LVMEN IN TENEBRAE (Light in the darkness) presents a comparative study of images on ceramic oil lamps from three military camps, Nijmegen Kops Plateau, Velsen 1 and Haltern (Germany), located in...Show moreLVMEN IN TENEBRAE (Light in the darkness) presents a comparative study of images on ceramic oil lamps from three military camps, Nijmegen Kops Plateau, Velsen 1 and Haltern (Germany), located in the Lower Rhine Area, on the frontier of the Roman Empire. This thesis starts with descriptions of the manufacture, distribution and main uses of picture lamps for the specific period of 20 BC until AD 70, when Nijmegen Kops Plateau functioned as a Roman military settlement. The discussion proceeds with the main topic, picture lamp motifs, and introduces the classification system of Hella Eckardt, the base method used for the cross-site comparison of motifs in this thesis. The central question of this research is what motifs on picture lamps can tell us about aspects of Roman military life in the northern Rhine region. From their analysis it has been found that soldiers in those days believed in a supernatural world, evidenced by the depiction of several deities and cupids. Also myths and legends illustrated the picture lamps’ discs. Furthermore, aspects of daily life were visible, as were animals and plants. A special subject was the gladiator, as well as the chariot race, showing strength and cunning, important characteristics for a soldier. Last but not least, also many erotic scenes were spotted on the lamps from some Roman sites. In spite of the presence of a central Roman authority, no uniform standard image file can be discerned. A visible heterogeneity exists, determined by consumer’s choice or by the selection of pottery or traders, a simple matter of supply and demand. The picture lamps from Nijmegen Kops Plateau, Velsen 1 and Haltern are by no means the same. Each site has its own collection of motifs without a specific motif dominating. Only Velsen 1 can be seen as an exception for its great number of erotic scenes. Finally, some equivalents are highlighted of Roman picture lamp motifs in other artistic media across the Empire. It has been demonstrated that comparing the three sites at the northern border of the Lower Rhine area with other sites in the Roman Empire does not provide any distinctive patterns. No site is characterized by specific conspicuities. Also, no site has the same range of subjects. With some caution it can be noted that a number of fragments from the sites of Nijmegen Kops Plateau, Velsen 1 and Haltern yielded striking images, worn in a certain way and showing a nearly complete picture. Perhaps these shards can be considered as amulets, a function they received when the owner of the formerly complete lamp found the image too valuable to discard. From a number of fragments found at the Port of Velsen 1 it can be determined that the image formed part of the same erotic scene. Perhaps this may signify a ritual deposition, wherein the offeror begs for fertility.Show less
