascat. 52 56 were made of a yellow fired clay with adark red slip. These characteristics clearlydistinguish them from the products of the NorthAfrican workshops. As they have characteristicsatypical for form VIII, such as a ringed base or a flathandle without channels on the spine, it is apparentthat they were not created as a direct copy of Africanproducts, rather they were modeled after them. Aconfirmation of the manufacture of lamps of formVII outside of Africa can be seen in the clay mouldsdiscovered in Italy.77

Lamp cat. 52 and fragments cat. 53 and 54possess quite similar characteristics on the basis ofwhich they can be considered as a special group.According to the above specimens, the group wouldbe characterized by a pear-shaped body of somewhatsmaller dimensions than the African products, and anundecorated disc with a hole for oil in the center. Theshoulders are convex, decorated with the floral

20

76 Anselmino-Pavolini, 1981, 198.77 DAngela, 1979.


ukraena biljnim viticama tipinim za tip VIIIB ilinizom paralelnih ureza, karakteristinih za tipVIIIA2. Disk i kanal na nosu okruuju dvaparalelna rebra. Ploasta drka blago je izbaena izaspremnika za ulje i ukraena urezom po sredini.Ravno dno okrueno je stajaim prstenom, koji jeistaknutim rebrom povezan s drkom. Budui daovaj tip kombinira elemente forme VIII i forme X,moe se pretpostaviti da se razvio u vrijeme kadaove dvije forme paralelno cirkuliraju na tritu, tojest od druge etvrtine 5. stoljea. Moda nastajekao pokuaj lokalnih radionica da se ukljue utrinu utrku, makar na lokalnoj razini, s mnogonadmonijim afrikim konkurentima.

3.2.4. Forma X (Hayes IIA, IIB, Provoost9B, 9C, Pohl tip 1)

Forma X ima kruno tijelo, iz tijela se jasnoizdvaja izduen nos s kanalom. Disk je u pravilukruan i ukraen reljefnim motivima izraenim ukalupu. Drka je ploasta, stri iza tijela. Ramena suravna, ukraena peatnim motivima. Na dnu senalazi stajai prsten povezan vertikalnim rebrom sdrkom. Unutar stajaeg prstena esto su utisnutekoncentrine krunice. Lucilla Anselmino ovu formudijeli na pet tipova. Tip A karakterizira otvoren kanalna nosu i ramena ukraena reljefnim motivima. Tip Bima zatvoren kanal, a ramena su ukraena utisnutimili u reljefu izraenim motivom palmine grane. Tip Cje prepoznatljiv po izduenom disku, ima otvorenkanal i ramena ukraena reljefnim motivima. Kodtipa D ramena u potpunosti okruuju disk i odvajajuga od kanala. Ukraena su takoer reljefnomdekoracijom. Kod tipa E ukras sa diska prelazi naramena.78 Ova se forma u literaturi jo nazivaafrika klasina. Pri razmiljanju o dataciji teforme mnogi su se autori osvrnuli na injenicu da su

tendrils typical for type VIIIB, or a row of parallelincisions characteristic for type VIIIA2. The disc andchannel on the nozzle are surrounded by two parallelribs. The flat handle is slightly protrusive behind therecipient for the oil and is decorated with an incisionin the center. The flat base is encircled by a standingring, which is emphasized by a rib connected to thehandle. Considering that this type combines elementsof form VIII and form X, it can be hypothesized thatit developed in the period when these two forms bothwere in circulation on the market, meaning from thesecond quarter of the 5th century. They may haveoriginated as an attempt by a local workshop to gaina part of the market, even if merely on a local level,from the by far more dominant African competitors.

3.2.4. Form X (Hayes IIA, IIB, Provoost9B, 9C, Pohl type 1)

Form X has a circular body and a clearlyseparated elongated nozzle with a channel. The disc as arule is circular and decorated with relief motifs made ina mould. The handle is flat and protrudes beyond thebody. The shoulders are straight, decorated withstamped motifs. The base has a standing ring, connectedby a vertical rib to the handle. Concentric circles areoften stamped within the standing ring. LucillaAnselmino divided this form into five types. Type A ischaracterized by an open channel on the nozzle andshoulders decorated with relief motifs. Type B has aclosed channel, and the shoulders are decorated withstamped or relief motifs of palm branches. Type C isrecognizable for its elongated disc, has an open channeland shoulders decorated with relief motifs. In type D,the shoulders, also with relief decoration, completelyencircle the disc and separate it from the channel. In typeE, the decoration on the disc continues onto theshoulder.78 This form is also called African classic inthe literature. In considering the dating of this form,many scholars noted the fact that on individual examples

