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[Auto-generated transcript. Edits may have been applied for clarity.]
In this paper, I am going to discuss the pottery oil lamps that were recovered from the purchase of Alexandria,

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with a special emphasis on those coming from the decrease of the ICM.

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I will only briefly consider questions of chronology and typology,

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and mainly focus on the lamps function and significance in the specific context of the temple to ISIS.

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Only as a reminder,

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we will note that the assume in red on the map was erected during the Ptolemaic dynasty on the second branch of the island of until her death,

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which, according to Strabo, was part of a private royal domain.

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Evidence suggests that Augustus maintained the temple after the fall of the dynasty in 31 BC,

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but made it accessible to the general population of the city.

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As indicated by both pottery and coins. The whole complex was destroyed by natural catastrophe probably around the middle of the first century A.D.,

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leaving a thick destruction layer of accumulated limestone blocks and architectural remains,

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mainly on the western side of the island branch, as seen on the bathymetric map above.

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This is where most excavation efforts concentrated over the years.

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However, in 2024, the eastern side of the island revealed a series of clear stratigraphic levels that could be followed over a surface of about 36m².

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The deepest occupation layer for the little shimmer dates from the early third to the mid second century BC,

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presumably corresponding to the earliest phase of the temple.

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In most squares, this stratum is separated from the destruction level by a sterile some layer of running thickness,

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which is like layer three in the diagram.

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Now. One of the characteristics of the item is a high quantity of flops that were found there.

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According to the excavations database, a total of 151 ceramic oil lamps were recovered in the Port of Smugness.

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Of those, 25 were distributed in various part of the Royal Harbour.

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As indicated by the little crosses on the map.

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The. These fines range in date from the early third century BC to the fourth or possibly early fifth century A.D.

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The remaining 126 lamps were directly associated with ICM, and the majority of them came from the western side of the island, 84%.

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They were particularly concentrated over the surface of about 12m²,

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suggesting that they were stored together at the time of the building's collapse, probably in the pronouns or the front part of the cellar.

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From this same area came the remains of the only bronze lump that was found in the harbour.

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We may assume that other valuable metal lamps were also kept in the temple, as well as candles and torches,

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while the former might have been salvaged after the building's destruction.

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The latter would have not left any trace in our record.

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Whether all these lumps, ceramic or otherwise, had been purchased by the temple or with gifts from visitors remains unknown,

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but a number of Ptolemaic and Roman papyri logical sources make it clear that

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the lighting of the temples was managed from allocated supplies by priests.

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For example, a priest in charge of the lord, the god Ptah, is mentioned in a plot to register from the late second century BC in Memphis,

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and not the most pertinent example in the context of the Alexandrian Lyceum is Enoxaparin,

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because papyrus data to the first year of Octavian's rule over Egypt,

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of which you have the translation on the screen, it records an oath given by the priests Sonis and Heraclitus,

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both lamplighters to the temple of Serapis and shrine of Isis in Auxerre,

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in case they swear by Caesar, God and son of a god, that they will superintend the land of the above mentioned temples.

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Beside those reserved to the daily running of the temple.

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Lamps together with torches and candles, were essential to the lamp lighting,

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festivals and processions that were characteristic of ancient Egyptian cults and later influenced Greek, Gyptian and Roman religious practices.

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Most prominent among those linked to ISIS was a festival of the Navy aesthetics,

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which marked the opening of the navigation season in early March and serves as a background to the final chapter of The Adventures of Lucas.

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In a previous Metamorphoses written in the second century A.D., taking place in Kankara, the eastern harbour of Corinth.

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The celebration described in this book included a procession by a large group of both sexes with lamps,

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torches, candles, and every kind of man made light to honour the source of the heavenly stars.

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The high number of floors discovered in the ruins of the ISIS sanctuary ultimately

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confirms the importance of flight in the cult of the goddess for the great majority.

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So 93%. These belong to more meat types of the early Roman period, with matrix authors representing only 7% of the total lump font.

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That is, only nine individuals. Of those wheeled made lamps.

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Five were found in 2024, in the Ptolemaic level of the eastern side of the island.

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One. The first one here is of local manufacture and bears a preferring and deciphered inscription under its base.

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The other fall log will meet lots of Greek origin and correspond to early Hellenistic attic types as early as the second half of the fourth,

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but continuing into the first half of the third century BC.

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The other well-made lamps are later in date. They all come from the temple's destruction level on the western side of the island Secondary Branch,

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and belong to the later Ptolemaic or even early Roman period.

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Two are Canadian, of a type that is commonly found in the eastern Mediterranean between the late second and first century.

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The first two one on top. And which is also known from land excavation at Alexandria.

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The last one is a parallel from the Temple of Demeter on Needles.

