The volume contains a short introduction, a classification by types, a critical catalogue, a register of the dated contexts, concordances and indexes, and an excursus by T. B. L. Webster on the theatrical figurines. Nearly half of the 1,100 items are illustrated with photographs. The subjects of the (mostly fragmentary) figurines are revealing. To the Greek deities of earlier times are added Oriental figures like Serapis, Isis, Harpokrates, Attis, as well as Egyptian priests and Asiatic dancers. The molded "plastic" lamps that are included in this volume were probably made in the same workshops as the figurines.

Nearly 3,000 specimens of lamps of Roman character are catalogued in this volume that covers the period from the 1st century B. C. to the 8th century A. D. The lamps are not easy to classify because the appearance of the clay used is not an infallible guide to the place of manufacture and the molds used to create the shapes were used widely around the Mediterranean. Terracotta lamps were probably made for local consumption in most cities of Greece; only a few centers, notably Athens and Corinth, developed an export trade capable of competing with local manufacturers. Since lamps from Athens do appear at other sites, the presentation of a well-dated sample of these finds provides useful reference material for scholars working at other sites.

The volume contains a short introduction, a classification by types, a critical catalogue, a register of the dated contexts, concordances and indexes, and an excursus by T. B. L. Webster on the theatrical figurines. Nearly half of the 1,100 items are illustrated with photographs. The subjects of the (mostly fragmentary) figurines are revealing. To the Greek deities of earlier times are added Oriental figures like Serapis, Isis, Harpokrates, Attis, as well as Egyptian priests and Asiatic dancers. The molded "plastic" lamps that are included in this volume were probably made in the same workshops as the figurines.

Situates the study of Roman sculpture within the fields of art history, classical archaeology, and Roman studies, presenting technical, scientific, literary, and theoretical approaches.

The main purpose of this book is to present a catalogue of the terracotta lamps and moulds used for their production, excavated from the site of Negotino Gradište in the Republic of North Macedonia during excavations conducted by Macedonian and Polish archaeologists over the period from 2007 to 2014. The volume starts with an introduction giving basic information about the site and some summary information about lamps in antiquity. The catalogue consists of 157 artefacts, which are grouped chronologically and then typologically. The book contains drawings and photographic plates, which are presented at the end of the volume. With full responsibility I can unequivocally state that the book presents a very high scientific level. The material is clearly presented by the Author, who constantly shows her extensive knowledge of the subject. This is a very good and well-composed publication. From Prof. Piotr Dyczek’s review The catalogue prepared by Dorota Sakowicz is a valuable lychnological study. (...) I have no doubt that this is a very important book which will be used by both archaeologists and historians dealing with ancient Balkans. From Prof. Tomasz Scholl’s review

English summary: The catalogue of all the Egyptian terracotta objects of the Hellenistic and Roman periods in the Museum of Fine Arts, Budapest. The presentation of the individual pieces includes a full discussion of their relative chronology and their iconography. Since the material is mostly of unknown provenance, it has been possible to propose a dating almost exclusively on the basis of careful stylistic analysis. Italian description: La catalogazione di tutti gli oggetti in terracotta egiziani di epoca ellenistica e romana conservati nel Museum of Fine Arts di Budapest. La presentazione dei singoli pezzi comprende unampia discussione sulla loro cronologia relativa e sulla loro iconografia. Trattandosi infatti per la maggior parte di materiale di cui non si conosce la provenienza, e stato possibile proporre una datazione quasi esclusivamente sulla base di unaccurata analisi stilistica.