TIHAMÉR

SZENTLÉLEKY

ANCIENT LAMPS
I
 X . SZENTLÉLEKY

ANCIENT L A M PS
M onum enta Antiquitatis H u n g a ric a I.

The w o r k contains descriptions of

the n u m ero u s ancient lam p s th at have
been preserved in H u n g a ry . As a
basic p o i n t of selection has been kept
in view b y the author th a t o n ly such
pieces should be elaborated in this
m onograph as have been registered
from places of provenience falling
outside th e borders of t h e ancient
Rom an province P a n n o n ia. Each
characteristic group of t h e period
from t h e fifth century B .C . to the
sixth cen tu ry A.D. has b e e n repre­
sented in the publication. From
among the Hellenistic la m p s those
with decorated shoulders and side
lugs a r e worthy of special mention:
in the ensemble of the e a r ly imperial
period, the lamps of C y p r ia n origin,
while i n the collection o f the late
im perial centuries, those term ed frog
lamps a n d the African la m p s are out­
standing. The material o f b ro n z lamps
is also significant on a c c o u n t of both
the n u m b e r and the q u a lity of the
specim ens described.

A K A D É MI A I K I A D Ó
Budapest
A N C I E N T LAMPS
 M O N U M E N T A ANTI QUI TATI S
EX TRA FINES HUNGÁRIÁÉ REPERTA

QUAE IN MUSEO ARTIUM HUNGARICO ALIISQUE MUSEIS

ET COLLECTIONIBUS HUNGARICIS CONSERVANTUR

REDIGIT

J. GY. SZILÁGYI

Vol. I.

A N C IE N T LAMPS

Г ^~ ~ Ч

A K A D É M I A I KI ADÓ, B U D A P E S T 1 9 6 9
ANCIENT LAMPS
by

TI HAMÉR SZENTLÉLEKY

AKADÉMIAI KI ADÓ, BU DA P ES T 1 9 6 9
 Revised
by
В. É. BŐNIS and J. GY. SZILAGYI

Translated
by
Ár p á d debreceni

Translation revised
by
D. M. BAILEY

© Akadémiai Kiadó, Budapest 1969

Joint edition by Akadémiai Kiadó, Budapest

and Adolf M. Hakkert Publisher, Amsterdam

Printed in Hungary
 CONTENTS

In tro d u ctio n ............................................................................................................................ 7

Preface ............................................................................................................................... IS
A b b rev iatio n s........................................................................................................................ x9
A. Clay Lamps ......................................................................................................................21
I. Phoenician and Carthaginian lamps (by J. Gy. S z ilá g y i).....................................21
II. Wheel-made Greek and Italic lamps, fifth and fourth centuries B.C............... 27
1. Round-bodied, watch-shaped l a m p s .......................................................................27
2. Round, flat-bodied lamps .................................................................................. 31
3. Round lamps with concave sides, narrower atthe rim than the base . . . . 35
4. Globular l a m p s ..........................................................................................................37
5. “Padlock” lamps ......................................................................................................39
III. Moulded lamps ........................................................................................................... 43
(a) Hellenistic l a m p s ......................................................................................................43
1. Lamps with one side lug .............................................................................. 43
2. Lamps with decorated shoulders and side l u g s ....................................... 45
3. Round Hellenistic lamps ...............................................................................49
(b) Roman imperiall a m p s ............................................................................................ 53
1. Lamps with round bodies, rounded nozzle-terminations and side lugs . . 53
2. Bird’s head lamps ...........................................................................................57
3. Large lamps withvoluted n o z z le s .................................................................... 61
4. Volute lamps with angular nozzle-term inations............................................ 67
5. Bull’s head l a m p s .............................................................................................. 73
6. Volute lamps with curved nozzle-term inations............................................ 75
7. Lamps with round nozzle-terminations and extended v o l u t e s ............... 77
8. Lamps with round nozzle-terminations and nozzle-volutes merging
into the s h o u ld e r .......................................................................................... 81
9. Human head-shaped lamps ...........................................................................85
10. Factory-lamps ...................................................................................................89
11. Lamps with round nozzle-terminations, without v o lu te s ............................ 95
12. Round lamps of Greek origin ................................................................. 105
13. Lamps of the third century A.D ............................................................. io 9
14. Lamps with two or more w i c k s ..............................................................1 ’ 5
15. Asia Minor lamps .........................................................................................n 9

5
 16. Frog lamps . . . . I21
17. African lamps . . . . 125
18. Syrian-Palestinian lamps 129
19 . Late imperial lamps 131
(c) Miscellaneous lamps . . 133
B. Lamp stands and lamp handles 137
C. M o u l d s ........................................ 139
D. Bronze l a m p s ............................ 141
In d e x e s ............................................... 149
Museums and collections 149
Proveniences ............... 152
Signatures and inscriptions 152
Names and subjects . . 153
Plates ............................................... 159

6
 INTRODUCTION

The systematic collection of ancient objects in Hungary can be traced back to

the time of the Renaissance. However, the collection of the Renaissance court and
the collections of aristocrats during the two subsequent centuries had no continuity
in Hungary. These collections were mostly scattered or taken abroad, often as a
result of Imperial confiscations of property1. Up to the middle of the 18th century
objects of both religious and profane nature were collected, but always with the
emphasis on their practical character and value; very little ancient material fell into
these categories, and these early collections did not contain any notable ancient
object. In the second half of the 18th century the commencement of a more earnest
approach to the collecting of ancient artifacts in Hungary are contemporaneous
with the beginnings of collection with an aesthetic purpose and with the spread of
collecting among a wider circle, at least in the lesser nobility.
In the 19th century also the collection of ancient art flourished2. However, a con­
siderable part of the material collected at that time continued to be taken out of the
country, partly because Hungarian aristocrats often moved their residences abroad
and partly as a result of the activities of art-dealers. Another reason was the lack of
generosity on the part of the Hungarian State. Thus, the by far most significant
Hungarian Graeco-Roman collection, the Fejérváry—Pulszky collection3, was put
up for auction in Paris in 1868, and the ancient bronze objects of the Rath collection
had the same fate in 18914.
A significant part of the Hungarian private collections was gradually taken over
by the Hungarian National Museum, founded in 18025. These collections consisted
primarily of ancient objects unearthed in Hungary, but besides these, mostly for

1 For the history of collection of ancient objects in Hungary cf. G. Entz, A magyar
műgyűjtés történetének vázlata 1850-ig (An Outline of the History of the Collection of Art-
Objects in Hungary up to 1850). Budapest 1937. 8—31 (in Hungarian).
2 Cf. G. Entz, Arch. Ért. 52 (1939) 277—279.
3 E. Henszelmann, Catalogue of the Collection of the Monuments of Art formed by the
late Gabriel Fejérváry of Hungary, London 1953; F. Pulszky, Catalogue of the Fejérváry
Ivories in the Museum of Joseph Mayer, Liverpool 1856; Pulszky Ferenc műgyűjteményének
jegyzéke (Catalogue of the Art Collection of Ferenc Pulszky). Pest 1868 (in Hungarian).
* The Sotheby auction of 18th June 1891; a catalogue was made to the auction: Catalogue
of the Collection of Ancient Bronzes, formed by Georges von Ráth of Buda-Pesth, London
1891.
5 For the history of the Hungarian National Museum see the work published on the
occasion of the centenary of the existence of the museum: A Magyar Nemzeti Múzeum

7
curiosity’s sake, some examples of foreign origin were included, as souvenirs of
journeys abroad. In the last third of the century, certain departments of the rapidly
developing Hungarian National Museum began to be transformed into separate
museums. The Museum of Applied Arts was founded in 1873 and at the time of
its foundation a considerable part of the then available classical material in the Hun­
garian National Museum was transferred to it, while the Egyptian antiquities col­
lected by travellers and romantic collectors were divided between the Antiquities
Department of the Hungarian National Museum, and the Ethnographic Collec­
tion, which later became the Ethnographical Museum. After the foundation of
the Museum of Applied Arts antiquities of foreign origin came to the archaeological
department of the Hungarian National Museum only occasionally, by way of con­
tinually decreasing donations, like the rich ancient bronze collection of the painter
I. Delhaes, who resided in Vienna, which was bequeathed by the artist to the museum
in 1901. The scientific excavations started by the archaeological department of the
National Museum in 1847 opened up a new source for increasing the archaeological
collections and were most successful from the scientific point of view. As a result of
this the outlines of the real purpose and scope of collection of what was to be the
Hungarian Historical Museum were drawn up more and more clearly. The museum
gradually began to become the central repository of material relating to the ancient
history of the Hungarian territory.
A third group of Hungarian collections of the last century which contained ancient
material came to provincial museums, which at that time were entirely independent
from the Hungarian National Museum. Such was the very important collection of
the painter A. Haán, acquired by purchase in Italy between 1850 and 1860е, which
was taken over by the Gyula Museum and, similarly, the collection of F. Déri,
purchased between 1910 and 1920, mainly from art-dealers in Vienna and Munich,
which was obtained by Debrecen in 1920 as the donation of the collector.
Finally, some of the 19th century Hungarian antiquity collections continued to
remain in private hands during the course of the century. Among these are few col­
lections which were started before the middle of the century, since they seldom
remained intact through several generations. Among the Hungarian private collec­
tions existing at the end of the century the more important ones were established in
the second half of the century, some within the circle of the aristocracy, which had
an opportunity for collection in connection with the holding of high state offices,
but mainly within the circle of the rich and increasingly cultured middle classes and
among scientists and artists going abroad. Among the former group belongs the
collection from Cyprus acquired by Count F. Zichy during his consulship at Con­
stantinople in the 60s, partly through his own excavations. Among the latter belongs
the material collected, mainly on the spot, by the Hungarian engineer P. Gerster,

múltja és jelene (Past and Present of the Hungarian National Museum), ed. J. Hampel.
Budapest 1902 (in Hungarian).
* Cf. J. Gy. Szilágyi, Acta Antiqua Hungarica 1 (1951) 113—117.

8
supervising the construction of the Corinth Canal; the ancient objects purchased in
Carthage and Sicily by F. Hopp, during one of his trips in the Mediterranean,
in 1897; and the collection of Gy. Rath.
The period during which these collections were put together extended into the
first decade of the 20th century and at this time was formed the collection of
Zs. Beöthy, Professor of the history of literature, the only significant Egyptian
private collection in Hungary7, and also the rich ancient pottery collection of
V. Wartha, Professor of the Polytechnical University, who died in 1922. The latter
was almost the only Hungarian private collection of this period in which the collec­
tor was governed by scientific method. He set out to collect characteristic specimens
of all known early techniques for his investigations in the history of ceramics and
research into its manufacture. Beöthy, and subsequently F. Déri, wanted to achieve
with their collections a certain degree of completeness, bearing in mind the purposes
of university education. In other cases, however, the collections were brought about
either by a single occasional acquisition (collections of Zichy and Gerster), or the
ancient material was only an insignificant, almost accidental, addition to collections
of a different character (for example in the case of F. Hopp and Gy. Rath). In other
cases, foreign material, also acquired almost accidentally, was added to collections
consisting mainly of Hungarian antiquities. The guiding standpoint of the artists’
collections was naturally subjective and aesthetic.
This widely scattered, confused material of very diverse value did not seem to be
suitable to serve as the basis of a uniform, larger public collection. Thus, when in
1896 the foundation of an independent Museum of Fine Arts was decided upon,
the idea was not put forward to collect there even the ancient material kept in the
various state museums. The antiquities collection was not included in the plans even
during the ten years which elapsed before the opening of the museum in 1906 and
which were used for acquisition and organization; in fact, at the outset, the museum
was designed for the purpose only of setting up a collection of plaster casts for edu­
cational purposes, substituting these for original specimens.
This situation would hardly have changed if there had not appeared a Hungarian
expert of wide intellectual horizon, who recognized not only the incorrectness of
this principle, but also the fact that the last moment had arrived for the setting up of
a significant antiquities collection in Hungary. This scientist, to whom the Depart­
ment of Ancient Art of the Museum of Fine Arts is indebted for its foundation and
for its most important material up to the present time, was Antal Hekler8. He had
not only a thorough scientific grounding, but also good connections and, last but
not least, he had the enthusiasm and energy resulting from his love for the cause,
which enabled him to carry through his aims. It is to his personal merit that, in
1908, the Museum purchased from Paul Arndt a collection consisting of 135 ancient

7 For its detailed description see E. Mahler, Beöthy Zsolt egyptologiai gyűjteménye
(The Egyptian Collection of Zsolt Beöthy). Budapest 1913 (in Hungarian).
* See Z. Oroszlán, A. Hekler. Arch. Ért. 1940, 101—116; N. Láng, L’oeuvre d’un archéo-
logue. Nouvelle Revue de Hongrie 67 (1942) 239—253.

9
marbles, which is the basis of the antiquities collection of the Museum and to which
the collection is indebted for its international fame9. A further result of connecti­
ons acquired during his student years in Munich was that in 1913, through the medi­
ation of Hekler, the Museum purchased from Arndt a terracotta collection consis­
ting of 650 pieces10. The marbles and the terracotta collection were assembled by
A rndt in an effort to attain some historical completeness, and were thus ideal for
museum purposes.
During the four years spent in the Museum, in the period from 1914 to 1918,
Hekler, in accordance with his original plan, endeavoured to develop the marble
collection to give a broad picture of the development of ancient sculpture, through
the acquisition of certain outstanding pieces. Hereafter, on account of the political
and economic difficulties following the war, the collection was enriched only by a
few donations, including 14 vases belonging to the art collector, Marcell Nemes,
w hich for a time stocd quite alone among the collections of plastic art. The inter­
national activity of art-dealers in large-scale ancient sculptured items was generally
decreasing, and a further important piece was not obtained from abroad until 1928,
w hen a 4th century grave relief with three figures was acquired, again from Arndt,
through the mediation of Hekler11. Otherwise, between 1918 and 1936 the activity
of collecting was almost discontinued and also, after 1936, in a period of ten years,
only a few pieces of minor significance were purchased by the Museum. During
this time, as a result of lack of proper official support and funds, it was impossible
to prevent seme important private collections going abroad. Among these were the
marble material from Thasos belonging to A. Zsolnay12, the above-mentioned col­
lection of Zs. Beöthy and the collection of E. Kovács-Karap, containing about
2000 gems.
However, as far as the collection of ancient objects by the Museum of Fine Arts
was concerned, a change was brought about by the Museums Law of 1934, which
provided for the delimitation of the spheres of collecting of the National Museums
and designated the Museum of Fine Arts as the central collection of all ancient mate­
rial — with the exception of the Far East — found outside the territory of Hungary
and showing no direct relationship with material from Hungary. This Law, although
lim iting the scope of acquisition, rendered possible the further development of the
antiquities collection of the Museum of Fine Arts through the transfer of objects
kept in the other National Museums, and largely neglected, remaining unexhibited
and unpublished. The first visible result was the realization of an old plan, whereby,
in the antiquities section of the Museum in 1934, an Egyptian and Near Eastern Col-

9 Its complete scientific catalogue was published by A. Hekler, Museum der Bildenden
Künste in Budapest, Die Sammlung antiker Skulpturen. Wien 1929.
10 See the catalogue of Z. Oroszlán, Az О. M. Szépművészeti Múzeum antik terrakotta­
gyűjteményének katalógusa (Catalogue of the Ancient Terracottas of the Hungarian Museum
of Fine Arts). Budapest 1930 (in Hungarian).
11 A. Hekler, Pantheon 1929, 518—519; H. Diepolder, Die attischen Grabreliefs. Berlin
1931 - 55 and pi. 49,2.
12 Cf. A. Hekler, Arch. Anz. 1921, 297—308.

10
 lection was formed through the acquisition of the available material kept in public
collections. The development of this collection, organized later on as a separate
department, became now one of the duties of the Museum13.
Owing to financial reasons, however, there was hardly any possibility for pur­
chases abroad, and the outbreak of war prevented this also. On the other hand, the
activities of local art-dealers were very small, because the collecting of ancient objects
in Hungary was not popular, even between the two wars. Collections formed before
the first war were very seldom continued, and their contents were either taken
abroad, or brought to museums; some of them were kept hidden by the owners’
heirs, who scarcely knew their value. New, smaller collections were founded in the
circles of the more affluent citizens, scientists and artists, mainly as a result of trips
abroad and, on a smaller scale, through local art-dealers, with moderate financial
means; but this did not create a high turnover of art-objects in the trade, and this
situation did not change even after the end of the Second W orld War.
From 1948, the Museum of Fine Arts has energetically pursued the development
of its antiquities collections. The first task was the enforcement of the Law of 1934.
In the course of this the transfer of a considerable quantity of material from the Hun­
garian Historical Museum, and from the Museum of Applied Arts, was carried through
continuously. From the former, besides antiquities from sporadic donations, the
Delhaes collection and F. Hopp’s collection of Carthaginian and Sicilian antiquities
came to the Museum of Fine Arts, and from the latter, the small plastic and vase
material acquired by B. Procopius, mostly in Greece, and left by him to the Museum
of Applied Arts, and also the part of Zichy’s Cypriot collection which was donated
by the collector to that museum.
After 1948 the collections of the Museum of Fine Arts were also increased by
material from other public collections. The provincial museums, which now came
under a common administration with the National Museums, one by one gave to
the Museum of Fine Arts their Egyptian, Greek and Roman objects which did not
belong to their sphere of collection, being in startling contrast with their main mate­
rial and, in their isolation, not considered to be instructive. Among these was the
collection of A. Haán, which was hitherto kept by the Gyula Museum. The only
provincial museum which maintained its Egyptian, Greek and Roman material was
the Déri Museum of Debrecen. The antiquities collection of this museum was the
only one which was suitable for independent exhibition14*.
After 1948, the material of the collection of Gy. Rath which was not sold at the
London auction of 1891 (including a few pieces of the Fejérváry—Pulszky collection)
also came to the Museum of Fine Arts. This was, in the main, formerly kept in a
separate museum bequeathed by the collector to the State and named after

13 For the first scientific description of the new collection see Z. Oroszlán—A. Dobrovits
Az egyiptomi gyűjtemény, Vezető (The Egyptian Collection, Guide). Budapest 1939 (in
Hungarian).
14 A short informative catalogue of the collection was edited by F. Déri, A debreceni
Déri Múzeum gyűjteményeinek leírása (Description of the Collections of the Debrecen Déri
Museum). Debrecen 1922. 59—89, 109—h i , 300—313 (in Hungarian).

11
him 15. A former request by the Museum was now finally realised: the vase collec­
tion of Count S. Apponyi, left in 1924 to the Széchenyi Library, and which hitherto
had been locked away there, was brought over to the Museum, and the ancient
objects from the material of the V. W artha collection of ceramics, kept since 1922
in the attic of the Polytechnical University, were now also given to the Museum of
Fine Arts.
The material of a few major private collections came to the Museum by legacy,
thus, for example, the valuable gems and jewellery collection of Professor Rhouso-
poulos Rhoussos, acquired in Greece before the First W orld War, and also the
ancient objects collected as souvenirs of the Mediterranean trips undertaken by
J. Fleissig, who died during the war, which were donated to the Museum by the
heirs. Ancient objects still available in private collections and with art-dealers were,
from this time, acquired by the Museum under a systematic purchasing policy.
In this way, there came to the Museum in succession a considerable part of the
Cypriote antiquities of the Zichy collection, belonging to the heirs, Gerster’s Corin­
thian collection and most of the pieces of Hekler’s private collection16.
As a result of the above-mentioned acquisitions, the antiquities collections of the
Museum of Fine Arts, limited for a long time only to plastic material, have become
very diverse and also increased considerably with regards to the number of objects.
The number of ancient objects kept in the Museum of Fine Arts is at present about
7 50017. As we have already mentioned, the only other public collection of anti­
quities of foreign origin kept in Hungary is the considerably smaller amount of
material now in the Déri Museum of Debrecen. As can be seen from the above,
almost all Hungarian private collections containing material of this character fol­
lowed the general trend and came gradually to the Museum, partly before and
partly after the War. Among the collections dating from the prewar period, only
the collection of Dr L. Basch contains today important ancient material origina­
ting from territories outside Hungary. Besides this, however, as a result of the in­
creasing opportunities of trips abroad, new private collections started to develop,
in the first place in the possession of experts dealing professionally with ancient
cultures. In recent years new sources have been opened for the development of
antiquity collection in Hungary. Hungarian scientists succeeded for the first18

18 Cf. E. Radisics, Musée Hongrois des Arts Décoratifs, Guide du Musée Georges Ráth.
Budapest 1906.
16 The Hekler collection was published by G. Erdélyi, Antik emlékek egy magyar gyűj­
teményben (Ancient Objects in a Hungarian Collection). Antiquitas Hungarica 2 (1948)
48—69 (in Hungarian).
17 O n the history of the collection of antiquities of the Museum of Fine Arts see J. Gy.
Szilágyi, in the memorial volume entitled “ A Szépművészeti Múzeum 1906—1956” (The
Hungarian Museum of Fine Arts 1906—1956). Budapest 1957. 60—86 (in Hungarian) and
idem, Bulletin du Musée Hongrois des Beaux-Arts 4 (1954) 52—56. For the most important
objects of the two departments of antiquities see the short guides by E. Varga—W . Wessetzky,
Szépművészeti Múzeum, Egyiptomi Kiállítás, Vezető (Museum of Fine Arts, Egyptian Art,
Guide). Budapest 1966 (in Hungarian) and J. Gy. Szilágyi—L. Castiglione, Museum der
Bildenden Künste, Griechisch-römische Sammlung, Führer. Budapest 1957.

12
time in 1959 in making systematic purchases in Egypt to fill gaps in the Egyptian
collections of the Museum of Fine Arts with objects originating from periods
which, formerly, were not at all or hardly represented in Budapest. Also obtained
were individual pieces of great artistic value, which increased the international
standing of the collection. These purchases also included, of course, Greek and
Roman material from Egypt.
Another method for the acquisition of ancient objects, which had not been tried
before, was introduced in 1965, when for the first time, Hungarian archaeologists
carried out scientific excavations in the territories of the great ancient cultures of the
Mediterranean. The Nubian salvage excavations created the opportunity for a pio­
neering expedition. It is hoped that this will be followed by a series of further exca­
vations. The material from these, however, although it enriches the collection of
the Museum of Fine Arts, will, of course, be published, not in the framework of
this series, but in the complete scientific publication of the excavations.
★

It has resulted from the above situation that, in the course of the preliminary
discussions on the publication of the material of the antiquities collections of the
Museum of Fine Arts, the question was raised about the method of delimitation of
the catalogues to be prepared. It was obvious from the very beginning that the pub­
lication of the ancient material authentically found in Hungarian territory docs not
fall into the scope of the present series of catalogues. At the same time, as a result
of the history of antiquity collection in Hungary, as described above, in the case of
pieces, often without authentic proveniences, purchased from Hungarian or Viennese
art-dealers, it cannot always be decided with certainty whether they were found
in Hungarian territory or not. In the second half of the last century and in the first
decades of this century clandestine excavations were still very frequent in Hungary,
the material from which was put on the market, partly by foreign, often Viennese,
art-dealers. On the other hand, the names of certain Pannonian sites (primarily
Brigetio, Intercisa, Savaria) have become so fashionable with collectors that art-
dealers preferred to mark their goods with these sites, sometimes without any justi­
fication. With some of the Roman material (principally the lamps, glassware and
bronze objects) the determination of the manufacturing workshop is in many cases
not possible from the investigation of isolated individual objects, and in Pannonia
we have also to consider the large-scale importation of artefacts. Thus, in the course
of the enforcement of the Law of 1934, the Hungarian Historical Museum has
followed the practice of collecting all relics from Hungarian territory, but has given
all such ancient material to the Museum of Fine Arts, where a Pannonian prove­
nience appears to be unproved. Since the objects of such character have been omitted
and will necessarily continue to be left out from the corpora of the Pannonian
monuments, it seemed to be expedient that such doubtful pieces should be published
within the framework of this series of catalogues, in order to be made available for
further investigation. Thus it is possible, and may in some cases be eventually proved,
that certain objects of Roman applied art, which will be published in this series
13
of catalogues, are of Pannonian origin, although the authentic records or evidence
regarding them are missing. In cases, on the other hand, where a corpus-like publi­
cation of the corresponding Pannonian material has already appeared, for example,
in the case of the lamps, it seems reasonable that the new catalogues should include
also pieces left out from this corpus, the Pannonian provenience of which is supported
by good evidence, even if their actual find-spots are not known. At any rate, it
seemed to be correct that the catalogue of these groups of monuments should be
prepared by an expert in the investigation of Pannonian material.
It seemed also to be necessary to expand the range of the material included in the
series of catalogues in another direction. The non-Pannonian material outside the
M useum of Fine Arts is comparatively very small and neither the collection of the
D éri Museum, nor the private collections deserve a separate and independent publi­
cation. This made it advisable that the catalogues of particular groups of monu­
m ents assembled in the Museum of Fine Arts, should include also the objects of
those groups preserved in all Hungarian collections. Naturally, under the descrip­
tio n of the individual pieces it will be necessary to mention in which collection
they can be found, and at the end of each volume the material published in them
w ill be listed in separate indexes according to collections. Thus the series, when
completed, will be a full corpus of the ancient objects of non-Pannonian proven­
ance to be found in Hungary.
As a means of speeding up the completion of the individual volumes and to
facilitate their handling, it seemed reasonable to include in separate volumes indi­
vidual categories of material. Hence the number of objects preserved in Hungary
w ithin these individual categories will determine the size of each volume. The indi­
vidual volumes of the series will follow, in general, a uniform pattern of presen­
tation of the material, but in certain cases variations from this pattern will be neces­
sary, according to scientific demands. Further discussion of the material, other than
the catalogue entries, will be determined entirely by the character of the scientific
questions posed by the groups of monuments concerned.
J. Gy. Szilágyi

14
 PREFACE

Like other objects in the Department of Acient Art of the Museum of Fine Arts,
the collection of lamps includes examples of foreign origin and specimens of unknown
provenience. In addition to this collection, consisting of 223 examples, the catalogue
includes the ancient lamps belonging to the public collection of the Debrecen Déri
Museum, and also the material of a few private collections, selected according to
the principles described in the Introduction. Among the latter, the most important
is the collection of the late L. Basch, which was acquired mainly on the basis
of an aesthetic point of view, through purchases. We also publish here for the first
time the lamps which were collected by E. Varga, L. Castiglione and L. Kákosy
during their Egyptian tour in 1959.
The lamps described show the development and changes which took place over
a period of more than one thousand years, from the 7th century B.C. to the 5th
century A.D. Almost all the more important groups occur in the collections
described, from the open bowl lamps and the oval lamps, through the Greek “lock”
and watch-shaped lamps, the mould-made Hellenistic lamps and the widespread
lamps of the Roman Imperial age, up to the Syrian, Palestinian and Asia Minor
lamps. During this long period we cannot speak of a uniform and continuous line
of development. In the more flourishing periods, for example the 5th and 4th cen­
turies B.C., the Hellenistic age, in the first centuries of the Imperial period and
during the time of manufacture of the lamps of late Christian character, the technique
of lamp production will also be more highly developed. On the other hand, in the
early periods of the development of individual groups, we can see a more primitive
technique used, for example, in the production of the lamps of Rom an Republican
times, and also in the initial attempts at lamp manufacture in the provinces.
For determining the origin of individual objects the purchase records were oc­
casionally useful. From these it was found, for example, that certain pieces were ob­
tained, or purchased by the collectors, in Italy or Greece. In the case of examples
acquired from Viennese art-dealers we had to take into consideration that many
objects which originated in part from the Szombathely excavations carried out in
the 40s of the 19th century were put on the market. Similarly, these art-dealers
obtained objects excavated from the ruins of the former Savaria later on, at the time
of the development of Szombathely into a large city, and also material from Brigetio
and its environs, excavated at the end of the century.
From the end of the 19th century, in the course of the publication of local mate­
rials and in the description of individual collections, standard works appeared on
15
ancient lamps. In the publication of S. Loeschcke, the chronological arrangement
of the Vindonissa material, the conclusions arrived at on the course of development,
and the definition of the names and the sphere of activity of the individual master
craftsmen are so exact and detailed that the picture formed of the manufacture of
lamps in the northern provinces has not changed greatly, even 49 years after the
appearance of the w ork. F. Fremersdorf clarified essential concepts in the course of
his description of lam p manufacture in Germany and the technique of the production
of lamps in general. By the publication of a significant amount of material from
Pannonia, D. Iványi has created the foundations for further investigation of lamps
in the province, and at the same time, the large number of lamps (4618 examples)
published in her w ork has made it possible for local andforeigninvestigators to draw
further conclusions. In describing the lamps in this catalogue which, on the basis
of their provenience or form, can be placed among the products of Pannonia or the
northern provinces, we had to take into consideration the chronologies and state­
ments in the above-mentioned publications, supplementing them with the detailed
works of other scholars, principally O. Fischbach, F. Miltner, and H. Menzel.
In the description of lamps originating from Greece, or said to be from Greek
sites, and undocumented lamps of Greek types, the great work of Broneer on the
Corinthian lamps served us as a basic source; it gives a comprehensive chronology
of Greek lamps from the 6th century B.C. to the 6th century A.D. His statements
made on the material of the 5th and 4th centuries B.C., the Hellenistic period and
the development of lamps in the 2nd and 3rd centuries A.D. are of special value.
The material of a single city, however, cannot render a full picture of the wide­
spread and colourful Greek development. More subtle definitions had to be attempted
by the consideration of the excavated material of other sites.
In this publication it seemed to be reasonable to follow the custom obtaining in
the professional literature of the past few decades, according to which the material
is described without the addition of a new typological classification scheme, and
merely to mention the type numbers of the previous basic works, within a chrono­
logical arrangement. In describing the heterogeneous material included in the cata­
logue, it did not seem to be necessary to deal with fundamental questions, which
have been answered already in the literature on several occasions, or on which the
literature cannot decide definitively even today. This has to be left to publications
based on new excavation materials, which can make finer definitions on the basis
of a large number of finds from certain areas and by the exact observation of the
evidence of stratification.
As in the case of the publications already issued, in describing the individual objects
great care has been taken to indicate the material exactly and to reproduce details
of the design. The descriptions draw conclusions even from the smallest details,
and the publication of collections containing heterogeneous material will be espe­
cially useful for comparison with other examples if, in addition to the text, they
contain also abundant and detailed illustrations. Thus, in the following catalogue, two
photographs were m ade of each lamp; one of them shows the obverse and the other
the reverse of the specimens. Besides this, characteristics of certain examples or groups
16
— but not of all — are shown also by profiles. The drawings show the lamps half
in side-view and half in cross-section.
Finally, I express my thanks to Klára Garas, Director of the Museum of Fine Arts,
and to András Béres, Director of the Debrecen Déri Museum, for having placed
the material of the valuable collections of the institutions under their direction at
my disposal for publication, and for having facilitated with their support the investi­
gation during the several years of preparatory work. I am also indebted to the owners
of the private collections, Loránd Basch, László Castiglione, László Kákosy and
Edit Varga, for having made available their material for publication.
Special gratitude is due to János György Szilágyi, Keeper of the Department
of Acient Art of the Museum of Fine Arts, under whose direction the work was
done. During the collection and description of the material, he rendered possible,
with his valuable help and advice, the progress of the work, and also described the
Punic lamps. Similarly, great help was given to the work by Emma Sprincz, formerly
research associate of the Department of Acient Art of the Museum of Fine Arts.
I also express my thanks to Árpád Kádár, designer, for his precise and accurate
drawings, and to Zoltán Székely and Zsuzsa Wagner for the preparation of the
photographs.
Mr D. M. Bailey has very kindly read the English manuscript and made valuable
suggestions. For errors of any kind I naturally accept full responsibility.

T. Szentléleky

Both author and editor have to apologize for the profiles of the lamps having been
cut around on the plates. This has been due to the ioo odd pieces of the Lázár Col­
lection coming into the possession of the Museum of Fine Arts after the manuscript was
closed, on the one hand, and of the inaccessibility of the Basch Collection after the death
of the owner, on the other.

17
2 Szentléleky
 ABBREVIATIONS

Arch. Ért. — Archaeológiai Értesítő

Arch. Hung. = Archaeologia Hungarica
Bailey = D. M. Bailey, Greek and Roman Pottery Lamps, London 1963.
Bernhard — M. L. Bernhard, Lampki Starozytne, Warszawa 1955.
Broneer = O. Broneer, Corinth, Vol. IV. Part II. Terracotta Lamps, Cambridge-Massachu­
setts 1930.
Goldman = H. Goldman, Excavations at Gözlü Rule, Tarsus, Vol. I. Princeton 1950.
Déri = S. Déri, A debreceni Déri Múzeum gyűjteményének leírása, Debrecen 1922.
Haken — R. Haken, Roman Lamps in the Prague National Museum and in Other Czecho­
slovak Collections, Prague 1958.
Howland — R. H. Howland, The Athenian Agora, Vol. IV. Greek Lamps and their Sur­
vivals, Princeton 1958.
Iványi = D. Iványi, Die pannonischen Lampen, Dissertationes Pannonicae Ser. 2. Nr. 2,
Budapest 1933.
Lerat = L. Lerat, Les Lampes Antiques, Besan$on 1954.
Loeschcke = S. Loeschcke, Lampen aus Vindonissa, Zürich 1919.
Loeschcke, Haltern — S. Loeschcke, Keramische Funde in Haltern, Mitteilungen der Alter­
tumskommission für Westfalen, 5. 1909.
Menzel = H. Menzel, Antike Lampen im Römisch-Germanischen Zentralmuseum zu Mainz,
Mainz 1954.
Miltner, Eisenstadt = F. Miltner, Die antiken Lampen in Eisenstadt, Jahreshefte d. Öst.
Arch. Instituts 24 (1929) 145—180.
Miltner, Ephesos = F. Miltner, Forschungen in Ephesos IV. 2. Wien 1937.
Miltner, Klagenfurt = F. Miltner, Die antiken Lampen in Klagenfurt, Jahreshefte d. Öst.
Arch. Instituts 26 (1930) 67—144.
Niessen = Beschreibung römischer Altertümer gesammelt von Carl Anton Niessen, Köln
i 9 i I.
Oroszlán—Dobrovits = Z. Oroszlán—-A. Dobrovits, Antik kiállítás vezető, Budapest 1947.
Ponsich = M. Ponsich, Les lampes romaines en terre cuite de la Maurétanie Tingitane,
Rabat 1961.
Robinson, Olynthus = D. M. Robinson, Excavations at Olynthus, Baltimore, V. 1933
(the Chapter on the lamps by J. W. Graham), XIV. 1944.
Roux-Barré, Pompei — H. Roux, L. Barré, Herculaneum und Pompeji, VI. Band, Lampen,
Geräte etc. Hamburg 1841.
Szentléleky, Bud. Rég. — T. Szentléleky, Aquincumi mécseskészitő műhelyek, Budapest
Régiségei XIX, 1959.
Szilágyi—Castiglione = J. Gy. Szilágyi—L. Castiglione: Museum der Bildenden Künste.
Griechisch-römische Sammlung, Führer. Budapest 1957.

19
2*
Vessberg = О. Vessberg, Hellenistic and R om an Lamps in Cyprus, Opuscula Atheniensia I,
1953-
Vessberg II. = O. Vessberg, The Swedish Cyprus Expedition, Vol. IV, Part 3. The Helle­
nistic and Rom an Periods in Cyprus, Stockholm 1956.
Waage = F. O. Waagé, Antioch-on-the Orontes, Vols. I and III, Princeton 1934 and 1941.
Waldhauer = О. Waldhauer, Kaiserliche Eremitage, Die antiken Tonlampen, St. Petersburg
1914-
Walters = H. B. Walters, Catalogue of the Greek and Roman Lamps in the British Museum,
London 1914.
W artha = V. Wartha, Az agyagipar technológiája, Budapest 1892.

20
 A. CL AY L A MP S
I. PHOENICIAN AND CARTHAGINIAN LAMPS*
1 One-wick lamp.
Museum of Fine Arts. Inventory No.
59.30.A.
Acquired in 1959. Purchased in Jerusalem
(Bethesda) in 1930.
H. 3-7, L. 12*1, W. 12*2. Brownish-grey
to pink clay.Wheel-made. Put together from
several pieces.
Open, round bowl, with out-turned rim.
Beak-like wick-rest, formed by pinching up
the rim. On the bowl, outside and inside,
are wheel-marks. Base somewhat depressed.
2 One-wick lamp.
Museum of Fine Arts. Inventory No.
64.13. A.
Donated by J. Lakos, in 1964. Proveni­
ence unknown.
H. 3*3, L. 7*2, W. 4 4. Brownish-yellow
granular clay, with a yellowish-white
surface. Wheel-made. A large chip on the
edge.
Round bowl, with a thin wall. Edge slight­
ly out-turned; no rim. The folded-in sides
of the bowl touch each other to form a
small closed wick-hole in the front and
a larger filling-hole in the rear. Slightly
raised base-ring.
3 Two-wick lamp.
Museum of Fine Arts. Inventory No.
50.1020.
* This chapter is a contribution by J. Gy. Szilágyi
Obtained by F. Hopp in Carthage, in
1897. Transferred from the Historical Mu­
seum in 1948.
H. 3*5, L. 13*2, W. 12.8. Yellowish-grey
granular clay, with creamy-yellow to pink sur­
face. Wheel-made. Minor chips on the rim,
cracked and slightly flaked inside the bowl.
The whole surface is coarse.
Open, round bowl, the wall thickening
considerably at the base. The wide rim is set
off by a shallow step from the interior of the
bowl. Two beak-like wick-rests, formed by
pinching up the rim in three places. Base
slightly flattened.
4 Two-wick lamp.
Museum of Fine Arts. Inventory No.
50.1021.
Obtained by F. Hopp in Carthage, in
1897. Transferred from the Historical Mu­
seum in 1948.
H. 5*1, L. 14, W. 13*2. Brick red, granu­
lar clay, with a creamy-yellow to pink sur­
face. Wheel-made. Minor chips on the rim.
The whole surface is coarse.
Open, deep, round bowl. The wall thickens
considerably at the base. The wide rim inside
is set off by a shallow step from the interior
of the bowl. Two beak-like wick-rests,
formed by pinching up the rim in three
places. The base is slightly rounded.
21
 5 Two-wick lamp. 6 O ne-w ick lamp.