21

78 Anselmino-Pavolini, 1981, 200.


kod pojedinih primjeraka kao igovi ili punce zaukraavanje ramena upotrijebljeni zlatnici TeodozijaII., kovani u drugoj etvrtini 4. stoljea, to u svakomsluaju ukazuje na vrijeme izrade.79 Heinz Menzel jedrao da se ova forma, kao i forma VIII, proizvodilaod 4. do 6. ili 7. stoljea.80 S tom se datacijom sloioi Gerhard Pohl.81 Arnold Provoost je pretpostavio dasu ove svjetiljke neto mlae od onih forme VIII idatira ih od kraja 4. do 7. i 8. stoljea.82 J. W. Hayesje uoio da se ova forma ne javlja meu nalazimaranijim od 5. stoljea i pretpostavlja da se njezinaizrada nastavlja do 550. godine.83 Nalaz u Kartagi, ukontekstu koji karakterizira materijal kasnoga 4.stoljea, ipak ostavlja mogunost datacije nastankaove forme u sam kraj 4. stoljea.84 Premadosadanjim spoznajama ova se forma poelaproizvoditi koncem 4. ili poetkom 5. stoljea, atritem se proirila nakon 420. ili 430. godine, dokse prestala proizvoditi tek poetkom 8. stoljea.85

Svjetiljke i ulomci kat. 57-73 spadaju u podtipXA1a. Karakterizira ih slobodno postavljen motiv nadisku. To je najraireniji tip svjetiljki iz skupineafrike crveno glaane keramike i ujedno najrairenijitip svjetiljki forme X. Javlja se u velikom broju diljemRimskog Carstva.86 Zadarski primjerci podtipa XA1ana disku su najee ukraeni reljefnim prikazomivotinja, meu kojima se prepoznaju lav, riba i tele(kat. 59, 60, 64, 66, 67, 68, 69). U ivotinji prikazanojna disku svjetiljke kat. 60 neki autori prepoznaju jarca

gold coins of Theodosius II had been used as stamps orpunches for decorating the shoulders, these coins havingbeen minted in the second quarter of the 4th century,which certainly indicates the period of manufacture.79

Heinz Menzel held that this form, like form VIII, hadbeen produced from the 4th to the 6th or 7th centuries.80

Gerhard Pohl agreed with this dating.81 Arnold Provoostthought that these lamps were somewhat later than thoseof form VIII and dated them from the end of the 4th tothe 7th and 8th centuries.82 J. W. Hayes noted that thisform did not appear among finds earlier than the 5th

century and suggested that its production continued toAD 550.83 A find from Carthage, in a context featuringmaterial of the late 4th century, nonetheless leaves openthe possibility of dating the origin of this form to thevery end of the 4th century.84 According to currentknowledge, this form began to be produced at the end ofthe 4th or beginning of the 5th centuries, with anexpanded market after 420 or 430, while productionceased only at the beginning of the 8th century.85

The lamps and fragments published as cat. 57 73 belong to subtype XA1a. They are characterized by afreely placed motif on the disc. This is the most widelyspread type of lamp from the group of African red slipware and at the same time the most widespread type oflamp of form X. It appears in great numbers throughoutthe Roman Empire.86 The Zadar examples of subtypeXA1a were most commonly decorated on the disc withrelief depictions of animals, among which a lion, fish,and calf can be recognized (cat. 59, 60, 64, 66, 67, 68,69). Some scholars perceive a goat or deer in the animal

22

79 Franchi, 1993, 107; Mackensen, 1980, 216, T. 19, 3; Hayes, 1972, 313; Provoost, 1970, 51; Graziani Abbiani, 1969, 12, 29, 30, kat. 35, T. 1,4; Pohl 1962, 220.80 Menzel, 1954, 91.81 Pohl, 1962, 220, 227.82 Provoost, 1970, 51.83 Hayes, 1980, 66; Hayes, 1972, 313, 314.84 Anselmino-Pavolini, 1981, 207.85 Franchi, 1993, 107; Anselmino-Pavolini, 1981, 19986 Anselmino-Pavolini, 1981, 199, 201, 202.


