Oil Lamp with abduction of Europa decoration Roman Empire, 1st - 2nd century AD Pottery 12 cm larg and 9,5 cm width PROVENANCE: Private collection, France , 1970 – 1980. Acquired from the french art market. CONDITION: Good, intact, see photos. The myth of the Rape (or Abduction) of Europa is one of the most well-known stories in Greek mythology and was widely represented in ancient art. Europa was a Phoenician princess, the daughter of King Agenor of Tyre. According to the myth, the god Zeus saw Europa while she was playing with her companions on the seashore and immediately fell in love with her. In order to approach her without causing fear, Zeus transformed himself into a beautiful white bull. The animal appeared gentle and calm, attracting Europa’s curiosity. She approached the bull, admired its beauty, and eventually climbed onto its back. At that moment, Zeus suddenly ran toward the sea and swam away, carrying Europa across the water. The bull swam all the way to the island of Crete. Once they arrived, Zeus revealed his true identity to Europa. According to the myth, Europa later became the mother of several important figures, including Minos, who would become the legendary king of Crete. This myth was very popular in ancient Greek and Roman art. It appears in vase painting, sculpture, mosaics, and relief decoration, where Europa is often shown riding the bull across the sea, sometimes surrounded by waves, dolphins, or sea creatures. The story symbolized divine power, transformation, and the connection between the eastern Mediterranean and the Greek world. Terracotta lamps, commonly known as “lucernas,” were an essential element of daily life in the Roman Empire. These small oil lamps provided light in homes, workshops, temples, and public spaces. Made primarily from terracotta, a type of fired clay, they were relatively inexpensive to produce and widely accessible across different social classes. Their practicality, combined with artistic decoration, made them both functional and decorative objects in Roman material culture. Roman terracotta lamps were typically made using molds, a technique that allowed artisans to reproduce the same design many times. The process involved pressing clay into a two-part mold, which formed the upper and lower sections of the lamp. After drying, the two halves were joined together, leaving a central hole at the top for pouring oil and a small nozzle where the wick would be placed. Once assembled, the lamp was fired in a kiln to harden the clay. One of the most distinctive features of these lamps is their relief decoration. The upper surface, known as the discus, often displayed detailed scenes created directly in the mold. These relief images could represent mythological figures, gods and goddesses, animals, gladiatorial combats, theatrical masks, or everyday activities. Some lamps also depicted symbols associated with religion or protection, reflecting the beliefs and cultural values of Roman society. The relief decoration served several purposes. It enhanced the aesthetic appeal of the lamp, but it could also communicate messages about identity, status, or personal devotion. For example, a lamp showing a deity might indicate the owner’s religious preferences, while scenes of gladiators could reflect the popularity of public spectacles. Archaeological discoveries across the Roman world—from Italy to Hispania, North Africa, and the Near East—demonstrate the widespread use of these lamps. Their standardized forms and decorative motifs also help archaeologists date archaeological contexts and understand patterns of trade and cultural exchange within the empire. Thus, terracotta lamps with relief decoration illustrate how everyday Roman objects combined utility, artistic expression, and cultural meaning.