Museum of Fine Arts. Inventory No-

50.1022.
Obtained by F. H opp in Carthage, in 1897.
Transferred from the Historical Museum
in 1948.
H. 34. L. 13-6, W . 12-8. Reddish-grey
granular clay, with a light brick-red surfa­
ce. Wheel-made. M inor chips on the rim,
small cracks in the centre of the bowl. The
surface is coarse.
Open, round bow l, the wall thickens
considerably at the base. The wide rim inside
is set off by a step from the interior of the
bowl. Two beak-like wick-rests, formed by
pinching up the rim in three places. Flattened
base.
Museum of Fine Arts. Inventory No.
50.1023.
Obtained by F. Hopp in Carthage, in 1897.
Transferred from the Historical Museum in
1948.
H. 3‘2, L. 7, W . 6. Yellowish-grey clay,
with a yellowish-grey surface. Wheel-made.
The exterior surface is coarsely finished; at
each side of the wick-rest the impression
of a thumb and forefinger can be seen.
Open, round bowl. On the exterior, about
halfway down the slightly outcurving wall,
is a slight carination. Slightly out-turned rim.
Beak-like wick-rest, formed by pinching up
the rim. In the interior wheel-marks can be
seen. Broad base.

The basic form of lamps 1 to 6 is the simple round saucer, which — perhaps origi­
nally in Egypt — was made suitable for channelling the wick by pinching up the
edge or folding in the rim. This type came very likely from Egypt to Crete on the
one hand, and to the Syrian coast on the other1. In the latter area it appeared perhaps
already in the Early Bronze Age2 and from the 16th century B. C. it was already
widely distributed, at first in the territory of what was subsequently Palestine, where
it replaced an earlier, four-wick type, but it spread sporadically also farther off to
the north3. In the Middle Bronze Age, besides the earlier known form of the type
to be seen in Egypt — which also survived in Palestinian territory — a new variant
developed: the wick-rest became more stressed, deeper and longer, and later the
whole bowl received an out-turned rim. The base of the lamp was at this time usually

1. K. Galling, Zeitschr. d. Deutschen Palästina-Vereins 46 (1923) 6—8. However, it can

be assumed that the elementary form imitating a shell might appear also in different areas
independently from each other; see P. Cintas, Céramique punique (Publications de l’lnstitut
des Hautes Etudes de Tunis). Paris 1950. 521—522.
2. H. Otto, Zeitschr. d. Deutschen Palästina-Vereins 61 (1938) 206—207, 248.
3. Cf. Galling, op. eil. 8—13. For the Syro-Palestinian group of finds of the type from the
Bronze Age see Cl. F. A. Schaeffer, Stratigraphie comparée et Chronologie de l’Asie Occi­
dentale. Oxford 1948. Plates V, VIII, XIII (Ras Shamra); Fig. 78 (Byblos?); Fig. 109 (Beit
Mirsim); Figs 116, 118, 120 (Jericho); Fig. 128 (Gaza); Figs 140, 143, 144, 145 (Megiddo);
Fig. 158 (Gezer).

22
still rounded, and since these examples have no suspension holes, the assumption
that they were kept in vessels filled with water has some justification4.
Besides this variant, which was widespread in the Middle Bronze Age and the
Late Bronze Age, by the middle of the second millennium another variety appeared
in which the base of the bowl was flat5. The basic work of K. Galling on the Palesti­
nian lamps arranges all these changes of form according to a series of typological
development. The material found and published since the appearance of this work
has, however, slightly modified his conclusions. On the one hand his absolute chrono­
logical data have to be corrected here and there regarding the appearance of the
type in Palestine, as well as the life-span of some of the variants, and on the other
hand it seems certain that the absolute chronology of individual pieces and the rela­
tive chronology of single variants cannot be determined on the basis of the typo­
logical series devised by him, since lamps with similar details, and some variants,
in many cases coexisted for long periods side by side, and also after the appearance
of new varieties. Therefore the value of the shapes of these lamps, with regard
to dating, is very low6. It is, however, certain that lamps with the same form as
lamp I , which corresponds to Type III of Galling7, were used in the Palestine area
in the Late Bronze Age (about 1500—1200) and survived also in the first period of
the Early Iron Age (about 1200—900) at least until the beginning of the first millen­
nium8. On the basis of its more pointed wick-rest and flat base, the example in the
Museum of Fine Arts may have been manufactured in the Early Iron Age.
Hereafter this variant of the type is more and more overshadowed by new varieties.
In the second phase of the Iron Age the most significant change is the spread of the
flat and sometimes the raised base. In the latest phase of the Palestinian development

4. Galling, op. cit. 10,33.

5. H. Otto, op. cit. Plate 22, Nos. 6—9; Schaeffer, op. cit. Plates V, XII, Fig. 116.
6. Attention was already drawn to this by O tto (op. cit. 229), and obviously this was the
reason why Schaeffer did not discuss them in his comparative chronological studies.
7. Galling draws a sharp demarcation line between his own types II and III; this, however,
would mean insuperable difficulties in the Palestinian Late Bronze Age from the chronological,
and sometimes also from the typological point of view. Type II is dated by Galling to the 14th
to 12th centuries and type III to the 12th to 9th centuries, and according to him the profiled,
outcurving rim appears only on the latter. Since the changes of the nozzle and bowl described
by him cannot be regarded as a criterion clearly separating the two types from each other,
the outcurving rim would be the most important difference between the two variants, but
specimens with outcurving rim can be found also in the Mid-Bronze Age, and thus the ele­
ments of Galling’s types II and III appear side by side and sometimes combined on the Palesti­
nian lamps during the time more or less correctly given by him as the common span of life
of the two types. Cf. Otto, op. cit. 207. — W ith regard to the fact that the main characteristic
of Galling’s type IV, the flat base, appears also in the Late Bronze Age, see note 5 above.
8. Cf. Galling, op. cit.; A.-G. Barrois, Manuel d’archéologie biblique I. Paris 1939. 451—452
and Fig. 173,3; K. B. K. Amiran, Antiquity and Survival 2 (1957) 188, Fig. 1. In the recent
summary of Ch. A. Kennedy (The Development of the Lamp in Palestine. Berytus 14, 1963.
67 ff.), which in this part is based generally on Galling’s work, this is type I, C (pp. 70 and 96,
No. 467). Cf. J. B. Pritchard, Gibeon. Princeton 1962. n o and Fig. 61, with a considerable
overestimation of the dating value of the lamps (“an extremely valuable index for chrono­
logy”).
23
of the type two more elements are added to this: the dimensions of lamps became
considerably smaller and the two folded sides of the bowl overlap in the middle,
forming a wide orifice, into which the oil is poured, and setting it off from the
wick-hole. This form is shown by lamp 2, which according to the — in itself uncer­
tain — evidence of the colour of the clay is also presumed to have been manufactured
in a Palestinian workshop. This form was produced in Palestine from the beginning
of the Hellenistic period up to the end of the ist century B.C., while in the western
territories it is practically unknown9.
In the first millennium the open bowl lamp spread from the Syrio-Phoenician
coastal region towards the west. From the Syrian coastal region its earliest adopters
were the inhabitants of Cyprus, with whom it appears already before the middle
of the second millennium10. It becomes more frequent in the Late Bronze Age, and
then — after a break which up to now has not been explained — it appears again in
the Cypro-Geometric II period, to be dated to a time between 950 and 850, at first
in a variant which seems to be local11. In Cyprus, lamps corresponding to Galling’s
Type III can be found from the Cypro-Geometric III period to the end of the clas­
sical period, but their later development is obviously no longer directly connected
with the changes of the type in the Syrio-Phoenician coastal region, although it
parallels them to a certain extent12. In Cyprus, besides the one-wick open bowl
lamps of the 8th to 6th centuries, the two-wick variants which are practically un­
known in the Syrian coastal region, also appear, and the shallow step setting off the
rim inside the bowl from the wall of the bowl is frequently met with13.
Since there is also other evidence pointing to the possibility that the western
Mediterranean colonies of the Phoenicians, especially Carthage, arc settlements
originating at least in part from Cyprus14, it is not impossible that in the second main
area of distribution of the open bowl lamp, in Carthage and the western Punic terri­
tories, this Cypriote variant was the starting point of their further development.
In Carthage, where this development can be followed in the material of graves
dated by Greek pottery15, the one-wick type appears only in the earliest material,

9. Galling, op. c i l Kennedy, op. cit. 69—70 (type I, D) and 96, No. 481 (also for the dating).
Cf. also Barrois, op. cit. 451—452 and Fig. 173,8; L. Y. Rahmani, ’Atiqot 4 (1964) 13 (types
I—2) and Plate 13,2; etc. For the Cypriote variant see V. Karageorghis, Report of the Dept,
of Ant. Cyprus 1964, 67, Fig. 21, No. 12. The only known Punic specimen: Cintas, op. cit.
Atlas, Plate XL, 3 and 523—52s.
10. P.Äström, The Middle Cypriote Bronze Age. Lund 1957. 255.
11. E. Gjerstad, Opusc. Arch. 4 (1946) 19—20; idem, The Swedish Cyprus Expedition
IV. 2. Stockholm 1948. 402—403.
12. Gjerstad, The Swedish Cypr. Exp. loc. cit. 223; D. M. Bailey, Opusc. Ath. 6 (1965)
24—25.
13. Gjerstad, loc. cit. 169, Lamp No. 3 and 171, Fig. 37, 19. — The two-wick specimens
found in the Syrian material in layers FI and G of Hama (2nd and 3rd quarters of the 2nd
millennium) are at the moment rather isolated (K. Fugmann, Hama II, 1. Copenhague 1958.
Figs 124, 127, 139, 161). Later on, the one-wick lamp is in use here (Fugmann, op. cit. Fig. 310).
14. Cf. recently J. Ferron, Cahiers de Byrsa 8 (1958—59) 45 ff.
15. Fundamental is the publication of Cintas, op. cit. 175—177 (the types), Atlas XL,
Plates I—III (between the pages 460 and 461) with groups of finds to be dated by Greek

24
in a quite insignificant quantity16, and although it appears again and again also in
other western Punic territories17, the dominating form here was the two-wick bowl
lamp with a wide, stepped and raised rim 18. This type is found everywhere in Car­
thage itself and the territories inhabited by the Carthaginians, and to a certain extent
it developed in a parallel way with the eastern one-wick bowl lamps: the round bowl
became horse-shoe-shaped, the wick-hole became gradually narrower, and finally
closed in, while the dimensions of the lamps gradually decreased. Lamps 3 to 5,
which were acquired by their collector from the duplicate material of the Cartha­
ginian Museum19, show the early form of Carthaginian lamps, characteristic of the
7th to 5th centuries. In Carthage, these bowl lamps were often placed on a wide
plate, and they are found thus together in graves, where — just as in Palestine —
they were regularly used as mortuary gifts. It is difficult to decide whether they had
some symbolic meaning; they may have been put into the grave with the corpse simply
as objects of his everyday life20. The Carthaginian bowl-lamps, like those of Palestine
and Cyprus, are mostly wheel-made and unglazed.
It is much more difficult to classify lamp 6 on the basis of the known material.
From the typological point of view it is near to Galling’s Type IV, and its small
dimensions, as well as its almost straight wall and flat base indicate that it is a late
variant of the type. In the Palestinian material there are also almost exactly corre­
sponding pieces21, but among the Carthaginian and among the Punic lamps in general
no parallel can be traced in the material known so far22. The Palestinian origin of
the Budapest example is rendered less likely by the colour of the clay, as well as by
the fact that, together with lamps 3 to 5, it was acquired in Carthage, and everything
points to the possibility that it really originates from North Africa. In this case,
with the necessary caution demanded by the discussion of such a stray find, it can

ceramics, and also 4.61—464, as well as 521—526. Cf. P. Cintas, Karthago 5 (1954) 113 (in
Utica the above lamp type was found in the same grave together with an Early Corinthian
aryballos).
16. Cintas, Céramique, 492—493, 522—523 and idem, Contribution á l’étude de l’expan-
sion carthaginoise au Maroc (Publications de l’Inst. des Hautes Études Marocaines LVI).
Paris 1954. 43. 51. 81, 99 -
17. Cf. besides the earlier cited works of Cintas, more recently, G. Vuillemot, Libyca 2
(1954) 325 and especially ibidem 3 (1955) 22—23; M. Pellicer, Madrider Mitt. 4 (1963) 31,
note 105; H. G. Niemeyer—M. Pellicer—H. Schubart, Arch. Anz. 1964, 489.
18. On its spread in the area of Punic culture see Menzel, 10, note 93; Pellicer, Madrider
Mitt. loc. cit. 32. For the publication of examples from Tharros see D. M. Bailey, BSA 57
(1962) 38—39. The two-wick lamp from Populonia (A. Minto, Populonia, Firenze 1943. 128,
Fig. 45a) is a curiously neglected proof of Punic influence on Etruria.
19. F. Hopp, Déli utazás a Földközi-tenger körüli országokban (A Southern Journey in
the Mediterranean Countries). Budapest 1897. 6 (in Hungarian).
20. In the majority of the cases the latter is more likely, but cf. Galling, op. cit. 37—41
and on their apotropaic use (immured in buildings) ibidem, 44—45.
21. F. W. Robins, The Story of the Lamp. Oxford—London—Toronto 1939. Plates IX,
especially 10, I2 and 15.
22. Cintas, Céramique, 502 and 523: the Carthaginian one-wick lamps — which are all
quite early — are of larger dimensions and their base is globular.

25
be presumed that we are dealing with a hitherto unknown variant of the Cartha­
ginian bowl-lamps, which developed in a parallel way to the Palestinian variants,
the time of manufacture of which would seem to have been after the passing of the
fashion of the two-wick lamps, but still before the Hellenistic period. In fact, after
the 4th century the open bowl type of lamp appears only occasionally in the former
centres of its manufacture223. In North Africa, in the Near East and in the islands of
the Mediterranean, however, where the simpler and more primitive communities
are continuing its manufacture, we can find even in the present century variants
of this elementary form, which have perhaps never been discontinued since ancient
times22b. Since it is as a matter of course unlikely that the Carthaginian Museum
would have sold a unique piece as a duplicate specimen, it seems more likely that
lamp 6 is an example of the modern survival of the ancient bowl lamps. The correct
answer will be found only after further thorough study of the original material.

22a. On their stray appearance in the Hellenistic period in the island oi Cyprus see O. Vess-
berg, The Swedish Cyprus Expedition IV. 3. Stockholm 1956. 132, Fig. 37, 1—6 and 184;
Karageorghis, loc. cit. 82 and 67, Fig. 21; etc.; in Alexandria: Annuaire du Musée Gréco-ro-
main 1935—39, Plate 31, 2. The history of the Greek one-wick bowl-lamps and their relati­
ons with the near-eastern types cannot be treated here, since their specimens are not rep­
resented in Hungarian collections. Cf. Howland, 12—13 (types 3 and 4) and Plates 1,29, and
more recently P. Orlandini, Mon. Ant. 46 (1963) 48—49, Plate 13 (from Gela).
22b. See for example Robins, op. cit., Plate IX. 16—19. In the islands of Malta and Gozzo:
P. Delattre, Musée Lavigerie de Saint-Louis de Carthage I. Paris 1900. 173.

26
 II. WHEEL-MADE GREEK AND ITALIC LAMPS,
FIFTH AND FOURTH CENTURIES B.C.
i. ROUND-BODIED, WATCH-SHAPED LAMPS
7 Onc-wick lamp.
Museum of Fine Arts. Inventory No.
50.1297.
Transferred from the Historical Museum
in 1943. Provenience unknown.
H : 4-2, L: 7-9. Brimstone-coloured clay,
slightly worn brownish-black glaze. Part of
the nozzle termination broken off, the re­
maining part broken and repaired. The stubs
of the missing handle can be seen on the
body.
Deep bowl with rounded sides. The pro­
jecting nozzle joins the side of the bowl in
a curved line. Horizontal applied handle.
The rim of the bowl slopes towards the
filling-hole, with a groove on its outer edge.
The diameter of the filling-hole is wide
compared with the whole diameter of the
bowl. Underneath, conically concave base.8
8 Onc-wick lamp.
Museum of Fine Arts. Inventory No.
50.1296.
Acquired from the collection of V.
Wartha in 1950. Provenience unknown.
H: 4-2, L: 9-5. Clay of a reddish colour
with a metallic black glaze. The termination
of the nozzle is broken off.
Flattened spherical body; projecting nozzle,
which joins the shoulder of the body at an
angle. The nozzle is flat-topped. Around the
medium-sized filling-hole there is a sunken
groove 4 millimetres wide; the rim of the
filling-hole is slightly raised. Low base-ring
with central disc.
9 One-wick lamp.
Déri Museum. Inventory No. R.IX.19.
Said to be from Hungary — Szombathely
region.
H: 4, L: 8-9. Reddish clay, metallic black
glaze. The exterior of the base is reserved.
Deep, circular body with rounded sides
and a projecting nczzle, which joins the
shoulder of the body at an angle. The nozzle
is flat-topped. Large filling-hole, surrounded
by a sunken groove containing a lime de­
posit. Circular base, which is concave under­
neath.
Bibi.: Déri p. 86.
10 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.87.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H: 5, L: 10-3. Yellowish-pink clay, with
traces of an orange-coloured slip. On the
nozzle, signs of burning.
Flattened spherical body; projecting nozzle
joining the body smoothly above, at a mod­
erate angle. Around the medium-sized filling-
hole, between two grooves, is a broad,
slightly raised ring. O n the right side, adja­
cent to an area of minor surface damage is
27
a raised knob. Low base, with a raised disc
in the centre of its concave underside.
II One-wick lamp.
Museum of Fine Arts. Inventory No.
Í6.39.A.
Transferred from the Historical Museum
in 1955. Provencience unknown.
H: 3, L: 9. Yellowish-pink clay; reddish-
brown glaze, with black spots, over all,
except for the base and part of the underside
of the body. The glaze is worn in places.
Double convex body, its lower and upper
parts meeting at an angle. Projecting nozzle,
joining the shoulder of the body at an angle.
The nozzle is flat-topped. There is a groove
around the slightly raised rim. On the
underside is a raised circular base, concave
below.

I11 Greece lamps were made on the wheel until the 3rd century B.C. In contrast
to the later varied types, simple dish-shaped and globular forms were predominate,
as a result of the manufacturing technique. The round-bodied and watch-shaped
lamps were in use from the 5th century to the 3rd century B.C. The long survival
of the type is shown by the fact that the earliest relief lamp from Corinth can be
placed in this group23. The watch-shaped lamps are grouped by Broneer in chrono­
logical order under his Types VII to IX. Finer differentiations are made by H. A.
Thompson24, D. M. Robinson25267and O. Vessberg28.
According to its form, lamp 7 corresponds to Broneer’s Type VII2730. It is wheel-
made and the edge of the rim of the oil-hole is like that of Broneer’s profile No. 33.
W ithin the wide groove around the oil-hole the rim slopes towards the interior.
The nozzle joins the body underneath in a curved line. The period of use of Type
VII in Corinth can be dated from the 5th century to the beginning of the 3rd cen­
tury28, because it is partly contemporaneous with Type VI, it occurs also with late
Athenian red-figured vases, and on some examples a decorative knob is found on
the side, which is characteristic of the 3rd century. At Olynthus, the period of use
of examples similar to lamp 7 lasts from the middle of the 5th century B.C. until
the middle of the 4th century B.C., the date of the destruction of the city29, 30.
Lamps 8 and 9 are related to late specimens of Broneer’s Type VII, and early
examples of his Type IX. The body is of a flattened spherical shape. For the profile
of the edge of the oil-hole, compare Broneer, Figs. 14, 3831, and the shiny metallic
Attic black glaze points to the second half of the 5th century B.C. and the 4th

23. Broneer, 48.

24. H. A. Thompson, Hesperia 2 (1933) 196, 198.
25. Robinson, V. 279.
26. Vessberg, 115, Type 2, Pl. I 7; Vessberg, II, 171, Fig. 37/7, 184, 185.
27. Broneer, 45, 46, 140—142, PI. III. For profile No. 120, 32.
28. Broneer, 47—49.
29. Robinson, V. 279—281; XIV, 365.
30. For type; Broneer, 140, PI. Ill, Nos 120, 140, No. 129, Fig. 68; Robinson, V. 281,
No. n o , Pl. XIV, 151, 365, Nos 74, 73, 73.
31. Broneer, 32.

28
 Century В.C.32 On the earlier specimens the glaze is finer, while later on the quality
deteriorates. Thus, lamp 8 was presumably made earlier, while lamp 9 could be
later. A lamp of similar type was found in the course of excavations in the Athenian
Agora, which, on the basis of the Olynthus material and its similarity to the second
variant of Broneer’s Type VII, can be dated to the middle of the 4th century33.
A black-painted lamp originating from the excavations at Corinth is referred to by
S. S. Weinberg as a transitional specimen between Broneer’s Types VII and IX34.
The type with black glaze is also known in Olynthus, and in addition to this, its
local manufacture there in the first half of the 4th century has been proved35367.In the
course of her description of the Tarsus lamps, Goldman remarks that the type is
unknown in the Middle Hellenistic layer and thus its use was discontinued at the
turn of the 4th and 3rd centuries B.C.36, 37
Lamps 10 and и correspond with the late variant of Broneer’s Type VII which is
transitional to Type IX. The characteristic feature of the type is that the rim-groove
gets so near to the edge of the rim that it practically disappears38. Robinson mentions
in connection with his Group 9 of the Olynthus material that similar lamps can
be placed between Broneer’s Type VII and VIII and can be dated to the second
quarter of the 4th century39. On the unglazed side of lamp 10 a raised, knob-shaped
rudimentary handle can be seen. According to the Olynthus excavations, this pro­
jecting knob on the side appears already before 348 B.C. These early specimens
occur rarely in Olynthus, and their use probably became popular in the period
immediately preceding the destruction40. The general use of the type can be dated
to a later time. The excavations of the Athenian Agora revealed examples in the
material of the turn of the 4th and 3rd centuries. The variant with a knob on the
side was known even in the ist century B.C.: an example occurred together with
a coin of Ptolemy II Soter41.

32. Broneer, 48.

33. H. A. Thompson, Hesperia 2 (1933) 196, 198.
34. S. S. Weinberg, Hesperia 8 (1948) 239, and PI. LXXXXVII.
35. Robinson, V. 279.
36. Goldmann, 87, Group I.
37. For type: Broneer, No. 1 (with further parallels), as well as Type IX, 143—144; Menzel
14, No. 32, Fig. 7/1; Robinson, V. 279, Nos. 106, 107; 280, No. 108; Thompson, Hesperia
2 (1933) 196, Fig. 1/8, 50, 26; Walters, 36, No. 249; Goldmann, PI. 93, 1.
38. Broneer, 47—49.
39. Robinson, V. Group 9.
40. Robinson, V. 282, Nos 125—133.
41. Vessberg, II. Type 3, 185.

29
 2. ROUND, FLAT-BODIED LAMPS

12 One-wick lamp. Round, open bowl, with slightly narrow­

Museum of Fine Arts. Inventory No. 52.84.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H : 2-1, L: m-6. Fawn-coloured, fairly
well-washed, hard-fired clay. Glaze worn.
Round, flattened bowl with a raised, coni­
cal tube in the centre. Projecting, narrowing,
shovel-shaped nozzle. The wide filling-hole is
bordered by a smooth incurving rim. On the
upper surface of the rim there are narrow
painted circles.
13 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.6.A.
Acquired from the collection of J. Lázár
in 1965.
H : 34, L: 6'i5. Brick coloured, hard-fired
clay, with orange paint, varying to red.
On the nozzle and the underside are traces
of burning. The interior edge of the flat rim
is damaged.
ing walls and projecting rounded nozzle.
In the centre of the bowl a tube rises from
the bottom, the upper rim of which is
raised above the edge of the bowl. Under­
neath, the round interior of the tube is placed
in the centre of a raised, concave, circular
base.
14 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.203.
Transferred from the Historical Museum
in 1951. F. Hopp Collection, from Gela.
H: 2-1, L: 8 9. Fawn-coloured clay, ter­
racotta red glaze, except on the underside
and base of the body.
Round, flattened bowl with a shovel­
shaped nozzle projecting askew. The wide
filling-hole is bordered by a slightly incurved
rim. Around the wick-hole are traces of
burning. Slightly raised circular base.

The lamps with a round, flattened bowl, incurving edge and a thin wall, made of
well-washed clay, originate from the 6th to 4th centuries B.C. They were made
on the wheel. In the early varieties string-marks on the base can be seen42. In contrast
to the earlier types the rim of the later examples is considerably incurved, leaving
a large open filling-hole. A shovel-shaped nozzle with large wick-hole, the lack
of base and the careful black varnish coating (glaze) are characteristic of the early
variants of the type43.

42. Broneer, 40.

43. Broneer, 41; Robinson, XIV, 344.

31
 Lamp 12 is a so-called socket-lamp. In these a cone-shaped tube rises from the centre
of the base. These lamps with central tubes are made contemporaneously with
smooth-based lamps of similar form44. W ithin a period of use lasting for two cen­
turies, the incurved, straight rim, the manner in which the paint is applied, and the
form of the nozzle, enable us to make a more accurate dating. It can be placed among
the late variants of Broneer’s Type I. The rim is a transitional form between the
differing rims of Broneer’s lamps 5 and 12. The top surface is still flat, but the junc­
tion of the shoulder is already curved. The type probably developed in Athens as
the examples of the 6th century with a fine black glaze very likely originated there.
In the 5th century, however, the shape becomes common in Greece, often with
a red glaze coating, and lamps of the same shape were made in various localities,
including Athens, Olynthus45 and Corinth46. H. B. Walters also grouped the British
Museum examples according to sites47. O n the basis of this grouping it is evident
that the type can be traced from Ephesus through Naucratis and Gela up to Sardinia.
Examples similar to lam p 6 were found in the Olynthus material in levels dating
from the end of the 5th century48. The 5th century date is also supported by the
form of the tapering shovel-shaped nozzle. The use of red glaze, as well as the
narrow concentric bands painted on the rim, point to the end of the 5th century
B.C.49 We must, however, be cautious about this dating: in the material from
Tripi-Abacaenum (Messina) in Italy, it occurs in a tomb of the end of the 4th cen-
tury49a’ 49b.
Lamp 13 belongs to a late group of lamps with central tubes. Its projecting nozzle,
which merges smoothly into the shoulder, points to the 2nd and ist centuries B.C.
This dating is made m ore probable by the rounded tip of the nozzle with its angular
sides49c.
Lamp 14 can also be grouped with the lamp described above. While, however,
lam p 13 is a late variant of Broneer’s Type I, lamp 14 is related to Broneer’s Type IV.
Its characteristic feature is the incurving rim . The shovel-shaped, broad nozzle is
characteristic of the early varieties of the type50, while the flat, circular, raised base
is a general feature of Type IV51. The manner of the painting is also characteris­
tic of the group. R e d and black circles are frequently alternating on the rim;

44. Broneer, 36.

45. Robinson, V. 272, 279; XIV, 343.
46. Broneer, 34, 42.
47. Walters, 32.
48. Robinson, V. 272.
49. Broneer, 32, Fig. 14.
49a. Not. Scav. 1954. 48, 49, Fig. 3.
49b. ForType: Broneer, 31, 35, PI. 7 .1; Menzel, 13, Figs 2, 6, 3; 27, Figs 2, 3; Waldhauer,
21, Pl. II Nos. 2 0 ,2 1 ,2 2 ,2 3 ; Robinson, V. 272—273, PI. 200, Nos 102—103; 279, Nos
104—105; XIV, 343, E ngr. 4; Walters, 31—32, Nos 194, 224. Howland, 54, Type 22 C,
N o. 201, PI. 34.
49c. Bailey, 28, PI. зе.
50. Broneer, 45.
51. Broneer, 42.

32
only the interior is fully glazed, the outside being only partially covered with glaze.
O n the basis of the incurved edge and the form of the raised, circular base, the lamp
can be dated to the end of the 5th century. O n earlier examples, for instance the
lamp found in the course of excavations in the Athenian Agora, in the level of the
Eleusinion sanctuary dating before 480 B.C., the nozzle is short and the wick-hole
nearer the body52. On the later Italic variants of the type, in the 4th century,
the nozzle projects more and is of a larger size in comparison with the bowl 3.

52. T. Leslie Shear, Hesperia 8 (1939) 207.

53. G. Rizza, Not. Scavi (1955) 343, Fig. 50. For type: Broneer, 39—42, 134—137,
and Pl. II, Type IV, Nos 62—65; Robinson, V. 266 ff.; Menzel, 13, No. 28, Fig. 2/2; T. Leslie
Shear, Hesperia 8 (1939) 230, Fig. 27; Walters, 29, Type 21, 174—178, Type 31, 213—319;
Waldhauer, 20, No. 9, Pl. I.

33
3 S zen tlélek y
 3. ROUND LAMPS WITH CONCAVE SIDES,
NARROWER AT THE RIM THAN THE BASE

askew. The wick-hole is separated from the

15 One-wick lamp.
Museum of Fine Arts, Inventory No.
51.102.
Acquired in 1951. From Italy.
H : 2-4, L: 7-8. Yellowish-pink, unpainted,
moderately-fired, porous clay. On the nozzle
are traces of burning.
Round bowl, narrowing upwards, with
walls concave in profile. Nozzle projecting
slightly askew. The wick-hole is separated
from the open bowl by a narrow rim. Under
the rim the bowl curves down to a low, cir­
cular base. On the underside of the base are
spiral grooves formed when the lamp was
cut from the wheel.
16 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.103.
Acquired in 1951. From Italy.
H : 24, L: 6 4. Yellowish-pink, unpainted,
medium-fired, slightly porous clay. On the
nozzle, traces of burning.
Bowl with concave side walls, narrower
at the top than the bottom and with an S-
shaped profile. Nozzle projecting slightly
open bowl by a narrow rim. Inside, on the
bottom of the bowl, is a conical kick. There
is a corresponding concavity on the under­
side of the lamp.
17 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.104.
Acquired in 1951. From Italy.
H : 1-8, L: 6-7. Fawn-coloured, unpainted,
medium-fired, slightly porous clay. Traces
of burning on the nozzle.
Round body, narrowing upwards, with
concave sides. The nozzle projects slightly
and the wick-hole is separated from the open
bowl by a narrow rim. Inside on the bottom
of the bowl is a conical kick; on the under­
side of the lamp is a matching concavity.

The time of manufacture of lamps 15 to 17, with a round bowl narrower at the
top than the base and with a concave profile, can be dated to the end of the 6th
century and the beginning of the 5th century B.C. The shape can be compared
with Broncer’s Type I54. Among the Corinthian lamps55, perhaps the rim-form
No. 3 of Broneer’s examples is nearest, although this joins the side with a smaller
swelling, and in the case of lamps 15 to 17 the concave profile curves up from the
base56. The central cone or kick is reminiscent of the socket lamps. Their early manu­
facture is proved by the circumstance that on the base spiral grooves left behind when

54. Broneer, 31—35.

55. Broneer, Fig. 14.
56. Broneer, 32.
35
3 *
the lamps were cut from the wheel can be seen. The nozzle is separated from the bowl
by only a narrow rim. In the course of later development the rim becomes gradually
broader57 and the wick-hole of the nozzle becomes more removed from the body.
The three small lamps under discussion are therefore also interesting because they
were manufactured at a time when the wide bordering rim had not yet developed
and can be recognised only in its beginnings. The body is entirely open and the oil
is prevented from spilling only by the thickened rim. These early types show many
different and experimental variants before the development of the more usual types
of wheel-made lamps58. In these pieces we can see the basic forms, from which the
later types developed59. From their small size we can perhaps also conclude that
they were votives and not objects of everyday use60. The signs of use found on the
nozzles show that oil was actually burnt in them. If we take the probable order of
development of Greek lamps as a basis, the above dating seems to be well founded,
but it must be said that in Italy, from where the above lamps originate, these early
types may have survived to a much later time. A similar development is shown,
for example, in the lamp industry of the provinces, where ancient primitive forms
were manufactured even in the first century of the Empire61.

57. Broneer, 33.

58. Broneer, 31.
59. Broneer, 31.
60. A lamp in the British Museum seems to support this assumption (Walters, 28, No. 164),
this was found in Cnidus, in the temenos of the Demeter Sanctuary, on the occasion of the
excavations carried on by C. T. Newton in 1859.
61. Szentléleki, Bud. Rég. 170. For Type: Broneer, Type I, Nos 14,15,31—35, 130,
Pl. I, No. 15; Walters, 28, No. 164; Ponsich, Type VI A, B, p. 30. Siracusa, Museo
Archeologico, lamps Nos 16469 and 24699, from Gela.

36
 4- GLOBULAR LAMPS

l8 One-wíck iamp. 19 One-wick lamp.

Museum of Fine Arts. Inventory No. 50.1292.

50.1291. Collection of P. Gerster, obtained in Cor-
Collection of P. Gerster, obtained in 1890 inth in 1890. Acquired in 1950.
in Corinth. Acquired in 1949. H: 24, L: 4-7. Creamy-yellow clay with
H: 2*16, L: 5-7. Creamy-yellow clay, traces of brown paint. Medium-fired clay,
traces of reddish paint. Medium-fired clay. Globular bowl, with wide filling-hole. Pro-
Globular bowl, with wide filling-hole. jecting nozzle, sloping upwards and joining
Projecting nozzle, joining the side of the the side of the bowl at an angle. Raised,
bowl at an angle. Raised, circular base, with circular base, with spiral grooves under­
spiral grooves beneath. neath.
The time of manufacture of lamps 18 and 19, with spherical bodies, is the end of
the 6th century B.C. They can be related to Broneer’s Type IV62, which is one of
the numerous variants of the early types. Broneer dates the period of use of Type IV
to the end of the 6th century and to the 5th century63. Lamps 18 and 19 belong
among the early variants. The appearance of the low circular base points to the end
of the 6th century but, as is often the case with the earliest examples of lamps with
raised bases, their base is not entirely smoothed off, but shows spiral lines formed
when the lamp was cut from the wheel64. Lamp 19 may have been made earlier than
lamp 18, because on the former the oil-hole is larger and the wick-hole is nearer
to the body65. Due to lack of information on the original context of our lamps we
must, however, be cautious with the dating, since examples of the early types were ma­
nufactured for a long time, the only differences being that on the later specimens
the nozzle is more defined and the technique of manufacture is more developed66.
62. Broneer, 40.
63. Broneer, 41.
64. Broneer, 40.
65. Broneer, 40.
66. Goldmann, 91. For type: Broneer, Type IV, Pl. II, Nos 90, 39—42, 137; Waldhauer,
2 0 , No. 6, Pl. I; Goldmann, 91, 107, Group VIII, Nos 100—116.

37
 5. “PADLOCK” LAMPS
20 One-wick lamp.
Museum of Fine Arts. Inventory No.
5 3 -2 2 7 .
Transferred from the Historical Museum
in 1953. Provenience unknown.
H : 3-1, L: 10-4. Light brown, well-washed,
medium-fired clay; glaze on the outside and
inside, and also on the handle.
Round, flattened bowl, with a slightly
arched rim. The nozzle joins the bowl in
a slightly curved line. Band-handle, attached
at a slight angle to the horizontal and merg­
ing into the side at the rim. Low circular base.
21 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1295.
Provenience unknown.
H : 3-2, L: 9-2. Creamy-yellow, roughly-
washed clay, glazed outside, inside and also
on the handle.
Round, flattened bowl, with walls tapering
upwards and a slightly arched incurved rim.
The nozzle joins the body in a slightly angu­
lar line. Band-handle, somewhat distorted,
attached at a slight angle to the horizontal
and merging into the side at the rim. Barely
perceptible raised, circular base.
22 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1293.
From the Gerster collection. Found at
Corinth.
H : 3-1, L: 10-2. Creamy-yellow, heavily-
fired clay. Outside, inside and also on the
handle is a considerably worn brownish-
black glaze.
Round bowl, with curving sides and
steeply incurving rim. The nozzle joins the
bowl in a slightly curved line. Band-handle
placed at a slight angle to the horizontal.
Raised circular base, concave underneath.
23 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H : 3-7, L: 9-7. Creamy-yellow clay,
greyish-black glaze.
Round bowl with curving sides and
incurving rim. The nozzle joins the bowl in
a somewhat angular line. Band-handle
attached at a slight angle to the horizontal.
Low circular base with spiral marks under­
neath, produced when the lamp was removed
from the wheel.
24 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1298.
Transferred from the Historical Museum
in 1943. Provenience unknown.
H: 2-4, L: 8-6. Creamy-yellow clay, glazed
outside, inside and also on the handle:
orange to brownish-black in colour as a result
of inferior firing.Well washed, heavily-fired
clay.
Round, flat bowl, with a rim undifferen­
tiated from the body. The nozzle joins the
bowl in a slight curve. Band-handle, placed
at an angle to the horizontal. On the slightly
concave base are spiral grooves formed when
the lamp was cut from the wheel.
39
 25 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1294.
Transferred from the Historical Museum
in 1943. Provenience unknown.
H : 4, L: 94. Greenish-yellow, heavily-
fired clay, with traces of a worn black glaze
outside, inside and also on the handle. Bro­
ken into two pieces and repaired.
Round bowl, with walls tapering upwards
and a somewhat incurving rim. The nozzle
joins the bowl in a curving line. Band-handle,
attached at an angle of nearly forty-five
degrees. Raised circular base, slightly con­
cave underneath and separated from the body
by a groove.
26 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.85.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H : 2-9, L: 11-4. Greyish-pink clay, with
traces of black glaze on the exterior, the
interior and also on the handle. The handle
is broken at the joint and has been repaired.
Round bowl, with sides tapering slightly
upwards and a gently inwards-sloping rim.
The nozzle joins the bowl in a curving line.
Band-handle attached at a slight angle to
the horizontal, and distorted, the left side
being angular, the right side curved. Wide,
raised circular base, concave underneath, and
separated from the body by a groove.27
27 One-wick lamp.
Museum of Fine Arts. Inventory No.
59-4 -A.
Acquired in 1959. Said to be from the
Gerster collection.
Lamps 20 to 27 belong to the so-called padlock group of lamps. Since the hori­
zontal band-handle is a permanent characteristic of the group for three centuries®7,
67. Robinson, XIV, 347; Broneer, 41.
40
H: 3-7, L: 11-5. Creamy, heavily-fired
clay; on the outside, the inside and on the
handle is a considerably worn glaze.
Round body, with curving sides and a
steeply-incurving rim. The nozzle joins the
body in a gentle curve. Set at a slight angle
to the horizontal is a band-handle. Wide,
raised circular base, concave underneath and
separated from the body by a groove.
28 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.5.A.
From the collection of J. Lázár, acquired
in 1965.
H : 4-5, L; 13-8. Light yellowish-pink-
coloured unptinted clay. On the termina­
tion of the nozzle are traces of burning.
Round bowl, with curving sides. Project­
ing nozzle, flat-topped, and with a rounded
termination. Large filling-hole. Groove at
the edge of the discus. On the right side
above the groove is a rudimentary lug which
extends to the edge. At the rear is a vertical
band-handle attached at the edge of the
discus, the other end joining the body at its
widest part. On the underside of the raised,
circular base are traces of the lamps removal
from the wheel.
2 9 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.4.A.
Acquired from the collection of J. Lázár
in 1965.
H : 3'8, L: 8-3. Reddish clay. Dark brown
glaze, considerably worn on the nozzle and
slightly worn in other places. On the under­
side of the nozzle and on the raised, circular
base are abrasions and minor injuries.
Round bowl, with curved sides. Projecting
nozzle with round termination, joining the
shoulder of the body in a gentle curve. The
nozzle is flat-topped. At the edge of the
discus is a reserved groove. The lateral knob
is half pierced. Raised, circular base, concave
below.
we must consider other peculiarities to arrive at a more exact chronological defini­
tion. The form of the body and the junction of the nozzle in general correspond
to Broneer’s Type IV68. The period of use of Type IV is the end of the 6th century
and the 5th century. As can be seen from the Olynthus material, the type survives
for a long time, although it is of comparatively early origin69. The lamps discussed
by us also show that their use cannot be placed within narrow time limits. Lamp 24
is a ver)r early specimen, to be dated to the end of the 6th century or the beginning
of the 5th century. The diameter of the oil-hole is large in proportion to the size
of the bowl. The rim does not yet show the incurving profile-line which later on
became general. The wide circular base, almost merging into the body, points to
early times. Lamps 20 and 21, covered with a greyish-black glaze, are near to this,
although the edge of their rims is slightly incurved. The base of lamp 21 is already
set off in a definite manner from the bowl, and is slightly concave. The finely-fired,
thin clay is covered with a brown paint. The date of its manufacture, based on the
shape of the underside, can be placed in the 5th century70.
On lamps 22 and 23 the slightly concave base and the steep, incurving rim mark
already the later development of the type.
Lamps 25 and 27 are also late variants. The handle of the former is not entirely
horizontal, but forms an angle of nearly 45 degrees. The circular bases of both lamps
are somewhat sunken underneath, and are set off from the body by a circular groove.
The form of lamp 26 is distant from Broneer’s Type IV, and represents a transition
to the Hellenistic lamps. The comparatively small oil-hole and angular band-handle
similarly point to a late production. In Olynthus, a similar handle form occurs
among examples of the comparatively late Type VII71.
On the basis of the Athenian and Aegina material, similar lamps with band-
handles can be dated to the 3rd century72.
Lamp 28 is placed in this group, although a vertical band-handle is applied on the
side opposite the nozzle. It belongs to the late Hellenistic lamps of the group, as is
shown by the rudimentary knob on the right shoulder723.