ili srnu,87 dok drugi dre da je rije o antilopi.88 Prikazantilope na disku zadarske svjetiljke identian jeprikazima na svjetiljkama koje donose M. T. Paleani iA. Ennabli.89 Uz to na sve tri svjetiljke kao jedan odmotiva na ramenu pojavljuje se romb ukraenperlicama, pa iako nisu proizale iz istog kalupa, lakoje mogue da sve tri svjetiljke potjeu iz iste radionice.Na svjetiljkama kat. 58 i 63 prikazano je stablo palme,koje je za stare Rimljane znailo simbol pobjede, a kodkrana postaje simbolom muenika i njihove pobjedenad mukama i smrti.90 Na svjetiljci kat. 57 prikazana jeenska figura na prijestolju, a na svjetiljci kat. 73nejasna muka figura koja moda predstavlja DobrogPastira.91 Posebno je zanimljiva dijelom sauvanasvjetiljka kat. 61 ukraena na disku prikazomstarozavjetne biblijske teme Abraham rtvuje Izaka(Post 22, 10-13.). U centralnom dijelu scene prikazanje Abraham, koji u desnoj podignutoj ruci dri no, doklijevu ruku dri na glavi sina Izaka. Iza Abrahamaprikazan je Jahvin aneo u obliku krilate ruke i ispodnje ovan. Svjetiljka ukraena identinim motivima naramenu i disku pronaena je na nekropoliFordongianus na Sardiniji.92 U Arheolokom muzejuu Milanu nalazi se gipsani kalup koji potjee izcentralnog Tunisa, a na disku mu je prikazana scenaAbraham rtvuje Izaka. Pri objavi tog kalupa ElisabettaFranchi detaljno je obradila pojavu ove teme naglinenim svjetiljkama forme X, te na jednom mjestuskupila sve dotada poznate primjere.93 Autoricaukazuje na slinosti kompozicije s istom temomprikazanom na mozaiku crkve San Vitale u Raveni.94

depicted on the disc of cat. 60,87 while others consider it tobe an antelope.88 The depiction of the antelope on the discof the lamp from Zadar is identical to images on lampspublished by M. T. Paleani and A. Ennabli.89 Additionally,on all three lamps a rhomb decorated with beads appears asone of the motifs on the shoulder, and although they werenot products from the same mould, it is quite possible thatall three lamps came from the same workshop. Lamps cat.58 and 63 display a palm tree, which meant a symbol ofvictory for the ancient Romans, and for Christians becamea symbol of the martyrs and their victories over torment anddeath.90 Lamp cat. 57 bears a female figure on a throne,and lamp cat. 73 an unclear male figure, which perhapsrepresents the Good Shepherd.91 The partly preserved lampcat. 61 is particularly interesting, as it is decorated on thedisc with a scene of the Old Testament Biblical themeAbraham sacrificing Isaac (Gen 22, 10-13). In the centralpart of the scene, Abraham is depicted holding a knife in hisraised right hand, while his left hand is on the head of hisson Isaac. Behind Abraham is the angel of the Lord in theform of winged arms and below this a ram. A lampdecorated with identical motifs on the shoulders and discwas discovered at the necropolis of Fordongianus onSardinia.92 The Archaeological Museum in Milan containsa plaster mould that comes from central Tunisia, whosedisc bears a depiction of the scene of Abraham sacrificingIsaac. When publishing this mould, Elisabetta Franchinoted in detail the appearance of this subject on clay lampsof form X, and gathered together in one place all the thenknown examples.93 Franchi pointed to the similarities ofcomposition with the same subject depicted in the mosaicsof the Church of San Vitale in Ravenna.94 She consideredthat lamps with biblical scenes had a primarily funerary

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87 Paleani, 1993, 75; Paleani-Liverani, 1984, 62; Graziani Abbiani, 1969, 48.88 Schfer, 1990, 58; Mackensen, 1980, 68.89 Paleani, 1993, kat. 67; Ennabli 1976, kat 391.90 Leksikon 1990, 447; Graziani Abbiani, 1969, 185, 186.91 Bersa 1915, 85, kat. 946.92 Franchi, 1993, 118, T. 86. sl. 24.93 Franchi, 1993, 105, 117-119, T. 80, sl. 7, 8, 9, T. 86, sl. 21, 22, 23, T. 82, sl. 25. 94 Franchi, 1993, 118-119, 126, T. 87, sl. 26.


Dri da su svjetiljke s biblijskim scenama imalepoglavito funerarnu namjenu i datira ih u prvadesetljea 6. stoljea.95

Ulomci kat. 74 i 75 pripadaju podtipu XA2,za koji je karakteristian centralni ukras s rupom zaulje po sredini. Na oba ulomka disk sunajvjerojatnije krasila etiri trokuta radijalnopoloena uokolo otvora za ulje. Na taj nainsimbolizirali su kri.96

Ulomke kat. 76-92 i 99-101 nije bilomogue preciznije tipoloki odrediti. Ipak sigurnoje da pripadaju tipu XA.

