(2) Inscriptions descriptive of the subjects.
(3) Acclamations or formulae addressed by the potter to the public.
(4) Signatures of potters or trade-marks; this class is by far the most numerous.
To the first class belong some of the formulae to which allusion has already been made (pp. [396], [398]), such as those on the New Year lamps: ANNVM NOVVM FAVSTVM FELICEM MIHI HIC (or TIBI, or to some person whose name is given); occasionally this is varied by formulae such as FIILICTII (for FELICITAS?), “Happiness (to you)!”[[3012]] OB CIVES SERV(atos), “For the preservation of the state”[[3013]]; G · P · R · F, Genio populi Romani feliciter[[3014]]; EX·S·C, “By the decree of the senate”[[3015]]; FIDES PVBLICA, “The public trust,”[[3016]] and the SAECVLI, SAECVLO, SAECVLARES group of inscriptions,[[3017]] which may in a few cases refer to the Ludi Saeculares, but more probably are of similar import to the SAEC(ulum) AV(reum) DOM(ini), “The golden age of our lord,“ on a lamp from Antium.[[3018]] The last-named formula, it should be noted, is found both above and below the lamps. LVCER(na) PV(b)LICA probably refers to the use of the lamp in some public illuminations (see p. [396]).[[3019]] A lamp in the Trier Museum[[3020]] has the names of the consuls for the year 235 (Severus and Quintianus). Among names of deities for whose sanctuaries the lamps were intended are Venus (SACRVM VENERI, with a figure of the goddess),[[3021]] and the Ephesian Artemis (
).[[3022]]
Among the inscriptions relating to the subjects on the lamps are several which have already been mentioned, such as DIOGENES and TITVRVS, and also GA(ny)MEDES over a figure of the same.[[3023]] On a lamp representing the flight of Aeneas from Troy are the names AEN(eas), ANC(hises), ASC(anius), and the exclamation REX PIE, alluding to the former.[[3024]] On another, which represents the fight of Eteokles and Polyneikes and the death of Jocasta, subjects taken from the Phoenissae of Euripides, occur not only the letters PVL for Polyneikes, but also PHO(e)NISS(ae), leaving no doubt as to the source whence the scenes are taken.[[3025]] Another in the form of Eros or a Genius with the club and lion-skin of Herakles, lying asleep, has on it the curious inscription AIA STLACIA TVRA DORMIT, STERNIT SIR ...,[[3026]] the import of which is not quite clear. Similar inscriptions often occur in scenes from the circus or amphitheatre, giving the names of gladiators, as Afer, Helenus, Popillius, or Sabinus,[[3027]] or of charioteers in the circus-races, as C. Annius Lacerta and the horse Corax, which won him a race for the white faction at the Secular Games[[3028]]; another lamp has the name of a horse or his driver, INCITATVS, and a third the exhortation VIG(i)LA PRASINE,[[3029]] which may allude to a driver of the green faction. Over the figure of a warrior on a lamp from Carthage is PLVS FECISSES SI PLVS LICERET, “You would have done more if you had had the chance.”[[3030]] In other cases there seems to be a revival of the old Greek fashion of apostrophising the figures as Kalos—e.g. AQVILO CALOS, AXOLMVS (c)ALOS.[[3031]] There are also inscriptions put into the mouths of figures, as in the subject of Cupids with the club of Herakles, one of whom cries ADIV(v)ATE SODALES, “Help, comrades!”[[3032]] or the funerary Genius weeping over an urn and saying, LVGEO, “I mourn.”[[3033]]
To the third class belong such expressions as HAVE, “Hail!”[[3034]]; VIVAS or VALEAS, “Long life!”; VTERE, “Use this”[[3035]]; AVE ET VALE, “Greeting and farewell,” on a lamp from Cologne[[3036]]; and on another from the same site, HAVE · MACENA · VILLIS · HAVE · LASCIBA · VALE,[[3037]] which seems to have a somewhat coarse significance. Others allude to the future purchaser, as EME ME, “Buy me”[[3038]]; QVI FECERIT VIVAT ET Q(ui) EMERIT, “May the potter and purchaser flourish”; EMITE LVCERNAS AB ASSE COLATAS, “Buy lamps for an ass”[[3039]]; BONO QVI EME(rit), “May it be for his good who shall buy it.”[[3040]] The latter class are chiefly found in North Africa. Mention has already been made of the inscriptions on the Esquiline lamps, such as PONE FVR; these are not found on lamps of imperial times, and appear to be peculiar to the early fabrics. Μὴ ἅπτου has been found on a lamp at Athens.[[3041]] On a lamp from Spain is inscribed G · IVLIVS · ARTEMIDOR ... LVCERNAS · II · D D, “C. Julius Artemidorus makes a present of two lamps.”[[3042]] A very curious inscription is found written in ink on a lamp at Rome, to this effect: “Helenus delivers his name to the nether world; he carries down with him coins, a New Year’s gift, and his lamp; let no one deliver him except us who have made them.”[[3043]]
Potters’ signatures are almost invariably to be found on the under side of the lamp, where they are arranged on the diameter at right angles to the axis of the lamp; sometimes they are placed in a panel or tablet, or within the outline of a foot. In rare instances they are found on the handle, or on the top.[[3044]] Greek lamps which are not of Roman origin are never signed, nor are those of Christian origin; the oldest signatures are to be found on the Esquiline lamps, but they rarely appear before imperial times, when they become fairly general. Among these earlier instances are PRAESE(ntis)[[3045]] and FL(a)BIA (Flavia), the latter found at Carthage.[[3046]] More frequently, lamps of this kind have a single letter or monogram by way of stamp[[3047]]; a “delphiniform” lamp in the Musée Alaoui has a monogram of Α and Π. A single letter sometimes occurs above or below the inscription, which may be regarded as a sort of trade-mark indicating the potter (figulus), the full name being that of the officinator or master; on a lamp in the British Museum from Knidos (No. 132) the name ROMANE(n)SIS is accompanied by the letter X; on another, FORTIS by the letter N. On the lamps signed by L · HOS · CRI, a Gaulish potter, are found the letters G, I, L, M, P, S, T, V, N, Z, and other signs.[[3048]] These trade-marks are not confined to letters; Fortis uses a wreath and palm-branch, as in Fig. [210]; L. Caecilius Saevus a palm-branch or a foot-shaped stamp; L. Fabricius Masculus the letters H and X, a wheel, or a star.[[3049]] Other lamps have no name underneath, but some simple pattern, such as five circles in quincunx form, or the favourite device of the foot-shaped stamp (cf. p. 333). These varieties of marks were probably intended to distinguish different series in the products of a single pottery.