68. Broneer, 41; Robinson, XIV, 348.

69. Robinson, XIV, 348.
70. Broneer, 41.
71. Robinson, XIV, 348.
72. H. A. Thompson, Hesperia 5 (1936) 179, Figs гзе—h, 180.
72a. For type: Broneer, 39—42, 134—137, Nos 66, 82, Pl. II; Menzel, 130, 21—26;
Robinson, V. to No. 13; XIV, 347—351, PI. 1451, No. 18; Walters, 36, Nos. 254—260;
Iványi, 18,296, Nos. 4262—4264; Pl. LVIII, Nos. 4, 10; Bailey, 28, PI. 3 f; Howland, 72,
Type 25 B. PI. 38, No. 307.

41
 III. MOULDED LAMPS
(a) HELLENISTIC LAMPS
i. LAMPS WITH ONE SIDE LUG

30 One-wick lamp. by two slightly curved lines running along

the top of the nozzle. Underneath is a slightly
raised, circular base.

31 One-wick lamp.

Museum of Fine Arts. Inventory No.

52-745-
Acquired in 1952, from an Egyptian art-
dealer.
H: 2-3, L: 8-5. Reddish-brown clay, with
a dark brown glaze, which covers the under­
side of the bowl in runs. Traces of burning
on the nozzle.
Watch-shaped body, with a long project­
ing nozzle joining the side of the lamp at
an angle. Broad shoulder, following the
curve of which is a decoration of ray-like
grooves. On the left side is an unpierced lug.
The nozzle widens around the wick-hole and
has a rounded termination. The discus slopes
towards the small filling-hole and is separated
from the shoulder by a groove. The groove
is connected with the rim of the wick-hole
Museum of Fine Arts. Inventory No.
50.1300.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 1-9, L: 4-8. Reddish-brown-coloured
clay, with an orange coating above, and traces
of burning on the nozzle.
Round body, to which is attached, in
a gently curving line, a short nozzle with
a rounded termination. The shoulder is
separated from the small discus by a raised
rim. On the shoulder are indistinct ray-like
grooves; on the left side is an unpierced,
projecting lug of triangular form, with a
sunken centre. Underneath is a raised, cir­
cular base, concave below.

Lamps 30 and 31 were moulded. The use of the mould for the fashioning of lamps
is found already at the beginning of the Hellenistic period and the new types are
distinguished mainly by this technique from the earlier Greek lamps73. The charac­
teristic features of these lamps are the outward-sloping shoulder and the small discus.
The radial line-pattern is a very frequently found shoulder decoration. On the earlier
examples, and thus also on lamp 31, the nozzle joins the side of the body in a curved
line; with later lamps it is more angular, and similarly, on later examples the projec­
tion of the nozzle is greater, and the area around the wick-hole widens. Lamp 31 is
an earlier variant of the type, but its blurred lines show that it was produced late in

73. Broneer, 6; Walters, XXI—XXII.

43
a series through copying. Lamp 30 belongs among the more developed variants of
the type.
The handle, or decorative lug bulging out on the right side, is characteristic of
both specimens. Originally, the similar but pierced lugs could perhaps have served
to hold a wick-adjusting pin7475. The area covered by the type shows that it was
manufactured mainly in Egypt76. This is also supported by the reddish-brown clay
of both lamps and by the place of acquisition of lamp 30. In the course of the Edfu
excavations, lamps belonging to this type were found in large quantities. The levels
of the Edfu excavations have also determined the period of use of the type, which
lasted from the middle of the 2nd century to the end of the first half of the ist
century B.C.76

74. Broneer, 9—12.

75. Bernhard, 102—107, Figs 72, 267—271, Pis XX —XXI.
76. For type: Broneer, 61—66, 158, Pl. VI, Nos 303, 304; Walters, Types 44—50. With
round nozzle Nos 302—314, 315—320; Niessen, 88, Type II, No. 1732, Pis LXXVII,
L X X X II; Waldhauer, 30, No. 121; Bernhard, 102—107, 267—271, and Fig. 72, Pis XX/XXI.

44
 2. LAMPS WITH DECORATED SHOULDERS AND SIDE LUGS
32 One-wick lamp.
Collection of L. Kákosy. Acquired in 1959,
in Egypt.
H: 2-9, L: 8-8. Light reddish-coloured clay,
with traces of painting on the whole body,
considerably worn.
Round body, with a long projecting
nozzle. Wide shoulder with a curved profile.
On the left side projects a half-pierced lug.
The large filling-hole is surrounded by a wide
groove, a raised rim and a narrow groove.
Underneath is a raised, circular base, concave
below.
33 One-wick lamp.
Collection of E. Varga—L. Castiglione.
Obtained by E. Varga—L. Castiglione in
1959- From Egypt, Arsinoe Crocodilopolis
(Fay um).
H: 2*1, L: 6-2. Brownish, brick red, un­
painted clay.
Watch-shaped body, with long, projecting
nozzle, extending in a curved line towards
the rudimentary lugs projecting on both sides.
On the shoulder, engraved ray-like decora­
tion. The projecting nozzle widens out at
its end. Around the filling-hole is a raised
rim. On the underside is a worn base ring.34
34 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.747.
Acquired in 1952, from an Egyptian art-
dealer.
H : 3'i, L: 8-8. Fawn-coloured clay, with
reddish-brown paint on its upper half.
Watch-shaped body, with a long, project­
ing nozzle, joining the body in a curved line;
on each side is a triangular lug, decorated on
its upper side with a leaf pattern. On the
broad shoulder is a vine tendril in relief,
with leaves and bunches of grapes. On the
top of the projecting nozzle, between two
linear ornaments ending in volutes, is a smal
vase-like design; above it, a curved line with
transverse grooves. The nozzle has a curved
termination widening out around the wick-
hole. On the sunken rim of the filling-hole
are two raised rings. The low, circular base
is slightly concave below.
35 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1156.
From Egypt.
H : 2-9, L: 8-5. Brownish-coloured clay
with a violet-red coating; on the nozzle,
traces of burning.
Watch-shaped body; long, projecting
nozzle with a curved end splayed out around
the wick-hole, and joining the body in a
curved line. On each side there is a triangular
lug decorated above with leaf patterns. On
the top of the projecting nozzle, between
double linear decoration, is a human figu­
re. The broad shoulder is separated from
the narrow rim of the filling-hole by a rai­
sed ring. On the shoulder, adjacent to the
raised ring, is a series of tongue patterns,
divided by small darts. Low base-ring.
36 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 3-6, L: 9-6. Light fawn-coloured clay,
with a light brown coating. On the nozzle,
traces of burning.
45
 Watch-shaped body, with a long, project­ 38 One-wick lamp.
ing nozzle which widens out around the
wick-hole. Large filling-hole surrounded by
a raised ring. On the shoulder there is a
series of tongues framed by a U-shaped relief
line. Palmette decoration on top of the
nozzle. Low base-ring.
Museum of Fine Arts. Inventory No.
37 One-wick lamp.
5 1 -1 0 5 .
Acquired in 1951. Said to be from Italy.
H: 3-3, L: 11-4. Brownish-red clay, violet-
red coating, which leaves the lower part of
the body and the handle free. On the nozzle
are traces of burning. The end of the nozzle
and half of the handle is br oken away.
Flat, rounded body with a narrow shoulder
Museum of Fine Arts. Inventory No. decorated with a row of tongues divided by
56.37. A. small darts. On the left side is a vertical ring-
Transferred from the Historical Museum shaped band-handle with volutes at the point
in 1955. Provenience unknown. where its edges meet the shoulder. The nozzle
H : 2-1, L: 7-8. Unpainted, light brown is small in proportion to the body and its
clay; on the nozzle are traces of burning. edges extend into the shoulder in volutes.
Watch-shaped body. O n the narrow O n the top of the nozzle and the handle are
shoulder are radial tongue ornaments. The vase-like(?) decorations. On the discus is one
shoulder is separated from the discus by two small filling-hole in the centre; to the right
relief rings. The rounded nozzle is flanked and left are two groups of three filling-holes
by volutes, between which are two sunken of a similar size. The discus decoration con­
lines. O n each side of the shoulder is a barely sists of a cruciform pattern of palmettes,
perceptible rudimentary lug. On the reverse the tips pointing towards the centre; the
is a circular groove, w ith the sign A in the leaves are like tongues of flame. The shoulder
centre, and around it a half-circle following is separated from the discus by a double row
the form of the lamp, joined by two arcs of relief leaves. Wide, raised, circular base,
which reflect the lines of the volutes. flat underneath.
Lamps 32 to 38 belong to the group of the watch-shaped lamps. Like lamps 30
and 31, these were manufactured in the Hellenistic period. While, however, the
shoulder decorations of lamps 30 and 31 are characteristic of the early variants, the
ivy-tendril decoration of lamp 3477, as well as the amphora pattern of lamps 34
and 35, and the palm leaf pattern of lamp 36, show that they belong to the late
varieties of Hellenistic lamps, and their manufacture can be dated to the first half of
the ist century B.C. Lamps 32 and 33 were purchased in Egypt. Lamps 32 to 38
are variants of Broneer’s Type XVIII78.
Lamps with similar bodies and side handles are found mainly in the territory
of Egypt, and O. Waldhauer describes them as a separate group of lamps manu­
factured in that country79. Final conclusions can be drawn on the basis of the Edfu
finds, among which 42 lamps of this type were found80. The Mainz Museum81 and
77. Broneer, 67, Fig. 29.
78. Broneer, 64—66.
79. Waldhauer, 2—29.
80. Bernhard, 132—133, 286—290, Nos 165—208, Pis XXXI—XL.
81. Menzel, 90.

46
the British Museum also keep lamps originating from Egypt and which can be placed
in this group82. The amphorae and palmettes decorating the tops of the nozzles are
also characteristic of lamps manufactured in Egypt. The provenience of lamps 32,
33 and 35 also points to an Egyptian origin.
The ivy pattern of lamp 34 can be seen on one of the examples in the British
Museum, which was found at Naucratis83. Its brick-red coloured clay indicates
that it is of local manufacture. Similar linear decorations terminating in volutes near
the oil-hole can be found on two lamps from Sakkara in the Mainz Museum84,
on the British Museum lamp mentioned above, and on a lamp in the Leningrad
Hermitage85.
The row of ovules of lamps 35 and 36 is known, not only on this type, but also
in the long series of late Hellenistic lamps86. On lamp 36 the side lugs become vesti­
gial and their presence can be seen only as a break in the curve of the body.
Lamp 37 has volute decoration at the side-handles as well as on the nozzle near
the wick-hole. The wide shoulder is, however, covered by radial line pattern,
a design which is known also in the Imperial period878, but the lack of painting on the
lamp under discussion, the volutes and the form of the side lugs, all point to the ist
century B.C.
One of the British Museum examples is similar to lamp 38, on which we can
also see a small nozzle and a band-handle on the side of the bowl. On the British
Museum lamp, like lamp 38, a row of tongue patterns encircle the lamp. The filling-
holes have an identical arrangement. The British Museum lamp came from the
Naukratis excavations of 1886—87е8. A similar lamp in the Warsaw National Museum
also originates from Egypt. On its edge is a row of tongues, and similar floral and
petal patterns decorate the discus. There is one filling-hole in the centre of the discus
and seven more near the edge. M. L. Bernhard dates the time of its manufacture to
the reign of Augustus, but she remarks that it is a survival of a Hellenistic form89.
On the basis of this it is likely that the lamp under discussion was manufactured
in the first half of the ist century A.D. in Egypt. The vase pattern decorating the
base of the nozzle, and seen already on lamps 34 and 35, points also to an Egyptian
origin90.

82. Walters, 45.

83. Walters, No. 321.
84. Menzel, 90, Nos 591, 593.
85. Waldhauer, 29.
86. Broneer, 62, Fig. 29.
87. Menzel, 48, Nos 264—266, 49, Fig. 40.
88. Walters, 65.
89. Bernhard, 160—161, 302—303.
90. For type: Broneer, Type XVIII, 65, Nos 305—307; С. M. Kaufmann, Graeco—
Ägyptische Koroplastik, Leipzig—Kairo 1915, Plate 69, 723; Menzel, 90, Nos 591—593;
Waldhauer, 28, No. 97, 29, Nos n o —i n ; Walters, 45, No. 321; Bernhard, 132—133,
286—295, Nos 165—208, 230, Pis XXXL—XL, 160—161, 302—303, Pl. XLIX. Howland,
165, Type 48E, No. 648, PI. 48.

47
 3. ROUND HELLENISTIC LAMPS
39 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.82.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H: 3-2, L: ю -i. Yellowish-pink clay; con­
siderably-worn black glaze outside and inside.
The tip of the nozzle is broken away.
Round body and projecting nozzle. At the
rear are traces of a vertical band-handle. On
the shoulder are radial grooves and on the
left side a cornucopia in relief. The wide
shoulder is separated by a relief ring from
the discus area around the filling-hole. Low
base-ring, concave below.
4 0 O n e - w ic k la m p .
Museum of Fine Arts. Inventory No.
50.1153.
Acquired from the Zichy collection in
1948. From Cyprus.
H: 2-8, L: 8-7. Greenish-grey-coloured
clay with a dark grey slip. Handle broken
away; part of the base flaked away in
layers.
Watch-shaped body and projecting nozzle;
fairly broad shoulder, on which is a barely
discernible row of tongue patterns divided
by small darts. The discus is separated from
the shoulder by a raised ring. Narrow,
waisted flat top to the nozzle, connecting
the wide area round the wick-hole with the
discus rim. At the rear are traces of a vertical
band-handle. Worn, low base-ring.41
41 One-wick lamp.
Collection of E. Varga—:L. Castiglione.
4 Szentléleky
Obtained by E. Varga—L. Castiglione in
Egypt, acquired at Mit Rahineh (at the site
of Memphis).
H : 2-8, L: 7-9. Reddish-brown clay; on
the nozzle are traces of burning. A hole is
pierced through the left side.
Watch-shaped body. Projecting nozzle,
broadening out at the end and with a curved
tip; on its two edges are volutes, and between
the volutes an unrecognizable object, above
which are short lines. Wide shoulder, deco­
rated with radial lines; on the left side is an
indistinct relief of a dolphin. The filling-hole
is separated from the shoulder by a wide
relief ring.
42 One-wick lamp.
Collection of E. Varga—L. Castiglione.
Obtained in 1959 at Karanis Korn Usim,
in the Fayum, Egypt, by E. Varga—L.
Castiglione.
H: 3-2, L: 8-8. Reddish-brown clay, with
traces of brown paint. On the underside are
signs of burning.
Watch-shaped body, with a long, project­
ing nozzle, which joins the side of the body
in a curved line. On the shoulder are four
semicircular ornaments among lenticular
decoration. Around the filling-hole is a
double relief ring, between which and the
wick-hole is a raised palmette. Wide, worn
base-ring.
43 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1285.
Donated by Dr M. Felter in 1950.
H: 2-6, L: 8-9. Dark, brownish-red clay,
with a dark red coating above; on the
slightly damaged nozzle are traces of burning.
Watch-shaped body and projecting nozzle,
with a rounded termination. On the shoulder,
49
len ticu lar d e c o ra tio n . A r o u n d th e fillin g - h o le O n th e r ig h t a n d rear sides o f th e sh o u ld er,
is a d o u b le r in g in r e lie f, b e tw e e n w h ic h a n d a m o n g th e raised p o in ts o f th e d e c o ra tio n ,
th e w ic k -h o le is an in d is tin c t raised o r n a m e n t. are t w o c o n c e n tr ic h alf-circles in relief.

Lamps 39 to 43 belong to the group of the Hellenistic round lamps. The period
of their manufacture extended from the 2nd century B.C., in general, to the begin­
ning of the ist century B.C.91 At this time, the leading role of the workshops of
the eastern region of the Mediterranean and the adjacent territories was taken
over by the lamp-manufacturing workshops of Italy92. In Italy, lamps were still
made on the wheel in the Hellenistic period, at which time, in the Aegaean area,
they were already mostly moulded93. The Italic workshops were rather slow in
taking over the new manufacturing method. The so-called Esquiline lamp, however,
shows already those characteristics which were to become the typical features of
the later, so-called Rom an lamps, which were moulded and decorated with relief
designs94. The above five pieces also belong to these early Italic moulded lamps.
The nozzle of lamp 39 is broken away. The shoulder decoration of radial lines,
as well as the cornucopia on the right side, indicate that it can be dated to the early
period of manufacture of lamps belonging to Broncer’s Type XVIII95. As can be
ascertained from the Corinthian material, the use of these lamps began not much
before the destruction of Corinth96. The radial linear pattern, the lateral cornucopia
decoration and the vertical, ribbed handle, applied on the rim after the lamp was
moulded, are characteristic of the early examples. These lamps were manufactured
in large quantities in Delos, and it is from here that we find many lamps v. ith the
signature of Ariston, one of their master producers97. His name, however, appears
also on local Athenian pieces, and it is possible that he is one of the Athenians who
came from Athens to the island of Delos. This also supports the dating of the lamp
under discussion to the second half of the 2nd century, at which time the Athenians,
because of the Rom an conquest, left the city in large numbers and settled in Delos,
amongst other places. According to Broneer it is possible that the name Ariston is
only a trade mark, and that he himself, the creator of the type, worked continuously
in Athens98.
Lamp 40 belongs to the so-called Ephesus type99. This type received its name due
to the fact that examples were found in large numbers in Ephesus. W ith this type

91. Broneer, 20, Type XIX, 66—70.

92. H. A. Thompson—R . L. Scranton, Hesperia 12 (1943) 363 (see especially Fig. 61 with
portrait of Augustus).
93. Broneer, 20; Walters, XX, XXI, XXII; Waldhauer, 7—9.
94. Waldhauer, 10—и .
95. Broneer, 61—66.
96. Broneer, 65—66.
97. H. A. Thompson, Hesperia 4 (1934) 464.
98. Broneer, 64—65. For type: Broneer, 61—66, 13, Fig. 2, 1—3, 20, Fig. 10; H. A.
Thompson, Hesperia 2 (1933) 195—215; Hesperia 3 (1934) 412—413, E. 97—105, 463 Nos.
106—107; H. A. Thompson—R. L. Scranton, Hesperia 12 (1943) 363, 61a.
99. Miltner, Ephesus, 96—174.

50
of Hellenistic lamps, in which the shoulder joins the lower part of the body at a
sharp angle, the shoulder is set off from the discus by a raised ring, which surrounds
the whole discus. The flat top of the nozzle is level with the top edge of the shoulder.
The nozzle itself is angular or has a rounded termination. The example discussed is
one of the latter varieties. The applied vertical band-handle is also characteristic of
the type. The period of use of the lamp is dated by Broneer, on the basis of the
Corinthian material, to the time from the reign of Caesar to the end of the reign
of Augustus. This close dating of the Corinthian material is made possible by the
circumstance that these lamps occur in large quantities in the Corinth reconstructed
at the time of Caesar, and they are used as long as the Roman relief lamps do not oust
the type. It is surprising that these imported lamps occur in such large quantities in
Corinth. This shows that the time when this lamp type was manufactured in Ephesus
could not precede by very much the reconstruction of Corinthlco. In the Tarsus
material examples of the type were found in levels dated from the 2nd century
B.C. to Augustus10101.
Lamps 42 and 43 belong to a well-defined group of Hellenistic lamps. The wide
shoulder of these lamps is decorated by raised dots; they have a round body and a
projecting nozzle. The discus is surrounded by a small raised rim. Between the raised
rim and the wick-hole traces of an indistinct stylized decoration can be seen, and on
the side of the shoulder, double semicircular designs are visible. At the base of the
nozzle, the leaf-like pattern, together with the semicircular shoulder decorations,
indicate that the lamp was manufactured in Egypt, or at least it can be traced back
to an Egyptian basic type102. The place of origin of lamp 42 is Egypt. We must,
however, note that besides the early Egyptian occurrences, the form is mentioned in
the literature as coming also from other sites, and according to Flinders Petrie, the
raised dot pattern was used until the time of Constantius103. D. Iványi describes
a local example in the Baden Museum, which renders proof of the spread of the
type in the northern provinces during the Imperial period104. The examples described
by us are rather worn, and it can be presumed that these also arc later, Imperial age,
variants of the late Hellenistic lamps105.

100. Broneer, 66—70.

101. Goldmann, 89—90, Group VI, 102—106, 103, Nos 55, 56, 57.
102. C. M. Kaufmann, Graeco—Ägyptische Koroplastik, Leipzig—Kairo 1915, Plate 68.
103. Flinders Petrie, Roman Ehnasya, (1905) 9, PI. 58.
104. Iványi, 306.
105. For type: Broneer, 70, Figs 32, 71; Menzel, 18, No. 52, Fig. 11; C. M. Kaufmann,
Ägyptische Terrakotten, Fig. 127; Iványi, 306, No. 4385, Pl. LXVI, 3; Flinders Petrie, Roman
Ehnasya 1905, PI. 58; Walters, 38, No. 272; Waagé, p. 74, Fig. 79. For full bibliography
see Menzel.

51
4*
 (b) RO M A N IMPERIAL LAMPS
i. LAMPS WITH ROUND BODIES,
ROUNDED NOZZLE-TERMINATIONS AND SIDE LUGS
44 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1282.
From the collection of F. Hopp. Trans­
ferred from the Historical Museum in 1950.
Presumably from Carthage.
H: 4-6, L: 10-9. Brownish-yellow-col­
oured, heavily-fired clay, with a streaky, red­
dish-orange paint.
Rounded body with a projecting nozzle,
the rounded line of the termination of which
is slightly angular at the tip. At the rear is
a vertical, pierced handle, moulded together
with the body. On each side of the body,
symmetrically arranged, is a double-curved
lug-handle, in the centre of which is a semi­
circular sunken area, defined by a groove.
The shoulder is separated from the discus
by a double groove, ending in an open
channel pointing towards the nozzle. On the
discus is a barely discernible series of rays.
Flat, raised, circular base, separated from the
body by a groove.45
45 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1283.
Provenience unknown.
H: 3-3, L: 9-2. Yellowish, light-brown clay,
with a brownish-red streaky paint. O n the
nozzle are traces of burning.
Round body and a slightly projecting
nozzle with a rounded termination. At the
rear, traces of a vertical handle. On each
side of the body, symmetrically placed, is a
double-curved lug-handle. The shoulder is
separated from the discus by a groove, ter­
minating in an open channel pointing towards
the nozzle. Low, circular base.
46 One-wick lamp.
Museum of Fine Arts. Inventory No.
56.35-A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 3, L: 9-2. Creamy-yellow-coloured,
red-painted, thin-walled clay.
Round body with a projecting triangular
nozzle curving into the sides. The narrow
shoulder is separated by a circular groove
from the plain concave discus. On each side,
opposite to each other, are symmetrically
arranged lug-handles, with concave edges.
On the shoulder rim, at the base of these
side handles, are two small impressed circles.
On the edge of the discus adjoining the nozzle
is a small wick-adjusting hole. Hat, circular base.
47 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.24.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-8, L: 10-4. Slightly reddish, ochre-
coloured clay; rather worn red paint on
sides and underside. The nozzle shows traces
of burning, and is broken away at the wickhole.
Round body with a projecting nozzle,
joining the shoulder in a curved line. At the
base of the nozzle are three circle-and-dot
ornaments. On the side and the shoulder,
small lenticular decoration. On the right
side of the shoulder a lug-handle is raised
above the surface. Deeply sunken discus.
Double grooved, applied band-handle, reach­
ing from the inner edge of the shoulder and
extending to the upper line of the side.
Surrounded by the base-ring, the concave
reverse bears the sign.
53
 48 One-wick lamp.
Museum of Fine Arts. Inventory No.
56.38.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H : 3-3, L: 8. Yellowish-grey-coloured
clay, blackish-red glaze. The end of the nozzle
is broken away.
As a result of the arrangement of the han­
dles, the nozzle projects from an angular body.
At the rear, traces of a vertical band-handle,
now broken away. On the right and left
sides of the shoulder are four rows of raised
dot decoration; on each side, symmetrically
arranged, are curved lug-handles w ith con­
cave edges. Around the discus is a raised,
double, rectangular rim. Low base-ring,
bearing within the stamp /E.
49 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.846.
Obtained by the Museum of Fine Arts
in 1951.
H: 2-6, L: 9-6. Greyish-yellow-coloured
clay, with cream-coloured coating. On the
nozzle, traces of burning.
Round body; projecting nozzle with
rounded termination. O n each side of the
body, symmetrically arranged, are slightly
incurving lug-handles with indented decora­
tion. Completely surrounding the decorated
discus is a double edge-rim, the inner line
of which is decorated with a cable pattern.
On the discus is an erotic symplegma of
Silenus and a Maenad. The filling-hole lies
between the heads of the two figures. Cut
through the inner raised line which sets off
the discus from the rim, is a wick-adjusting
hole. Underneath, a raised base-ring, con­
cave within.
50 Double-wick lamp.
Museum of Fine Arts. Inventory No.
50.1138.
Transferred from the collection of V.
Wartha in 1950. Provenience unknown.
H: 4-3, L: 11-5. Light grey-coloured clay,
with greyish-black glaze; on the right side,
a small hole broken through.
Round body, with two projecting nozzles
with rounded terminations. Broad shoulder,
with lenticular pattern in three rows. At the
rear, vertical band-handle, with ribbing. At
each side, symmetrically placed lug-handles
project at an angle, with circle-and-dot pat­
terns on their surface. The discus is set off
from the shoulder by a raised ring.
Bibi.: Wartha pl. IX.

The lamps with round body, rounded nozzle termination, and side lug-handles
were especially widespread in the xst century A.D. They belong to the wider
group of so-called Roman lamps, and the beginning of their development goes
back to Hellenistic times. Their general period of use can be dated to the second
and third quarters of the ist century A.D., but certain examples were manufactured
even at the end of the ist century106.
Lamps 44 and 45 are of the form most commonly found, which corresponds to
Broneer’s Type XXIV107. Also within this type are the lamps on which the circular
grooves surrounding the discus open out into a channel pointing towards the nozzle,

X06. Loeschcke, 40.

107. Broneer, 81, 82.

54
and which have single-ended volutes at the base of the nozzle, the other end merging
with the shoulder. Loeschcke discusses these among the Vindonissa lamps, within
the framework of his Type V, and in the Haltern material he describes, under
Type no. 35/c, examples corresponding to lamps 44 and 45108109. The Haltern material
renders a close dating possible.
In the earlier variants of the type the side handles, like those of lamp 44, are swal­
low-tail-shaped. But lamp 44 might well be dated later than the Haltern examples,
on which the channel opening towards the nozzle, and also the nozzle itself, ter­
minate in volutes, and are dated to the time of Tiberius.
On lamp 45 the side handles have lost their swallow-tail-shape, but are of simple
wavy line design. The discus is set off from the rim only by a relief ring bordered
by a groove, and this dividing groove, curving slightly, runs out to the edge of the
rim of the nozzlelce.
Lamp 46 can also be placed among the lamps with side handles, but there is no
channel between discus and nozzle. This closed rim points to an earlier origin, which
seems to be supported by a lamp of similar type in the Prague National Museum,
which has the characteristic nozzle termination, with bird’s head, of the second half
of the ist century B.C.110
A special place is occupied in this group by lamp 48. The thin walls of the body
and the heavily-fired clay point to the ist century A.D. The same dating can be
suggested on the basis of the raised dot patterns known also from the terra sigillata
vase of the Po region.
Lamp 49 belongs to a group of relief lamps which can be dated to the first half
of the ist century A.D. In addition to the style of representation, the straight-edged,
ribbed side handles and also the nozzle termination, point to this period. From the
material in the Mainz Museum we know a similar rounded nozzle termination with
a raised edge on an example belonging to this type. The round rim encircling the
nozzle of a lamp from Salzburg ends in volutes projecting out towards the shoulders,
and points to the direct relationship of the type with the volute lamps111.
Lamp 50 may be placed in the class of lamps with raised dot decoration. This style
of decoration survived for a long time, from the Hellenistic period at least to the
end of the 3rd century A.D. The period of use of the lamp can be determined more
exactly on the basis of its shape. Characteristic are the two nozzles, the side handles

108. Loeschcke, Haltern 206—209.

109. Goldmann, 94.
n o . Haken, 32—33. For type: Loeschcke, Type V, 40, Pl. XVI, 632, Pl. XVII, 637;
Haltern, 206—209; Broneer, 81, 82, Type XXIV, 178, 179, No. 473, Pl. X; Menzel, 46, No»
239—243, Fig. 19; Walters, 76, Nos 508, 509; Goldmann, Group XIV, 94—95; Haken, PI.
VII, Nos 60, 62, Pl. I, Nos 7, 32—33; L. Hautecoeur, Musée Alaoui, Céramique, PL
XXXV, 24.
i n . Menzel, 50, No. 270. For type: Menzel, 50, No. 270, Fig. 1 9 /n ; Walters, 74, Form
73, Nos 513—514, Form 69, No. 495.

55
w ith decoration derived from ivy leaf pattern, and the applied ribbed band-handle.
In the case of the lamp under discussion, the grey clay with its dark grey glaze is
also characteristic. A lamp with raised dot pattern among the Haltern material112,
as well as similar lamps in the Leningrad Hermitage, show also that Hellenistic forms
survived in imitations even in the beginning of the ist century A .D .113 The period
of use of the lamp can be dated to the middle of the ist century A.D.114

na. Loeschcke, Haltern. See Note No. n o .

113. Waldhauer, 34.
114. For type: Loeschcke, Haltern, зоз, Type 33; Niessen, 88, No. 1731; Waldhauer, 24,
PL IV, Nos 51, 53; Walters, 68, 69, No. 463—467, Pl. XIV, Fig. 75.

56
 2. BIRD’S HEAD LAMPS
51 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.83.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H : 5, L: 10-8. Fawn-coloured clay, with
reddish-brown to black glaze. Part of the
discus is missing.
“ Bird’s head” type lamp. The nozzle joins
the body in a curved line. The broadening
nozzle end terminates in a straight line at
right angles to the long axis of the lamp.
On the upper surface, at the junction of the
nozzle top and the body, on each side, is
a bird’s head in relief; between them is
a channel running forward up to the wick-
hole. Wide, vertical band-handle, broken
away. Near the edge of the discus is a
moulded ring, with two series of short
raised lines, one on each side of the ring.
Low, circular base.52
52 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.13.A.
Acquired from the collection of J. Lázár.
H : 2-5, L: 7-9. Slightly greyish, light-col­
oured, unpainted clay. The pierced projection
of the handle is broken away; on the nozzle
is a crack extending towards the discus.
“Bird’s head” lamp, with a pear-shaped,
elongated body, and curved nozzle. At the
base of the nozzle are birds’ heads, looking
to right and left, from which a sunken curved
line extends, forming the edge of the discus.
Smooth undersurface.
53 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.12.A.
Acquired from the collection of J. Lázár
in 1965.
H: 3'i, L: 7-9. Light ochre-coloured,
unpainted clay. Only the base of the pierced
handle remains. Base damaged and holed;
on nozzle, traces of burning.
“Bird’s head” lamp with a pear-shaped,
elongated body and curved nozzle. At the
base of the nozzle are birds’ heads looking
to right and left, from which impressed
curved lines, forming the edge of the discus,
extend towards the handle. Smooth under­
surface.
54 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.847.
Obtained by the Museum of Fine Arts in
1951. Provenience unknown.
H : 3, L: 7'6. Yellowish-pink-coloured,
unpainted clay. One side of the nozzle
damaged.
Lamp of the bird’s head type with a low,
slightly curved body. The nozzle joins the
body in a curved line. The broadening nozzle
terminates in a straight line. At the junction
of the nozzle and the body are three impressed
dots, and five short, straight grooves extend­
ing towards the filling-hole. At the rear, the
edge of the body is raised to form a handle,
with a hole pierced in it. The edge of the
discus is marked by two curved lines. On
57
the reverse, impressed stamp: C FABRIC
MAS.
5 5 O n e -w ic k la m p .
Museum of Fine Arts. Inventory No.
6 5 .2 6 .A.
Acquired from the collection of J. Lázár
in 1965.
H: 8-9, L: 15-4- Ochre-coloured clay,
painted red up to the middle of the lower
body; on the side and nozzle are streaky
black traces of burning.
Biconical body, on top of which is a
sunken, comparatively small-sized, discus.
In the centre, a wide filling-hole. Applied,
double-grooved band-handle extending from
below the outer rim of the discus and reach­
ing to the lower section of the underbody.
Tubular projecting nozzle with a large wick-
hole, terminating in a straight line and
joining the body at an angle on both sides.
On the raised, circular base are traces of
string-marks caused during the removal of
the lamp from the wheel.

The type of lamps 51, 52, 53 and 54 is called in the literature the bird’s headlamp115.
The type received this name from the circumstance that on the part between the
nozzle and the discus there are normally two birds’ heads in relief. The lamps with
bird’s head pattern have several variants110. On one of the variants the birds’ heads
disappear and only schematic lines remain, while the row of raised dots decorating
the shoulder and bordering the discus is reflected only by two grooves extending
from the schematic design.
The period of use of the bird’s head lamps was clarified by the Olympia and the
Haltern excavations. In Olympia, during the excavation of the bath, they were
unearthed from a level to be dated to the period between 100 B.C. and 100 A. D .117.
A more exact definition is rendered possible by the Haltern material, where they
were in use at the time of Augustus118.
The two variants represented in the material discussed by us show also differences
beyond the decoration. In the variants similar to lamp 51, the nozzle is longer and
the base of the nozzle is narrower. The birds’ heads are represented either in the form
of raised reliefs, for example on the lamp of the Museum of Fine Arts and those in
the Haltern material, or rendered only schematically, as in the case of the lamps with
the inventory numbers 0.30857, 0.28860 and 0.24135 in the Mainz Museum. The
band-handle is usually ribbed, but an unribbed variant also occurs. The discus has relief
decoration, and on the simpler specimens a row of raised dots runs round the edge
of the discus118a.
The development of variant 54 can be followed well with the help of the above
mentioned Olympia and Mainz lamps, together with the Prague lamps. The nozzle
is almost as broad as the diameter of the body, and, accordingly, the base of the
nozzle is proportionately much broader than that of the preceding variant. The band-
handle disappears and in its place the edge of the rear part of the body is raised upwards
and pierced by a round hole. The base of the handle in front is not defined, but
curves forward and merges into the discus. At the base of the nozzle are five short
1 1 5. S. L o e sc h c k e , H a lte r n , 20 3 .
1 16. E. K u n ze— H . S c h le if, 4 . O ly m p ia b e r ic h t 1940— 1941, 8 0 , 9 2 ; M e n z e l, 24— 2 5; H a ­
k e n , 2 9 — 34.
1 1 7 . E . K u n ze— H . S c h le if, 4 . O ly m p ia b e r ic h t 1940— 1941, 80, 9 3 .
1 18. L o esch ck e, H a lte r n , 203.
и 8a. Lerat, p . 4 , P l. III, 25 an d 2 5 b .

58
lines. The forked elongation of the centre line encloses the oil-hole. From the tran­
sitional types of Olympia and Mainz the process of development is so evident that
the assumption of M. L. Bernhard must be discounted: she connects this form
with the six-branched Jewish candelabrum, on account of some seven-lined exam­
ples, and regards the type as being of Jewish origin119.
The transition between lamps 51 and 54 is well illustrated by lamps 52 and 53.
On these the birds’ heads are still easily discernible, but the row of raised dots at the
discus edge is already represented only by a line and also the nozzles are those of the
later variant.
On the reverse of lamps similar to lamp 54 maker’s stamps often appear. These
throw light on the time of development and use of the lamps. O n the example
from Streza in the Mainz Museum with the inventory number 0.29272, a planta
pedis (foot impression) can be seen120. The workshops of North Italy used the planta
pedis stamp also on other ceramic products in the early Imperial period121. This
indicates that this lamp type can also be dated to the ist century A.D. This is
shown also by the stamp with impressed letters on the reverse, which can be read
L. Fabricii Masculi. We meet with the stamp of L. Fabricius Masculus also
on other, not quite identical, lamps; among these four lamps in the British
Museum are nearest in form to Lamp 54122. The common characteristic of these
four lamps is that on the side opposite to the nozzle the rim is raised to form a
handle, in the centre of which is pierced a round hole for suspension. The nozzle
terminations, however, are of different shapes. O n lamp No. 497 volutes merging
into the shoulders are found, while in the case of Nos 498 and 499 the termination
of the nozzle is wide, blunt and rounded. The stamp is identical, but the form is
entirely different in the case of British Museum lamps No. 971 and 949. These
have round bodies with raised, vertical, pierced handles, while the nozzles are rounded
and are set off from the shoulder by a straight line ending in two dots. Their relief
patterns also point to the ist century A.D. In the course of a study of the rich col­
lection of bird’s head lamps in the Prague National Museum and the Prague Institute
of Archaeology, L. Haken arrived at a similar dating. There, examples bearing the
stamp C OPPI RESTITUTI on the reverse are frequent123.
Lamp 55 can be ranged with a large group of late Hellenistic lamps. The straight
termination of the nozzle, the raised knobs on the side, and the double-grooved
band-handle, suggest a date in the middle of the ist century B .C .123a.