Svjetiljka kat. 73 i ulomci kat. 71, 88-92zbog meke izvedenog prikaza mogli bi se prematipologiji J. W. Hayesa ubrojiti u tip IIB, dok biostale svjetiljke i ulomci pripadali tipu IIA.

Peatne motive kojima su ukraena ramenaovih svjetiljki donose Adele Coscarella,Abdelmajid Ennabli i Elda Joly.97 Meu timmotivima ne nalaze se paralele za motiv vitice naramenu kat. 74 i motiv diska na kojem je prikazankonj na ulomku kat. 67. Motiv na ulomku kat. 67najvjerojatnije je nainjen utiskivanjem kovanice.

Pri proizvodnji svjetiljki forme X naprostoru sjeverne Afrike koriteni su kalupiizraivani od gipsa.98 Izrada gipsanih kalupaznatno je sloenija od izrade glinenih. Problem jegipsa to nije mogue, kao kod gline, utisnutiprototip u svje materijal, naprotiv gips se morao upolutekuem stanju nalijevati oko prototipa. Kako

purpose and dated them to the first decades of the 6th

century.95

The lamp fragments published as cat. 74 and 75belong to subtype XA2, characterized by a centraldecoration with a hole for oil in the center. On bothfragments, the disc was most probably decorated by fourtriangles radially placed around the opening for oil. Inthis manner they symbolized a cross.96

The lamp fragments cat. 76 92 and 99 101could not be more precisely determined typologically.Nonetheless it is certain that they belong to type XA.

Lamp cat. 73 and lamp fragments cat. 71, 88 92, could be included in type IIB according to thetypology of J. W. Hayes because of the softerworkmanship of the depiction, while the other lampsand fragments belong to type IIA.

The stamped motifs used to decorate theshoulders of these lamps are cited by Adele Coscarella,Abdelmajid Ennabli, and Elda Joly.97 These motifs,however, do not include parallels for the tendril motif onthe shoulders of cat. 74 and the motif of the horsedepicted on the disc of fragment cat. 67. The motif onfragment cat. 67 was most probably created by makingan impression of a coin.

Moulds made of plaster were used in theproduction of lamps of form X in North Africa.98 Themanufacture of plaster moulds is considerably morecomplicated than making clay ones. The problem withplaster is that it is not possible, like with clay, to pressthe prototype into fresh material, rather plaster had to bepoured in a semi-liquid state around the prototype. Asone of the basic characteristics of lamps of this form is

24

95 Franchi, 1993, 117-123, 126. 96 Svjetiljke forme X ukraene na disku trokutima koji formiraju kri esta su pojava: Petri, 1994, 316, sl. 1. 1; Ennabli, 1976, kat. 1193-1199;Joly, 1974, 47, 50, 188, kat. 1133, fig. 5, T. XLVIII, 1133. Isto znaenje pretpostavlja Branka Migotti za svjetiljku iz Osijeka, kod koje kriformiraju etiri polukruga: Migotti, 1997, 84; Migotti, 1994, 64. / Lamps of form X decorated on the disc with triangles forming a cross arefrequent finds: Petri 1994, 316, fig. 1. 1; Ennabli 1976, cat. 1193-1199; Joly 1974, 47, 50, 188, cat. 1133, fig. 5, Pl. XLVIII, 1133. The same

meaning is hypothesized by Branka Migotti for the lamp from Osijek, where the cross is formed from four semicircles: Migotti 1997, 84; Migotti

1994, 64.

97 Coscarella, 1983, 156; Enabbli, 1976; Joly, 1974, 48, fig. 6.98 Nalazi ovih kalupa iznimno su brojni. Franchi, 1993, 110-113; Mackensen, 1980, 221, 222, T. 20, T. 21. / The finds of these moulds areparticularly numerous. Franchi 1993, 110-113; Mackensen 1980, 221, 222, Pl. 20, Pl. 21.


