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The study examines 18 terracotta lamps housed at the Fethiye Museum and obtained by confiscation or purchase. Nos 9, 11, 12, and 17 were recovered from Esenköy (Fethiye District), while No. 15 was found during excavations at the Telmessos theater. Findspots of the remaining lamps are unknown. Instead of creating new types or groups for this museum assemblage, it was deemed more appropriate to analyze it according to a typology developed in previous comprehensive studies. Hence, lamps dated to the 5th–7th centuries AD were studied according to the Cibyra lamp typology. Nos 1–7 are wheel-made lamps (Kbr-T10), very similar to one another in form. The other 11 are mold-made and represent subgroups of type Kbr-T26. Unlike the wheel-made examples, the lamps produced using molds vary in form and decoration. Although the findspots of most of them are unknown, the characteristics of clay and form of specimens in this assemblage suggest that they were produced in the same place or even the same workshop.

The study examines 18 terracotta lamps housed at the Fethiye Museum and obtained by confiscation or purchase. Nos 9, 11, 12, and 17 were recovered from Esenköy (Fethiye District), while No. 15 was found during excavations at the Telmessos theater. Findspots of the remaining lamps are unknown. Instead of creating new types or groups for this museum assemblage, it was deemed more appropriate to analyze it according to a typology developed in previous comprehensive studies. Hence, lamps dated to the 5th-7th centuries AD were studied according to the Cibyra lamp typology. Nos 1-7 are wheel-made lamps (Kbr-T10), very similar to one another in form. The remaining 11 are mold-made and represent subgroups of type Kbr-T26. Unlike the wheel-made examples, the lamps produced using molds vary in form and decoration. Although the findspots of most of them are unknown, the characteristics of clay and form of specimens in this assemblage suggest that they were produced in the same place or even the same workshop. [ABSTRACT FROM AUTHOR]

The Forcart collection of Ptolemaic, Roman and Late Roman lamps from Fayum is today the largest single-collector Egyptian lychnological corpus owned by a Swiss public institution, the Geneva Museum of Art and History, which acquired it in 1923. The importance of the 145 lamps in this collection is twofold. Firstly, all the artifacts were offered to Max Kurt Forcart by the different directors of excavations operating legally in the Fayum area during the first two decades of the 20th century, giving us a clear—even if generic—finding area, contrary to collections purchased from the various antiquaries. And secondly, even if incomplete compared to the richness and diversity of the Fayum workshops, the chronological and typological range it covers makes it a perfect companion to the only two published and illustrated lamp catalogs of regular excavations made in the area: the early 1900s work of W.M.F. Petrie at Ehnasya and the later investigations by the University of Michigan team at Karanis. Also highlighted are the unique Fayum fashions and approaches to the importation, adoption or rejection of common types found in the Nile Delta, as well as the emergence of typically microregional subtypes as discussed by John W. Hayes.

The paper is an off-shoot of the author's PhD project on lamps from Roman Syria (at the University of Geneva in Switzerland), centered mainly on the collection preserved at the Art Museum of Princeton University in the United States. One of the outcomes of the research is a review of parallels from archaeological sites and museum collections and despite the incomplete documentation i most cases, much new insight could be gleaned, for the author's doctoral research and for other issues related to lychnological studies. The present paper collects the data on oil lamps from byzantine layers excavated in 1932–1939 at Antioch-on-the-Orontes and at sites in its vicinity (published only in part so far) and considers the finds in their archaeological context.