119. Bernhard, 157.

120. Menzel, 25, Nos 75, 76, Fig. 22/4—5.
121. Gy. Juhász, Die Sigillaten von Brigetio, Diss. Pann. Ser. 2, No. 3, 5.
122. Walters, 74, 75, 149, Nos 497—499, 988.
123. Haken, 29—34.
123a. For the Type: Loeschcke, Haltern, 203, Type 34; Menzel, 24—25, Nos 72—78, Fig. 22,
Nos 2—7; Kunze—Schleif, 4, Olympiabericht 1940—1941, 80, 92, Fig. 69; Walters, 56,
No. 394, 74, No. 498, 75, Nos 498, 500, 143, No. 949, 146, No. 971,149, No. 988; Waldhauer,
31, No. 130, 67, No. 540; Haken, 29—34, Nos 7—34, Figs. 2—6.

59
J
 3. LARGE LAMPS WITH VOLUTED NOZZLES
56 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1165.
From the collection of I. Delhaes. Trans­
ferred from the Historical Museum in 1950.
Provenience unknown.
H: 8, L: 17-2. Yellowish-green-coloured,
heavily-fired clay, with traces of grey paint.
Traces of burning on the nozzle.
Round body and long projecting nozzle
with rounded termination and volute deco­
ration. At the rear is a vertical, pierced handle,
above which is a triangular thumb-plate,
decorated with a nine-leafed palmette pattern
with, below, a vertical pair of double volutes
crossed by a horizontal pair of volutes. At the
edge of the deep-sunk discus is a circular
band of impressed linear pattern, framed
above and below by relief rings. Low base­
ring.
57 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1164.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 9-5, L: 21-9. Creamy-coloured clay,
with mottled traces of grey paint on its
surface. The wall is very thin. Major defi­
ciencies on the sides and the base. The thumb-
plate is repaired.
Round body and long, projecting nozzle,
with rounded termination and volute deco­
ration. On the side opposite to the nozzle,
above the vertical, pierced handle, is an
ivy-leaf-shaped thumb-plate. On the deep,
concave discus is a rosette of twenty-seven
petals, bordered by a relief ring on its upper
edge. Low base-ring.
58 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1166.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 8-3, L: 15-7. Yellowish-pink, porous
clay, with traces of the original dark grey
paint. Traces of burning on the nozzle.
Handle broken away, nozzle restored.
Round body, the nozzle projecting with
a gentle curve. The rim is separated from the
discus by a relief line and a row of raised
dots, which follow the line of the channel
between the discus and the nozzle. On the
nozzle, near the discus is a forked twig deco­
ration. Elongated oval wick-adjusting hole.
61
At the rear is the stump of the handle. O n
the underside, within the base-ring, is the
О О О
stamp o/ \ g / \ ^ / .
59 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1289.
From the collection of V. Wartha, A cq u ired
in 1950. Provenience unknown.
H : 4-6, L: 18-3. Brownish-red-coloured
day, with a rust-red coating. Handle broken
away, side and part of base repaired.
Round body and projecting nozzle, w ith
a so-called trapezoid termination. At the
junction of the nozzle and the body, on each
side, is a rosette, which tapers below to form
a relief band dividing the nozzle from the
body; immediately below the rosettes, this
band is decorated with incised lines. O n the
discus are concentric grooves, and around
the filling-hole is a raised rim. Base-ring
below, with a shallow double groove.
Bibi.: Wartha pl. IX.
60 Thumb-plate of lamp.
Museum of Fine Arts. Inventory No.
50.1169.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H : 9-1, W : 7-8. Brownish-grey-coloured
clay, with a silvery-grey, iridescent, vitreous
glaze.
Triangular thumb-plate with, in the centre,
a seven-leaf palmette in bud, at the base of
which are the figures of two opposed hippo­
campi. The vertical handle part under the
thumb-plate was pierced; traces of the pierc­
in g can still be seen on the fragment.
61 Thumb-plate of lamp.
Museum of Fine Arts. Inventory No.
50.1167.
From the collection of V.Wartha, Acquired
in 1950. Provenience unknown.
62
H: 9-7, W : 6. Pinkish-yellow-coloured
clay, with traces of brown paint.
Triangular thumb-plate, with a seven-leaf
palmette decoration, emerging from volutes;
below are two leaves terminating in volutes.
On the reverse, a vertical, pierced handle.
62 Thumb-plate of lamp.
Museum of Fine Arts. Inventory No.
50.1168.
From the collection of V. Wartha,
Acquired in 1905. Provenience unknown.
H: 6-5, W : 5-4. Reddish-brown-coloured
clay, with a reddish-brown coating.
Triangular thumb-plate with curved sides
and decorated with a crescent in outline
relief. Around the crescent are seven impressed
stars. The vertical handle under the thumb-
plate, only part of which remains, was
pierced.
63 Thumb-plate of lamp.
Museum of Fine Arts. Inventory No.
59.7.A.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 6'7, W : 5-4. Light yellow-coloured
clay, with traces of black paint.
Triangular thumb-plate with slightly
curved sides, decorated with a seven-leaf pal­
mette pattern, at the base of which a double
volute is stylized into two branches with
leaves. A fragment of the handle under the
thumb-plate also remains.
64 O ne-w ick lam p.
Museum of Fine Arts. Inventory No.
65.28.A.
From the collection of J. Lázár, acquired
in 1965.
H: 3'i, L: 11-3. Light ochre-coloured,
unpainted clay. The base of the nozzle, on
the right side, is damaged.
Round body and long, projecting, curved
nozzle with a rounded termination. The top
of the nozzle is decorated with two rings,
each with three small dots. On the shoulder
are a grooved cable decoration and a row
of raised dots concentric to it. Large filling-
hole. Rudimentary, slightly raised, triangular
handle. On the underside is a double con­
centric groove, defining the narrow, slightly
raised base-ring.
 65 T h u m b -p la te .
Museum of Fine Arts. Inventory No.
65.96. A.
From the collection of J. Lázár, acquired in
1965.
H: 6, W : 2-1. Light ochre-coloured, red-
painted clay. A fragment.
Crescent-shaped thumb-plate, on the front
surface of which is impressed a lunate­
shaped groove, following the outline of the
crescent. There is a dotted circle decora­
tion in the centre and at the ends of the
horns.
66 One-wick lamp.
Museum of Fine Arts. Inventory No.
56.33. A.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 2-9, L: io-6. Creamy yellow-coloured
clay, with orange to black paint. Small
fragment missing from discus.
Round body, with projecting nozzle, deco­
rated with volutes, and a rounded termina­
tion. Two grooves encircle the filling-hole.
The discus is set off from the shoulder by
two circular grooves, and is decorated with
a ray pattern. Flat, slightly raised, circular
base.
67 One-wick lamp.
Museum of Fine Arts. Inventory No.
56.34. A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 2-5, L: 11*7. Dark brown-coloured,
brown-painted clay. Put together from
several pieces; small fragment missing from
discus.
Round body; nozzle with rounded termi­
nation, decorated with volutes. On the discus,
a figure of Athena, holding a spear in her
left hand; her shield, decorated with a Gor­
gon-head in relief, leans against the spear.
In her extended right hand is a sacrificial
bowl held above an altar, from the voluted
top of which a serpent rises. The discus is
set off from the shoulder by three grooves.
On the slightly concave, circular base is the
stamp IMC.
Bibi.: Oroszlán-Dobrovits p. 46, К. 32.
68 Double-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 4'4. L: 12. Brick-red-coloured, un­
painted clay.
Round body. The shoulder is set off from
the discus by two circular relief rings. Each
nozzle is decorated with two volutes, and
has a pointed termination. The parts of the
volutes adjacent to the discus end in horse
heads. Between the volutes is a raised device
with forked ends; that nearest the wick-hole
has a bud-like object between the fork.
In the centre of the discus is the head of
a youth, with vine leaves and grapes in his
hair. The handle, together with its thumb-
plate, is broken away. Uneven and undefined
base below.
Bibi.: Oroszlán-Dobrovits p. 49, L. 21.
69 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 3-4, L: 12-8. Dark fawn-coloured,
unpainted clay.
Round body. The shoulder is set off from
the discus by two concentric relief rings, the
inner one of which is decorated with a row
of pearl pattern. The nozzle joins the body
with elongated volutes, the ends of which
adjacent to the body terminate in wolf’s
heads. Between the volutes is a raised, forked
device like those on lamp 68. On the discus,
a peacock in frontal position, with head
turned to right, and with wide-spread tail-
feathers. The filling-hole is placed between
the inner relief ring and the discus decoration.
On the reverse is a base-ring, in the centre
of which is a small raised dot.
Bibi.: Oroszlán-Dobrovits p. 49, L. 21.
63
 In the initial phase of their activity the Italic lamp makers produced an independ­
ent type of lamp, the development of which starts with the Esquiline lamp124.
At the end of the Hellenistic period the Italic lamp manufacturing industry expe­
rienced a rapid development: in the ist century B.C., and especially at the end of
the century, it took over the leading role from the Greek lamp manufacturers125.
There were produced the types which finally led to the appearance and spread of
the relief lamps. The so-called volute lamps become dominant as early as the end of
the ist century B.C. Their characteristic feature is the volute patterns placed on
each side of the nozzle. Lamps 56 to 65 belong among the earlier variants of the
volute lamps made in Italy. They correspond to Broneer’s Type XXI126 and to
Loeschcke’s Type 36 from Haltern127. They differ in their large size from the
previous and also from later types. The prototypes of the new form are to be found
among two-wicked bronze lamps with large thumb-plates. Its general period of use
is the first half of the ist century A.D. The flat top develops and the decoration
moves from the shoulder rim to the discus. The nozzle receives the characteristic
two volutes and on the earlier variants it has a rounded termination. Flat areas
within the bases appear, surrounded by characteristic base-rings which are defined
by concentric grooves.
The sunken discus of lamp 56 has very steep walls decorated with radial linear
patterns. This variant and that of lamp 57, which has a deep-sunk discus with curved
walls and a petal pattern occupying the whole surface, are found over a large area128.
Also characteristic are their handles, placed at the rear of the lamps. Above the
pierced, vertical, disk-shaped handles are triangular, leaf-shaped, or crescent-shaped
thumb-plates. The handle, which is large in proportion to the body, counterbalances
the projecting nozzle129. The leaf pattern appearing on lamp 57, the palmette pattern
on lamps 61 and 63 and the crescent decoration of lamps 62 and 65 are frequently
met with130. Other examples are known which bear on the thumb-plate the palmette
and hippocampus representation of lamp 51131.
Lamps 59 and 65 are in close relationship with Hellenistic lamps, especially with
bronze examples. Lamp 58, on the other hand, belongs to the late variants of the
2nd and 3rd centuries A.D. This is shown by the absence of volutes and the decora­
tion of the rim of the discus with rows of raised dots, as well as the impressed signa­
ture within the base-ring132.

124. Walters, XXII, 7.

125. Walters, XXIII; Waldhauer, 10; Broneer, 7—8.
126. Broneer, 23.
127. Loeschcke, Haltern,
128. Broneer, 168, No. 393, Pl. VII; Walters, 73; Waldhauer, 38.
129. Important especially in the case of the bronze versions; their presence on the fired
clay lamps shows that this type borrowed its form from the bronze lamps.
130. Broneer, 73—76, 167—171; Loeschcke, 198, 199.
131. Menzel, 28, No. 93, Fig. 25—3.
132. Walters, 43, No. 306.

64
 Owing to their large size, lamps 66 and 67 are placed in this group. The size of
their nozzles is, however, rather small compared with the body and they are there­
fore near to the group of lamps 92—106. The volute-lamps with large-size, projecting
nozzles belong to the early group of the Imperial period. The manufacture of lamps
with short voluted nozzles commences later than that of the lamps with long, pro­
jecting nozzles. However, in the first half of the ist century A.D. they were being
produced simultaneously.
The radial linear pattern is already known from, for example, lamp 57, but it
appears also on lamps of other types in the ist century A.D.
Lamps 68 and 69 form a separate group among the larger-size volute-lamps of the
ist century A.D. Their characteristics are described by Broneer in his discussion
of the second variant of his Type XXI. In plan view, their highly projecting nozzles
terminate in a pointed arch shape. The nozzles arc connected with the round body
by volutes, plain near the wick-hole, but ending in animal heads towards the body.
Between the volutes, in the centre of the nozzle, on top, is a tripartite floral pattern.
In the ist century, at the beginning of the Imperial period, the later, stereotyped
forms have not yet come to full dominance. Lamps of a more individual character
are manufactured mainly in this period. The makers of the lamps under discussion
may have worked mostly in the ist century, and their activity probably lasted up to
the turn of the century. The Satrius mould in Cologne133 shows that the various
types were transported over great distances. Variants of the double-nozzled example
57 are found in Tarsus throughout the whole of the ist century, in the Hellenistic-
Roman stratum134.
The discus of lamp 69 is decorated with a peacock displayed. This motif appears
in Tarsus in the first quarter of.the ist century A.D.; the fabric of the lamps shows
that local manufacture begins with this type135: all examples, with one exception,
were found in the Roman layer. The representation of the peacock with spread tail
feathers is frequent in the ist century and is found also at Vindonissa, on a lamp of
Type IV136.

133. F. Fremersdorf, Römische Bildlampen, Bonn—Leipzig 1922, 27—30.

134. Goldmann, 92—93, 109.
135. As Note 134.
136. Loeschcke, 403—404, Nos 513—522, Pl. XIII. For type: Broneer, 73—76, 167—170,
Nos 393, 396, 397, 400, Pis VII—IX; Menzel, 86, Figs 1—5, 25,1—5; Loeschcke, 386, 403—
404, No. 13—522, 322, 328; Waldhauer, 38, No. 203; Walters, 43, No. 306, 73, No. 494,
134, No. 880; Goldmann, 92—95, 108—112, 131—137, No. 166.

65
5 Szentlélcky
*
4- VOLUTE LAMPS WITH ANGULAR NOZZLE-TERMINATIONS
70 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 2-8, L: 9-9. Light brownish-yellow-
coloured, brown-painted clay.
Lamp with relief decoration; the nozzle is
flanked by volutes and has an angular termi­
nation. The discus is set off from the shoulder
by three concentric grooves. On the de­
pressed discus, an erotic symplegma. At the
base of the nozzle is a small hole. Low base­
ring, within which is a faint Y in relief.
71 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1113-
From the collection of V. Wartha. Acquired
in 1950.
Provenience unknown.
H : 2-9, L: 12-7. Light fawn-coloured clay,
with streaky reddish-brown paint.
Lamp with relief decoration; nozzle flank­
ed by volutes and with angular end. In the
field of the discus, which is set off from the
shoulder by three grooves, is a figure of
Athena, standing to left on a base-line, her
right hand holding a spear and, on her left
arm, a shield decorated with a gorgoneion.
At the rear of the body the ring-shaped,
vertical handle is broken away.
At the base of the nozzle is a wick-adjusting
hole. Slightly raised, flat, circular base.
72 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1111.
5 *
Transferred from the Museum of Applied
Arts in 1948.
Provenience unknown.
H : 3'i, L: 7-5. Light cream-coloured clay.
On the nozzle, traces of burning.
Lamp with relief decoration; nozzle deco­
rated with volutes and with an angular ter­
mination. On the discus, the rim of which is
decorated by a relief ring, leaning over a
wash-basin are two nude female figures, one
of them pouring water into the basin from
a vessel, the other dipping her hands into the
basin to wash herself. Opposite the nozzle
is a disk-shaped, vertical handle, on the edge
of which are transverse grooves. On the
underside is a flat, round base.
73 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 3*2, L: 12-2. Orange-painted, light
fawn-coloured clay.
Lamp with relief decoration and volute­
decorated nozzle which terminates in a curve.
Narrow shoulder, set off from the discus by
two concentric grooves. On the depressed
discus is the figure of an ivy-wreathed Sile­
nus, with nude upper torso. One end of his
mantle is caught up in front of him, the
other is draped over his right arm. Behind
him is a thyrsus, and his right hand holds
a cup. At the base of the nozzle is a small
wick-adjusting hole. W ithin the base is an
impressed planta pedis and a V-shaped line
in relief.
Bibi.: Oroszlán-Dobrovits p. 46, К. 30.
74 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1114.
From the collection of V. Wartha, acquired
in 1950.
Provenience unknown.
67
 H : 4-1, L: ii . Light fawn-coloured clay.
Lamp with relief decoration, the nozzle
flanked by volutes and terminating with an
angular tip. The narrow shoulder is set off
from the discus by three concentric grooves.
O n the discus, a lion attacking a mule.
Vertical, disk-shaped, applied handle.
75 O ne-w ick lam p.
Museum of Fine Arts. Inventory No.
54-348-
Provenience u n know n.
H : 2-2, L: 8-4. Yellowish-pink-coloured
clay, with red paint. Only one half of the
lam p is preserved.
Lamp with relief decoration and voluted
nozzle, part of one volute only remaining.
The shoulder is set off from the discus by
a circular groove. On the discus, an erotic
symplegma.
76 O ne-w ick lam p.
Museum of Fine Arts. Inventory No.
50.1121.
Transferred from the Museum of Applied
Arts in 1950. Provenience unknown.
H : 2-5, L: б-i. Brownish-yellow-coloured
clay, with dark brown paint, which is patchy
on the side. Only the end of the nozzle
placed on the shoulder is preserved.
Lamp with relief decoration and volute­
decorated nozzle. The shoulder is set off
from the discus by a circular groove. On the
deep-sunk discus is an erotic symplegma.
O n the nozzle, near the discus edge, is a wick­
adjusting hole. On the reverse is a flat,
circular base.
77 O ne-w ick lam p.
Museum of Fine Arts. Inventory No.
50.1150.
Transferred from the Historical Museum
in 1950. Said to be from Aquilea.
H : 2-4, L: 7-8. Pinkish-yellow-coloured
clay, with traces of paint. Put together from
several pieces; the filling-hole and the shoul­
der are damaged.
Lamp with relief decoration, the nozzle
flanked by volutes. The shoulder is separated
from the discus by a circular groove. On
the concave discus is a dancing boy. The fil­
ling-hole is at some distance from the cen­
tre. A wick-adjusting hole is pierced on the
outer side of the rim enclosing the discus.
68
On the reverse is a circular, flat base, in the
centre of which is a ring-and-dot.
78 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1126.
Provenience unknown.
H: 2-7, L: 8-9. Brownish-yellow-coloured
clay, with uneven brown to black paint.
Lamp with relief decoration and volutes
decorating the nozzle. The shoulder is set
off from the discus by a circular groove.
The discus is damaged, and only traces of
the unrecognisable scene remain. At the base
of the nozzle, near the discus edge, is a wick­
adjusting hole.
79 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.i i . A.
From the collection of J. Lázár, acquired
in 1965.
H: 2-6, L: 9-1. Light grey-coloured clay,
with unevenly applied brown paint.
Lamp with relief decoration and voluted
nozzle. The concave discus is set off from
the rim by an incised circle. On the discus
is a representation of a gambolling dolphin,
to left. The filling-hole is situated on the left
and slightly towards the rear. On the part
of the discus rim nearest the nozzle is a wick­
adjusting hole. Base formed by a slightly
raised ring, with a dot decoration in the
middle.
80 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.10.A.
From the collection of J. Lázár, acquired
in 1965.
H: 2-4, L: 8-6. Light brownish-coloured
clay, with traces of red paint. On the nozzle,
traces of burning.
Lamp with relief decoration and voluted
nozzle. The concave discus is set off from the
rim by an incised circle. On the discus, and
barely discernible, is the design of a fish
swimming to right. The filling-hole is
situated on the left and slightly to one side.
Wick-adjusting hole on the part of the discus
rim nearest the nozzle.
81 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1147.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 2-8, L: 8-6. Creamy-yellow-coloured,
brown-painted clay. The paint remains only
in places. The shoulder and the discus are
slightly damaged.
Lamp with relief decoration and volutes
flanking the nozzle. The shoulder is set off
from the discus by two concentric grooves.
Wide nozzle with angular termination. On
the concave discus is a cock. In order to
avoid the discus design, the filling-hole is not
centrally-placed. Wick-adjusting hole at the
base of the nozzle, on the outer side of the
rim enclosing the discus. On the reverse,
a flat, circular base.
82 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.7.A.
From the collection of J. Lázár, acquired
in 1965.
H : 2*3, L: 7-6. Pinkish ochre-coloured
clay, with an orange coating. On the nozzle,
the end of which is damaged, are traces of
burning.
Lamp with relief decoration and voluted
nozzle. The concave discus is set off from
the rim by three incised circles. On the discus,
a stag jumping to right. In the centre of the
base is a dot decoration; beneath it the sign F.
83 One-wick lamp.
Collection of L. Basch.
The most popular types of volute lamps with angular nozzle termination were
developed in the ist century A.D. Their characteristic is the comparatively small
size; the narrow shoulder frames a discus decorated with relief pattern. S. Loeschcke
divided them into groups within his Type I : A, В and C, and thus was able to make
a more precise chronological division137. Loeschcke’s classification, with minor
137. Loeschcke, 212—220.
Provenience unknown.
H: 2-8, L: 9-3. Grey-coloured clay, with
grey paint. Base and sides slightly damaged.
Lamp with relief design, and volutes deco­
rating the nozzle. The shoulder is set off
from the discus by two concentric grooves.
Wide nozzle with angular termination. On
the concave discus, a winged griffin run­
ning to right. Low, circular base.
84 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 2-4, L: 8-2. Creamy-yellow-coloured
clay, with reddish paint; on the nozzle,
traces of burning. Lamp joined from two
pieces; nozzle damaged.
Lamp with relief scene, with volutes
decorating the nozzle. The shoulder is set
off from the discus by a circular groove.
Wide nozzle. On the concave discus, resting
on a base-line, is a tripod covered with a veil
on which is a head of Hercules and, to the
left, his club. The filling-hole is on the right,
to avoid the discus design. Flat, circular base.
85 One-wick lamp.
From the collection of L. Basch.
Provenience unknown.
H: 2-7, L: 8-9. Light fawn-coloured clay,
with orange paint. On the nozzle, traces of
burning. Back and side damaged and re­
paired.
Lamp with relief decoration and volutes
flanking the nozzle. The shoulder is set off
from the discus by a circular groove. Wide
nozzle with angular termination. On the
concave discus is a frontal tragic mask (head
of Hercules). The filling-hole is placed
slightly to the left to avoid the discus scene.
At the base of the nozzle is a wick-adjusting
hole. Underneath is a flat, circular base, with
a small circle in the middle.
Bibi.: Oroszlán-Dobrovits p. 46, К. 19.
69
modifications, was applied by D. Iványi on the Pannonian material. During the
49 years which have elapsed since the work of Loeschcke, many further detailed
questions have been clarified, but basically his statements are reliable even today138.
Type IA, with volutes tapering towards the front, was manufactured mainly in
early Tiberian times139. Lamp 72 belongs to this group140. The small raised band-
handle points to its early manufacture. The representation of female figures standing
beside a basin and washing themselves is known from lamp 252 in the Mainz
Museum141 and lamp 20 of D. Iványi, from Sisak142; it occurs also in the material
from Haltern143 and it is known in Italy144. O n the reverse of the lamp in the Mainz
Museum is the signature CABINA. The representation is known to us also from
bronze lamps145.
Variant IB starts to spread in the period of Tiberius and soon becomes very popular.
Lamps 71, 73, 74 and 77 belong to this variant.
Lamp 73 is especially beautiful. It was manufactured in an Italic workshop in
the earliest period of Type IB, in the reign of Tiberius146. The planta pedis sign,
found on the reverse of the lamp, was used in northern Italic workshops in the ist
century. The barely raised V sign is also an early feature.
On the discus of lamp 71 stands the figure of Athena, with a spear in her right
hand and shield in her left147. It is the Promachos type. Among the lamps used also
for cult purposes the figure of Athena Promachos is frequently found: at Vindo­
nissa it decorates lamps 331 to 335, in exactly the same form as that appearing on
lamp 71148.
This popular representation is found over a long period of time. On No. 775
in the British Museum it occurs on a lamp with single-ended volutes which
merge with the shoulder149. It is frequently seen also in the material from Corinth,
where it is to be found on lamps of Type XXVIII, extending into the 3rd
century150.
The dancing boy (Eros?) of lamp 77 is also a widely spread representation,
examples being found among the lamps of Pannonia, Germania, Raetia, etc.151

138. Iványi, 10—и .

139. Loeschcke, 217; Iványi, 10.
140. Szilágyi—Castiglione, 62.
141. Menzel, 47, PI. 34/15.
142. Iványi, 38.
143. Loeschcke, Haltern, Pl. XI, 35.
144. Not. Scavi 1936, 391.
145. Bernhard, 381, No. 564, PI. LXIII.
146. Gy. Juhász, Die Sigillaten von Brigetio, Diss. Pann. Ser. 2, Nos 3, 5.
147. Szilágyi—Castiglione, 62.
148. Loeschcke, 200.
149. Walters, 117, Pl. XXV.
150. Broneer, 246—247, Pl. XVI.
151. Iványi, 41—42; Loeschcke, 415, with further references.

70
The same can be said about the lion devouring a mule depicted in the relief decora­
tion on lamp 74152.
The most common form is the broad-nozzled variant IC. The manufacture of
these lamps starts in the years after Tiberius. Their production and use continued
as late as the Flavian period. In the province of Pannonia the type was in use until
the middle of the 2nd century153. Lamps 70, 75, 76, 78, 79 80, 81, 82, 83, 84 and 85
are examples of this variant.
The galloping griffin of lamp 83 is a representation154 as widely spread as the
masks decorating lamps 84 and 85li5156. On lamps used in bedrooms erotic scenes
are very frequent. Among lamps 70, 75 and 76, lamp 70 is the earliest, followed by
lamp 76. The dating of these pieces to the ist century A.D. is supported by lamp
No. 0.10869 in the Mainz Museum, on the reverse of which is the signature
M.OPP within a foot-shaped impression158.

152. Menzel, 45; Loeschcke, 377, 401; Walters, 105—106; Niessen, 90,93; Broneer, 172.
153. Iványi, 10—11; Szentléleky, Bud. Rég. 178.
154. Iványi, Pl. VII, i, 2; Loeschcke, 400, Nos 470—471.
155. Iványi, 42—43, Nos 76—86, No. 91.
156. Menzel, 47; For type: Loeschcke, 24—30, 216, Nos 523—525, 235, No. 732; Iványi,
55, Pl. X. 7, Nos 276—278; Walters, 117, No. 775, Pl. XXV; Ponsich, 82, N o
43. Pl. V. For the type of Athena: Broneer, 246—247, Nos 1110—1112.

71
 5. BULL’S HEAD LAMPS

86 One-wick lamp. Bull’s head body; above the vertical,

Museum of Fine Arts. Inventory No. pierced handle is a crescent-shaped thumb-
50.1148. plate. The filling-hole is in the middle of the
Transferred from the Historical Museum forehead, surrounded by curly hair. Within
in 1950. Provenience unknown. the edge of the flat base is a groove.
H: 6-9, L: 13-2. Creamy-yellow clay, with
streaky red paint. Nozzle damaged. 88 Double-wick lamp.
Body in the form of a bull’s head. The
filling-hole is in the middle of the forehead,
surrounded by curls of hair. Crescent-shaped
thumb-plate. On the reverse are faint letters
reading P Як.

87 One-wick lamp. Museum of Fine Arts. Inventory No.

Museum of Fine Arts. Inventory No.
50.1149.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H : б-i, L: 7-4. Greyish-yellow-coloured
clay, with brown paint. Nozzle missing.
There is no join between the thumb-plate
and the body, but they appear to belong
together.
50.1320.
From the collection of V. Wartha, acquired
in 1950. Provenience unknown.
H: 6-7, L: 20-8. Reddish-yellow-coloured
clay, with red paint. The upper part of the
central suspension ring-handle is missing.
The nozzles are placed opposite to each
other; on each side of the body is a mask.
On the underbody, below the masks are
grooves; the discus is set off from the shoul­
der by a raised rim divided by a groove.
Between the nozzles and the discus are styl­
ized bull’s heads, above the foreheads of
which are wick-adjusting holes. W ithin the
discus are two filling-holes, one on each side
of the central suspension handle. Flat, circular
base.
Bibi.: Wartha, Pl. IX.

Lamps 86 to 88 belong to the group of the bull’s head lamps. The earliest appearance
of the bull’s head is upon Egyptian lamps157, but on these it is of a different form to
that found on the later lamps of the ist century. Two earlier pieces in the Leningrad
Hermitage show that on these the bull’s head does not yet cover the entire upper
surface, but is applied only as a decorative element between the rim of the discus

157. Waldhauer, 28.

73
and the nozzle158. Both above-mentioned lamps can be placed in the group of
Hellenistic lamps w ith side-lugs. The characteristic bull’s head-shaped Roman type
of lamp developed in the ist century A.D. and is known, for example, in the material
from Pompeii159. In the case of the two lamps discussed here, their ist century
Italic origin is shown by the crescent-shaped thumb-plate, the pierced vertical
handle under the thumb-plate, the plain base set off by a groove, and the well-
washed and heavily-fired thin clay with red paint. The nozzle termination is rounded
and the wick-hole is immediately in front of the nose of the animal; the small oil-
hole is placed on the forehead. This type was widely distributed, from Italy to
Carthage and the northern coast of the Black Sea160. The first examples appeared
in bronze and the clay lamps are only imitations of these161. Schematic bull’s head
representations appear on lamp 88162, which is of 2nd century date. The arrangement
of the bulls’ heads is reminiscent of the early Egyptian lamps with bull’s head repre­
sentations, but in the centre it has a ring for suspension163, characteristic of the 2nd
century.

158. Waldhauer, 28, Nos 104, 105.

159. Roux—Barré, Pompéi, 45; Bailey, p. 30, PI. 9(a).
160. Waldhauer, 28, 64—63.
161. Walters, 61, 62.
162. Szilágyi—Castiglione, 62.
163. For type: Waldhauer, 28, Nos 104, 105, 64—63, Nos 502, 508, 509—512; Men­
zel, 77, No. 510, Fig. 62/2; Walters, 61—62, Nos 424—427; Thompson, Hesperia 2 (1933)
195—215; Roux—Barré, 45, PI. 47.

74
 6. VOLUTE LAMPS WITH CURVED NOZZLE-TERMINATIONS

89 One-wick lamp. Round body and projecting nozzle with

Museum of Fine Arts. Inventory No.
51.184.
From the collection of F. Hopp. Trans­
ferred from the Historical Museum in 1951.
From Carthage.
H: 2-5, L: 8 9. Pinkish-yellow clay, with
patchy brown paint.
Round body and projecting nozzle with
curved neck; the termination of the nozzle is
rounded, with an angular tip. Concentric
circular grooves decorate the rim of the
concave discus. On the underside, a flat,
circular base.
90 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1125.
From the collection of J. Fleissig; given
by his heirs in 1949. Provenience unknown.
H: 2-4, L: 7-6. Brownish-pink clay with
ark red streaky paint.
curved neck; its termination is rounded and
the tip has a slight angle. On each edge of
the nozzle are faint volute lines. On the
shoulder are five concentric circular grooves,
and the concave discus is decorated with a
twenty-four petalled rosette. Around the
filling-hole are two circular concentric
grooves. Low base-ring, within which is
the name PHOETASPI, in relief letters.
91 One-wick lamp.
Déri Museum. Inventory No. E.VII.4.
Provenience unknown.
H: 2-5, L: 7-4. R ed dish-yellow -coloured,
unpainted clay.
Round body and short, projecting nozzle
with curved neck, terminating in a curve
broken by a barely perceptible angular tip.
Degenerate volutes, defined by grooves. On
the inner edge of the sloping shoulder is a
row of impressed double tongues. The con­
cave discus is set off from the shoulder by
a groove; it is decorated with a bull running
to right. Flat, circular base.
Bibi.; Déri, p. 312.

Lamps 89 to 91 were manufactured in the ist century A.D.164 Characteristic is

the curved or slightly angular curved termination of the nozzles and the merging
of the volutes into the shoulder. Although the basic type of these lamps is identical,
the individual pieces show great differences. These differences result from the cir­
cumstance that the group of lamp 90 was manufactured at the time of Augustus,
while the period of use of the group of lamp 89 can be dated to the period imme­
diately following Augustus.
These lamps correspond to Loeschcke’s Type II. According to him these are not
ancestors of the volute lamps, and are not represented in the Haltern material of

164. Loeschcke, 221, 222.

75
the time of Augustus; in Trier, Bregenz and Vindonissa they came to light in graves
of the post-Augustan, early Imperial age165. The group of lamp 90, however, has
characteristics on the basis of which we can presume that in Italy the type developed
earlier, during the Augustan age. On its nozzle, the rudimentary lines of the volutes
are faintly discernible. Its wide, flat shoulder is decorated with several finely impressed
circular grooves, and on the discus can be seen the linear patterns which are general
on the large-size lamps with round nozzle termination of the early Imperial age.
Loeschcke mentions a similar early variant in the Museo Nazionale Rom ano166.
Traces of volutes are visible also on this specimen. On the reverse of lamp 90, in a
framed field, the signature PHOETASPI appears in raised letters. Loeschcke men­
tions this as one of the earliest stamps in Vindonissa, although it appears there on
Type IX167; due to their occurrence in Pompeii and Hofheim he regards these
lamps as originating in the period of Vespasian. Other than the occurrences in
North Italy and spreading from there to the northern provinces, the earlier traces
point to an Egyptian origin. This is also shown by the example in the Leningrad
Hermitage, which has the same stamp and originates from Egypt168. The Egyptian
relations of the type are mentioned by Loeschcke.
The lamps of Nona point to the early use of this factory mark. According to
Bersa the letters of the name PHOETASPI, a name appearing in the initial period
of the development of the factory-lamps, were impressed separately into the
mould, and not together as a complete w ord169.
Lamp 89 belongs among subsequently-produced lamps, but which can still be
dated to the first half of the ist century A.D. Its later manufacture than that of lamp
90 is supported by the narrow shoulder sloping outward and the grooved outer
edge of the discus wall, corresponding to Loeschcke’s shoulder type V170. On the
other hand the shape of the base, the fine-particled, heavily-fired, hard, thin clay,
as well as the brown paint, point to the first half of the ist century.
Lamp 91 can be placed also in this group. The sloping shoulder and the impressed
shoulder decoration vaguely suggest a Greek origin171.

165. Loeschcke, 222.

166. Loeschcke, 222.
167. Loeschcke, 286.
168. Loeschcke, 36, N o 176.
169. G. Bersa, Le lucerne fittili romane di Nona, Bull. Arch. Dalm. 38 (1915) 46—86.
170. Loeschcke, 28.
171. For the type: Loeschcke, 53, 244, 246—247, Types II, IV, XII, 98, 244, 246—247;
Waldhauer, 36, Pl. XVI, No. 176; Menzel, 37, No. 166, Fig. 33/24; Iványi, 131, Nos 1402—
1403-
76
 7. LAMPS WITH ROUND NOZZLE-TERMINATIONS
AND EXTENDED VOLUTES
92 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1124.
From the Zichy collection, acquired in
1948, from Cyprus.
Ff: 2-2, L: 8-5. Pinkish-yellow, unpainted
clay.
Round body; nozzle with volute decora­
tion and rounded termination. The concave,
undecorated discus is set off from the shoul­
der by three grooves. Only the contours of
the volutes are discernible. Low, circular
base.
93 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1123.
From the Zichy collection, acquired in
1948. From Cyprus.
H : 2*3, L: 7-7. Pinkish-yellow-coloured
clay, with red paint. Nozzle broken away.
Round body; nozzle decorated with vo­
lutes. The shoulder is set off from the con­
cave, undecorated discus by three circular
grooves. Slightly raised, circular base.
94 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.100.A.
Acquired in 1965.
H : 2-1, L: 8-3. Ochre-coloured clay of
uneven colour due to the firing and traces
of red paint. On the nozzle, traces of burn­
ing. Thumb-plate broken away, nozzle
repaired.
Round body and nozzle with volutes and
rounded termination. The shoulder is set
off from the concave discus by two con­
centric circles. On the discus, helmeted head
of Athena, looking to left. Under the thumb-
plate, a pierced handle. Slightly raised, cir­
cular base.
95 Thumb-plate.
Museum of Fine Arts. Inventory No.
68. 5. A.
Acquired in 1965.
L: 3-5, W : 3-3. Ochre-coloured fragment.
Porous clay.
Crescent-shaped thumb-plate.
96 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1122.
From the Zichy collection, acquired in
1948, from Cyprus.
H : 1-9, L: 8-5. Pink-coloured clay, with
worn, brown paint, visible only in traces.
Round body and voluted nozzle with
rounded termination. The shoulder is set
off from the discus by circular grooves.
On the discus, a winged female figure
(Siren?). Slightly raised, circular base, con­
cave within.
97 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.9.A.
From the collection of J. Lázár, acquired
in 1965.
H: 2-1, L: 9. Ochre-coloured clay, with
patchy red paint. The paint on the nozzle is
worn and the base of the nozzle damaged.
Round body, with voluted nozzle, round­
ed at the tip. The concave discus is set off
from the rim by three impressed circles.
On the discus, an eagle with spread wings.
The filling-hole is placed to the right to
avoid the relief picture. Base surrounded by
a slightly raised ring.
98 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.8.A.
77
 From the collection of J. Lázár, acquired
in 1965.
H: 2*2, L: 8*5. Ochre-coloured clay, with
patchy red paint; traces of burning on the
nozzle.
Round body, nozzle decorated with vo­
lutes, round termination. The concave discus
is set off from the rim by three impressed
circles. On the discus, above a base-line,
a male lion springing to left. The filling-hole
is placed slightly to the left to avoid the relief
decoration. Slightly raised base, surrounded
by a ring.
99 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1118.
Transferred from the Museum of Appli­
ed Arts in 1948. Provenience unknown.
H: 2*2, L: 9. Pinkish, light-brown clay,
with red paint.
Round body and volute-decorated nozzle,
with rounded termination. The shoulder is
set off from the concave discus by circular
grooves. On the discus, a twelve-ribbed shell
decoration. Slightly raised, circular base.
xoo One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1119.
From the Zichy collection. Acquired in
1948. Provenience unknown.
H: 2*2, L: 9. Light pink clay, with dark
brown paint. Considerably worn. On the
nozzle, traces of burning.
Round body and nozzle with volute deco­
ration; rounded nozzle termination. The
shoulder is set off from the concave discus
by three circular grooves. On the discus,
a twelve-ribbed shell decoration. Slightly
raised, circular base.
101 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1120.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
78
H: 2, L: 9. Light brown-coloured clay,
with dark brown paint.
Round body and nozzle with volute
decoration; rounded nozzle termination. The
shoulder is set off from the discus by two
circular grooves. On the discus, a rosette
decoration with eight petals. Low, circular
base.
102 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1116.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 2*2, L: 8*5. Yellowish, light brown-
coloured clay, with partly worn red paint.
Round body and nozzle decorated with
volutes; rounded nozzle termination. The
shoulder is set off from the discus by two
circular grooves. On the discus, on a branch,
is a bird looking to left. Slightly raised,
circular base.
103 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1115.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 2*8, L: 10*2. Pinkish, light brown-
coloured clay, with patchy brownish-red
paint.
Round body and nozzle decorated with
volutes; rounded nozzle termination. The
shoulder is set off from the discus by three
circular grooves. On the discus, branches
with fruit. On the side opposite the nozzle,
the lower ends of the branches are inter­
woven. Low, concave, circular base.
104 One-wick lamp.
Déri Museum. Inventory No. R.IX.30.
Provenience unknown.
H : 2*7, L: 9*2. Yellowish-pink-coloured
clay, with patchy red paint. Nozzle repaired.
Round body and nozzle decorated with
volutes; rounded nozzle termination. The
concave discus is set off from the shoulder
by two circular grooves. On the discus
a cock stepping to right. The filling-hole is
placed on the right to avoid the relief deco­
ration. Flat, circular base.
Bibi.: Déri, p. 87.
105 О ne-wick lamp.
Museum of Fine Arts. Inventory No.
$0.1117.
Transferred from the Museum of Applied
Arts in 1948.
H: 1-86, L: 8-75. Pinkish, light brown clay,
with red paint.
Round body and nozzle decorated with
volutes; rounded nozzle termination. The
shoulder is set off from the concave discus
by circular grooves. On the discus, a nine-
ribbed shell decoration. Slightly raised, cir­
cular base, with the letters MA in the centre.
106 One-wick lamp.
Museum of Fine Arts. Inventory No.
S7 -7 -A.
From the Zichy collection. Transferred
from the Museum of Applied Arts in i 9$7-
H: 2-12, L: 9-04. Pinkish, light brown clay,
with orange paint.
Round body and nozzle decorated with
volutes; rounded nozzle termination. The
shoulder is set off from the concave discus
by circular grooves. On the discus, an indis­
tinct group of gladiatorial equipment. Slightly
raised, circular base, concave in the centre.