je jedna od osnovnih karakteristika svjetiljki oveforme ukras na ramenu izveden viekratnimutiskivanjem jednog ili vie ukrasnih motiva,postavlja se pitanje na koji se nain taj ukrasprenosio na gipsane kalupe. Ovom problematikomdublje su se bavili D. M. Bailey i E. Franchi.99 Trisu mogua naina. U osnovi svakog postupka stojineukraen glineni prototip nainjen iz osnovnogkalupa. Kod prvog naina, na peeni, neukraeniprototip nanosila se zasebno izvedena dekoracija odnepeene gline. Potom su se od takvog ukraenogprototipa pravili gipsani kalupi. Nakon odreenihbrojeva izljevenih gipsanih kalupa istroeni bi seukrasi uklanjali s peenog prototipa i zamijenilinovima. Drugi je nain bio nanoenje nepeenihglinenih ukrasnih uzoraka na svje, nepeenprototip. U ovom sluaju, nakon proizvodnjeodreenog broja kalupa cijeli se ukraeni prototip,jer nije bio peen, mogao ponovno upotrijebiti kaosirovina za izradu novog prototipa. Oba postupkaimaju odreene nedostatke, na to je ukazao injihov autor D. M. Bailey. Naime, kod prvog stvarase problem to gips ne prianja jednako uz peenu isvjeu glinu, a kod drugog problem otpornostimeke gline pri odvajanju od gipsanog kalupa.Elisabeta Franchi stoga je ponudila tree rjeenje.Prema njezinoj pretpostavci na neukraen, svjeprototip najprije se nanosila dekoracija i nakon togase pekao. Na ovaj nain dobivao se otporan prototipiz kojeg se mogao nainiti velik broj kalupa, a samse prototip nakon uklanjanja kalupa mogao lakoistiti od ostataka gipsa.

Izrada ovih svjetiljki u gipsanim kalupimarezultirala je jednom zanimljivom pojavom. Naime,pri izradi gipsanog kalupa u gipsu se stvaraju zranimjehurii zbog kojih na povrini kalupa ostajurupice. Kao otisak tih rupica na glinenim su

the decoration on the shoulders carried out through themultiple impressions of one or more decorative motifs,the question arises as to how such a decoration wastransferred to the plaster mould. This problem wasaddressed at length by D. M. Bailey and E. Franchi.99

There are three possible manners to achieve this. Thebasic step in each procedure involved an undecoratedclay prototype made from a general mould. In the firstmanner, specially made decoration of unfired claywould be applied to a fired undecorated prototype. Theplaster moulds would subsequently be made from such adecorated prototype. After a certain number of castplaster moulds, the worn decorations would be removedfrom the fired prototype and replaced by new ones. Thesecond manner would involve applying unfireddecorative patterns to an unfired prototype of fresh clay.In this case, after the production of a certain number ofmoulds, the entire decorated prototype, since it had notbeen fired, could be reused as raw material for themanufacture of a new prototype. Both these possibleprocedures have certain flaws, as was noted by thescholar who conceived of them, D. M. Bailey. For thefirst, the problem is that plaster does not adhere equallywell to fired and unfired clay, and for the second, theproblem would be the resistance of the soft unfired clayduring separation from the plaster mould. ElisabetaFranchi hence offered a third solution. Her suggestionwas that decoration would first have been applied to theundecorated and unfired prototype, which would onlythen be fired. In this manner a sturdy prototype wouldhave been achieved from which a large number ofmoulds could have been made, and it would have beeneasy to remove any traces of plaster from the prototypeafter removal of the mould.

The production of these lamps in plastermoulds resulted in an interesting phenomenon. When aplaster mould is made, air bubbles are created in theplaster, leaving tiny holes on the surface of the mould.As the impression of these tiny holes on the clay lampsthat were pressed into the moulds, tiny protrusions

25

99 Franchi, 1993, 108, 109.


remained in the form of small balls. Throughcomparison of the position and form of the protrusion,it is possible to establish whether two lamps with thesame decoration had been made in the same mould.100

In this manner, on the basis of photographs, it can behypothesized that, for example, fragment cat. 64 hadbeen made from the same mould as a lamp fromSabratha in the Museo Civico Archeologico diBologna.101 Fragment cat. 68 was made from the samemould as a lamp from Tunisia and a lamp kept in theAntiquarium Romanum.102

These lamps do not bear workshop stamps inthe classic form, but the bases often have impressedconcentric circles, which Maria Teresa Paleaniconsiders could represent workshop stamps that hadlost their original function and no longer representedindividual workshops.103 Veronica Fabri used thesecircles as one of the elements in forming a typologyof the lamps of form X found in the harbour of Classenear Ravenna.104