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The third and the first from the bottom row is a Palestinian Herodian lot,

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so-called because of the because the type appearance coincides with the reign of Herod,

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and the last one is a small lock with a central tube of uncertain but pretty local origin.

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The remaining 117 lots are old, more made and come from the building's destruction levels on both sides of the island.

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Without going into intricate typological considerations.

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This diagram summarises the types, occurrence, and their frequency in a broadly chronological order.

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We can see that the great majority of the Lobs belong to types one four and Verona 21.

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Some of them have long chronological ranges, but most of the examples here date to between the Augustan period and the mid first century AD,

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hinting at the intense activity of the temple at that time.

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Five lobs are earlier at the beginning of the graph, potentially like the Wilmott types just considered dating back to the late Ptolemaic period,

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and only eight belonging to five and eight at the end of the graph are probably later than 50 A.D. this confirming the

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proposed dating of the destruction of the temple three are unique in the present context and will be discussed separately.

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Like for the Willmott examples. Only few of Egyptian manufacture, and even fewer, namely two.

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The first ones above correspond to the typical locally made late Ptolemaic models that are otherwise well known in Alexandria,

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or from sites such as Memphis.

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Hierarchical hierarchy of police magna and areas of the Fayoum chronologically consistent with these types of three efficient mode moulded lob,

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though they appear as early as the second century BC.

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In some places it is significant that they only occurred Cancri in context post dating 44 BC.

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In this respect, the chronology fits well with the post Ptolemaic phase of use of the antipodal caesium.

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The first of the unique columns with a side handle handle.

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An angular nozzle belongs to a very distinctive type dated to the Augustan period.

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It is usually ascribed an Egyptian origin because, with one exception from Delos,

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all examples with known provenance come from Egypt, where the purchased on the antiquity market or found in excavations.

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However, I have great doubts that our example is of local manufacture, because neither its fabric nor its surface treatment.

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Look at Egypt. And the second is a known early August in full Gold Cup slump, a type that is very rare,

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if not unheard of in Egypt, but more prevalent in central Italy and the western Mediterranean.

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Finally, the third is about cheap at last.

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The first one on the on the slide, possibly a fluke and manufacture,

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and most likely dating to the second half of the first century AD, only the top part of the lamp is preserved.

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It represents the boat deck with a figure sitting at its bow holding a pair of rowing blades.

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The image of a boat in the context of a temple to ISIS inevitably evokes the feast of the Navy.

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It is mentioned earlier and its description in Apollonius Metamorphoses.

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In particular, it draws attention to a passage where Lucas, stealing his donkey form,

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witnesses the arrival of the priest of ISIS, who, following the steps of the initiates.

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He describes how the first priest held a glittering lamp shaped like a golden boat,

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about a cup depending on translations, with a tall flame flaring from its central vent.

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It is not clear which material this sacred lamp was made of, perhaps gold, but certainly not ceramic.

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In spite of its relatively coarse workmanship and small size,

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a boat shepherd lamp may have been a token left by a delicate, alluding to the boat lamp of the ISIS mysteries.

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As it is. In the same spirit, other boutique clubs clearly bear a connection to the cult of ISIS Aphrodite.

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The one illustrated here, kept in the British Museum and dated to 70 to 120 AD, is 63cm long.

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Its iconography associates Dionysia imagery with a couple ISIS,

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Serapis and the Tabula and Satyr placed on the centre of its deck, mentions the epithet for the Canadian Aphrodite.

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The remaining of the moulded lot that is 109 objects refer to the Italian lock types of the first century A.D.,

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also called Medallion Lops because of the decoration they bear on their middle and on their top.

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Most of them have dimensions varying between 6 and 8cm in diameter, so fitting very nicely into the palm of her hand.

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This suggests that they were not intended as fixed objects,

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but were often carried around when lighted in or around the temple, perhaps a bit like a modern torchlight.

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The only ones that tend to be larger, sometimes considerably larger,

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are the lush 321 types, whose diameters often exceed 12cm according to its reconstruction.

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Based on the size of its reflector, the largest of all probably had a diameter of about 21cm and could hold close to a litre of oil.

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Its reflector is elaborately decorated with a bucolic scene representing Dionysus and Naxos.

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He has set aside other lamps, um, at the same scale, to see the difference in size when filled up with oil.

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This object was probably quite heavy and bulky,

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and it is more likely that it was used either the fixed light or like the boat shaped lamps of Apuleius in the framework of special ceremonies.

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This large loan offers a good example of the sometimes complex iconography that may be found on the medallions of these objects.

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If we divide them by theme of representation, we see that 27 have no decoration, oh no extent decoration.

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This relatively high number can be explained by the presence of fragmentary lobes whose decoration was not preserved.