The lamps with rounded nozzle terminations and lengthened nozzle volutes can
be traced back directly to Hellenistic prototypes. Their manufacture probably began
at the time of Tiberius, because they are not found in the Haltern material of the
Augustan age172. They were used in the ist century and, north of the Alps, even in
the 2nd century. Examples with indistinct relief decoration, which have undergone
many copyings, point to a long period of manufacture. In the Cyprus material,
besides the earlier light fawn-coloured and red painted pieces we find also their
later variants made of highly porous clay with grey paint173. The type was wide­
spread in Italy, north of the Alps, in the Mediterranean area, and also along the
coasts of the Black Sea. In Cyprus it is the most popular type of lam p174. In the
material described above the lamps have no handles, although in Cyprus, besides
these handleless pieces, examples supplied with handles are also frequently found175.
Among the lamps of our collection there are several which originated from Cyprus
and belonged to the former Zichy collection176. The form corresponds to Type IV
of Loeschcke, Type 10 of Vessberg, Type XXIII of Broneer, and Type II of Iványi177.
According to the evidence of the coin finds, the type spread in Pannonia in the
second half of the ist century, but it was in use also in the 2nd century178.
On lamps 99, 100 and 105, the discus is decorated with a shell pattern. In the
British Museum is a lamp from Cyprus, no. 720, with this discus scene, and with
volutes merging into the shoulder179. There are also examples found in the Demeter
Sanctuary at Cnidus and of these, on Lamps nos. 722 and 723 the signature

172. Loeschcke, 225.

173. Vessberg, 122, II, 188.
174. Vessberg, 122; Vessberg II, 187—188.
175. Vessberg, ibid.
176. Nos 68—75 from the collection of F. Zichy.
177. Iványi, 9, i i .
178. Iványi, i i .
179. Walters, 108.

79
ROMANESIS can be seen. This maker’s mark is early, because it was scratched into
the clay before firing180. The shell pattern is frequent also in the Vindonissa ma­
terial181.
The leaf pattern of lamp io i is also often found. It occurs, for example, on lamps
616 and 617 from Vindonissa182, no. 727 of the British Museum183, no. 0.3328 of
the Mainz M useum184, as well as in the Niessen collection of Cologne185. On the
reverse of the lamp in the Mainz Museum is an impressed planta pedis sign, which
points to its manufacture in North Italy in the ist century186.
The parallels of the bird and palm branch patterns of lamp 102 can be found
among others in the Vindonissa material, in the Leningrad Hermitage, the Niessen
collection of Cologne, and in the British Museum187.
The double branch pattern of lamp 103 appears not only on the Vindonissa lamp
462 of similar type, but also on Vindonissa Type I188, in the British Museum189,
on a large lamp w ith triangular handle, of Broneer’s Type X X I190, as well as on
lamps nos. 1898 and 1899 of the Niessen collection, of Broneer’s Type XXVII191192.
Undecorated examples similar to lamps 92 and 93 from Cyprus are described by
O. Vessberg under nos. 366, 377 and 391193.
Although its volutes and nozzle are more bulky, lamp 104 belongs to this group.
The representation of a cock on this example can also be found on lamps of other
types: for example, on our lamp 81, and in Vindonissa, Tarsus, in the Mainz
Museum, the Hermitage, and the Niessen collection193. In Tarsus, it occurs in Group
XVIII; the manufacture of lamps belonging to this group continues into the and
century A.D.194

180. Walters, 108.

181. Loeschcke, 218, 219.
182. Loeschcke, 223.
183. Walters, 109.
184. Menzel, 39, Fig. 31/16.
185. Niessen, 98, N o. 1856, PL LXXXIII.
186. Gy. Juhász, op. cit. 5.
187. Loeschcke, 216, Pl. XIV. Waldhauer, 38, PL XIX. Niessen, 97, 1848, 1849, PL LXXX.
Walters, 107.
188. Loeschcke, 388, 399.
189. Walters, 123.
190. Broneer, 179, N o. 476, Pl. XXVI.
191. Niessen, 99.
192. Vessberg, 122.
193. Loeschcke, 404. Menzel, 74, No. 247. Niessen, No. i790.Waldhauer, 52. Goldmann, 119.
194. Goldmann, 126, 366. For type: Loeschcke, 37—38, 218—219, Nos 559—574, 223, Nos
616.—617, 229, No. 667, 217, Nos 531—532, 399, No. 462,188, Nos 191—192, 208, Nos 420—
421, PL XIII, Type IV, Nos 523—525, 404; Walters, 108, Nos 718—723, PL XXIV, 109, No.
727, PL XXIV, 107, N os 708—709, 123, Nos 813—814, Pl. XXVI; Waldhauer, PL XX, 40,
N os 216—217, PL X IX , 38, No. 199, Pl. XXXVI, 349 ; Niessen, PL LXXXIII, 98, No. 1856,
PI. LXXX, 97» Nos 1848—1849, 99, i o i , Pis LXXXII—LXXXIII, No. 1790; Menzel, 39,
Fig. 182/31, 39, No. 181, 41, No. 198, Fig. 32/16, 46, No. 245, Fig. 32/17, 45. No. 229, Fig.
34/14; Iványi, 9, Type II, 71, No. 519, Pl. XVI; Goldmann, Group XVIII, No. 251, 119, 96,
N o . 74; Ponsich, 81, N o . 42, Pl. V.

80
 8. LAMPS WITH ROUND NOZZLE-TERMINATIONS
AND NOZZLE-VOLUTES MERGING INTO THE SHOULDER
107 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.834.
Transferred from the Szántó Kovács Mu­
seum of Orosháza in 1952. Provenience
unknown.
H : 2-5, L: 8-2. Brownish-grey-coloured
clay, with worn lilac-brown paint. Minor
damage on the discus.
Round body, with volutes merging into
the rim. The shoulder is set off from the
discus by three circular grooves. On the
discus, a shell decoration with twelve scal­
lops. Flat, circular base.
108 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1152.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 2'4, L: 10. Pinkish, light brown clay,
with streaky orange paint.
Round body, with volutes merging into
the rim. The shoulder is set off from the
discus by three grooves, which open out
towards the nozzle. On the shoulder, tongue
pattern decoration; the discus is undecorated.
Slightly raised, flat, circular base.
109 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1112.
Transferred from the Museum of Applied
Arts in 1950. Provenience unknown.
H: 4-9, L: ii- j. Pinkish, light brown clay,
with red paint. Part of the body, together
6 Szentléleky
with the nozzle, is missing; the handle is
also partly lost.
Round body. The shoulder is set off from
the discus by a groove. Pierced handle,
moulded together with the lamp. On the
discus, an erotic symplegma. Flat, circular
base, with stamp C.OPPI.RES.
n o One-wick lamp.
Museum of Fine Arts. Inventory No.
65.25.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-4, L: i i -I. Slightly reddish, ochre-
coloured clay, with red paint.
Pear-shaped body; nozzle with rounded
termination. On the shoulder, which towards
the nozzle ends in an open channel, there is
a decoration of three raised dots. Pierced
vertical handle, moulded with the lamp and
decorated with a double groove. Base
slightly raised.
i n One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1159.
Provenience unknown.
H: 3-3, L: 11-3. Yellowish, light brown-
coloured, unpainted clay. The major part of
the handle is missing.
Oval body, elongated towards the nozzle.
O n the discus, within a frame of raised
dots, is a Silenus head among vine-leaves.
On the shoulder, alternating leaf and bunch
81
of grapes patterns. Towards the nozzle, the handle. On the reverse, incised leaf pattern,
shoulder ends in volutes. Large, vertical framed by an oval groove.

According to Loeschcke, the lamps with rounded nozzle termination and with
the nozzle decorated with volutes merging into the shoulder were in use in the
second and third quarters of the ist century A.D.19r Broneer remarks that, in com­
parison with Type XXII, the representations show a decline, the base ring disappears
and small impressed circles frequently occur on the base and the edge195196. In his
opinion, the type, at the time of its development, maintained a relationship with
the Hellenistic lamps, and its use continued up to the end of the century; according
to D. Iványi, it was used in Pannonia in the second half of the ist century A.D.
and also at the beginning of the 2nd century197. These examples are, in general, of
Italic manufacture and were also imported by Corinth198. The disk-shaped handle,
moulded together w ith the lamp, is a frequent but not constant characteristic19920.
The upper surface of the handle is frequently decorated with incised lines.
Lamp 108 belongs to the earlier variants. The circular, impressed grooves setting
off the discus open out towards the nozzle, and at the base of the nozzle a small
tongue is formed adjacent to the rim of the discus. The decoration of the shoulder
w ith a row of tongues is often found210.
The discus of lamp 107 is completely encircled by grooves and the area of the
discus itself is filled by a shell pattern. The shell pattern is often found on the lamps
w ith rounded nozzle termination and voluted nozzles, the time of manufacture of
which can be dated mainly to the period of Tiberius201. W e find similar shell patterns
on the lamps with nozzle decorated with volutes merging into the shoulder, which
are also provided w ith side lug-handles202. Thus, the time of manufacture of lamp
107 can be dated to the second quarter of the ist century.
Specimen 109 may have been manufactured later than the two lamps mentioned
before. Its shoulder rim is nearest to Loeschcke’s rim no. VII b203. The outlines of the
figures of the erotic scene are deeply incised204, and the finish of the bodies is not
fine or detailed. Characteristic is the pierced, vertical, disk-shaped handle. On the
reverse, the inscription can be interpreted as C.OPPI.RES(tituti). The impressed
inscription C.OPPI.RES is found also on the bird’s head lamps. Haken dates their

195. Loeschcke, 231.

196. Broneer, 82.
197. Iványi, 10.
198. Broneer, 81.
199. Broneer, 81; Menzel, 47, No. 250.
200. Menzel, 47, No. 250; Niessen, 99, No. 1868.
201. Loeschcke, 255.
202. Niessen, 99, N o. 1869, Pl. LXXVII.
203. Loeschcke, 213, Fig. 2.
204. K. Kühler, Z um Formwandel in der spätantiken attischen Tonplastik. Jdl, 67
(1952) 109—I I O .

82
time of manufacture to the second half of the ist century A.D.205 A similar date
can be given to several lamps in the British Museum, decorated with various figures,
also bearing the inscription C.OPPI.RES206. This impressed base inscription can also
be found on lamps the nozzles of which are set off from the discus rim by a straight
line, and which date from the end of the ist century A.D. and the beginning of the
2nd century207. Besides the commonly found use of single human and animal
figures, lamps with the same inscription under the base and bearing more complex
scenes occur. Thus on one of the lamps of the British Museum (No. 1045) the seated
figure of Cybele is seen, her left arm resting on a chair arm, and in her right hand,
resting upon her knee, she holds a patera. On one side stands a lion in frontal view,
and on the other Attis in a Phrygian cap, with shepherd’s pipes in his right hand208.
Lamps n o and i n still show the definite influence of Hellenistic lamps. The
shoulder of lamp n o is decorated with raised dots. As in the case of lamp i n ,
we can see here also a channel opening towards the nozzle. Broneer discusses the
shape corresponding to lamp i n under Type XXIV, and stresses its strong Helle­
nistic features209. O n these lamps we can see the transition between the Hellenistic
lamps and the Greek lamps of the Imperial period. The discus is decorated, but at
the same time we find leaf and grape patterns on the shoulder. The vertical handle
and the rim profile point to the ist century A.D., and it was in use even at the end
of the century: at the western end of the Athenian Agora the type was found together
with lamps with heart-shaped nozzles210.

205. Haken, 32.

206. Walters, 104, 119, 144.
207. Walters, 150, 152, 156.
208. Walters, 156, No. 1045, 70, 92, 104, 106, 144, 149, 150, 152.
209. Broneer, 82; Ponsich, 91, No. 152, Pl. XIV.
210. Broneer, 82. For type: Loeschcke, 228—232; Broneer, 80—82; Iványi, 12; Walters,
119, No. 780, 104, No. 956, 150, No. 995; No. 1003, 150, No. 1018, 156, No. 1045, 70, No.
473 . 92. No. 612, 104, No. 684, 106, No. 699, 119, No. 784, 144, N o. 956,152, Nos 1017—
1018, 156, No. 1045, 149, No. 993, 150, No. 995, and 1003; Waldhauer, 45, No. 245;
Niessen, 98, No. 1864, 100, No. 1875; Menzel, 47, No. 250 and 252.

83
6*
 9. HUMAN HEAD-SHAPED LAMPS
112 Three-wick lamp.
Museum of Fine Arts. Inventory No.
56.40.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 2-6, L: 9-3. Grey-coloured, unpainted
clay. Of the two forward-projecting nozzles,
one is missing.
Head-shaped plastic lamp. Two nozzles
with rounded terminations project forward.
The third nozzle is placed at the rear, above
the head. Smiling child’s face, with a garland
of leaves behind. The filling-hole is on the
forehead. Low, circular base, bearing the
signature AEONTOE •
113 One-wick lamp.
Collection of E. Varga and L. Castiglione.
Obtained by E. Varga and L. Castiglione
in 1959. From Egypt, acquired at Mit
Rahine (the site of Memphis).
H : 2-1, L: 5-2. Dark brick-coloured, un­
painted clay, slightly worn on base.
Head-shaped plastic lamp, with longish,
bearded and moustachioed head; broad flat
nose, thick eyebrows and wrinkled forehead.
The nozzle of the lamp terminates in a curved
line. Filling-hole above the forehead. Base
slightly rounded and trough-shaped.
114 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.136.
Transferred from the Historical Museum
in 1950. From the collection of I. Delhaes.
Provenience unknown.
H: 2-5, L: 8-5. Brick red clay.
Comic-mask-shaped plastic lamp. Nozzle
ending in a curved line and projecting beyond
the lower limit of the mask. At the rear,
a projecting handle. Oval base-ring.
115 One-wick lamp.
Collection of E. Varga—L. Castiglione.
Obtained by E. Varga and L. Castiglione
in 1959. From Egypt, acquired at Mit Rahineh
(the site of Memphis).
H : 34, L: 10-5. Light brick-coloured,
unpainted clay. The nozzle is somewhat
damaged and bears traces of burning.
Head-shaped plastic lamp. Young man’s
face (Harpocrates), with thick hair, which is
drawn round the ears in braids. Beside the
right ear is the juvenile lock of hair. Earrings
adorn the ears and on the forehead is a diadem
or fillet. Above the forehead, raised dots
encircle the filling-hole. Nozzle in front,
terminating in a curved line. Band handle at
the rear. On the reverse, within the broad
base-ring, is the impressed letter A.
116 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1288.
From the collection of V. Wartha, acquired
in 1950. Provenience unknown.
H: 3-5, L: 11-7. Brownish-yellow-coloured
clay, with brownish paint. The face at eye
level, and the base, are damaged.
Head-shaped plastic lamp with projecting
nozzle which, at the wick-hole ends in a
factory-lamp type termination; on the nozzle
85
are two relief lines, bent back upon them­ P ro v e n ien ce u n k n o w n .
selves at the end near the body. The face H : 3-8, L : 7-8. C r e a m y -y e llo w -c o lo u r e d
shows young features, and is framed with c la y , w it h r e d d is h - y e llo w paint.
thick curls of hair and a garland of leaves,
which are also indicated plastically on the
side of the body. Slightly raised, shell-shaped
thumb-plate containing the filling-hole.
High, circular base.

117 One-wick lamp.

Head-shaped plastic lamp, with projecting

nozzle. Round female head, with combed-up
hair. One of the two filling-holes occupies
the place of the left eye, the other is at the
base of the handle, much of which is broken
away.

119 O n e - w ic k la m p .

Collection of L. Basch.
P r o v e n ie n c e u n k n o w n .
H : 5-6, L: 94. Creamy yellow-coloured
clay, fired, with red paint.
Head-shaped plastic lamp. Bald comic
mask, the mouth serving as a filling-hole.
The slightly projecting nozzle shows traces
of an edging similar to the factory lamps. The
eyes are pierced and the ears are shaped like
animal ears; thinning hair is indicated over
these ears, on each side of the bald head.
In place of the nose is a broken suspension
ring. On the forehead, traces of vine leaves.
Almond-shaped base.
B ib i.: O r o s z lá n -D o b r o v its p . 49, L -2 5 .
118 One-wick lamp.
Collection of L. Basch.
P r o v e n ien ce u n k n o w n .
H : 3-1, L : i i - i . C r e a m y -y e llo w -c o lo u r e d
c la y , w ith traces o f r ed p ain t. T h e lo w e r h a lf
is m issin g.
H ea d -sh a p ed p la stic la m p , w ith p ro jectin g
n o z z le , e n d in g to w a r d s th e b o d y in a fa c to r y -
la m p ty p e r im ; o n th e n o z z le are t w o r elief
lin es b en t in at th e ir en d s. T h e face sh o w s
y o u n g featu res a n d is fr a m e d w ith th ick
curls o f hair an d a g a r la n d o f leaves. S lig h tly
raised , sh ell-sh a p ed th u m b -p la te , w ith in
w h ic h is th e f illin g - h o le .
B ib i.: O r o s z lá n - D o b r o v it s p . 46, К . i 6 .

Besides the conventional types of the ist century A.D. and the beginning of the
2nd century, lamps of more unusual shapes also occur211. The different varieties of
bronze lamps had a great influence on the clay lamps. Human head-shaped lamps
are commonly found in bronze212. For the chronological arrangement of the clay
versions a hint is given by the form of the nozzle, the fineness of the finish, the style
of the face represented, and also the colour and method of painting.

2 1 X. S zcn tlclek y , B u d . R é g . X I X .
2 1 2 . W alters, 4; Iv á n y i, 3 0 3 , P l. L X I V , s — 10.

86
 Lamp 112 has rounded nozzle terminations and it is modelled in the form of a
garlanded head. The wick-holes project from two sides of the laughing face, while
a third wick-hole is arranged in the part above the forehead. The grey clay, the black
paint and the signature AE O N TO E , point to the end of the ist century B.C. and
the beginning of the ist century A.D. Its form, with its three wick-holes, is similar
to the large decorated bronze lamps of the Late Hellenistic period.
In the case of lamp 114, decorated with a mask, the curved line of the nozzle
termination is similar to that of types of lamps of the end of the ist century B.C.
and the beginning of the ist century A.D.213 This nozzle termination characterizes
a separate group, manufactured parallel with the volute lamps developing at that
time, and which is related to the bird’s head lamps, and the lamps with curved nozzle
terminations of the beginning of the ist century which correspond with type II
of Loeschcke. In the material under discussion this latter form can be brought into
connection with lamp 89. The features of the face correspond to some extent to an
Alexandrian lamp in the British Museum214. The influence of the large volute lamps
of the beginning of the ist century can be seen in the handle placed at the rear and
also in the flat base.
Lamp 117 is also modelled in the form of a mask. The suspension lug placed
above the nozzle215 and the semicircular nozzle termination are characteristic features
of the ist century A.D. The rim edging the nozzle and its rounded termination
point to the ist century A.D., the period of development of the factory lamps216.
The lamp shows the characteristic features of a comic mask (Papposilcnus?), with
wide mouth opening, jug-ears, wide opened eyes, and bald forehead decorated with
vine-leaves.
On lamps 116 and 119, on the basis of the face showing young features and the
curly hair decorated with vine-leaves, we can perhaps suggest the representation of
Dionysus. The light fawn-coloured, thin, heavily-fired, red-painted clay, as well as
the shell pattern around the filling-hole of lamp 119 point to the first half of the ist
century. Lamp 116217 originates from a later time, the second half of the same cen­
tury, when the shell pattern is still to be found, but at the same time the nozzle is
already surrounded with the characteristic rim of the more developed type of factory-
lamp218. The Dionysos head appears on a lamp in the British Museum, purchased
in Alexandria. On its reverse, the sign A can be read, like that of lamp 115219. This
letter can also be seen on the base of Lamp no. 303 in the British Museum, decorated
with radial lines, showing a strong Hellenistic influence. Volutes, although in a
rudimentary form, also appear on this lamp, which came to light in the course of

213. Szilágyi—Castiglione, 62.

214. Loeschcke, 221.
215. Szentléleky, see Note 211.
2x6. For this type of factory-lamps: Loeschcke, IX; Iványi, Type XV, XVI.
217. Szilágyi.—Castiglione, 62.
218. For type: Loeschcke, X; Iványi, Type XVII.
219. Walters, 58, No. 400.

87
excavations at Naucratis in 1886220. A lamp of similar form, also in the collection
of the British Museum, was acquired in Alexandria221. Lamp 403 in the British
Museum bears the impressed signature AC on the reverse. At the base of the leaf­
shaped thumb-plate can be seen also the volute decoration which points to an early
manufacture222. Lamp 115 was also purchased in Egypt, at Mit Rahineh, the site of
the ancient Memphis.
Since the early examples originate in general from Egypt, and also because several
lamps of the ist and 2nd centuries A.D. have been unearthed from Egyptian sites
and excavations223, it seems that the lamps of the Late Hellenistic and of the early
Imperial periods representing human heads can be traced back to an Egyptian
origin. Their use was widespread, indicating that besides the Italic relief lamps and
the factory lamps manufactured in large quantities, lamps which can be traced back
to oriental origins were also in use, although in a smaller quantity. These lamps had
an influence on the lamp manufacturing industry of Italy, and later on also on the
lamp production of the northern provinces224.

220. Walters, 42.

221. Walters, 58, No. 40 x.
222. Walters, 58.
223. Bernhard, 376, 377.
224. Iványi, 319. For the type: Menzel, 76, Figs 61—62,74, 75 . 76; Bernhard, 376, 377,
Nos 552, 554, 555 Pis CLIV, CLV, CLVI; Walters, 42, No. 303, 58, No. 400, Pl. XI, Nos
401 and 403, Pl. XIII.

88
 10. FACTORY-LAMPS
1 2 0 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.16.A.
Acquired from the collection of J. Lázár
in 1965.
H: 3, L: 6-7. Light reddish brick-colour­
ed, heavily-fired clay, sharply moulded.
Nozzle broken away.
Factory-lamp type, with three knobs on
the shoulder. In the middle of the discus is
the mask of a mild young face. Filling-hole
on the shoulder opposite to the nozzle. R im
opened towards the filling-hole. On the
reverse, within two concentric circular
grooves, is the signature VIBIUS.
121 O n e - w ic k la m p .
Museum of Fine Arts. Inventory No.
65.15.A.
A c q u ir e d fr o m th e c o lle c tio n o f J. Lázár
in 1965.
H: 3-2, L: 943. Light reddish brick-coloured
clay, heavily fired and showing sharply-
moulded lines. Side considerably damaged,
base repaired. On the nozzle, traces of
burning.
Factory-lamp type, with two knobs on
the shoulder. In the middle of the discus is
a mask, the face of an old man. Air-hole in
the centre of the channel opening towards
the nozzle. On the reverse, within two cir­
cular concentric grooves, is the signature
FORTIS.
1 22 One-wick lamp.
Museum of Fine Arts. Inventory No.
65-3I-A .
Acquired from the collection of J. Lázár
in 1965.
H: 3, L: II-8. Brownish, pinkish brick-
coloured clay, with light brown paint. On
the nozzle and the side are traces of burning.
Shoulder and base broken, suspension lug
missing.
Factory-lamp type, with channel opening
towards the nozzle. On the shoulder, a gal­
loping lion and an ass en barbotine. Between
the filling-hole and the channel are traces
of a suspension lug. On its reverse, bordered
by two incised concentric circles, is the
signature L Q P; centre of base missing.
123 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.835.
Transferred from the Szántó Kovács
Museum of Orosháza in 1952. Provenience
unknown.
H: 2-5, L: 7-7. Light brown coloured,
porous clay, considerably worn and with
traces of brown paint. Filling-hole broken
at the edges.
Factory-lamp type, with two knobs on the
shoulder; raised shoulder rim, with channel
open towards the nozzle.
124 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.744-
Acquired in 1952 from an Egyptian art-
dealer.
H: 2-1, L: 9-2. Grey-coloured clay, with
grey paint.
Factory-lamp type, with two knobs on the
shoulder and raised shoulder rim. Wick
adjusting hole in the middle of the channel
which opens towards the nozzle. On the
reverse, within two concentric rings, is the
signature FORTIS.
125 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.14.A.
Acquired from the collection of J. Lázár
in 1965.
89
 H : 2-8, L: 8-2. Pink-coloured clay, consid­
erably worn.
Factory-lamp type, with three knobs on
the shoulder, and the rim opening towards
the filling-hole. On the reverse, within two
concentric circular grooves, is a deep-sunk
plain bottom.
126 O n e - w ic k la m p .
Museum of Fine Arts. Inventory No.
65.98.A.
Acquired in 1965.
H: 3-6, L: 9-8. Light ochre-coloured clay,
with a light ochre-coloured coating. The
surface of the nozzle and the shoulder is
considerably damaged; slight damage also
on the side.
Factory-lamp type, with channel opening
towards the nozzle, and with two knobs.
O n the reverse, within three concentric
circles, is the slightly raised signature
V IC T O R F.
127 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1127.
Transferred from the collection of V.
W artha in 1950. Provenience unknown.
H : 2-6, L: 7-8. Light brownish-pink-col­
oured clay, with streaky orange paint. On
the nozzle traces of burning.
Factory-lamp type. On the shoulder, three
grooved knobs; raised shoulder rim, channel
opening towards the nozzle. Sunken base
below.
Bibi.: W artha pl. IX.
Museum of Fine Arts. Inventory No.
50.1128.
Provenience unknown.
H : 2-6, L: 7'6. Grey-coloured clay, with
brown paint.
Factory-lamp type, with two knobs on
the shoulder; raised shoulder rim, and wick
adjusting hole in the middle of the channel
which opens towards the nozzle. On the
90
reverse, within two concentric rings, is the
signature L D P .
129 One-wick lamp.
Déri Museum. Inventory No. R.IX.20.
Presumably from Pannonia, region of
Szombathely.
H : 3, L: 8-1. Brick-coloured clay, with
orange paint; on the nozzle, traces of burning.
Factory-lamp type, with two knobs on the
shoulder; raised shoulder rim, with an open
channel towards the nozzle. The filling-hole
is placed at the discus edge, on the side oppo­
site to the nozzle. On the reverse, within
two concentric rings, is the signature URSI.
Bibi.: Déri p. 86.
130 One-wick lamp.
Déri Museum. Inventory No. R.IX.22.
Presumably from Pannonia, region of
Szombathely.
H : 3-6, L: 9-5. Brick red-coloured clay,
with red paint. Filling-hole damaged; around
the nozzle are traces of burning.
Factory-lamp type, with three knobs on
the shoulder. Raised shoulder rim. Wick­
adjusting hole in the middle of the channel
opening towards the filling-hole. On the
reverse, within a ring, is the signature
CRESCES.
Bibi.: Déri p. 86.
131 One-wick lamp.
Déri Museum. Inventory No. R.IX.23.
Presumably from Pannonia, region of
Szombathely.
H : 3-7, L: 10-7. Brick red-coloured, un­
painted clay. On the nozzle are traces of
burning; base damaged.
Factory-lamp type, with three knobs on
the shoulder. Raised shoulder rim; wick­
adjusting hole at the foot of the channel
opening towards the wick-hole. On the
reverse, within two rings, is the signature
SEXTUS.
Bibi.: Déri p. 86.
 132 One-wick lamp.
Déri Museum. Inventory No. R.IX.21.
Presumably from Pannonia, region of
Szombathely.
H : 3, L: 9. Brick red-coloured, red-painted
clay. On the nozzle, traces of burning; sur­
face considerably worn.
Factory-lamp type, with two knobs on the
shoulder; raised shoulder rim, with channel
open towards the nozzle. On the reverse,
within a faint ring, is a barely discernible
signature, perhaps FORTIS.
Bibi.: Déri p. 86.
133 One-wick lamp.
Déri Museum. Inventory No. IV ^ - ■•14.
1904
From Szamosújvár (Gherla, Transylvania).
H : 4-7, L: 9-2. Fawn-coloured, brown-
painted clay.
Factory-lamp type, with two knobs on
the shoulder. Raised shoulder rim. Wick­
adjusting hole in the middle of the channel
opening towards the wick-hole. The nozzle
joins the body in a curved line. Raised ver­
tical handle. On the reverse, a ring base.
134 One-wick lamp.
48
Déri Museum. Inventory No. IV------ '10.
1904
From Szamosújvár (Gherla, Transylvania).
H : 2'6, L: 7-4. Light fawn-coloured,
brown-painted clay. W orn.
Base of a factory-lamp with very faint
details. On the reverse, traces of concentric
rings. W orn signature: FORTIS.
135 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1139.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 5-4, L: 9. Pinkish, light brown-coloured
clay. O n the nozzle are traces of burning.
Factory-lamp type; raised shoulder rim,
and channel opening towards the wick-hole,
with wick-adjusting hole in the centre. Two
knobs on the shoulder. Two filling-holes
pierce the discus on each side of a centrally-
placed, raised hemisphere, decorated with
rays, above which is a ribbed, pierced suspen­
sion handle. On the reverse, within a ring,
is the signature VIBIANI.
136 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.101.
Transferred from the collection of V.
Wartha in 1950. Provenience unknown.
H: 2*3, L: 7-6. Orange-coloured clay, with
reddish paint. Side slightly damaged.
Factory-lamp type; raised shoulder rim.
Wick-adjusting hole at the root of the channel
which opens towards the nozzle. On the
shoulder, which is decorated with impressed
net pattern, are three knobs. The nozzle
joins the body in a curved line; on the adja­
cent edges is linear decoration. On the re­
verse, within a ring, is a faint signature.
Bibi.: Wartha pl. IX.
137 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.27.A.
Acquired in 1965 from the collection of
J. Lázár.
H: 3-4. L: 8-7. Slightly reddish, ochre-
coloured, red-painted clay. Base and sides
worn; on the nozzle, faint traces of burning.
Pear-shaped body; nozzle with rounded
termination. The shoulder, which towards
the nozzle is interrupted by a raised line,
is decorated with three raised dots. The cir­
cular discus is surrounded by a slightly
raised rim which, like the factory-lamps,
also encloses the nozzle, forming a closed
channel. Wide, leaf-shaped, grooved handle.
91
 The so-called factory-lamps became popular in the 70s of the ist century A.D.,
in the beginning of the Flavian period225. At the end of the ist century, the wide
market in the distant northern provinces demanded industrial products manufactu­
red in Italic workshops226. The transportation of the lamps with relief decoration
involved much difficulty and effort227. The need was for new, more simple
lamps, which could also be manufactured in the distant provinces. The factory-
lamps are the result of such simplified mass production. The decoration is simple,
and from a practical point of view the factory-lamp is more useful. The raised,
encircling rim, opening towards the nozzle, directs spilled oil from the surface of
the discus and the nozzle through the oil-hole and back into the body. Since practi­
cally every part of the lamp has a functional role, its outward appearance is well-
proportioned and attractive.
After the initial experiments228 its permanent form was developed, a form which
was commonly known for nearly two centuries throughout the ancient world.
In Greece, as well as in the eastern and southern territories, other local types were
also manufactured in smaller quantities229, but in Italy and in the northern pro­
vinces this was to be the dominant type for nearly two centuries230.
At the end of the ist century and in the beginning of the second century it is usual
for the reverses to be provided with factory marks. Later on, as a result of numerous
copyings, these factory marks were completely worn away, or they were no longer
applied231.
Lamp 135 belongs to the early variants. O n its discus, a grooved central part is
raised, above which there is a handle pierced for the hook used to suspend the
lamp. The moulded signature on its reverse is VIBIANI. W e can place this signature
among the early ones, at the beginning of the second century232. This assumption is
proved by analogies: on a similar example in the Klagenfurt Museum, the signature
STROBILI appears233. The activity of Strobilus is known, and he belongs among
the early lamp makers. He developed the early varieties of the new factory-lamp
type234.
The signature FORTIS is the most frequent factory mark. This master worked
in the 70s of the ist century A.D., when he developed the mature form of the
factory-lamp. On this, the nozzle channel is completely open. These examples
correspond to Type X of Loeschcke and Type XVII of D. Iványi235. Fortis worked

225. Loeschcke, 268; F. Fremersdorf, Römische Bildlampen. Köln 1922.

226. Szentléleky, Bud. Rég. 189, Pl. XIX.
227. F. Fremersdorf, Römische Bildlampen, 47.
228. Loeschcke, 269, Type IX; Iványi, 13, Types XV—XVI.
229. Broneer, 102.
230. Loeschcke, 293—298; Iványi, 13; Szentléleky, Bud. Rég. 189.
231. Szentléleky, Bud. Rég. 192.
232. Loeschke, 298 .
233. Miltner, Klagenfurt, 96.
234. Loeschcke, 288, 289.
235. Loeschcke, 280—282.

92
in northern Italy, at Modena, and the factory-lamps spread from there over the Alps.
From the end of the ist century, throughout the whole 2nd century, and even in the
3rd century we meet with the signature FORTIS236. The signature FORTIS appears
on the reverse of lamps 121, 124, 132 and 134. Lamp 124 was very probably manu­
factured in the 2nd century, because its colour is grey and it was also painted grey,
and because it does not have sharp outlines. The factory mark FORTIS on lamps
132 and 134 is almost entirely illegible. This points to the circumstance that the
material was no longer selected with proper care and that the specimens were not
fired at the required heat, and also that the edges became worn as the result of frequent
copying. Lamps 124 and 133 similarly show a blunted, 2nd century appearance. The
mask representation of an elderly man on lamp 121 is also widespread on factory-
lamps. It is known from the northern provinces, from the Nijmegen material, but
there it appears on the early variant with closed discus. Thus, it can be traced back
to the end of the ist century. The example under discussion belongs among the
long-lived lamps of Loeschcke’s Type X and Iványi’s Type XVII, and it appears
also in the excavation material from the Szombathely Iseum, where the time of its
use can be dated to the end of the 2nd century through the middle of the 3rd century.
The barbotined animal decoration is known also in the material from Savaria in
Pannonia.
In connection with lamp 126, it can be said that the factory marks are usually
in raised capital letters. Exceptions to this are the stamped and the incised factory
marks. The factory marks written with indistinct and irregular letters in the lamp
material from Aquincum point to the circumstance that the local makers, or work­
shop owners, incised their names into a lower mould which was made in the prov­
inces to produce copies of conventional imported lamps. The signature VICTOR
is frequently found, especially in the material from Aquincum, where the lamp
manufacturing workshops flourished from the second quarter to the 70s of the
second century2363.
The shapes of late specimens of factory-lamps are less uniform than those of the
end of the ist century and of the 2nd century. Owing to frequent moulding and
remoulding, the lines of the lamps have become not only blurred, but also defor­
med. Compare, for example, lamp 127, where the circular rim is shifted slightly
forward and is barely raised from the shoulder; the knobs have become rudimentary.
On late examples, the shoulder is frequently decorated with lines and the transition
of the nozzle into the side of the body becomes gradual and follows a curved line:
compare lamp 136.
In the province of Pannonia, the factory-lamp type, in a degenerate form, was in
use in the beginning of the 4th century237.

236. Szentléleky, Bud. Rég. 184.

236a. Szentléleky, Bud. Rég. 185.
237. For type: Loeschcke, 255—298; Miltner, 95—96; Iványi, 15—19; Szentléleky, Bud.
Rég. 187.

93
 Lamp 137 must be described separately, but stands near to the factory-lamps. This
lamp can be placed in the group of lamps decorated with raised dots. The rim around
the discus, which separates the latter from the factory-lamp-like nozzle channel,
shows that this lamp variety was developed at the end of the ist century, or the
beginning of the 2nd century. The leaf-shaped handle and pear-shaped body, on the
other hand, show that this lamp is a late variant and was manufactured in the begin­
ning of the 3rd century.