3.2.5. Lamps modelled on African form X

The lamps and lamp fragments published ascat. 93 98 represent copies of African products. Theupper part of lamp cat. 93 resembles African productsin its fabric. The quite unclear and damagedimpression indicates that it was most probably madefrom a poor quality mould copied from an originalAfrican lamp of subtype XA1a. In contrast to this, theother fragments were not direct copies of Africanproducts, rather they were merely well or poorly madeimitations modeled on the African production ofsubtype XA1a. The lamp fragments published as cat.94 and 95, made of pale clay coated with a darker redslip, were quite well made. In the production of

svjetiljkama pri utiskivanju u kalupe ostajale sitneizboine u vidu malih kuglica. Usporeivanjempoloaja i oblika izboina mogue je utvrditi jesu lidvije svjetiljke s istim ukrasom nainjene i iz istogkalupa.100 Tako, sudei prema fotografiji, moemopretpostaviti da je, recimo, ulomak kat. 64 nainjeniz istog kalupa kao svjetiljka iz Sabrathe iz MuseoCivico Archeologico di Bologna.101 Ulomak kat.68 nainjen je iz istog kalupa kao svjetiljka izTunisa i svjetiljka koja se uva u AntiquariumRomanum.102

Kod ovih se svjetiljki ne susreu radionikipeati u klasinom obliku, ali se na dnu esto nalazeutisnute koncentrine krunice, za koje Maria TeresaPaleani dri da bi mogli predstavljati radionikepeate, ali koji su izgubili svoju izvornu funkciju tevie ne predstavljaju pojedine radionice.103

Veronica Fabri ove krunice koristi kao jedan odelemenata pri formiranju tipologije svjetiljki formeX pronaenih u luci Classe kod Ravene.104

3.2.5. Svjetiljke izraene po uzoru na

afrike forme XSvjetiljke i ulomci kat. 93-98 predstavljaju

kopije afrikih proizvoda. Gornji dio svjetiljke kat. 93fakturom nalikuje afrikim proizvodima. Dostanejasan otisak i oteenja ukazuju da jenajvjerojatnije izraen iz loeg kalupa nainjenogprema originalnoj afrikoj svjetiljci podtipa XA1a.Nasuprot njemu ostali ulomci nisu direktne kopijeafrikih proizvoda, ve samo bolje ili loije izvedeneimitacije nainjene po uzoru na afriku produkcijupodtipa XA1a. Ulomci kat. 94 i 95, nainjeni odsvjetlije gline i premazani tamnijim crvenim

26

100 Franchi, 1993, 108, 109.101 Joly, 1974, kat. 1196; Gualandi Genito, 1977, kat. 595; Graziani Abbiani, 1969, kat. 200.102 Ennabli, 1976, kat. 290; Paleani, 1993, 61, 62, kat. 61.103 Paleani, 1993, 98, 99.104 Fabri, 2003, 51.


premazom, dosta su kvalitetno izraeni. Pri izradiulomka kat. 94 koriteni su igovi identini onima naglinenom kalupu iz Ordone,105 dok za ulomak kat. 95nalazimo direktnu paralelu u luci Classe kodRavene.106 Ova su dva ulomka najvjerojatnijeproizvod radionica s prostora june Italije.107 Sline jefakture, no znatno loije izrade, svjetiljka kat. 96. Naulomku kat. 97, unato znatnoj stilizaciji prikaza, josu uvijek jasne karakteristike tipine za podtip XA1a.Ulomak kat. 98 pokazuje znatan odmak oddekorativnog stila i formalnih obiljeja kojikarakteriziraju svjetiljke forme X.

Svjetiljka kat. 103 velikim dijelom odudaraod forme VIII i od forme X. Oblikovno nalikujetipu Provoost 8G.

4. Zakljuak U zbirci ranokranskih svjetiljki

Arheolokog muzeja Zadar ravnomjerno suzastupljene svjetiljke forme VIII i forme X. I dokje forma VIII zastupljena irokom lepezompodtipova, dotle kod forme X uvjerljivo dominirapodtip XA1a. Razlog tome zasigurno jesvojevrsna oblikovna standardizacija proizvodnjedo koje dolazi u vrijeme afirmacije forme X natritu.108

Mada prikazane svjetiljke nisu dovoljnovelik niti kvalitetan uzorak na osnovu kojeg bi semogli izvlaiti egzaktni zakljuci, ipak moemonapomenuti kako u antikom Zadru vei postotaksvjetiljki otpada na one forme VIII, dok je ururalnim dijelovima brojano dominantna forma

fragment cat. 94, stamps were used identical to thoseon the clay mould from Ordona,105 while for fragmentcat. 95 a direct parallel can be found in the harbour ofClasse near Ravena.106 These two fragments weremost probably produced in workshops in southernItaly.107 Lamp cat. 96 has a similar fabric, but is ofconsiderably poorer workmanship. Fragment cat. 97,despite a considerably more stylized depiction, stillexhibits clear characteristics typical for subtypeXA1a. Fragment cat. 98 shows a distinct shift from thedecorative style and formal traits that characterizelamps of form X.

