) at Gela and Catania[[3071]]; Ῥήγλου for Regulus occurs at Tarentum.[[3072]] Greek names are often found in Cyprus,[[3073]] and conversely a large number of lamps found at Knidos by Sir Charles Newton bore the signature ROMANE(n)
, in Latin letters with the S reversed, apparently suggesting that the lamps were made by a Roman abroad.[[3074]] Greek signatures are even found in Gaul and Germany.[[3075]]
Mention must also be made here of the recent researches of Herr Fink[[3076]] with the object of ascertaining the chronological succession and general distribution of the signatures on lamps of the Imperial period. Starting with the four main classes of forms which have already been laid down as the basis[[3077]] (the distinction resting mainly on the various forms of the nozzle), he has obtained, by comparison chiefly of the lamps in the British Museum, Berlin, and Munich collections, the following interesting results.
Certain stamps appear to be peculiar, or almost peculiar, to each class: thus, in Class I. only, we find P. Cessius Felix and L. Munatius Successus; in Class II. only, L. Fabricius Masculus; in Class III. only, Atimetus, Fortis, Phoetaspus, and other single cognomina; in Class IV., which contains by far the larger number of stamps, Clodius Helvidius, C. Junius Bitus,[[3078]] L. Munatius Threptus, and C. Cornelius Ursus. The lamps of the Gaulish potter L. Hospidius Crispus are all of one peculiar form, a transition between Fink’s I. and IV.[[3079]] Cross-instances are very rare, but C. Junius Draco is found in Classes I. and IV., C. Oppius Restitutus in Classes II. and IV., Florentius and Celsus Pompeius in Classes III. and IV. It is also interesting to note that there are lamps in Class IV. with the Christian monogram and the figure of the Good Shepherd. In Class I., generally speaking, signatures are very rare; in Class III. they are almost invariable, but the total number of lamps is relatively small. Another curious result is that certain signatures, such as L. Caecilius Saevus, Bassus, Cerialis, Sextus Egnatius Aprilis, and Romanensis, are not confined to one type of lamp, but in these cases it is to be noted that each type has a variation of signature: thus, in Class I., L·CAEC·SAE; in II., L·CAE·SAE; in III., L·CA·SAE; while in IV., L·CAE·SAE occurs no less than 140 times.
His conclusions are that one workshop did not necessarily set itself to produce only one form, but that the differences in form are merely due to changes of fashion. In Class I. Greek technical instincts are still strong as regards form and choice of subjects, but in ornament the taste of Southern Italy prevails; the subjects are mainly mythological. In Class II. the typically Roman motives appear: gladiators, combats, and hunting-scenes; this form, according to Fink, is more developed than Class I. Evidence which has been obtained from Regensburg shows that Class III. belongs to the time from Augustus to Hadrian, and, as we have seen, it is chiefly confined to the north of the Apennines. Where provincial potteries can be traced, as at Westerndorf and at Westheim in Bavaria, the lamps are usually of this form, but it was doubtless imitated in Italy. Form IV. is essentially Italian, but is also found in Central Europe, and is evidently of late date.
[2721]. See Macrobius, Sat. vi. 4, 18. Lucilius uses this word and lucerna in the same line.
[2722]. L.L. v. 119.