94
 i i . LAMPS WITH ROUND NOZZLE-TERMINATIONS
WITHOUT VOLUTES
138 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1301.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 2-1, L: 4-5. Light fawn-coloured clay,
with orange paint.
Round body, with projecting, rounded
nozzle. The shoulder is set off, by an incised
circular groove, from the slightly raised
discus, which deepens towards the filling-
hole. On the side opposite to the nozzle is
a rudimentary handle. The walls are thick
in proportion to the size of the lamp. Flat,
circular base, set off by a groove.
139 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.845-
Provenience unknown.
H: 4, L: 9-8. Yellowish-grey clay, with
reddish-brown paint, only traces of which
are preserved. Part of the handle missing.
Round body; rounded nozzle with flat top,
defined by a straight transverse groove near
the discus. The shoulder is set off from the
discus by a groove. On the discus is a bust
of Sol, with a five-branched radiate crown
on the head. At the rear, a ribbed, pierced,
vertical handle, moulded together with the
lamp. On the discus is a wick-adjusting hole,
pierced through the lower edge of the bust.
Slightly raised, circular base, defined in the
main by its framing groove; in the centre is
the signature CLO HELL
140 One-wick lamp.
Collection of L. Kákosy; obtained in
Egypt in 1959.
H: 3-8, L: 7-6. Light reddish-coloured
clay, with a reddish coating. Part of the body
and a considerable part of the nozzle are
missing.
Round body, with a projecting rounded,
probably heart-shaped, nozzle. At the outer
edge of the shoulder is a groove, and there
are two concentric grooves at its inner edge.
On the discus is a bust of Zeus-Sarapis with
an eagle. Within the remaining heart-shaped
border line of the nozzle is a decorative raised
dot. On the reverse, base-ring set off by two
circular grooves. In the centre is engraved
the letter M.
141 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1151.
Transferred from the collection of V.
Wartha in 1950. Provenience unknown.
H: 4-8, L: 10-3. Yellowish-red-coloured
clay, with red streaky paint; on the nozzle,
traces of burning. The side of the nozzle is
damaged.
Round body, with slightly projecting,
rounded nozzle, the top of which is flat,
and which is set off from the shoulder by
a straight transverse line. The shoulder is
eparated from the concave idiscus by tw o
sconcentric circular grooves. Perced, ribbed,
vertical handle, moulded together with th e
lamp. Slightly raised circular base.
142 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.18.A.
Acquired from the collection of J. L ázár
in 1965.
H: 4 ' 4, L: 9-6. Light pink-coloured clay,
with worn orange paint; the surface of the
side and base is worn and damaged.
Round body; the nozzle is set off from
the shoulder by a straight line. The discus is
separated from the shoulder by three con­
centric circular grooves. On the concave
discus is the figure of a goat. Vertical,
disk-shaped handle, moulded together with
95
th e body. On the reverse, surrounded by a
shallow groove, is a w orn, illegible signature.
143 One-wick lamp.
M useum of Fine A rts. Inventory N o .
51.182.
O btained fro m th e co llectio n of F. H opp
i n 1951. Purchased in T u n is.
H : 4-4. L: I I . F a w n -c o lo u re d clay, w ith
d a r k brow n streaky p a in t.
R o u n d body, w ith a slightly-projecting,
fla t-to p p e d , rounded nozzle, defined by a
stra ig h t, transverse lin e. B etw een this line
a n d the groove setting off th e shoulder fro m
th e discus are five im p ressed dots. Pierced,
r ib b e d , vertical han d le, m o u ld ed together
w ith the lamp. O n th e discus, a sixteen-
p e ta lle d rosette, in d istin ct in th e centre. Low,
w id e base-ring.
144 One-wick lamp.
D éri Museum. Inventory No. E.VII.i.
Provenience unknown.
H : 3-5, L: 8-2. Yellowish, light brown-
coloured clay, with dark brow n paint.
R ound body; the projecting nozzle has
a rounded termination and curved sides,
and a flat top. At the base of the nozzle
are three dots. The shoulder is set off from
the discus by a raised rim . Pierced, vertical
handle, with angular end, ribbed on the
underside. On the concave discus is a six-
petalled sunken rosette-pattern. Base-ring
form ed by three concentric rings; in the
centre is a raised point.
Bibi.: Déri p. 312.
96
145 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.22. A.
Acquired from the collection of J. Lázár
in 1965.
H : 4 'i, L: n - i . Light creamy clay, with
light brown paint, which is thicker and darker
on the more sunken areas of the discus and
on the relief decorations. On the nozzle,
traces of burning.
Round body and slightly-projecting nozzle
of heart-shaped form with a rounded ter­
mination. On the shoulder, bunches of grapes,
leaves and tendrils. On the concave discus,
which is set off by two barely discernible
concentric grooves, is a bust of a Gorgon.
Pierced, vertical handle, decorated above
with a double groove; moulded with the
lamp. The base is bordered by a very faint
double concentric groove.
146 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.23. A.
Acquired from the collection of J. Lázár
in 1965.
H : 4-6, L: 12. Light ochre-coloured clay,
with light brown paint, patchy at the side.
The handle surface is worn on the lower
side.
R ound body; slightly projecting nozzle,
with rounded termination, set off from the
shoulder rim by a curved line. On the shoul­
der, raised dot decoration. The concave
discus is set off by two faint, concentric
grooves; there is an air-hole at the discus
edge, near the nozzle. Pierced, vertical
handle, decorated with a double groove;
moulded together with the lamp. On the
reverse, within the slightly raised base-ring,
are traces of an incised inscription.
147 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.20.A.
Acquired from the collection of J. Lázár
in 1965.
H : 4-1, L: 9-9. Light ochre-coloured clay,
w ith light brown streaky paint. The side and
the discus arc considerably worn. On the
nozzle, traces of burning.
R ound body; slightly projecting heart-
shaped nozzle, with rounded termination.
O n the underside of the nozzle, a palm-leaf
decoration. The shoulder is decorated with
a leaf and floral garland, bound in sections.
On the concave discus is an animal contest
scene in the circus: kneeling and bent for­
ward, a negro animal-tamer is attacked by
a wild animal and his shoulder lacerated.
In the field below is an abandoned whip.
Beneath the scene is an air-hole. Pierced,
vertical handle, decorated above by a groove;
moulded together with the lamp. On the
reverse, the base is defined by a single outer,
and two inner concentric circular grooves,
within which are traces of a dotted plant.
Bibi: J. Gy. Szilágyi, Bulletin du Musée
Hongrois des Beaux-Arts 29 ( i 966 ) 22 and
fig. 13.
148 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.21.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-1, L: i o - i . Light creamy clay, with
traces of streaky light brown paint.
Round body; slightly projecting heart-
shaped nozzle, with a rounded termination.
On the underside of the nozzle, between
two diagonally grooved bands, are transverse
grooved lines. On the shoulder is a garland
with leaves and fruit, bound up in sections.
The concave discus is set off by two faint
concentric grooves around the filling-hole,
and is decorated with a moon, beneath which,
in the centre, is a concave disk, divided by
dots. Near the nozzle, pierced through the
inner bordering groove, is an air-hole.
Pierced, vertical handle, decorated above
with a double groove. On the concave base,
within a double-grooved circle, is a concen­
tric double disk.
149 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.19.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-5, L: 7-7. Light pink-coloured clay,
with worn, streaky pinkish-orange paint.
Band-handle damaged.
Round body; slightly projecting nozzle,
set off from the shoulder rim by a curved
line. On the concave discus, which is defined
from the shoulder by two faint concentric
grooves, an eagle stands on an altar, looking
to the right and holding a garland in its
7 Szentléleky
beak. Applied vertical ring-handle, attached
to the shoulder between the rim of the discus
and the outer edge of the shoulder.
150 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.17.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-6, L: 8-9. Light red clay, with reddish
streaky paint. Nozzle broken away, base
and side damaged.
Round body; slightly projecting rounded
nozzle, presumably heart-shaped. The shoul­
der is decorated with a row of tongues. On the
concave discus, set off by two concentric
circular grooves, is a stag running to right.
In the area of the discus nearest the nozzle
is a small filling-hole. Vertical, disk-shaped,
pierced handle, with two ribs above; mould­
ed together with the body. Slightly con­
cave reverse, surrounded by a groove.
151 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.99.A.
Acquired in 1965.
H: 4-8, L: 11-9. Light ochre-coloured
clay, with orange paint. Surface considerably
damaged.
Round body, and slightly projecting
heart-shaped nozzle, with rounded termina­
tion. O n the underside of the nozzle, grooved
linear decoration. O n the concave discus,
set off by a rim and a faint groove, is a bust
looking to left. The face is surrounded by
flat-combed hair. Pierced, vertical handle,
moulded together with the body. On the
reverse, within a slightly raised base-ring,
is a ray and disk pattern.
152 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.844.
Provenience unknown.
H: 2-6, L: 9-4. Light brown-coloured,
highly-fired clay, with a darker coating.
Nozzle damaged underneath; around the
wick-hole are traces of burning.
Round body, and semicircular projecting
nozzle, with a flat top, set off from the shoul­
der by a straight groove. The discus is sepa­
rated from the shoulder by a circular bor­
dering ring. On the discus, eight-petalled
rosette. Flat, circular base.
97
 153 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H : 3'9, L: 9-1. Yellowish, light brown-
coloured, unpainted clay.
R o u n d body, with a heavy, semicircular
projecting nozzle, set off from the shoulder
by a straight transverse groove. The shoulder
slopes outwards; in the narrow gap between
the shoulder groove and the nozzle is a wick­
adjusting hole. The discus is set off from the
shoulder by a relief ring. On the discus,
w ithin an impressed groove, is a thirteen-
petalled rosette. On the reverse, on the flat,
circular base, are traces of an imitation
inscription.
154 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H : 9-6, L: 11' 4 - Light brown-coloured,
brown-painted clay.
Deep, biconical round body; projecting,
semicircular nozzle, with raised rim. The
steeply sloping shoulder is covered by long
impressed petals. On the part above the
nozzle is a head of Pan(?), with pointed
ears, beard, and small horns. The discus is
set off from the shoulder by a raised border­
ing rim ; on the right side of the filling-hole
is a vertical suspension handle, the edge of
w hich is ribbed. On the reverse are three
circular grooves, in the middle of which the
signature STROBILI can be read when the
nozzle is at the top.
155 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1144.
98
Obtained from the collection of F. Hopp
in 1948. Provenience unknown.
H : 4'5, L: 11. Yellowish-pink-coloured
clay. The nozzle is repaired.
Round body; slightly projecting rounded
nozzle with a plain top, separated from the
shoulder by a straight groove. The discus is
set off by two concentric circular grooves.
These grooves and the nozzle groove arc
linked by two lines on each side, next to
which is a dot decoration. On the shoulder,
to the right of the nozzle, are three relief
lines. Ribbed, vertical handle, with an
impression on its left side; moulded together
with the body. On the edge of the discus
is a wick-adjusting hole. Base-ring set off
by two circular grooves.
156 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.101.A.
Acquired in 1965.
H: 6-8, L: 16. Light ochre-coloured clay,
with red paint. On the shoulder and the side
the paint is considerably worn; the base and
the handle are slightly damaged.
Round body; slightly projecting nozzle,
with plain surface and rounded termination,
joining the shoulder in a trapezoidal line.
O n the concave discus, within two concen­
tric circular grooves, is a relief of the Capi­
toline Triad. On the reverse, within the
barely discernible circular base, are traces
of the signature C OPP RES.
157 Three-wick lamp.
Collection of L. Basch.
From Tinnye (Transdanubia).
H: 11-9, L: 17. Light brown, porous clay.
Traces of dark red paint, with brown spots
here and there.
Round body; slightly projecting nozzle
with flat top and rounded termination. On
the rim, on each side of the base of the
nozzle, is an impressed ring-and-dot. Above
the pierced, vertical handle is a high-placed
crescent-shaped thumb-plate. On the face
of the crescent is an eagle with spread wings,
with a bust of Jupiter above it. On the con­
cave discus, within two concentric circular
grooves, is a relief design of the Capitoline
Triad, Jupiter, Juno and Minerva, very
crudely executed and retouched. Low, cir­
cular base. O n each side, attached to the
shoulder, are two smaller lamps. The bases
of these are round; the nozzles have plain
tops and rounded terminations, and the han­
dles are vertical, pierced and disk-shaped. On
the discus of each is a double palm-leaf
decoration.
Bibi.: Oroszlán-Dobrovits p. 46, К. 31.
158 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1142.
From the collection of F. Hopp, acquired
in 1950. From Carthage.
H : 4-3, L: 10. Light brownish-coloured
clay, with orange paint. The discus and the
base are considerably damaged, with major
defects.
Round body and projecting nozzle, with
flat top and rounded termination, separated
from the shoulder by a straight line. At each
end of this line is an impressed dot. The
shoulder is set off from the discus by two
concentric circular grooves. The discus, at
the inner edge of which, on the side nearest
the wick-hole, there is a wick-adjusting hole,
is decorated with palm-leaves. Vertical,
pierced, ribbed handle, moulded together
with the body. On the side of the handle
towards the discus are four impressed dots.
Low, circular base, within which the signa­
ture -NARI is still legible, although the
surface has scaled off; above the name, an
impressed ring-and-dot.
159 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1141.
From the collection of F. Hopp, acquired
in 1950. From Carthage.
7*
H: 4-2, L: 11. Creamy clay, with
yellowish-pink coating.
Round body; projecting nozzle with flat
top and rounded termination. The nozzle
is separated from the shoulder by a straight
line. The shoulder is decorated with tongues,
except at the point where the nozzle projects,
where there are small impressed circles. On
the concave discus, which is set off by two
concentric circular grooves, are rays. At the
edge nearest the nozzle is a wick-adjusting
hole. Moulded, vertical, disk-shaped, pierced
and ribbed handle. On the reverse is a base
ring set off by two concentric circular
grooves.
160 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1143.
Acquired from the collection of F. Hopp
in 1950. From Carthage.
H : 3-8, L: 10-7. Greenish-grey clay with
a yellowish tint; traces of reddish paint.
A long crack caused during the firing crosses
the discus.
Round body; projecting nozzle, with flat
top, separated from the shoulder by a straight
line. The shoulder is decorated with radiating
lines. Moulded vertical handle, pierced, disk­
shaped and ribbed. The concave discus is
defined by two concentric circular grooves,
and has a relief picture of a running dog.
On the edge of the discus nearest the nozzle
is a wick-adjusting hole. Faintly marked
base-ring.
161 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1145.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H: 3-7, L: 10-5. Brownish-red clay, with
similar coating. Highly fired.
Round body; projecting rounded nozzle,
its flat top adjacent to the circular grooves
framing the concave discus. Moulded, verti­
99
cal, pierced, disk-shaped handle. On the
discus, on the side nearest the nozzle, is a
wick-adjusting hole. O n the reverse, a flat,
wide base-ring.
162 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.183.
From the collection of F. Hopp, acquired
in 1951. From Carthage.
H: 2-7, L: 8-2. Grey-coloured, finely
washed, highly-fired clay, with dark red
paint, patchy on the side.
Round body, w ith projecting rounded
nozzle, separated from the shoulder by a
straight line. O n the shoulder, a series of
widely-spaced impressed ring-and-dot pat­
terns. The deeply concave discus is set off
by two circular grooves. Low, circular base.
163 One-wick lamp.
Museum of Fine Arts. Inventory No.
T.669.
Purchased at El Djem.
H : 4*4, L: 9-5. Yellowish-pink clay, with
worn, dark brown paint.
Round body; heart-shaped nozzle with
rounded termination. O n the shoulder are
radial, slightly twisted lines. Moulded,
pierced, ribbed, disk-shaped handle. The con­
cave discus is set off by a raised rim; near
its edge is a wick-adjusting hole. On the
concave reverse is a bass-ring set off by two
concentric grooves.
164 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1146.
From the collection of F. Hopp; acquired
in 1950. From Carthage.
100
H; 2*3, L: 7*4. Light greenish-brown-
coloured clay, with streaky red to dark
brown paint.
Round body; heart-shaped nozzle with
rounded termination. On the shoulder, a row
of tongues. O n the discus, which is set off
from the shoulder by circular grooves, is a
representation of a dog attacking a stag.
To avoid the design, the oil-hole has been
moved from the centre towards the nozzle.
Low, circular base.
165 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 3*6, L: 8*8.
Round body, with a projecting heart-
shaped nozzle. On the rim of the discus is
an impressed leaf pattern. Disk-shaped, un­
pierced handle. O n the reverse is a circle,
surrounded by a groove.
166 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
Light brown-coloured clay, with patchy
brown paint. The presumably pierced han­
dle is broken away.
Round body, with a heart-shaped nozzle
projecting slightly from the rim. From the
top centre of the heart, a tendril branches
into the shoulder, ending on each side in
a volute. On the discus, within an impressed,
segmented rim, is a crude, many-petalled
rosette. On the reverse, in low relief, is the
signature VICT. Above the name is an
impressed planta pedis( ?).
167 Five-wick lamp.
Museum of Fine Arts. Inventory No.
59.5.A.
Acquired from J. Farkas in 1959. Pro­
venience unknown.
H: 4 3, L: 8*8. Light yellowish-brown clay,
with reddish paint. Signs of burning.
Box-shaped lamp, with five rounded
nozzles arranged in a row along the front edge.
Between the wick-holes are three raised dots;
the nozzles are connected by a worn relief
line, interrupted by the wickholes. On the
top is a central division of five raised dots,
flanked by raised square frames, each contain­
ing a filling-hole. At the rear, in the centre,
is a ribbed, leaf-shaped handle. Plain reverse.
 The lamps with voluteless nozzles terminating in a simple round line are very
frequent in the second and third quarters of the ist century A.D. The progression
towards simplicity is manifested, not only in the nozzle termination, but also in
the decoration. Undecorated lamps are very frequently found. If the discus is deco­
rated, only very simple motifs are used. Frequent is the eight-petalled rosette, or
a radial linear pattern. If the discus has figurái decoration at all, it is a representation
of a single human or animal figure. These are discussed by Loeschcke under Ty­
pe VIII238, by D. Iványi under Type VII239, and by Broneer under Type XXV2'10. Ac­
cording to Iványi, they became popular in Pannonia in the middle of the ist century
A.D. For grouping lamps within the type in general, the differing shapes of the nozzle
where they join the shoulder are taken into consideration. Among the lamps dis­
cussed here the upper surface of the nozzle of lamp 161 reaches directly to the ring
surrounding the discus. In the case of lamps 141, 142, 139 and 162, the nozzle is
separated from the shoulder by a definite, straight transverse line. In the case of
lamps 155, 157, 160, 158 and 143, at each end of the transverse line are two impressed
dots or a whole series of dots. The form of lamp 14 2, the rim of the shoulder and the
representation all show the characteristics of Broneer’s Type XXVII. Besides scenes
with human figures, animal representations are also frequently found2403. Broneer
distinguishes four groups in the type. The example discussed by us belongs
in the second group and the time of its manufacture can be dated to the 2nd
century240b.
Both the form and representation of lamp 157 stand isolated in the Pannonian
material. The discus of this large lamp is decorated with a relief picture of the Capi­
toline Triad. The porous material, as well as the time of the Pannonian occurrence
of the type, show that it may have been manufactured in the beginning of the 2nd
century241. The internal details of the figures are marked by incised lines. This
relief representation on the discus of a lamp presumably manufactured in Pan­
nonia, shows that it was made at a time when statues of the Capitoline Triad were
erected in several coloniae in the province of Pannonia. These statues of the deities,
which were replicas made under the influence of the statues of the Capitoline gods
in Rome during the time of Vespasian242, were set up in Savaria in the reign of
Domitian, and in Scarabantia in the time of Hadrian243. Representations of the
Capitoline Triad might well appear at this time on lamps used in Pannonian sane
tuaries. A sanctuary of the Capitoline deities must also have stood in Aquincum о
its environs. Tinnye, the presumed find-spot of the lamp discussed here, also sup

238. Loeschcke, 237—243.

239. Iványi, 10.
240. Broneer, 83—87.
240a. Broneer, 202, No. 679, PI. 12, 203, Nos 680—685.
240b. Broneer, 95.
241. Waldhauer, 59, No. 453; Walters, 155—156, No. 1043.
242. I. Paulovics, Lapidarium Savariense, Acta Savariensia, 2, Szombathely 1943, 18.
243. К. Praschniker, Jahreshefte d. Őst. Arch. Instituts 30 (1937) i n ff.

101
ports the assumption that it came originally from a sanctuary at Aquincum. As a
result of oriental influences during the time of Hadrian, in the beginning of the 2nd
century busts of Jupiter with the eagle appear on lamps, for example, on lamp 140,
the provenience of which is Egypt, or on their thumb-plates, which in several
cases combine, in a syncretistic manner, aspects of Jupiter and features of Sarapis. The
palm branch pattern of the two lamps arranged at each side of lamp 157 also reflects
oriental influence244. A representation of the Capitoline Triad appears also on lamp 156,
the provenience of which is unknown. The time of its manufacture can be dated
similarly to the beginning of the 2nd century. The nozzle, terminating towards
the discus in a trapezoid form, would permit even later dating, but the signature
C OPPI RES points to an early manufacture.
The massive nozzle wilh rounded termination of lamp 152 projects more than is
usual with the nozzles defined by a straight line near the discus. On this example,
the straight dividing line is placed at the outer edge of the rim of the shoulder.
Lamp 154 deserves special attention because of its peculiar form, fine finish and
its stamp. The shape of the “ petals”, the small head of Pan, the part with the sus­
pension ring245, as well as the signature STROBILI246 point to the second half of
the ist century. The concave surface of the reverse, set off with concentric circles,
the master-craftsman’s name, and also the mark F below it, are reminiscent of the
early factory-lamps.
The workshop of Strobilus was situated in the vicinity of Modena. He presumably
manufactured various forms of factory-lamps, and early lamps of this type have
been found in Pompeii247. The time of his activity can be dated to the Flavian age.
A factory-lamp wilh his base stamp has also been found in Dacia248. Thus, he would
appear to have worked at the end of the ist century and the beginning of the
2nd century. The lamp described by us does not belong to the group of the
newly-introduced factory-lamps; this fact points to the early period of activity of
the manufacturer. The Trier Museum has a Strobilus lamp, which has several wick-
holes and, like lamp 154, a suspension handle emerges from the centre of the
discus249.
On lamps 145, 146, 147, 148, 149, 150, 151, as well as 163 and 164, the nozzle is
heart-shaped. The different varieties of nozzle shape, however, do not mean, in
every case, a difference in date. Thus, certain different types occur side by side, and
we can make finer differentiations only by the simultaneous comparison of other
characteristics. The scratched signature of lamp 146 points to the fact that it origi­

244. See lamp No. 124. Bailey, 30, PI. 10(b).

245. Szentléleky, Bud. Rég. 172, Fig. 2/3; P. La Baume, Römisches Kunstgewerbe zwi­
schen Christi Geburt und 400, Braunschweig 1964, 187, Fig. 173, 188, Fig. 175.
246. Loeschcke, 288, 290.
247. Loeschcke, 288.
248. C.I.L. III, 1634, 94, 8076, 28.
249. Loeschcke, 290.

102
nates from the copying of an earlier lamp, and that subsequently the maker wrote
his own signature KEMC into its base. The discus of lamp 147 is decorated with
a circus scene. Circus scenes were very popular, as early as the volute lamps of the
ist century. We can place with these the lamps with gladiátorai representations,
as well as lamp no. 626 of the British Museum, where the whole arena and also
the cavea of the auditorium are represented on the relief2493. On the scene described
above, the discarded whip points to a circus animal-tamer. In the case of lamps 141
and 143 the nozzle is heart-shaped.
Lamps decorated with an eight-petalled discus pattern and a nozzle defined by
a straight line on the shoulder, similar to that seen on lamp 152, came to light in the
course of excavations at the Cnidian Demeter sanctuary250. On the reverse of one of
the lamps originating from there, the incised signature ROMANESIS appears.
The incised signature and the name Romanesis show that this variant belongs among
the early examples of the type. From these excavations ten additional pieces with
similar nozzles and decoration came to the British Museum.
Examples 155, 158, 159, 160 and 161 probably originate from Carthage. Lamp
162, with its small circular ornaments on the shoulder, well-washed clay fired grey,
and its red paint, seems to be an early variant. The decoration of the shoulder rim,
which is characteristic of lamps manufactured in Greek lands251, appears on six
examples altogether: 147, 148, 150, 159, 160 and 162. With the exception of lamp
162, they have vertical, pierced, disk-shaped handles on the side opposite to the
nozzle, moulded together with the body. The shoulder rim of lamp 160 is decorated
with oblique radial lines252. Lamp 159 shows a strong Greek influence253. Charac­
teristics of the ist century are the tendrils at the nozzle root of lamp 166, and the
planta pedis impression on its underside.
The multipetalled rosette decoration of lamp 143 is common on the large volute
lamps with rounded nozzle termination, but later on this design becomes more
a characteristic of lamps coming from Greece.
The representation of Sol on lamp 139 has characteristic radial lines around the
head. This representation developed in Italy. According to Broneer, the prerequisites
for the creation of such a refined relief pattern were possible only there254. The
lamps of the British Museum with the representation of Sol seem to support this
assumption: of the pieces from known sites, two come from Pozzuoli, two bear
the signature SAECULI, and one the name C. OPPI RES(tituti). Even if the place
of development is still disputed, the demand which created this early representation
in Italy may have come from the East. The British Museum has a lamp with a repre-

249a. Walters, 94—5, No. 626.

250. Walters, 189.
251. Broneer, 80, Fig. 38.
252. Walters, 149, No. 191.
253. Broneer, 167, No. 383, Pl. VIII.
254. Broneer, 109.

103
sentation of Helios, from Alexandria255. Helios representations become common in
the 2nd century on Greek lamps258, and are found thus also on Corinthian lamps
of Broneer Type XXVIII257.

2 jj. Walters, 76, 125, 132, 143, 157, 168, 173.

256. For the representation of Helios: Walters, 76, No. 509, 125, No. 829, 132, No.
871, 143, No. 950 and 951, 157, No. 1052 and 1053, 173, No. 1144, 168, No. 1114;
Broneer, 181, 251, N os 1148—1155,252, Nos 1156—1165, 253, Nos 1166—1167; Haken, 58,
N o. 53; for the representation of the stag hunt: Menzel, 55, No. 298, Fig. 45/2; Iványi, 49,
Pl. VIII/2, 86, No. 726, 89, No. 751, Pl. XXVIII/4; Loeschcke, 191, No. 232; Walters, 197,
N o. 315; Waldhauer, 53, No. 370, 57, No. 419; Niessen, 93, No. 1786; Haken, 60, 61, No. 58.
257. Broneer, 251. For type: Loeschcke, 237—243; Iványi, 10; Broneer, 83—87; Bern-
hard, 165—167; Menzel, 49—57.

104
 12. ROUND LAMPS OF GREEK ORIGIN
168 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1157.
Transferred from the Historical Museum
in 1948. Provenience unknown.
H: 3-3, L: 6-5. Pinkish-yellow-coloured
clay, with greyish coating.
Round body; nozzle with rounded termi­
nation, set off from the shoulder by so-called
trapezoidal lines. O n the shoulder and at the
base of the nozzle are raised dots. Vertical,
disk-shaped, pierced handle, moulded to­
gether with the body. The discus is set off
from the shoulder by two grooves; raised
bordering rim around the filling-hole. Low
base-ring, with groove encircling it.
169 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1140.
Obtained from the collection of F. Hopp
in 1950. From Carthage.
H: 5-3, L: 11-9. Light ochre-coloured clay,
with traces of reddish-brown paint.
Round body and nozzle with rounded
termination, set off from the shoulder by so-
called trapezoidal lines. On the shoulder,
a row of tongue pattern. Moulded, ribbed,
pierced, disk-shaped handle. The concave
discus, set off from the shoulder by three
circular grooves, is bordered by a band of
linear decoration. Around the central oil-
hole is a raised omphalos decorated with lines.
A separate hole, designed to catch spilled oil,
is placed nearby. On the low circular base
is the signature MNOVIVSTI.
170 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1154.
From the collection of V. Wartha, acquired
in 1950. Provenience unknown.
H ; 3-7, L: 8. Yellowish-pink clay, with
brownish-red paint.
Round body and nozzle with rounded ter­
mination, set off from the shoulder by so-
called trapezoidal lines. On the rim of the
shoulder, on both sides, are raised panels,
and at the base of the nozzle are petalled
flowers. Vertical, disk-shaped handle, mould­
ed together with the body. The concave
discus is set off by two circular grooves.
On the discus, a relief of a lion, running to
right and turning its head towards the handle.
The oil-hole is cut through the discus near
the handle. Slightly concave reverse.
171 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H : 5, L: 11-3. Creamy-yellow, unpainted
clay.
Round body; slightly projecting rounded
nozzle, set off from the shoulder by so-called
trapezoidal lines. Small raised panels in the
centre of each side of the plain shoulder.
Disk-shaped, pierced, ribbed handle, defined
by grooves at its root. On the discus, framed
by two circular grooves, is a relief of Eros,
holding a lyre in his left hand, propped
against an altar, his right hand holding a
plectron; drapery floats behind his wings,
and to the left is a kráter on a stand. On the
reverse of the lamp, in the centre of a base
defined by two groove, is the signature
ОЛТМПЮГ.
Bibi.; Oroszlán-Dobrovits p. 47, К. 34.
105
 172 One-wick lamp. the discus by a raised rim, which also sur­
rounds the nozzle in a so-called trapezoidal
line. On the shoulder, a vestigial panel on
each side. Disk-shaped, pierced, vertical
handle. Air-hole on the edge of the concave
discus, near the nozzle. On the reverse is the
signature MNOVIVSTI.

Museum of Fine Arts. Inventory No. 174 One-wick lamp.

56.32.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 6-3, L: 14-2. Yellowish, light brown
clay, with streaky orange paint.
Round body; nozzle with rounded termi­
nation, set off from the shoulder by trape­
zoidal lines. On the rim, acorn and oak-leaf
pattern. Moulded, vertical, pierced, ribbed,
disk-shaped handle. Concave discus, set off
by two grooves and a plain rim. Low, cir­
cular base, with the letter H in the centre.
173 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1158.
Provenience unknown.
H: 3'7, L: 10-3. Light brownish clay with
light brown paint.
Round body with slightly projecting,
rounded nozzle. The shoulder is set off from
Collection of L. Kákosy.
Obtained in Egypt in 1959.
H : 3-5, L: 7-6. Reddish-brown clay.
Nozzle broken away.
Round body. The shoulder is decorated
with a wreath and three rosettes, and is set
off from the discus by two grooves. On the
discus are three draped figures. The two
flanking figures are tall and winged; with
their uplifted hands they support the klitte
of the god Sarapis. The central figure is
smaller; all three look and stand full-face.
Disk-shaped, pierced, vertical handle, with a
reticulation on top to make holding easier;
on the front edge of the handle are two rib­
bings, and on the edge nearest the base, one
rib. On the reverse, the base-ring is marked
on the edge by two concentric grooves.
Bibi.: L. Castiglione, Arch. Ért. 89 (1961)
175 and fig. 7; Acta Antiqua Hungarica 9
( i 9 6 i ) 2 9 9 and fig. 7.

As compared w ith the previously described types developed in Italy, the type of
lamps 168 to 174 is of Greek origin, representing a new phase in the history of the
lamp manufacturing industry in the Imperial age. On the basis of the material of
the Corinthian lamps, Broneer established that in the beginning of the 2nd century
A.D. a great new upswing of the Greek lamp manufacturing industry can be ob­
served258. After the development of relief lamps and factory-lamps, but side by side
with the spread of the factory-lamps, the development of types of local character can
be observed also in other provinces259. This is especially obvious in Greece, where
a few centuries earlier there were great lamp manufacturing centres. The new types
of Greek lamps differ from the Italic products in their form as well as in their
decoration. The rounded nozzle barely projects from the round body, and the inner
edge of the wick-hole touches the outer edge of the rim of the body. Characteristic
is the vertical, disk-like handle, which is pierced in the early varieties. The edge of
the rim is either flat or slightly outcurved260. On the shoulder rim are impressed

258. Broneer, 26.

259. Szentléleky, Bud. Rég. 189.
260. Broneer, 90, 74, Fig. 34/13, 14.

106
rows of leaves, wavy lines, herring-bone patterns, vines, globules or circular designs.
The shoulder rim is divided on both sides in the centre by small panels, obviously
influenced by the suspension knobs of the factory-lamps. Although the type origi­
nated in Greece, later on it is produced also elsewhere261. The development of the
type is shown by lamp 170, on which, like the factory-lamps, both the discus and
the nozzle arc surrounded by a rim; the knobs are marked by small panels, and on
the side opposite to the nozzle a pierced, disk-shaped, vertical handle appears.
W ithin the type Broneer divides the Corinthian material into four groups. Lamp
169, with its pierced, disk-shaped handle, the impressed tongue pattern on its shoulder,
and the radial linear pattern on its discus and ribbed handle area, belongs to group I.
Because of the stamp it was probably manufactured outside Greece. Its red paint
shows that it was made at the end of the 2nd century. Its inscription can be completed
to MNOVIVSTI. According to M. L. Bernhard, the reading of this stamp is M No­
vius Iustus262. The same name also appears on a rather late variant of the lamps deco­
rated with birds’ heads263. Lamp 172 also belongs to group I.
Lamp 168 is a later variant and is near to Broneer’s Type XXVIII. The disk­
shaped, vertical handle is still pierced, but the hole is already very small. It can be
dated to the end of the time of manufacture of Type XXVII and to the beginning
of that of Type XXVIII, that is, to the early 3rd century264.
Lamp 170 belongs definitely to Type XXVIII. On the shoulder rim, traces of the
small panels can be found, but their edges are indicated only by incised lines. In the
Corinthian material Broneer describes, under Type XXVIII, twenty-four lamps
with a lion pattern similar to the lamp in question265. Lamp 170 can be dated to the
3rd century A.D. Lamp 171 also belongs to Type XXVIII. Representations cor­
responding to the relief scene of the discus were found at Corinth, Tarsus and Ephe­
sus. Similar representations can be found also in the collection of the Leningrad
Hermitage. That it is of Greek manufacture is shown by the testimony of its maker’s
name. Similar signatures occur also in Corinth and Athens266.
The manufacture of lamp 174 can be dated to the beginning of the 3rd century
A.D. The shoulder is richly decorated with branch patterns; also the ribs to be seen
on the lower half of the vertical handle point to a late period of manufacture. The
rosette pattern between the branches — which is reminiscent of the small shoulder
panels, and the pierced, vertical handle — which is also a feature of the earlier pieces
of the type, allow us to place the lamp discussed here among the lamps dating from
the beginning of the 3rd century. On the discus is seen a representation of the di­
vine kline, appearing in Egypt in the and century A.D.266a
261. Broneer, 13.
262. Bernhard, 219—220, No 219, 382.
263. Bernhard, 300, No. 219
264. Broneer, 113.
265. Broneer, 259—261
266. Broneer, 310, No. 753.
266a. L. Castiglione, Arch. Ért. 88 ( i 9 6 i ) 176; Acta Antiqua Hungarica 9 ( i 9 6 i ) 300—
302. For type: Broneer, 90— 96, 102— 114, 259— 261; Bernhard, 322— 323, Nos
302— 307.