Lamp cat. 103 to a great extent differs from bothform VIII and form X. In terms of form it resembles typePorvoost 8G.

4. Conclusion In the total number of presented early Christian

lamps from the Archaeological Museum in Zadar, lampsof form VIII and form X are represented equally. Whileform VIII is represented by a wide range of subtypes,form X is convincingly dominated by subtype XA1a.The reason for this certainly must be a standardization offorms in production that occurred during the period ofaffirmation of form X on the market.108

Although the sample represented by the lampspresented in this catalogue is neither sufficiently largenor of sufficient quality to extract any exact conclusions,nonetheless it can be noted that in Roman Zadar agreater proportion of the lamps were of form VIII, whileform X was dominant numerically in rural areas. Thequestion is whether and to what extent this can beconsidered to be related to a retarded Christianization ofthe pagus.

27

105 Mertens, 1979, 39, T. XX. a, sl. 11. 1. 106 Berti, 1983, 151, kat. 9.1. 107 Nalazi glinenih kalupa i pei za keramiku datiranih u 5. i 6. stoljee siguran su dokaz proizvodnje ovog tipa svjetiljki na tlu Italije. Fabri, 2003;Fioriello, 1998, 267, 268; Franchi, 1993, 110; DAngela, 1979, 99, 102, T. 5, 1. / Finds of clay moulds and pottery kilns dated to the 5th and 6thcenturies are certain proof for the production of this type of lamp in Italy. Fabri 2003; Fioriello 1998, 267, 268; Franchi 1993, 110; DAngela

1979, 99, 102, Pl. 5, 1.

108 Anselmino, Pavolini 1981, 199.


X. Pitanje je moe li se to i u kolikoj mjeridovoditi u vezu sa zakanjelom kristijanizacijompagusa.

Iako je ponekad teko sa sigurnourazabrati koji su proizvodi sjevernoafrikogpodrijetla, a koji nainjeni u lokalnim radionicama,ipak za veinu svjetiljki moemo pretpostaviti da suuvezene iz sjeverne Afrike. Tek manji dioproizveden je na prostoru susjedne Italije.

Skupa s drugom graom iz istog vremenaranokranske svjetiljke svjedoe o intenzitetuivljenja na ovim prostorima u razdoblju kasneantike.

Izbor motiva koji su prikazivani na disku ovihsvjetiljki, zorno svjedoi o duhu vremena. One priajupriu o novom razdoblju, koje je za krane nastupiloza vladavine cara Konstantina Velikog, kada je nakonstoljea zatiranja i progona kranima omoguenoslobodno i nesmetano ispovijedanje vjere. Nije tekozamisliti olakanje i radost krana, koji su gledalikako njihov zemaljski vladar, na slubenimspomenicima i novcu javno istie simbol Krista.109

Simbole kojima su ranije, bojei se progona, stidljivo,prikriveno i esto nevjeto znali ukraavati svoj nakitili neke druge osobne predmete, sada su konano bezstraha mogli kupovati na predmetima za svakodnevnuupotrebu. Stoga nije udno to je ba na starijimsvjetiljkama, tj. onima forme VIII, iznimno est prikazkrizmona, jasnog i nedvosmislenog simbola Krista.Izostanak ikonografije iskljuivo poganskogakaraktera nedvojbeno kazuje da su ove svjetiljkenamijenjene kranskoj populaciji. Daljnji tijekpovijesti, koji je doveo do rasta kranske populacije ipostupnog nestanka poganstva, osigurao jeranokranskim svjetiljkama dobar plasman i dugopstanak na tritu.110

Although it is occasionally difficult todistinguish with certainty what products are of NorthAfrican origin and which were produced in localworkshops, nonetheless for the majority of lamps it canbe presumed that they were imported from North Africa.Only a small proportion was produced in neighbouringItaly.