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As well as by the fact that early Brauner 21 laps of the late first century BCE and early first century A.D. generally had plain,

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undecorated medallion. 36 lobes of, uh, assemblage have none figurative of floral motifs like phrase OVS.

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A contest. Leaves. Petals. 16 lamps bear animal representations.

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Either real or mythological animals. Here we have lions, eagles, the dog, a cockerel, and a frieze of mythological, terrestrial and marine animals.

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Only two lobes are erotica and one is a fragment of daily Scene.

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14 have religious themes often like the lounge reflect reflector mentioned earlier, linked with a Dionysus circle like panthers with cancer.

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Really? Um, meant, um, satires.

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A Novartis figure of possibly ISIS.

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And 15 have gladiatorial subjects.

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Generally single gladiator. All combat scenes.

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Some of these categories have obvious connection with a cult of ISIS, but for others the link is more tenuous to say the least.

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This is particularly the case for the last of My categories,

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which is a small group of five objects that can that seem to convey a political or ideological message,

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emphasising the power through in spite of their presence in a temple to ISIS.

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These Lobs have no regard whatsoever for either Egyptian or Greek education sensibilities or religious notions.

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Quite on the contrary. The first three are all related to Victoria.

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Who, like the gladiators, is a very common subject on lamps throughout the Mediterranean.

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One representation shows the goddesses attributes and the other two her personification on the first and Augustan luck.

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One Lord, the goddess standing on the globe and on the other, which is a large brunette 21 reflector to meet first century A.D. or later.

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She's holding a shield that bears the remains of an inscription reading up Key West servants for having saved the citizens.

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This phrase goes back to Augustus. It is found in his coinage and was recycled on coins of the use in this position.

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Parallels to the image of Victoria. We see inscribed shield unknown elsewhere on lots of the adjustment period.

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It was suggested that such images of Victoria, in particular the one standing on the globe, are allusions,

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if not reproductions, of the statue that was erected by Augustus in the Roman Curia after his victory at Actium.

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The next image is on a small site sized lush CA1 log.

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It illustrates the patriotic tale of Marcus Cook, Your Sacrifice, known to us from Leavitt's Book seven.

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As the story goes in 362 BC, in the early Republican period, a large sinkhole opened in the Roman Forum,

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and the gods demanded that Rome sacrificed her most precious possession to save the city.

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A young lawyer named Marcus Curtius declared that nothing was most precious to Rome.

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Then arms and valour mounted on his horse and dressed for battle.

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He plunged into the chest, thus saving the city.

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The image of the warrior raising his spear with his cape flapping in the wind and his horse bending his right front leg and his foal,

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was a popular iconographic iconographic motif in early Imperial Rome.

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He owned a relief from the Roman Forum.

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Finally, the last lob which I placed in this category is a large prawn, a 21 type that bears a very enigmatic scene.

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We see a naked and unkept bearded man, armed with a sword and carrying a weight behind his round shield.

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Facing him is a godlike figure of a clean shaven young man with short hair, also naked, but for the fool, the drapery over his shoulder.

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He repels or moves the shield, but without showing any aggression.

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So far I have not found a good parallel for this image, whether on Lance or elsewhere.

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In the absence of a more suitable interpretation, we may understand the scene as an allegory of the Emperor pacifying the barbarians,

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and it may just be considered together with a pro Roman ideology.

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Subjects. Now to conclude the lump.

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Lump finds from the untutored assume spanned from the still mysterious earliest phase of the temple in the mid third and second century BC to its

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destruction around the mid first century A.D. the dense concentration of lumps within a single context is exceptional in an Egyptian setting,

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even from an Alexandrian perspective, and further supports the religious character of the site.

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The dominance of Italian type lumps in the early MP appeared, most of which were imports from Italy or East.

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Greece is also significant, while some, often East Greek in origin, allude to the Greek or Egyptian nation of ISIS and also in his own music form.

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Others bear typical Roman motifs such as animals, gladiators, or themes glorifying the new ruling power.

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Our picture is partial because we only have clay lumps remaining, which is a cheapest kind of lighting implements,

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and we miss the more expensive metal models, which may have been more directly related to the cult of ISIS.

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Nevertheless, the small clay lumps, probably dedicated by individuals, also translate to political realities of the time.

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They are not an important chronological marker for the temple and its history,

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but through their origin and iconography are also the reflection of diverse traditions and ideologies that

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allow us to evoke the long gone individuals who used them and the world they belong to in their own ways.

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They illustrate some aspects of the assimilation of traditional Ptolemaic cults into the Roman world,

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and echo the excellent papyrus mentioned earlier,

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where the two lamplighters of Isis and Serapis do not only swear their oaths of service to the overseer of the temple,

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but first and foremost to Caesar himself,

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thus acknowledging him from the very start as a new supreme ruler of the country for both secular and religious matters.

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Thank you for your attention.