107
 13. LAMPS OF THE THIRD CENTURY A.D.
175 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1284.
Transferred from the Gyula Museum in
1950. From the collection of A. Haán. Pur­
chased in Italy.
H: 5, L: 11-4. Yellowish, pinkish clay,
with traces of orange paint. On the nozzle
are signs of burning.
Round body and nozzle with rounded
termination. On the shoulder, raised dot
pattern. Moulded, vertical, pierced, disk­
shaped handle. Small concave discus. On the
reverse, indistinct base-ring.
176 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1155.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 4-1, L: 9-4. Yellowish, light brown clay,
with a light brown coating.
Round body; nozzle with rounded ter­
mination, and an arched junction towards
the discus. On the wide shoulder, between
two impressed grooves, is a simple wreath.
Moulded, vertically-arranged, disk-shaped
handle. On the concave discus is a sixteen-
petalled rosette. On the concave reverse are
the letters EIPH, incised before firing.
177 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1280.
Acquired from the collection of V.
Wartha in 1950. Provenience unknown.
H: 5-3, L: 12-8. Brownish-yellow-coloured
clay, with worn orange paint.
Round body with slightly projecting,
rounded nozzle. Wide shoulder, set off by
a slightly raised rim, decorated with consid­
erably degenerated tendrils and bunches of
grapes. Moulded, vertical, disk-shaped handle.
The small concave discus is surrounded by
a raised rim.
Bibi.: Wartha pl. IX.
178 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.30.A.
From the collection of J. Lázár, acquired
in 1965.
H ' 4-9, L: 10-4. Light ochre-coloured clay,
with light brown paint. The handle, the
nozzle and the side are considerably damaged
and repaired. On the nozzle, traces of burn­
ing.
Round body and nozzle with rounded
termination. On the shoulder, raised dot
pattern. Concave discus. Traces of a vertical
handle, moulded together with the body.
On the reverse, a considerably worn base­
ring.
179 One-wick lamp.
Museum of Fine Arts. Inventory No.
51-635-
Given by J. Révay. From the Callixtus
Catacomb at Rome.
H: 5-1, L: 9-2. Yellowish-pink clay, with
traces of orange paint.
Round body and rounded nozzle. On the
shoulder, raised dot pattern. Moulded, ver­
tical, disk-shaped handle. The small concave
discus is surrounded by a slightly raised rim.
The handle is set off from the shoulder and
the underside by a plastic rib on each side;
a similar rib is placed at each side of the
nozzle, underneath. W orn base-ring.
109
 180 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.29.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-5, L: 9. Light ochre-coloured clay,
with traces of orange paint on shoulder and
side. The side and the base are considerably
worn.
Round body, rounded nozzle. O n the
shoulder, raised dot pattern. Moulded, ver­
tical, disk-shaped, pierced handle. The small
concave discus is surrounded by a slightly
raised rim. On the underside is a considerably
worn base-ring.
181 One-wick lamp.
Déri Museum. Inventory No. R.IX.26.
Presumably from the region of Szombat­
hely.
H: 3-9, L: 7. Yellowish, unpainted clay;
on the nozzle are traces of burning.
Round body; nozzle with rounded ter­
mination. On the shoulder, raised dot pat­
tern. Moulded, vertical, disk-shaped handle.
O n each side, underneath, defining the handle
and the nozzle, are vertical grooves. The
ribbed handle spine extends to the base
ring. Within the base-ring is incised an ivy-
leaf containing a circle with short radiating
lines.
Bibi.: Déri p. 87.
182 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.78.
Transferred from the Flistorical Museum
in 1952. Provenience unknown.
H : 4-4» L: 9-1. Brick red clay, with
brownish-red paint.
Round body; nozzle with rounded ter­
mination. On the shoulder, raised dot deco­
ration. Rudimentary disk-shaped handle,
with a deformed spine reaching to a base-ring
formed by a series of raised points.
110
183 One-wick lamp.
Déri Museum. Inventory No. R.IX.27.
Presumably from the region of Szombat
hely.
H : 5-5, L: 12-1. Yellow clay, with
brownish-yellow paint. Signs of burning on
nozzle.
Pear-shaped body; the nozzle joins the
side of the body in a curved line. Small
concave discus; at its edge is a low ridge,
continued towards the nozzle and forming
a shallow channel. On the shoulder, raised
dot pattern which extends also on both sides
of the nozzle. Vertical, disk-shaped, pierced
handle, ribbed above and below. Air-hole in
nozzle channel, at edge of discus. Low, con­
cave, circular base.
Bibi.: Déri p. 87.
184 One-wick lamp.
Museum of Fine Arts. Inventory No.
55.131.
Provenience unknown.
FI: 4, L: 8-9. Yellowish-pink-coloured
clay. On the nozzle, traces of burning.
Round body and projecting nozzle, curv­
ing into the side of the body. Nozzle defined
underneath by two impressed arched lines.
Moulded, vertical, ribbed, disk-shaped han­
dle, with ribbing on the lower side also. On
the concave discus, set off by three faint
concentric grooves, is a bust of Sarapis with
an eagle; on his right side is a star, on his
left a crescent moon. Flat, circular base.
185 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1161.
Transferred from the Historical Museum
in 1950. Said to be from Aquilea.
H: 2'3, L: 8-7. Light greyish-yellow clay.
Round body; nozzle with rounded termi­
nation, curving into the side of the body.
On the concave discus are two indistinct
standing figures, perhaps Aphrodite drying
her hair, and a small Eros. Slightly raised
circular base.
186 One-wick lamp.
 Museum of Fine Arts. Inventory No.
51.186.
Transferred from the Historical Museum
in 1951. From Palmyra.
H: 2-2, L: 8-8. Greyish-yellow-coloured
clay.
Round body; slightly projecting nozzle
with rounded termination, curving into the
side of the lamp. Narrow shoulder rim.
On the discus, above the spread wings of
an eagle are a male and female bust, pre­
sumably Sol and Luna.
Bibi.: Z. Kádár, Antik Tanulmányok 2
(1955) ю г —4 and figs ia—b; same author,
Acta Antiqua Hungarica 3 (1955) 105—10
and figs i —ia.
187 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.185.
Transferred from the Historical Museum
in 1951. From Palmyra.
H: 2-6, L: 9-1. Yellowish-pink-coloured
clay, considerably worn; a very crude spe­
cimen.
Oval body. Projecting pointed nozzle, set
off from the discus only by its slightly raised
rim. O n the much worn discus, the barely
discernible figure of a quadruped moving
to the right is seen. Because of the design,
the oil-hole is not placed centrally.
Bibi.: Z. Kádár, Antik Tanulmányok 2
(1955) 104 and fig. 2; same author, Acta
Antiqua Hungarica 3 (1955) n o and fig. 2.
188 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.86.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H: 4-2, L: 8-7. Greyish-yellow-coloured
clay, with brown paint; on the nozzle, signs
of burning.
Round body with projecting nozzle curv­
ing into the side of the lamp. Irregular,
almond-shaped wick-hole. In the middle of
the discus is a suspension handle; under this,
placed centrally, is the oil-hole. Rounded,
bowl-shaped base.
189 O ne-w ick lam p.
Museum of Fine Arts. Inventory No.
51.634.
Donated by J. Révay. From Rome, Cal-
ixtus Catacomb.
H: 4-8, L: 7-9. Brownish-pink-coloured
clay. The nozzle and the handle are missing.
Signs of burning at the wick-hole. Thick-
walled clay.
High round body; on the shoulder, an
indistinct branch pattern and, at the junc­
tion with the nozzle, a double oblique relief
line. The small concave discus is surrounded
by a raised rim. The handle crossed the rear
of the body, and was pierced in the direction
of the long axis of the lamp. Elliptical, flat
base-ring, containing an indistinct figure of
a man(?).
190 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1160.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H : 5-4, L: 10-3. Brownish-yellow-coloured,
porous clay, with reddish-brown paint. Tip
of nozzle broken away.
Round body, projecting nozzle. On the
shoulder, between two concentric circular
grooves, is a row of raised dots. On each
side is a plain, rectangular panel, defined by
grooves. On the concave discus, set off by
a groove, is a galloping centaur with raised
club; groundline underneath. Two oil-holes.
Moulded, disk-shaped handle. Wide, flat
base-ring.
191 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.746.
From an Egyptian art-dealer.
H : 3-7, L: 8. Brownish-yellow-coloured
clay, with reddish-brown paint. Base and
nozzle damaged.
Round body; projecting nozzle with
rounded termination, set off from the
shoulder rim by a double row of raised dots.
On the shoulder, plant pattern. Moulded,
disk-shaped handle. The concave discus is
defined by a pine-branch garland, in the
middle of which is a nine-petalled rosette.
Low base-ring.
192 One-wick lamp.
Museum of Fine Arts. Inventory No.
5 5 -1 2 8 .
Provenience unknown.
Ill
 H : 4'2, L : 9-3. Light brown-coloured clay, Round body and slightly projecting nozzle,
with grey paint; a very coarse specimen, curved at the tip. On the discus, the Sacred
with indistinct lines. O n the slightly damaged Monogram. Moulded, ribbed handle. Flat,
nozzle are sign of burning. circular base.

The transition from the lamps of the 2nd century A.D. to the lamps of the late
Imperial period is seen by Broneer in Type XXVIII267. The Corinthian material
amply supports this assumption. Exactly in the beginning of the 3rd century, when
the direct influence of Italy in the field of lamp manufacturing decreases, the char­
acteristic local types develop. This development is seen not only in Greece. The lines
of development become more varied also in the other provinces. Several types, or
variants of types appear268. However, certain uniform features are still apparent in
these lamps. In general, it is characteristic that the quality of the clay, firing and
shaping becomes considerably inferior. As the result of frequent copying, the sharp
outlines of the lamps disappear. New methods of decoration and new decorative
elements appear. After a lamp is moulded, the indistinct lines are made sharper by
incision269. Holes are impressed into the still soft and plastic clay, very often with
small sticks. The dot and herring-bone patterns become more frequent270. In addi­
tion to the unbroken ring base, the base-ring composed of raised dots is also used.
The ribbing of the upper surface of the disk-shaped handle is continued also on the
side and the base. The handle itself very often remains only in the form of a rudi­
mentary knob.
Lamps 176 and 190 can be placed in Broneer’s Type XXVIII. The decoration of
lamp 190 can be traced back to lamps of Type XXVII. The herring-bone shoulder
rim pattern appears also on lamps of Type XXVII and the small panels still divide
the surface271. On lamp 176 no trace of such small panels can be seen. The rosette
on the discus is also indistinct. Similarly, the unpierced, vertical, disk-shaped handles
place these lamps among the late variants of Type XXVIII. The representation of
the centaur lifting his right arm and striking down, which appears on lamp 190,
is know n cn pieces to be placed in Type XXVIII from Corinth and Chersonesus272.
In addition to the centaur figure, it is a characteristic of all three specimens that on
the shoulder there is a circular band of dots, which is interrupted by the small panels.
The disk-shaped handles are of irregular form. On all three representations a ground
line can be seen under the centaur figure. The Corinthian example is also late,
because the shoulder panels are marked only by small globules and there is a heart-
shaped sign at the base of the handle. The Chersonesus lamp was found in a catacomb,

267. Broneer, 114.

268. Szentléleky, Bud. Rég. 189
269. Szentléleky, Bud. Rég. 186. The same development can be observed on the lamps
found in the Danube in the vicinity of the gas factory.
270. Broneer, Fig. 48. Shoulder decoration of Type XXVII.
271. Broneer, Fig. 48/1, Fig. 48/2.
272. Broneer, 254, No. 1181, Pl. XVI; Waldhauer, 62, No. 486, Pl. XLVI.

112
the coin finds of which range from coins of Claudius and Agrippina to those of
Arcadius273.
Lamps 175, 178, 179, 180, 181, and 182 belong to the late period of lamps deco­
rated with raised dots. Lamp 175 can be dated to the 3rd century, while lamp 182
must be as late as the 4th century, as it has only a small rudimentary knob handle,
while underneath its base-ring is replaced by a row of raised dots274. A row of raised
dots instead of a base-ring is known from two lamps in the Mainz Museum. One of
these belongs to the group of late Greek lamps and the other to the group of African
lamps. On the discus of the latter the Sacred Monogram can be seen275. Lamp 179
was found in the Callixtus Catacomb at Rome.
Lamp 183, with its row of raised dots ending in a volute, but still with a pierced
handle, can be dated to the end of the 3rd century. This is shown also by its nozzle,
which joins the body in a curved line.
Lamp 184 has a relief of Sarapis, with the eagle spreading its wings. This repre­
sentation of the god with the eagle was developed in the East, and was taken over
by the Romans and used in representing the apotheosis of the ruler276.
Lamps 186 and 187 originate from Palmyra. On lamp 186 are two busts, one of
Sol and the other of Luna, above an eagle with spread wings. Lamp 187 is very indis­
tinct and the outlines of a mounted figure can be discerned upon it277.
Parallels of lamp 191 can be found in Pannonia. The type is known among the
products of the potter’s workshop at the Aquincum gas factory site, but it is produced
also in later workshops. At the gas factory potter’s workshop the type was manu­
factured from the second half of the 2nd century278.
Lamps 177, 188 and 189 belong to this group on the basis of their form and
finish. One of the variants of lamp 177, with a representation of Helios, is mentioned
in connection with Broneer’s Type XXVIII279. Lamp 188 is one of the late, primitive
variants of the lamps with central suspension handle280.
Lamp 192 is placed by its cross decoration among the Egyptian Coptic lamps. Its
blurred finish and the incised line on the back edge of the handle, show that it was
probably manufactured at the end of the 3rd century or the beginning of the 4th

273. Waldhauer, 62.

274. Menzel, 85, 96.
275. Menzel, 85, 96.
276. Haken, 54.
277. Z. Kádár, Acta Antiqua Hungarica 3 (1955 n o and Fig. 2.
278. Szentléleky, Bud. Rég. 194, 195.
279. Broneer, Nos 251, 252.
280. For the type: V. Wartha, Az agyagművesség. Az iparművészet könyve (Pottery.
Handbook of Applied Arts). 374—375, Fig. 461; Z. Kádár, loc. át.; Broneer, 102—114;
Menzel, 81—86; Iványi, и ; Bernhard, 327—328, Nos 319—327, Pl. XCII; for the repre­
sentation of the centaur see Broneer, 254, No. 1181, Pl. XVI; Waldhauer, 94, No. 615,
Fig. 79/4; Walters, 164, No. 1097, Fig. 223; Broneer, 225, No. 909, Fig. 160; 281, No. 1422,
Pl. XX. For the bust with the eagle see Menzel, 55, No. 308, Fig. 46/15; 41, No. 204,
Fig. 33/1, ibidem also full bibliography. For the later lamps decorated with raised dots see
Menzel, 85, No. 563, Fig. 72/11; 85, No. 552, Fig. 74/2.

8 Szentléleky 113
Century. In the Leningrad Hermitage a lamp with similar decoration is kept with
the Coptic material281. On this lamp also the upper arm of the equal-armed cross
terminates in the letter Rho. D. M. Bailey mentions a similar cross-decorated lamp
from Egypt, but in this case the cross is straight-armed and not combined with
the letter Rho. He also dates the above-mentioned lamp to the end of the 3rd and
the beginning of the 4th century282.

281. Leningrad, Hermitage No. 10058.

282. Bailey, 31 Pl. I2C.

114
 14. LAMPS WITH TWO OR MORE WICKS
193 Two-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 4*3, L: 3-9. Brick red-coloured clay,
unpainted. The tips of both nozzles are broken
away; on the remaining parts are signs of
burning.
Round body, with two projecting nozzles.
The nozzles are separated from each other
and from the shoulder of the body by
volute-like curves. Undecorated shoulder.
Above the unpierced handle is a triangular,
leaf-shaped thumb-plate. Concave discus.
On the reverse, a base-ring.
194 Two-wick lamp.
Museum of Fine Arts. Inventory No.
65.40.A.
Acquired from the collection of J. Lázár
in 1965.
H : 3*2, L: 8. Greyish-brown, spotted clay.
The thumb-plate is broken away and one of
the nozzles damaged; on the nozzles arc
traces of burning.
Round body, with two considerably pro­
jecting nozzles. The nozzles are surrounded
by a rim, which joins the side of the body in
a volute-like curve. Concave discus. On the
reverse, a base-ring.
195 Two-wick lamp.
Museum of Fine Arts. Inventory No.
65.39.A.
Acquired from the collection of J. Lázár
in 1965.
H : 3*3, L: 8*5. Greyish, brownish spotted
clay; the thumb-plate is broken away.
Round body; the two projecting nozzles
are surrounded by an indistinct and faint
border. At the base of each nozzle is a false
air-hole. Traces of a vertical handle. The
concave discus is set off from the shoulder
8*
by a narrow and also a wide circular rim.
On the reverse, an indistinct circular base.
196 Two-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 6*2, L: 13*3. Fawn-coloured, unpainted
clay. O n the nozzles are traces of burning.
The upper corner of the thumb-plate is
broken away.
Oval body, with two projecting nozzles.
These bulky nozzles are set off from one
another and from the shoulder of the body
by rounded volutes. The shoulder is undeco­
rated. On the discus are two filling-holes.
Above the unpierced handle is a triangular
thumb-plate, decorated with a veined leaf
pattern. On the reverse, a base-ring.
197 Two-wick lamp.
Museum of Fine Arts. Inventory No.
65.42.A.
Acquired from the collection of J. Lázár
in 1965.
H: 5*6, L: 8*4. Dark brown clay, both
nozzles broken away.
Round body, with two considerably pro­
jecting nozzles. The nozzles and the shoulder
are surrounded by a rim. Under the rim,
on the side opposite to the nozzles, near the
discus, is a grooved rim decoration. From
the nozzles, a slight depression leads towards
the discus to enable spilled oil to flow back
inside. Above the oil-hole are two false air­
holes. On the leaf-shaped thumb-plate is
a youthful face, the hair bound with a dia­
dem; behind the head is a star. On the
reverse, a base-ring.
198 Two-wick lamp.
Museum of Fine Arts. Inventory No.
65.41.A.
Acquired from the collection of J. Lázár
in 1965.
115
 H : 5'3, L: 10-4. Light ochre-coloured clay,
with traces of orange paint.
R ound body, with two considerably pro­
jecting nozzles. The nozzles and the shoulder
are surrounded by a rim. Another rim sets
off the discus from the shoulder. Triangular,
leaf-shaped thumb-plate. On the reverse is
a base ring.
199 Three-wlck lamp.
Museum of Fine Arts. Inventory No.
65.43.A.
Acquired from the collection of J. Lázár
in 1965.
H : 3-2, L: i i -i . Light ochre-coloured clay,
w ith light brown patchy paint. Around the
nozzles are traces of burning. The surface
of the handle is damaged.
R ound body; three considerably project­
ing nozzles with arch-shaped terminations.
A groove defines the edge of the nozzles
and the shoulder. The bases of the nozzles
are decorated with grooves. The discus is
surrounded by a rim. Around the centrally-
placed oil-hole are four ring-and-dot pat­
terns. Small branch decorations are placed
near the handle and the nozzles Moulded,
vertical, pierced handle. On the reverse is
a base-ring.
200 Three-wick lamp.
Collection of L. Basch.
Provenience unknown.
H : 3-3, L: 7-3. Brick red-coloured clay.
One of the nozzles and the handle with its
triangular thumb-plate are restored. O n two
nozzles are signs of burning.
R ound body, with three projecting noz­
zles; pointed nozzle terminations. The rim
surrounding the nozzles joins the side of the
discus in a volute. At the edge of the discus
is a row of raised dots; in the centre, an eight-
petalled rosette. Triangular thumb-plate
above handle. On the reverse, a base-ring.
201 T hree-w ick lam p .
116
Museum of Fine Arts. Inventory No.
50.1136.
Acquired from the collection of V. Wartha
in 1950. Provenience unknown.
H : 3'3, L: 8-4. Reddish-coloured clay,
with red coating. The handle is broken
away.
R o u n d b o d y , w ith three projecting, p o in t­
ed nozzles. T he rim su rro u n d in g the nozzles
jo in s the side of the discus in a v o lu te. T he
discus is decorated w ith a relief rin g , an d is
set off fro m the shoulder b y a circular rim .
Traces of a m oulded, vertical handle. O n the
sunken reverse of the b o d y , w ith in th e high
base-ring, is the letter V.
B ibi.: W a rth a , pl. IX .
202 Five-wick lamp.
C o llection of L. Basch.
Provenience u n k n o w n .
H : 54, L : 10-4. B rick red -co lo u red clay;
o n the surface of the discus and at th e nozzle
ends are signs of burn in g .
R o u n d b o d y , w ith five projecting ro u n d e d
nozzles. O n the w ide shoulder, an im pressed
oval p attern. T he five w ick-holes are sur­
ro u n d ed b y a rim . T rian g u lar th u m b -p late,
th e upper corner of w hich is b ro k e n aw ay.
A ro u n d the oil-hole is a raised border. O n the
reverse, a base-ring.
203 Two-wick lamp.
Museum of Fine Arts. Inventory No.
65.97.A.
Acquired from the collection of J. Lázár
in 1965.
H : 2 ' 4 > L: 7-8. Pinkish, light ochre-
coloured clay, with a dark orange coating.
The thumb-plate and the left nozzle are
broken away. The reverse is worn.
Round body; two projecting nozzles with
rounded termination. The wick-holes are
surrounded by a raised surface. O n the
shoulder, a row of tongues. The concave
discus is set off from the shoulder by a double
circular rim. Only the lower part of the
moulded handle remains.
204 Five-wick lamp.
Déri Museum. Inventory No. R.IX.29.
Presum ably fro m the reg io n of S zom bat­
hely.
H : 4-2, L: 14. Light brown-coloured clay,
with orange paint. The upper plate of the
handle is broken away; on the nozzles are
traces of burning.
Round body, with five projecting rounded
nozzles, surrounded by a slightly raised rim.
At each of the nozzle bases is a small air-hole.
The discus is set off from the shoulder by a
wreath. On the discus are two small branch­
es. The remains only of a vertical handle
survive.
Bibi.: Déri p. 87.
Round body, with two wick-holes. The
projecting nozzles are surrounded by a faint
rim. At the base of each nozzle is a false
air-hole. Vertical handle with thumb-plate.
The discus is set off from the shoulder by
two wide grooves. Around the filling-hole is
a high ring in relief. Indistinct base-ring.
Bibi.: Déri p. 87.
207 Five-wick lamp.

205 Two-wick lamp.

Collection of L. Basch.
Provenience unknown.
H: 3*2, L: 8-7. Light brown-coloured clay,
with traces of red paint. The leaf-shaped
thumb-plate is damaged; on the two nozzles
are signs of burning.
Round body, with two projecting nozzles.
Above the handle is a triangular, leaf-shaped
Collection of L. Basch.
thumb-plate. From the wick-holes wide chan­
On the reverse, the modern inscription
nels extend to the concave discus with its
small filling-hole. On the reverse is a double “ Sabaria” .
horseshoe-shaped base-ring. H: 5-2, L: 8-8. Light brown-coloured clay.
Round body, with five projecting rounded
206 Two-wick lamp. nozzles. Around the wick-holes and the
Déri Museum. Inventory No. R.IX.28. discus are raised, notched framing rings. On
Presumably from the region of Szombat­ the rim are six bunches of grapes. Raised
hely. handle, decorated with undulating incisions.
H: 3-4. L: 7-9. Brick red-coloured, red- On the discus is a relief decoration showing
painted clay. On the nozzles, signs of burn­ the figure of a hare running to left. On the
ing. The thumb-plate of the handle is broken reverse, a base-ring.
away. Bibi.: Oroszlán-Dobrovits p. 47, К. 37.

Lamps with two or more wicks belong to the next group. The early varieties,
such as lamps 193 and 194, indicate clearly that their early forms developed under
the influence of the volute lamps. These are discussed by Loeschcke283 and Iványi
under Type no. III284. According to Loeschcke, Type III was already known at the
time of Augustus; it becomes general in the first half of the ist century A.D. The
discus is often decorated with reliefs. The form survives for a long time. Two lamps
of the Storno collection285 are close to lamp 193 in as much as the volutes are arranged
on them in a shield-like form. Lamp 205 belongs among the later variants, because
the discus is not decorated with a relief and the border lines are also blurred. The time
of its manufacture can be dated to the end of the ist century A.D.
The type of lamps 193, 194, 195, 196, 197, 198, 201 and 202 occurs very frequently
in the material from Pannonia, examples of which are discussed by D. Iványi in
separate groups286. Although there are chronological differences between individual
283. Loeschcke, 222.
284. Iványi, i i , 12.
285. Iványi, 73, Nos 542, 543.
286. Iványi, i i , 12.

117
 specimens, the identity of the form is readily obvious. A characteristic of these lamps
is that they can be traced back to the volute lamps, their prototypes, although the
factory-lamps had also an influence upon the development of their form. Their
volutes are still discernible, but they form a line similar to the rim of the factors"
lamps. In general they have two or three wicks287.
The thin lines of the letter V to be seen on the reverse of lamp 201 indicate that
it was formed from an incised mark made in the mould. The stamp V also occurs
in the Aquincum material and that of Intercisa and Brigetio288. An examination of
the lamp material from Aquincum led to the conclusion that V or VICT is the abbre­
viation of Victor, who can be identified with a certain Victor who was a liberated
slave of the well-known Aquincum potter Ressatus, of the end of the ist century
and the beginning of the 2nd century. His workshop and products came to light on
the bank of the Danube, in the potters’ settlement situated beside the present railway
and in the area of the gas works289. Lamp 193 especially shows a close affinity with
the lamps from the kilns using the signature V, found in the Danube beside the gas
works. The period of operation of these kilns can be dated from the 20s of the 2nd
century until the middle of the same century. They were thus in use between the
floruit of the workshop of Resatus and that of the workshop of the master-craftsman
Fabius, whose products are frequently found in the gas works material. This seems
to be supported by the circumstance that a lamp of similar type, with the signature
FABI on its reverse, came to light together with a coin of Hadrian290. The influence
of the workshop of Fabius can be seen on the five-wick lamp 202.
The period of use of the pieces of the type may well last for a long time291. Lamp
204 can be placed with the late examples, towards the end of the 3rd century. The
discus and the rim are covered w ith a characteristic branch pattern of a late period292.
It is an indistinct and crudely-made lamp, which also points to its late origin.
Lamp 207 is a local Pannonian product. Its characteristic variants can be followed
in the Aquincum material, from the lamp manufacturing workshop found in the
Danube at the gas works, up to the material from the lamp storage place below
the macellum293. Thus the manufacturing time lasted from the middle of the 2nd
century to the middle of the 3rd century. On the material found in the Danube
the stamp of the local lamp maker SIMIL appears294. Like the Aquincum lamp
bearing the signature SIMIL, the handle of lamp 207 also shows a similar veined
leaf pattern. Although the find-spot of lamp 207 is unknown, the word ‘•Sabaria”,
written on its reverse in waterproof ink, gives perhaps approximate information
regarding its origin.

287. Iványi, type III and type IV ibidem.

288. Szentléleky, Bud. Rég. 170.
289. Szentléleky, Bud. Rég. 176.
290. Iványi, 12.
291. Iványi, ibidem.
292. Szentléleky, 186.
293. Szentléleky, Bud. Rég. 193—195, Fig. 3/3, 5.
294. Szentléleky, Bud. Rég. 178, 193, Fig. 7/3.

118
 15. ASIA MINOR LAMPS
208 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.79.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H: 4-2, L: 10-2. Fawn-coloured clay, with
streaky brown paint.
Round body; nozzle with rounded ter­
mination, joining the side of the body in a
curved line. Wide shoulder with vine-shoot
pattern, which terminates in a bunch of
grapes at the nozzle. The discus is set off by
two raised circular lines, which open out
towards the nozzle, forming a channel.
Moulded, ribbed, vertical handle which, on
the underside, terminates in a relief leaf.
At the junction of the nozzle with the body
underneath are two ribs, between which is
a ring pattern. In the centre of the discus,
surrounding the oil-hole, is an eight-petalled
rosette. Slightly raised base-ring. In the centre
of the reverse is a foot-shaped impression.
209 One-wick lamp.
Collection of L. Basch.
Provenience unknown. H: 4-3, L: 9-5.
Brick red-coloured, unpainted clay.
Oval body with projecting nozzle, joining
the side of the body in a curved line. On the
shoulder, a relief ring pattern with a dot in
the middle. The handle swells slightly up­
wards. The discus is surrounded by a rim,
which is open towards the nozzle. Around
the oil-hole are four veined leaves. On the
reverse, at the junction of the nozzle with
the body, and also under the handle, are
raised ribs with ring patterns adjacent.
210 One-wick lamp.
Déri Museum. Inventory No. I V ------ 12.
1904
Provenience unknown.
H: 3, L: 7. Light brown-coloured clay,
with orange paint. The end of the nozzle
is broken away; at its base are traces of
burning.
Round body; the nozzle joins the side in
a curved line. Wide shoulder, with leafy
vine-shoot pattern. Small handle, moulded
together with the upper half of the lamp.
The concave discus is set off from the shoul­
der by a circular groove. Towards the nozzle
is an impressed line. On the reverse, within
the base-ring, is a vine-leaf.
211 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1163.
Provenience unknown.
H: 3-9, L: 9-2. Pinkish, light brown-
coloured clay.
Round body. Projecting nozzle with
rounded termination. The shoulder, deco­
rated with an indistinct leaf pattern, is set off
from the discus by a raised rim, open towards
the nozzle. On the discus are the barely
discernible outlines of a relief figure: a female,
seated upon drapery, extends her right hand
towards an animal (Leda with the swan?).
Vertical handle. To avoid the discus scene
the oil-hole is slightly shifted from the centre.
Indistinct base-ring.
119
 Lamps 208 to 211 belong to the group of Asia Minor lamps, the date of manu­
facture of which was determined by Miltner on the basis of the Ephesian material295
and by Menzel on the basis of the material from Miletus296. The time of use of the
two examples discussed here can be dated to the 4th and 5th centuries. Comparable
examples have similar relief decorations of the discus. Figurái representations are
less frequently found, but many-petalled rosettes of moderate size, arranged in the
centre of the discus, as well as circular and leaf patterns, occur very often. The rim
of the shoulder is decorated with vines and wavy lines. The rim bordering the discus
opens towards the nozzle. The small handle is the rudimentary survival of the disk­
shaped vertical handles. In the middle of the base-ring, set off by two concentric
circles, the frequently-used impressed footprint pattern can be seen. This decoration
is not a direct derivation of the planta pedis sign usual in Italy in the ist century.
Characteristics of these late lamps are the impressed grooves underneath, at the
base of the nozzle and the base of the handle297. The development of the type of
lamps discussed here was influenced by Italic products as well as by those of
Greece.
On the discus of lamp 211 the very indistinct relief representation of a female figure
can be seen. One of the lamps from Miletus in the Mainz Museum has a similar
representation298. O n the reverse of this there is also an impressed footprint mark.
The shoulder of lamps 208 and 210 is decorated with vines and leaves; in the centre
of lamp 208 is an eight-petalled rosette and on its reverse, an impressed footprint
pattern. Similar lamps are known from the Miletus material29930and from that of
Corinth360. The centre of the discus of lamp 209 is also occupied by a divided four-
petalled rosette. Characteristic is the leaf stamp on the reverse of lamp 210. The side
ribs below, joining the base can be found on lamp 209, and a base ring can be seen
also on lamp 210. All these features support a dating of the 4th to 5th centuries301.

295. Miltner, Ephesos.

296. Menzel, 94, 96.
297. Iványi, 14, 15, Pl. LXIII, No. 10.
298. Menzel, 97.
299. Menzel, 99, N o. 635.
300. Вгопеег, 241.
301. For the type: Menzel, 94—97, No. 629, Fig. 80/5; 99, No. 635, Fig. 81/6; Walters, 203,
N o. 1352; Broneer, 102—114, 248, No. 1059, Pl. XIV.

120
 ló. FROG LAMPS
212 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.38.A.
Acquired from the collection of J. Lázár
in 1965.
H: 4-9, L: 10-4. Greyish-green-coloured
clay. On the nozzle, signs of burning; slight
damage on the base.
Round body. On the top surface is the face
of a negro. On the part above the forehead,
around the oil-hole, is a rudimentary repre­
sentation of a frog. The moustache, thin
beard and eyebrows of the face are carefully
drawn. The lips are swollen, the eyes deep-
set and wide open. On the reverse, above a
dot and half-circle, is a branch sprouting
from a dot.
Bibi.: J. Gy. Szilágyi, Bulletin du Musée
Hongrois des Beaux —Arts 29 (1966) 22 and
fig. 14.
213 One-wick lamp.
Museum of Fine Arts. Inventory No.
30.1173.
Provenience unknown.
FI: 2'5, L: 9-1. Reddish-brown-coloured
clay. Thick, coarse specimen. On the upper
part are traces of a white coating.
Oval body, narrowing towards the front.
On top, a representation of a frog, the body
of which is covered with incised lines. In the
centre is the oil-hole, framed by a sunken
rim. At the rear are three rings with dot
pattern. Oval reverse.
214 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1175.
Provenience unknown.
H : 3-6, L: 7-8. Pinkish, light brown-
coloured clay; on the nozzle, signs of burn­
ing. Coarse specimen, with a white coating
on the surface.
Oval body, narrowing towards the front.
O n top, a representation of a frog. The body
of the frog is covered with incised lines.
In the centre, framed by a rim, is a sunken
oil-hole. At the rear, two rings with dot
pattern. Oval, concave reverse.
215 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1174-
Acquired from the collection of V. Wartha
in 1950. Provenience unknown.
H: 3-8, L: 8-2. Grey-coloured clay. Coarse
specimen; signs of burning on the sur­
face.
Oval body, narrowing towards the front.
In the centre is an oil-hole with a sunken
edge. The nozzle is set off from the body
by an impressed curved line. On the top of
the body is a representation of a frog, on the
body of which are incised lines. Impressed
dots and branch pattern on the reverse.
216 O ne-w ick lam p .
Collection of L. Kákosy; acquired in 1959,
from Egypt.
H : 4-2, L: 8-7. Reddish-brown clay, with
whitish incrustation. Burnt black area around
the nozzle.
Oval body, on the top of which is the
representation of a frog. The body of the
frog is entirely covered with impressed dots;
the hind legs are outlined by incision. At the
rear, the body of the frog is set off from
the body of the lamp by two horizontal
121
grooves. The oil-hole is defined by a raised
ring. Impressed curved lines on the reverse.
217 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.81.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H : 3*2j L: 7-8. Brown-coloured clay,
unpainted. Signs of burning around the
nozzle.
Oval body, narrowing towards the front;
the oil-hole is defined by a wide raised rim.
O n the rim of the shoulder are branch and
ring patterns. The nozzle is set off from the
body underneath by two cursorily-marked
grooves, one on each side. On the reverse,
grooves, probably a debased alpha.
218 One-wick lamp.
C ollection of L. K ákosy; obtain ed in
1959, in Egypt.
H : 4-2, L: 8-7. Light brown, unpainted clay.
Round body, narrowing towards the
front. On the shoulder, two branch patterns
w ithin an incised frame. On the nozzle,
a ladder pattern between two incised lines.
The oil-hole is surrounded by a circular
groove. On the reverse is a heavily-incised
tree pattern, with deep dots at each end.
Underneath, defining the nozzle from the
body, is a short impressed line on each side.
219 One-wick lamp.
Museum of Fine Arts. Inventory N o.
55.129.
Provenience unknown.
H : 3'4> L: 8-9. Greenish-yellow-coloured
clay. Unpainted; on the nozzle are signs of
burning.
Oval body, narrowing towards the front.
Stylized linear delineation of a frog. The oil-
hole is surrounded by a raised rim. Slightly
raised base-ring, with impressed lines within,
probably an alpha.
220 One-wick lamp.
Déri Museum. Inventory No. R.IX.24.
Presumably from the region of Szombat­
hely.
H : 3-5, L: 8. Light grey-coloured, un­
painted clay. Slightly damaged at the base of
the nozzle.
Oval body, narrowing towards the front;
stylized linear representation of a frog. On
the reverse is a thick base-ring.
122
Bibi.: Déri p. 86.
221 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1177-
Provenience unknown.
H: 3-2, L: 7-9. Reddish, brownish-col­
oured clay. Signs of burning on the nozzle.
Oval body, narrowing towards the front.
Stylized linear representation of a frog.
Unframed oil-hole. W ithin the flat base­
ring is an indistinct sign.
222 One-wick lamp.
Museum of Fine Arts. Inventory No.
56.36.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 3-3, L: 9. Brownish-red clay, un­
painted. Signs of burning on the nozzle.
Oval body, narrowing towards the front.
Around the discus is a branch and ring pat­
tern, extending forward. R ow of raised dots
around the nozzle. Incised branch pattern
on the reverse.
22 3 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1171.
Provenience unknown.
H: 3-2, L: 9-5. Greenish-yellow-coloured,
unpainted clay.
Round body, with rounded nozzle, joining
the side of the lamp in a curved line. The oil-
hole is surrounded by a raised rim. Branch
and linear pattern on the shoulder, ladder
pattern on the nozzle. Cross-shaped raised
sign in the centre of the base-ring.
224One-wick lamp.
Museum of Fine Arts. Inventory No.
55-130-
Provenience unknown.
H: 3-2, L: 8-4. Light greenish-yellow clay,
with traces of grey paint.
Round body, with a rounded nozzle,
joining the side of the lamp in a sharply
curved line. The discus is raised around the
edge and slopes inwards towards the centre.
The top of the nozzle is decorated by a ladder
pattern with volute-like termination. On the
shoulder are palm-leaf patterns, and on the
reverse is an indistinct base-ring; the letter
A is incised within it, on a raised disk.
 225 One-wick lamp.
Museum of Fine Arts. Inventory No.
55.126.
Provenience unknown.
H: 2-9, L: 7. Greenish-yellow, unpainted
clay.
Round body; the nozzle joins the side of
the lamp in a curved line. Raised rim around
the oil-hole. The top of the nozzle is deco­
rated with transverse lines bordered by two
volutes. On the shoulder are two palm-leaves;
at the rear, between them, are grooved lines.
On the reverse is the sign A.
226 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1176.
Acquired from the colection of V. Wartha
in 1950. Provenience unknown.
H: 3'9, L: 8-i. Brownish clay, fired grey
in places, and unpainted.
Round body; rounded nozzle, joining the
side of the lamp in a curved line. The oil-
hole is surrounded by a double raised rim.
The nozzle is decorated by lines, the shoulder
by two palm leaves. Incised semicircular sign
on the convex reverse.
227 One-wick lamp.
Collection of E. Varga and L. Castiglione.
Obtained by E. Varga and L. Castiglione
in 1959. From Egypt, purchased at Mit
Rahineh (site of Memphis).
H: 3’5, L: 8-4. Greenish-yellow-coloured,
unpainted clay.
Round body; rounded nozzle, joining the
side of the lamp in a curved line. The discus
has a raised edge and slopes in towards the
centre. The shoulder is decorated on both
sides by two palm branches, in a field bor­
dered by grooves; between them, at the
rear, is a knob, in the centre of which is
a dot. A semicircular groove enclosing a dot
decorates the area between the discus and
the nozzles, and a curved groove defines the
wick-hole area. Impressed letter A on the
reverse.
Lamps 212 to 229 arc examples of Egyptian frog lamps. The centre of the worship
of the goddess Heqet was near Abydos, in Upper Egypt. She was the goddess of
birth and her symbol was the frog302. W ith the Egyptians the frog was the symbol
302. Menzel, 89.
228 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1172.
Acquired from the collection of V. Wartha
in 1950. Provenience unknown.
H: 3•3, L: 9-2. Greenish-yellow-coloured,
unpainted clay.
Round body, with rounded nozzle, joining
the side of the lamp in a curved line. The
discus has a raised edge and slopes in towards
the centre. Grooves on the nozzle, and double
palm leaf pattern on the shoulder. The reverse
is flat and incised with the letter A in the
centre.
229 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1170.
From the collection of J. Fleissig; given
by his heirs in 1949. Provenience unknown.
H: 2-9, L: 9. Yellowish-pink-coloured clay.
Traces of burning on the nozzle and the sur­
face of the discus.
Round body and projecting, rounded
nozzle. Dot and line pattern on the wide
shoulder rim. Raised rim around the oil-
hole, and an indistinct base-ring on the
reverse.
Bibi.: Iványi p. 108, No. 1027, Pl. XLI. 11
230 One-wick lamp.
Collection of E. Varga and L. Castiglione.
Obtained by E. Varga and L. Castiglione
in 1959. From Egypt, Arsinoe Crocodilo-
polis (Fayum).
H: 2-4, L: 6-2. Reddish, medium brown-
coloured, unpainted clay.
Round body, with a slightly projecting,
rounded nozzle. The small discus is separated
from the shoulder by a groove. Semicircular
groove at the base of the nozzle. On the
shoulder, arranged in a circle and rather worn,
are knob and linear patterns. Indistinct semi­
circular groove on the reverse.
123
of resurrection and as such it was also taken over by Christianity303. The frog lamps
are all local Egyptian products304305. The Edfu excavations have rendered their exact
dating more possible306. The basic type is the pure frog representation, but several
variants of the type are known. The body and the nozzle of the almond-shaped
lamps are not separated, but merge into each other. The figure of the frog appearing
on the upper surface fills the whole area w ith the exception of the wick-hole. This
variety is represented by lamps 213, 214 and 215. The outlines are fairly sharp;
however, the frog figure of lamp 2x5, the impressed dot on the reverse, and also
the groove decoration, show that it does not belong among the early variants,
w hich date to the 2nd century A.D. In the case of the second variant (lamps 216
to 223, 226, 228) the outlines of the earlier frog representation have become enti­
rely stylized decorations, although the form of the lamp is still unchanged.
In the case of the third variant, which is represented by lamps 224, 225 and 229,
the nozzle projects from a rounded body. The raised dot pattern is frequent on this
variant306. These different variants in themselves do not mark differences in time;
at the most it can be presumed that the lamps showing the frog figures most sharply
are the earliest. In the 2nd century all three variants were already developed. Examples
of the type were manufactured in large quantities in the 3rd and 4th centuries. From
the decoration of the reverse and the upper surface, it can be concluded that lamps
212, 213, 214, 215, 216 and 221 belong among the earlier variants307.

303. C. M. Kaufmann, Graeco—ägyptische Koroplastik, Leipzig—Kairo 1915, 85, 86'

304. Menzel, 89.
305. Bernhard, 373—376.
306. Iványi, ro8, Pl. XLI; Bernhard, 370—372, Pl. CXL—CXI VII.
307. For the type: Bernhard, Pis CXXXII—CXLVI; Menzel 89, Nos 583—586 and
588— 590. Ibidem further bibliography.