Considered in the context of the other materialfrom the same period, Early Christian lamps indicate theintensity of life in this region in the period of LateAntiquity. The selection of motifs depicted on the discs of theselamps graphically bears witness to the spirit of the times.They tell a story of a new age, which for Christiansbegan during the reign of the emperor Constantine theGreat, when after centuries of extermination andpersecution Christians were permitted to worship freelyand without hindrance. It is not difficult to imagine therelief and joy of the Christians at seeing their earthlyruler publicly exhibiting the symbol of Christ on officialmonuments and coins.109 Symbols that earlier in fear ofpersecution had been timorously, stealthily, and oftenunskillfully used to decorate jewellery or other personalobjects could now finally be purchased without fear inpublic at markets. Hence it is not odd that particularly onthe earlier lamps, those of form VIII, the Christogram, aclear and unequivocal symbol of Christ, is anexceptionally frequent image. The lack of anyiconography of exclusively pagan character definitelyshows that these lamps were intended for the Christianpopulation. The further course of history, which led tothe growth of the Christian population and the gradualdisappearance of paganism, meant that Early Christianlamps were guaranteed a good market position and alengthy survival in trade.110

28

109 Jedin, 2001, 440-444; Migotti 1994, 65, 66.110 Cambi, 2002, 310.


29

T. I. Svjetiljke kat. 13, 15, 25.


30

T. II. Svjetiljke kat. 26, 27, 32.


31

T. III. Svjetiljke kat. 51, 52, 57.


32

T. IV. Svjetiljke kat. 58, 60, 61, 74.


33

T. V. Svjetiljke kat. 96, 103.


34

T. VI. Peatni motivi na ramenima svjetiljki.


35

LITERATURA

Abrami-Bersa-Smirich-Reisch, 1913.M. Abrami G. Bersa G. Smirich E. Reisch, Guida del Museo di S. Donato in Zara, Vienna,1913.Alram Stern, 1989.E. Alram Stern, Die rmischen Lampen aus Carnuntum, Wien 1989.Anselmino-Pavolini, 1981.L. Anselmino C. Pavolini, Terra sigilata: Lucerne, Atlante delle forme ceramiche I. Ceramica fineromana nel bacino mediterraneo (Medio e Tardo Impero), Enciclopedia dellArte Antica, Roma,1981, 184-207.Antico Gallina 1987.M. Antico Gallina, Le lucerne fittili del museo C. Leone di Vercelli, Rassegna di Studi del CivicoMuseo Archeologico e Civico Gabinetto Numismatico di Milano, 35-36, 1985, Milano, 1987, 41-94,T. 16-31.Batovi 1982.. Batovi, 150 godina Arheolokog muzeja u Zadru, Zadar, 1982.Batovi-Medini-Beloevi, 1979.. Batovi J. Medini J. Beloevi, Arheoloki muzej u Zadru. Vodi, Zadar, 1979.Bersa 1902.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Bullettino di archaeologia e storia dalmata, 25 Split, 1902, 118-124, 148-156, 169-175, 212-215.Bersa 1903.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Bullettino di archaeologia e storia dalmat, 26, Split, 1903, 19-24, 151-156, 204-210.Bersa 1904.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Bullettino di archaeologia e storia dalmata 27, Split, 1904., 34-38, 68-74, 111-116.Bersa 1905.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Bullettino di archaeologia e storia dalmata 28, Split, 1905., 51-66, 166-176.Bersa 1906a.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Bullettino di archaeologia e storia dalmata 29, Split, 1906, 76-87.Bersa 1906b.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo archeologico di S. Donato di Zara,Estratto dal Bullettino di archaeologia e storia Dalmata 1902-1906, Split, 1906.


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Bersa 1915.G. Bersa, Le lucerne fittili romane di Nona conservate al Museo Archeologico in San Donato diZara, Bullettino di archaeologia e storia dalmata 38, Split, 1915, 46-86.Bersa 1926.G. Bersa, Guida storico artistica di Zara. Catalogo del R. Museo di S. Donato, Trieste, 1926.Berti 1983.F. Berti, Lucerne, Ravenna e il porto di Classe, 1983, 147-154.Bolec 1982.N. Bolec, Antike svjetiljke Zaviajnog muzeja Poretine, Histria Archaeologica 10/2, 1979, Pula,1982, 75-89.Boek-Kunac 1998.S. Boek A. Kunac, Dva stoljea arheologije na Makarskom primorju, Makarska, 1998. Brusi 1973.Z. Brusi, Privlaka kod Zadra, arheoloko-topografski podaci, Radovi Instituta Jugoslavenskeakademije znanosti i umjetnosti u Zadru 20, Zadar, 1973, 419-446. Brusi 1988.

Documents

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