LAMPS
770
LAMPSACUS
uscript is certainly late and inferior in value to the uettes of bronze, supposed to represent St. Peter and
other two. The " Ale.xanderlied "with German trans-
lation was first edited by A\'eismann (2 vols., Frank-
furt, 1850); the best edition is by Kinzel in " German-
istischeHandbibliothek",ed. Zaeher, VI (Halle, 1SS4).
The Vorau manuscript was edited by Diemer in
"Deutsche Gedichte des 11. und 12. Jahrhunderts"
(Vienna, 1849), the Strasburg manuscript by Mass-
mann in "Deutsche Gedichte des 11. und 12. Jahr-
hunderts" (Quedlinburg, 1837), and the Basle manu-
script by Werner (Stuttgart, 1882) in " Bibliothek des
Literarischen Vereins in Stuttgart", CLIV. Selec-
tions were edited by Piper in "Die Spielmannsdich-
tung", II, 2; in "Kurschners Deutsche National Lit-
teratur", II, pp. 116-82. A modern German trans-
lation by Ottmann appeared in " Hendels Bibliothek
der Gesamtlitteratur" (Halle, 1898).
Consult the' introduction to the editions and tr.inslationa above mentioned, especially those of Kinzel and Piper.
Arthur F. J. Remy,
Bronze Lamp of t
St. Paul, at the prow. Bronze lamps also exi.st in the
forms of a dove, a duck, a peacock, a crow, etc. The
museum of Algiers contains a specimen of a lamp
mounted on a pedestal, of excellent workmanship,
ornamented with the apocalyptic Greek letters A and
a, and a dolphin. Many of the gold and silver lamps
presented by Constantine
the Great to the Lateran
Basilica were also in the
form of dolphins, as the " Li-
ber Pontificalis " informs
us; lamps in the form of the
symbolic fish were prob-
ably common, though only
one of terra cotta is known.
The lamps presented by
Constantine to the Lateran
— a truly imperial gift —
comprised altogether 174
chandeliers and candle-
sticks, which furnished, it
is calculated, 8730 separate
lights. The most precious
of these is the chandelier
"of purest gold", weigh-
ing fifty pounds and orna-
Lamps, E.\RLY Christian.
— Of the various classes of
remains from Christian an-
tiquity there is probably
none so numerously repre-
sented as that of small clay
lamps adorned with Christian symbols. Lamps of mented with fifty dolphins, which hung from the ci- this character have been found in all the ancient borium; the chains in aoldition weighed twenty-five centres of Christianity, but the Roman catacombs are i^ounds. Before the principal altar stood a silver especially remarkable for the large numbers of these chandelier, weighing fifty pounds, adorned with fragile utensils they contain, many of which, however, twenty dolphins. The nave was lighted by forty- bear no intrinsic mark of their Christian origin. These five silver standards {fara canthara), the right aisle by clay lamps belong to two categories; the more ancient forty and the left by forty-five. Besides these chan- manufactured in the early imperial period, and the deliers for lamps, the nave contained fifty silver stand-
tj-pe of the Constan-
tinian epoch. Even
in this not very con-
spicuous depart ment
of arts and crafts
there was a notable
decline between the
first and the fourth
or fifth century; the
clay lamps of the
former period are of
far superior work-
manship to those of
the latter. In form
also there is a dif-
erence between the
two species; lamps
of the classic period
are round with an
ascending perfo-
rated handle, whereas
the lamps typical of
the Christian period
somewhat resemble
a boat or a shoe with
an unperforated
handle running to a
point. In lamps of
EgjTitian origin the handles were soldered on after the ChrMenne (Paris, 1907) ; De W lamp itself was moulded. The favourite symbol, Jer chnsilichr- .M.„.t.:.^„ ,i,, though by no means the only one adorning lamps of Christian origin, was the monogram of Constantine. In some instances they were adorned with the figure of a saint, occasionally accompanied by an inscription. Bronze lamps of Christian origin have also beei found, and, though far rarer than the clay lamp; described, they are of much greater interest. One of the most remarkable is a bronze lamp of the fifth cen- tury, now in St. Petersburg, which takes the form of an early Christian basilica. Of equal interest is a bronze lamp in the Uffizi gallery at Florence; it has
Christian Lamps
From Garrucci, "Storia dell' Arte Cristiana"
ards for candles,
while before each of
the seven altars
of the basilica stood
a candelabrum ten
feet high, made of
copper inlaid with
reliefs in silver repre-
senting the Proph-
ets. Gifts of precious
candelabra, though
fewer in number,
were also made by
Constantine to the
basilicas of St. Peter,
St. Paul, Santa
Croce, St. Agnes, and
St. Laurence ("Liber
Pontificalis", ed.
Duchesne, I, 172
sqq.).
Babington in Smith
AND CHEEXnAM, DtC-
tionari/ of Christian An- tiquities (London, 1875— 80), s. V. hamps; Low- RiE, Monuments of the Early Chureh (New York, 1901); Leci.ercq, Manuel d* Archi-ologie !rau8, Real-ICncyklopadie (Freiburg. 1882-80), s. v. Lampen.
MAnRicE M. Hassett.
Lampsacus, a titular see of Hellespont, suiTragan of
„.=o,.... v^^>,^o.v,,.^.. ^v,^v..„ .^...^„ .. , „ „^.. Cyzicus. The city is situated in Mysia, at the en-
Bronze lamps" oT'christfanTr'^^^^ trance to the Hellespont, opposite Callipolis, in a re-
• f^ ■ ' ■' ■■ ' ■ gion known as Bebrycia, which seems to indicate an
establishment of Bebryces from Thrace. It was prob- ably called Pityussa jarior to its colonization by the Ionian cities of Phoca-a and Miletus. The elder Milti- ades, when he had been estalilished in possession of Thracian Chersoncsus, declared war against the inhab-
the form of a ship, with inflated sails and two stat- itants of Lampsacus, who made him prisoner, and re-