12 4
 17. AFRICAN LAMPS
231 One-wick lamp.
Museum of Fine Arts. Inventory No.
jo.1281.
Obtained from the collection of V. War­
tha in 1950. Provenience unknown.
H: 3-8, L: 10-9. Reddish-brown-coloured
clay, with grey paint.
Pear-shaped body. The shoulder is deco­
rated with concentric grooves, which do not
join at the nozzle. The discus, with its leaf
pattern, is set off from the shoulder by a
raised rim which extends to enclose the
wick-hole. Vertical handle. Within the base­
ring is a branch pattern.
232 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1134.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 4-5, L: 13-5. Light brown-coloured
clay, with brown coating. Nozzle damaged.
Pear-shaped body. In a sunken field on
the shoulder, are alternating leaf and floral
patterns. Vertical handle. The discus is set
off from the shoulder by a rim, which is
extended to enclose the wick-hole. On the
discus is a lion running to right. Two oil-
holes. Narrow base-ring, from which a rib
extends towards the handle.
233 One-wick lamp.
Museum of Fine Arts. Inventory No.
5 0 .1 1 3 3 -
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 5'2, L: 13'2. Brick red-coloured, un­
painted, highly-fired clay. Nozzle broken
away. At its base are traces of burning.
Pear-shaped body; a garland of leaves
decorated with dots occupies a sunken field
on the shoulder. Vertical, tapering, pointed
handle. The discus is set off from the shoulder
by a rim, which extends to surround the
wick-hole also. On the discus, between two
oil-holes, is a lion running to left. Two con­
centric circles decorate the remaining part
of the top of the nozzle. Narrow base-ring,
from which a rib extends towards the handle.
234 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1135.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 5*i, L: 1r6 . Light brick red clay,
with brick red coating. Nozzle broken away,
side damaged.
Pear-shaped body; on the shoulders,
within sunken fields, is a series of leaf pat­
terns. The discus is set off from the shoulder
by a rim, which extends also to surround the
wick-hole. Vertical handle. On the discus is
a horse running to right, beneath which a
dog runs to left; in front of the horse is
a human figure, holding the reins in his
right hand, and dangling a hare downwards
in his left hand. The two oil-holes are damag­
ed. Slightly raised base-ring on the reverse,
from which a rib extends towards the handle.
235 One-wick lamp.
Déri Museum. Inventory No. R.IX.34.
Provenience unknown.
H: 4-6, L: 13-3. Brick red clay.
Paer-shaped body; leaf patterns within
sunken fields on the shoulder. Vertical handle.
The discus is set off from the shoulder by a
rim which also surrounds the wick-hole.
125
O n the discus is the Sacred Monogram turned
to the left. Narrow base-ring, from which
a rib extends towards the handle.
Bibi.: Déri p. 88.
236 One-wick lamp.
Museum of Fine Arts. Inventory No.
59-23 -A.
From the region of Bizerta.
H : 4-6, L: 10-8. Brick red clay. Nozzle
broken away, side damaged. Traces of burn­
ing on the side and part of the base.
Round body, into which the nozzle merges
in a curved line. Separated leaf and rosette
patterns alternate within the sunken field on
the shoulder; in the area nearest the nozzle
are indistinct animal figures. Vertical handle.
The discus is set off from the shoulder by a
rim which extends to surround the wick-hole
also. Worn, indistinct relief design on the
discus. Two filling-holes. On the underside
of the handle is a raised rib extending to the
base-ring.
237 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1162.
Obtained from the collection of V. Wartha
in 1950. Provenience unknown.
H : 5-2, L: 10-8. Reddish-brown-coloured
clay, with a grey coating.
Pear-shaped body; the shoulder is deco­
rated by grooves. The discus is set off from
the shoulder by a raised rim, which also
surrounds the wick-hole. Vertical handle.
O n the concave discus is a three branched
tree. Two oil-holes. W ithin the slightly-
raised, concave base-ring is a small, five-
branched tree; from the base-ring a rib
extends towards the handle.
238 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.34.A.
Acquired from the collection of J. Lázár
in 1965.
126
H: 3-4, L: xi-6. Light red-coloured clay,
with light brown-coloured combustion traces
on the nozzle.
Pear-shaped body, the shoulder decorated
by a grooved branch pattern. The discus is
set off from the shoulder by a slightly raised
rim, which also surrounds the wick-hole.
O n the discus, frontal bust of draped man
holding a crosier. The groove defining the
concave base extends towards the handle; be­
tween its two open ends is another groove.
O n the reverse is an incised signature: R.
239 One-wick lamp.
Museum of Fine Arts. Inventory No. 52.80.
Transferred from the Historical Museum
in 1952. Provenience unknown.
H : 5, L: io-i. Pinkish, light brown clay,
with considerably worn orange paint.
O n the shoulder are two half palm branch­
es framed by grooves. The pear-shaped
body is separated from the nozzle by two
incised lines. Ribbed vertical handle. Incised
line also on the rear edge of the vertical
handle. Small, concave discus, with a narrow
raised edge around the oil-hole. The circular
base is surrounded by a groove, the open ends
of which, at the rear, extend upwards on
the underside of the body, and flank a central
groove. In the centre of the base-ring is an
incised branch pattern.
240 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.33.A.
Acquired from the collection of J. Lázár
in 1965.
H : 4-5, L: io-8. Ochre-coloured clay, with
light brown paint. The surface of the handle
is damaged. Traces of burning on the nozzle.
Pear-shaped body; vertical handle, with
a groove along the edge. The discus is set
off from the shoulder by a circular groove,
which extends also to the underside of the
handle. Shell pattern on the discus. Circular
inner groove on the reverse; the outer groove
is open towards the handle, and between its
tw o ends is another groove.
241 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1132.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H : 4-1, L: 9-8. Pinkish, light brown clay,
 with dark orange paint. The end of the nozzle
is broken away.
Pear-shaped body. Dot and ring pattern
on the shoulder. The discus is surrounded by
a thick raised rim, which also extends to
surround the wick-hole. Vertical handle. Two
oil-holes. On the discus is the representation
of a cock. Flat, circular base.
242 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1131.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 4'5, L: 8-5. Pinkish, light brown clay,
with orange paint. Nozzle broken away.
Pear-shaped body, with vertical handle,
grooved along its edge. The discus is sur­
rounded by a circular groove. In the centre,
framed by a series of ring patterns, is the
Sacred Monogram. Two oil-holes. In the
centre of the concave reverse is an incised
circle, which opens out on the side towards
the handle; the grooves extend to the edge
of the lamp. In the circle is the sign £,
running into a groove which extends to the
lower edge of the handle.
243 One-wick lamp.
Museum of Fine Arts. Inventory No.
55-127.
Provenience unknown.
H: 3-3, L: 11-3. Pink-coloured, unpainted
clay; the base is damaged, and there are signs
of burning on the nozzle. Indistinct lines.
Pear-shaped body, with a vertical handle.
On the shoulder are traces of a ring pattern;
on the discus is a male lion turning his head
forward. One oil-hole. A channel connects
the wick-hole with the discus.

Lamps 231 to 243 belong to the group of African lamps. They received this name
from the large number which have come to light in North Africa308, although today
they are generally held to be of Egyptian, and in particular, of Alexandrian origin309.
Since Christian symbols are very frequently found on them, the use of the denomi­
nation “Early Christian lamps” is also common310. Their Alexandrian origin is
supported by the fact that many moulds of this lamp type have been found in the
course of Alexandrian excavations. According to H. A. Thompson, the circumstance
that in other Egyptian sites there is no trace of the local manufacture of the type
does not contradict the possibility of its Egyptian origin, because these lamps may
have been manufactured in Alexandria in such large numbers that the whole of
Egypt might be supplied with them311. The denomination “Early Christian lamps”
does not fully correspond to reality. Although Christian designs appear frequently
on the disks of lamps of this type, on an early example from Athens, on the reverse
of which is the stamp, the representation of a lion is to be found. The same stamp
is also known on late examples of Type XXVIII. The African lamps correspond to
Broneer’s Type XXXI; with regard to their form and decoration they are the
continuations of Type XXVIII312. The vivid brick red, highly fired, red painted
lamps with lion representations belong to the early variety.
The so-called African lamps were manufactured as early as the 4th century A.D.,
but the main period of their use was the 5th century. The characteristic features of

308. Menzel, 90.

309. Thompson, Hesperia 2 (1933) 210—212.
310. Iványi, 12; Menzel, 90; Broneer, 119; Miltner, 106.
311. Thompson, Hesperia 2 (1933) 211.
312. Broneer, 119.

127
the lamps are the broad rim with impressed decoration, the wide channel reaching
to the nozzle and the relief representation on the discus. On the base is found a base­
ring, from which a raised rib extends to the lower part of the handle. Lamps 232
and 233 belong w ith the early 4th century examples which have representations of
running lions. Lamp 234, with its design of a youth chasing a horse, can also be
placed with these specimens. Lamp 243 also shows a representation of a lion, but on
the basis of its finish and the colour of the fabric, it belongs to the later varieties.
In the Corinthian material, sixteen lamps similar to lamps 239 and 243 are held
by Broneer to originate from Athens313. These are made of bright red clay; on one
of them appears the figure of a bird and on another a small palm tree.
The Sacred M onogram decoration of lamps 235 and 242 can be placed within
the repertory of Christian symbolism.
O n the underside of lamp 242 the base ring has disappeared and in its place the
base area is bordered by a groove which extends in a double line towards the handle.
Between the two branches of this groove, below the handle, a central line is incised.
These lamps belong to the late variants. A similar base decoration is seen on three
examples in the Mainz Museum, originating from Rome314. Because of their similar
base decoration, lamp 238, with its very simple discus, and lamp 240, with a shell
pattern on the discus, can be placed w ith this variant.
Lamps 231 and 237 may be regarded as a separate variant. Their form is stocky
and the nozzle channel is wide and open; on the underside, within the base-ring,
is a small branch. The small branch or palm branch base stamp is known in the
Corinthian material315.

313. Broneer, 119, 289—290.

314. Menzel, 90.
315. Broneer, 219, N o. 847; 240, No. 1036; 274, No. 1358. For type: Broneer, 118—119,
287, No. 470; 219, No. 847; 240, No. 1056; 274, No. 1358; Broneer, Hesperia 2 (1933) 210—
212, Fig. 8/8; Menzel, 90, No. 594—620, especially Nos 594, 614 and 616, Figs 72/1,
72/3, 72/6; Walters, 203, No. 1355; Bernhard, 336, No. 350, Pl. XIII; Iványi, 12, PI.
X XXIX—XL.

128
 18 . SYRIAN-PALESTINIAN LAMPS
244 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1179.
Provenience unknown.
H: 4-4, L: 9-1. Reddish-brown-coloured
clay, with white priming and yellow paint.
Traces of burning around the wick-hole and
on the side.
Oval body. Row of incised zig-zag and
ring patterns encircling the shoulder. Raised
figure of a frog(?) around the oil-hole.
Indistinct, oval reverse.
245 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1279.
Acquired from the collection of V. Wartha
in 1950. Provenience unknown.
H: 3-6, L: 9-1. Pinkish, light brown-
coloured clay.
Almond-shaped body. On the shoulder
are two rows of raised points in a horseshoe­
shaped frame and an undulating relief line
with raised points in between. Rudimentary
handle knob. The discus is surrounded by a
low rim, which is open towards the nozzle.
The underside is slightly concave.
9 Szentléleky
246 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1180.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H : 4-7, L: 9*i. Brick red-coloured clay,
unpainted.
Almond-shaped body, with knob and
net pattern on the shoulder. Rudimentary
handle knob. The large oil-hole is surrounded
by a double raised rim; the outer rim extends
also around the nozzle. Between the nozzle
and the oil-hole is a petalled flower pattern.
On the reverse is an uneven base-ring.
247 One-wick lamp.
Déri Museum. Inventory No. E.VII.3.
Provenience unknown.
H : 3-5, L: 9-7. Brick red-coloured, un­
painted clay, with a medium-hard firing.
Almond-shaped body. The oil-hole is sur­
rounded by a double raised rim; the outer
rim is extended to surround the nozzle. The
shoulder is decorated with radiating lines.
Rudimentary handle knob. On the reverse is
a base-ring.
Bibi.: Déri p. 312.
248 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1277.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H: 4-6, L: 9-7. Greenish-grey, heavily-fired
clay. Traces of burning on the nozzle.
129
 Almond-shaped body; on the shoulder,
on both sides, between spiral tendrils formed
of rows of raised dots and semicircles, are
floral patterns, framed by lines and rows
of raised dots. Rudimentary, ribbed handle
knob. The large oil-hole is surrounded by
a double raised rim; the outer rim extends
to surround the nozzle. On the nozzle
channel are rows of raised dots and ring
patterns. On the reverse is a slightly raised
base-ring.
large oil-hole is surrounded by a double
raised rim ; the outer rim extends to surround
the nozzle. Linear pattern between the oil-
hole and tile wick-hole. Rudimentary handle
knob. Almond-shaped, slightly raised base­
ring; in the centre of which is a moulded
inscription of Kufic characters.
250 One-wick lamp.

249 One-wick lamp.

Museum of Fine Arts. Inventory No.

Museum of Fine Arts. Inventory No.
50.1278.
Transferred from the Museum of Applied
Arts in 1948. Provenience unknown.
H : 3-9, L: 9-9. Grey clay, with greenish-
grey coating. The end of the handle is broken
away. Traces of burning around the nozzle.
Almond-shaped body; the shoulder isdeco-
ated with an imbricated leaf pattern. The
59.29.A.
From Jerusalem, Bethesda.
H: 3-7, L: 10-2. Yellowish-brown clay,
with reddish-brown paint. The rim of the
filling-orifice is damaged; traces of burning
around the nozzle.
Almond-shaped body; the shoulder is dec­
orated by relief lines, and there are similar,
oblique lines on the nozzle. Encircling the
wide, grooved rim surrounding the oil-hole
is a narrower raised ridge, from which a rib
extends to the wick-hole. Heavy base-ring.

Lamps 244 to 250 belong to the group of Syrian-Palestinian lamps316. Their main
characteristic is the wide sloping shoulder, covered with zig-zag lines, leaf patterns
with vines, scales and other decorative elements. The oil-hole is generally wide and
surrounded by a thick relief ring. Encircling this is a further raised ridge, which also
borders a wide channel open towards the wick-hole. At the rear is a projecting handle.
Underneath is an almond-shaped base-ring, from which, on the lower side of the
nozzle, a raised rim extends towards the front of the lamp.
The manufacture of lamp 245 can be dated as early as the first half of the 5th
century, while lamp 249, with Kufic characters on its reverse, belongs to the later
variants317. The main period of manufacture of the type can be dated to the 5th
century318, but the form survives for centuries. Recently, on the basis of the lamps
w ith Kufic inscriptions, the use of the type has been said to last to the 8th century
A.D.319

316. Menzel, 100—102.

317. Bernhard, 333.
318. Bernhard, 333.
319. O. Weil, Syria 28 (1951) 265. For type: Bernhard, 333, Nos 343—345, Pis XCIX—
CI; Menzel, 100—102, Fig. 82; Miltner, 106—107, Fig. 44; F. Miltner, Eisenstadt, 176, No.
79; 177, No. 180; Bailey, 31, PI. 14a.

130
 19. LATE IMPERIAL LAMPS
251 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.207.
Transferred from the Historical Museum
in 1951. Said to be from Girgenti.
H: 6-5, L: 10-7. Grey, highly-fired, hard,
thick-walled clay, with a dark grey coating.
The rim is broken away.
High, round body; the lower body has
a concave profile and flaring rim which
extends beyond the point of juncture of the
convex upper body. Vertical, ring-shaped
band handle. Blunt nozzle, joining the body
in a curved line. On the left side of the body
is a bulging lug. Large oil-hole in the centre
of the deep-sunk discus. High base-ring
edging the circular base.
252 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
H: 3'2, L: 7-2. Grey clay, with grey paint.
9*
Round body, with slightly projecting
round nozzle. Grooved band handle. The
discus rises in a curved line towards the oil-
hole rim. String marks on the base.
253 One-wick lamp.
Déri Museum. Inventory No. R.IX.25.
Presumably from the region of Szombat­
hely.
H; 4'3, L: 9-6. Grey-coloured clay, painted
dark grey.
Round body, with slightly projecting
rounded nozzle and very large wick-hole
which occupies the upper surface of the
entire nozzle. Vertical band handle, with
thickened edges. Raised, heavy rim around
the flat, plain discus. Slightly concave, cir­
cular base.
254 One-wick lamp.
Museum of Fine Arts. Inventory No.
65.32.A.
Acquired from the collection of J. Lázár
in 1965.
H: 3-5, L: 7-5. Grey, coarse, hard clay,
discoloured by firing. Side worn.
Round, straight-sided body, with a slightly
projecting rounded nozzle and a concave
discus. Wheel-turned base.
255 One-wick lamp.
Collection of L. Basch.
Provenience unknown.
131
 H : 4'6, L: 7-8. Light ochre-coloured clay, vertical, ribbed band handle. Traces of string
w ith green glaze coating on the upper sur­ marks on the circular base.
face. Handle and nozzle broken away.
R ound body, with a thick, bulging rim
around the flat, plain discus; large oil-hole
in the centre; high, circular base.

256 Four-wick lamp.

Collection of L. Basch.
Provenience unknown.
H : 4-9, L: y6. Light brown-coloured clay,
unpainted. Traces of burning around the
wick-holes.
R ound body, w ith four wick-holes on
the concave shoulder of the discus. High,

At the end of the 3rd century and during the 4th century, the shape of lamps under­
w ent a considerable change. In certain new forms we can discern the prototypes of
the lamps of the 6th century A.D., and even those of medieval lamps. Their charac­
teristics are the large, raised band handle; the slightly projecting wick-hole or row
of wick-holes, occasionally pierced directly through the rim; the wider oil and wick-
holes; the use of a true glaze320; the base, which in the 3rd century is still low, but
in the 4th begins to get higher321. Lamps 251, 252, 253 are the earliest examples in
the group. Lamp 255 has a raised base, as has also lamp 256, the four wick-holes of
which are arranged on the shoulder rim. The earliest parallels to this occur in Pan­
nonia322.
Analogies of the earlier variant (Type X X I of Iványi) were found in Pannonia
mainly with coins of the time of Valentinian323. An example of the later, high-based
variant is kept in the Mohács Museum; this was found in a grave dated by a
coin of Constantine324.

320. Menzel, 102—104, Nos 658—661; Broneer, 122—125.

321. Iványi, Type XXII, 16—17, PL LXVII.
322. Iványi, PI. LVII, Nos I , 7.
323. Iványi, 17.
324. Iványi, Type XXIII.

132
 (c) MISCELLANEOUS LAMPS
257 One-wick lamp.
Museum of Fine Arts. Inventory No.
64.8.A.
Acquired in 1964. Provenience unknown.
H: 4-9, L: 7. Brownish-yellow-coloured,
highly fired, hard clay, with traces of the
original reddish-orange paint.
Deep vessel, narrow at the top and widen­
ing out towards the lower part of the body.
From the widest part projects a blunt, shovel­
like nozzle with a raised edge extending
upwards to the rim. Three small air-holes
are pierced above the wick-hole. At the rear,
on the side opposite to the nozzle, and applied
to the widest part of the body, is a band
handle with a single groove. Circular base,
set off by a groove.
258 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1178.
Said to be from Abydos.
H: 3-3, L: n-2. Dark brown-coloured,
unpainted clay. Handle broken away.
Round body; projecting, narrow nozzle,
with a rounded termination. At the junction
of the nozzle, the shoulder is decorated by
two raised crosses. On the side of the shoulder
are linear patterns. At the rear are traces of
a band handle, now lost. The discus is set
off from the shoulder by a thick, circular,
raised rim. On the discus, around the oil-
hole, are radiating lines. The reverse is
convex.
259 One-wick lamp.
Museum of Fine Arts. Inventory No.
52.836.
Transferred from the Szántó Kovács325
325. Th. May, Catalogue of the Roman Pottery in the Colchester and Essex Museum
Cambridge 1930. 178—187; Bailey, PI. 4d, 28, PI. 6b, 29.
Museum of Orosháza in 1952. Provenience
unknown.
H: 2, L: 4-6. Reddish-brown-coloured,
unpainted clay.
Round body; the slightly projecting nozzle
has an angular termination, and on each side
of the nozzle are incised lines. The discus is
set off from the shoulder by a groove. The
shoulder is decorated with chevrons and
radiating grooves, on the reverse is scratched
a small tree design.
260 One-wick lamp.
Museum of Fine Arts. Inventory No.
53.228.
Transferred from the Historical Museum
in 1953. Provenience unknown.
H : 3, L; 8-1. Brownish-pink-coloured
clay, with greyish-brown paint and traces
of burning on the nozzle.
Round body, with curved sides. The rim­
like raised edge of the body also encloses
the wick-hole. Raised rim around the oil-
hole. Indistinct plant pattern on the discus.
Into the side of the body under the nozzle is
pierced a small wick-adjusting hole.
★
Similar lamps occur in the material of the
Colchester and Essex Museum. At Hofheim
an example was found with coins of Claudius
to Vespasian8*6.
133
 26i One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1287.
Transferred from the Historical Museum
in 1950. Provenience unknown.
H : 4-9, L: 11-7. Light brown-coloured
clay, with light brow n paint.
Triangular body. Vertical, ribbed, disk­
shaped, pierced handle, moulded together
w ith the lamp. The oil-hole is surrounded by
a small concave discus. Adjacent to the oil-
hole is a wick-adjusting hole. Tragic masks
of tw o bearded men (Jupiter Ammon? —
Silenos?) and a mask w ith high onkos deco­
rate the shoulder of the body. On the plain
reverse is an impressed mark, probably a
double planta pedis.
★ of the early factory-lamps, at the end of the
A lamp with identical decoration of the
upper surface is know n from Pozzuoli326327.
The pierced, vertical, disk-shaped handle sug­
gests that it may have been manufactured in
the 2nd century A. D. Masked representations
were common also on factory-lamps at this
time.
2 6 2 Two-wick lamp.
Museum of Fine Arts. Inventory No.
52.837.
Transferred from the Szántó Kovács
M useum of Orosháza in 1952. Provenience
unknown.
H : 2-3, L: 6. Light brown-coloured clay.
Signs of burning on both nozzles.
Triangular body, w ith two wick-holes.
Raised rim around the oil-hole. Circular
ro w of raised dots on the shoulder. Rudi­
m entary handle. The reverse is convex and
uneven.
326. Walters, 70, N o. 474.
327. Walters, 6, No. 33, PI. 1.
134
On the basis of the crude finish, the convex
base, and also the rudimentary handle knob,
this lamp can be dated to the 3rd century
A.D.
263 One-wick lamp.
Museum of Fine Arts. Inventory No.
51.340.
Purchased in Egypt.
H: 6, L: 8. Light brick red-coloured clay,
with streaky brown paint. Only the base of
the nozzle survives: the rest of it is broken
away.
The body is modelled in the form of a
bunch of grapes. Small, vertical, pierced
suspension handle adjacent to the oil-hole.
The remains of the nozzle indicate that the
wick-hole was surrounded by a rim, similar
to the factory-lamps. At the rear is a rudi­
mentary horizontal handle.
★
The channel of the nozzle and the small
loop for holding the suspension hook show
that this lamp was manufactured at the time
ist century or in the beginning of the 2nd
century. This widely distributed type can be
traced back to bronze prototypes32’.
264 Two-wick lamp.
Museum of Fine Arts. Inventory No.
50.1137.
Transferred from the collection of V.
Wartha in 1950 Provenience unknown.
H : 5*i, L: 19-7, Dark grey-coloured clay,
with black paint.
Large decorative lamp, with two project­
ing, rounded nozzles. On the side are two
leaf-shaped handles. On the side opposite to
the nozzles are the remains of a band handle,
now broken away. The shoulder is decorated
with three bearded Silenos heads, leaf pat-
tern, a bunch of grapes, and vine foliage.
Above each of the nozzles is a small impressed
circle. On the reverse is a horseshoe-shaped
base-ring, with a signature contained within
it. Greek, 2nd—ist century B. C.
265 One-wick lamp.
Museum of Fine Arts. Inventory No.
50.1299.
Provenience unknown.
H: 3 -3, L: 10-4. Yellowish-red clay, with
brick red coating. The well-washed clay is
highly fired, with thin walls.
Open, round bowl, with a tapering, open
spout for the wick, or as a channel from
which to pour. Low circular base.
266 Lamp.
Museum of Fine Arts. Inventory No.
56.68.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 3-3, L: 9-1. Unpainted, light brown-
coloured clay. A thick, coarse specimen.
Round bowl with sharply sloping side
walls. Rim pinched up at two places to
form a wick-rest. Flat circular base.
★ nozzle termination and lamps with single-
Lamps 265 and 266 are open bowls,
examples of which are fairly common388.
328. Walters, 215, Nos 1416—1420. Stamp FORTIS OF. Loeschcke, Pl. XX, No. 1016a,
Type XII; Waldhauer, 67, No. 535.
329. Loeschcke, 304.
330. Szentléleky, Bud. Rég. 184, 195, Fig. 6.
331. Broneer, 76—78.
These open bowls are of twofold use. In
some case they were used as pouring vessels
for filling the lamps, and in others as open
lamps. The open spout for pouring of bowl
265 projects considerably. No traces of burn­
ing can be found on its oozzle and it was
presumably used as a filling vessel. Bowl 226
was used for illumination: this is shown by
the nozzle bearing traces of burning. On a
similar example the stamp FORTIS indicates
that it was used in the last quarter of the ist
century A.D.389 It is, however, a common
form, which had been in use previously and
was still in use centuries later. At Aquincum
in occurs in the material of the beginning
of the 3rd century A.D., found under the
macellum32839330.
267 Fragment of lamp.
Museum of Fine Arts. Inventory No.
50.1130.
Transferred from the Gyula Museum in
1950. From the collection of A. Haán. Pur­
chased in Italy.
W : 3-3, L: 3-2. Greenish, creamy frag­
ment.
This can be completed to show a figure
of Victory, holding a round shield in her
right hand, bearing an inscription which
reads ANNUM NOV U M FAUSTUM
FELICEM MIHI. Under the shield, to the
right, is a coin depicting a standing Victory;
to the left is an object with a grooved sur­
face.
★
Lamp 267, a fragment only, belongs to
the group of New Year lamps. In the ist
century A.D., New Year lamps occur
among examples with long nozzles rounded
at the tip, as well as volute lamps with angular
ended volutes merging with the shoulder331.
A representation appearing frequently on the
discus is a figure of Victory, holding a shield
135
in the right hand, upon which is an inscrip­
tion giving good wishes for the new year.
These lamps were given as presents at the
new year33*, and the various objects to be
seen on the discus scenes symbolize the new
year gifts and good wishes332333.
268 Seven-wick lamp.
Museum of Fine Arts. Inventory No.
65-44-A.
Acquired from the collection of J. Lázár
in 1965.
H : 3-8, W : 13-1, L: 8-3. Light grey-
coloured clay, with reddish streaky paint.
Traces of burning on the nozzles. The handle
is broken away.
Rectangular lamp, in the front edge of
which are three projecting nozzles, and on
the right and left sides, two projecting noz­
zles. The nozzles are heart-shaped, with
rounded terminations. The concave upper
surface of the body is separated from the
rim by a double frame. The central field is
divided by parallel grooves. Groove pattern
around the thumb-plate. On the reverse is
the signature.
*
Lamp 268 belongs to the group of “ box
lamps”, which are known in Pannonia,
where the main period of their manufacture
can be date to the end of the ist century and
the beginning of the 2nd century, but, more
rarely, they also occur later on. The time of
manufacture of lamp 268 can be dated to
the turn of the 1st and 2nd centuries. This
is shown by the fashioning of the nozzles
in the form of swollen heart-shaped decora­
tion, as well as the fine, thin clay coated
with a red metallic glaze and the remain of
the band-shaped vertical handle.

332. Walters, 118, No. 787; Niessen, 98.

333. For the type: Walters, 118, No. 780; 133, Fig.
N o. 1373, Nos 650—652; Niessen, 98, No. 1861, Pl.
XXI, No. 213; Haken, Pl. VII, No. 62; Iványi, n i , No.
76—78, Pl. IX, 25, No. 418—453; 177, No. 459, Pl.
N o. 88, Pl. IX; Lerat, Pl. VI, 45.
169, No. 873; 159, No. 1062; 206,
LXXVII; Waldhauer, 39, 40, PI.
1062, Pl. XLIII, No. 14; Broncer,
X; Ponsich, 83, No. 60, Pl. VII; 86,

136
 В. L AMP STANDS A N D L AMP H A N D L E S
269 Lamp stand.
Museum of Fine Arts. Inventory No.
56.87.A.
Transferred from the Historical Museum
ín 19JI. Provenience unknown.
H : 12-6, W : 4 5. Light fawn-coloured
clay, with orange paint.
Small, angular, fired clay column with
a three-tiered base, on the front of which
stands a figure of Athena, helmeted, with
aegis on breast, holding a spear in her right
hand and resting her lowered left arm on
her shield. The small column narrows
towards the top, and is hollow inside.
270 Lamp stand.
Museum of Fine Arts. Inventory No.
6 S.45 -A.
Acquired from the collection of J. Lázár
in 1965.
H : 13-2, Base: 5-1 by 4-3. Light ochre-
coloured clay, with red paint. The top is
damaged and smoothed down.
Three-tiered base supporting a small
column, the edges of which are rounded.
On the front side stands a figure of Athena,
with helmet, holding a spear in her right
hand and resting her lowered left arm on her
shield. On the base of the hollow column is
a firing vent.
* mentary traces of a ring-shaped vertical
Lamps frequently stood on bronze or
fired clay stands. Lamp stands made of fired
clay were widely distributed, both in Italy
and in the provinces334. Besides the round,
pillar-shaped stands, stands with angular
stems are also known335.
334. H. A. Thompson, Hesperia 2 (1933); Walters, 214, No. 1411.
335. Walters, 213, No. 1407; Iványi, 307, No. 4398.
271 Lamp handle.
Museum of Fine Arts. Inventory No.
52.839.
Transferred from the Orosháza Szántó
Kovács Museum in 1952.
H: 5-15, L: 1-72. Terracotta, red-painted,
brownish-pink-coloured clay.
Handle decorated with relief figure of
Serapis enthroned. The figure rests his right
arm on the head of Cerberus, and holds a
sceptre in his left hand. The high back of the
throne is well indicated. The face is bearded
and a low modius is worn on the head.
The body is covered with a long chiton,
and a mantle is flung over the shoulder.
O n the back is incised the sign. Fragment­
ary remains of a ring-shaped vertical handle.
272 Lamp handle.
Museum of Fine Arts. Inventory No.
52.956.
Transferred from the Orosháza Szántó
Kovács Museum in 1952.
H: 6-22, L: 2-28.
Brownish-pink-coloured clay, with light
brownish-coloured coating. Fragment.
Handle decorated with a bust of Sarapis.
High modius head-dress above the slightly
worn bearded head. Chiton with angular
neck-line in front, and mantle flung over the
left arm. The hair is arranged in curls. Frag­
handle.
*
Two characteristic lamp handles of un­
known provenience have come from the
Szántó Kovács Museum at Orosháza to the
Department of Ancient Art of the Museum
of Fine Arts. On both, the figure of Sara-
137
pis can be seen. Lamp 271 shows the
god seated, resting his right hand on the
head of the dog Cerberus and holding a long
wand in his left hand. The thick, curly beard
and the hair of the figure, wearing a modius,
are the characteristic iconographic features
of Sarapis. The representation of lamp handle
272 is also well know n from ancient sculp­
ture: it is the bust of Sarapis with a thick
beard and head decorated with a modius.
138
These fired clay figurines decorate vertically
arranged handles, fragments of which still
remain on both pieces. Lamps decorated with
reliefs or figurines arranged above a vertical
band-handle were manufactured in the se­
cond half of the ist century and in the 2nd
century A.D The Sarapis figures point to
Egypt as a place of manufacture, probably
to Alexandria, where the Serapeum was
reconstructed in the 2nd century A.D.
 C. M O U L D S

273 Lamp mould. 274 Lamp mould.

Museum of Fine Arts. Inventory No.
60.8.A.
Obtained by L. Castiglione in 1959. From
Egypt.
H: 5-4, mould L: 15-5, negative lamp
L: 11-7.
Light orange-coloured clay, the edge of
the nozzle slightly damaged.
Concave surface; at each side of the
nozzle is a wedge-shaped depression, and
on the sides and back three curved de­
pressions. Mould for top of a lamp. Rows
of dots and rings on the shoulder. The
sunken discus is surrounded by a rim. Pro­
jecting nozzle, with angular termination.
At the base of the nozzle is a bearded
Silenus head.
Museum of Fine Arts. Inventory N o.
56.31.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: i -б, mould L: 7-2, negative lamp L: 4.
Light grey clay; the edge is smoothed off.
Two adjusting lines on one side and one
on the other. Mould for top of a lamp, the
shoulder decorated with a row of ovules.
Rosette pattern on the concave discus. Small
lugs on the shoulder. Incised inscription
on the outer surface.

The fired day lamps were made in negative moulds, and in most cases the bodies
of the lamps consisted of two parts joined tegether. Mould 273 is of Egyptian
origin and the upper parts of lamps with raised dot patterns, similar to lamps 41
and 42, were produced in it. The small head of Pan at the base of the nozzle and
the splayed end of the nozzle with its angular termination, point to the ist century
B.C. Mould 274 is the negative mould of the upper part of a round lamp, which
corresponds to Broneer’s Type XXVII. The exterior has straight, smoothed-in sides,
which are characteristic of the 2nd century A.D.336 On the sides of the mould are
cut adjusting marks to ensure the correct positioning of the lower and upper parts337.
Lamp-makers very often incised their names into the outer surface of a mould,
and such a signature of a maker can be seen on the surface of the mould under
discussion.

336. Szentléleky, Bud. Rég. 191.

337. Szentléleky, Bud. Rég. 191.

139
 D. B R O N Z E LAMPS

275 Bonze lamp. the side opposite to the nozzle is a triangular

thumb-plate, projecting at an angle of forty-
five degrees, with forward-curving upper
tip; underneath is a pierced handle. Consid­
erably oxidized on the base.

277 Bronze lamp.

Collection of L. Basch.
Provenience unknown.
H: 3-1, L: 11. Fine granular surface.
Round bowl, with projecting, semicircu­
lar nozzle. On the bowl rests the shoulder
rim, decorated with petals. Large filling-hole,
with part of the hinge for the missing lid.
The shoulder terminates in a straight line
towards the nozzle. On each side of the
nozzle is a raised knob. The handle, on the
side opposite to the nozzle, is largely broken Déri Museum, Debrecen. Inventory No
away. Volute-like, raised semicircular deco­ R.V.8.
ration at the junction of the handle with Provenience unknown.
the body. The lamp stands on three thin legs, H: 6-6, L: 12-5.
with broad feet. Bull’s head-shaped bronze lamp, with two
wick-holes on the nozzle. On the side oppo­
276 Bronze lamp. site to the nozzle is a handle curving forward,
ending in a lion’s head. Narrow, flat base.

278 Bronze lamp.

Collection of L. Basch. Inventory No.

1951.48.
From Ószőny.
H: 5-3, L: 12. Coarse granular surface.
Round, projecting nozzle, with rounded Déri Museum, Debrecen. Inventory No.
termination. Rudimentary volutes at the R.V.9.
base of the nozzle and near the wick-hole. Provenience unknown.
The body is open, with a narrow rim. On H: 6-5, L: 12*5. Coarse-surfaced bronze.

141
 Round body, pear-shaped, projecting,
nozzle, with rounded termination. Large
filling-hole. Crescent-shaped thumb-plate
above a ring handle. At the base of the
nozzle and in the centre of the crescent are
suspension rings: a small piece of plaited
chain is attached to the ring on the thumb-
plate. The signature PRISCUS F is in the
left field of the crescent, on a semicircular,
sunken surface. W ithin the base are con­
centric circles.
279 Bronze lamp.
Museum of Fine Arts. Inventory No.
56.45.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H : 154, L: 18-7.
Two-wick lam p; nozzles with volute deco­
ration and rounded terminations. The sunk­
en discus is set off from the shoulder by a
raised rim. On each side of the underbody
are three palmette patterns in relief. For-
ward-curving handle with a human head at
its base and terminating in a ram’s head.
W ithin the base-ring are two concentric
rings.
280 Bronze lamp.
142
Museum of Fine Arts. Inventory No.
56.42.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 5-8, L: 10-2.
Round body; nozzle with volute decora­
tion and rounded termination. Five circular
grooves on the shoulder. On the concave
discus is a relief decoration of two nude
female figures standing at a wash-basin. One
pours water from a vessel into the basin,
the other washes herself, dipping her hands
into the basin. Forward-curving handle, end­
ing in a ram’s head, on the side opposite to
the nozzle. Fine, narrow base-ring on the
reverse.
281 Bronze lamp.
Museum of Fine Arts. Inventory No.
56.43.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 5-0, L: 11-9. The end of the nozzle is
broken away. The lamp is highly oxidized.
Round body; long projecting nozzle with
volute decoration. The concave discus is set
off from the shoulder by a circular groove.
Crescent-shaped thumb-plate above a ring-
shaped vertical band-handle. Raised base,
concave below and decorated with circular
grooves.
282 Bronze lamp.
Collection of L. Basch.
From the Danube at Ószőny.
H; 6-5, L: 19. Highly granular surface.
Round body; projecting nozzle, with
curved, splayed termination. Large volutes at
the point where the edge of the nozzle joins
the side of the body. The volutes are also
loops for suspension. The wide filling-hole
is surrounded by a flat rim, which is separat­
ed from the shoulder by a substantial cir­
cular ridge. Double handle stem, which
curves backwards and then forwards to ter­
minate in a heart-shaped plate. Loop of a sus­
pension ring at the lower, pointed end of
the plate. Base-ring below, inside which are
raised concentric circles.
283 Bronze lamp.
Museum of Fine Arts. Inventory No.
51-957-
Transferred from the Museum of Applied
Arts in 1951.
H: 8-42, L: 19-4. Underneath, the sepa­
rately-applied base is missing and the lower
part of the nozzle is damaged.
Round body, with a projecting nozzle,
ending in a round tipped, angular termina­
tion. At the base of the nozzle are rudiment­
ary volutes. The whole surface of the discus
is occupied by the figure of a dog curled up.
She lifts up her head alertly and with her
right hind leg scratches her pup, who with­
draws towards the nozzle. Between the wick-
hole and the body is an impressed six-petalled
rosette. The handle, springing from a voluted
palmette on the side of the body, curves
backwards and then forwards. The end of the
handle flares out and has two holes on the
sides which served to attach the lost termi­
nation.
284 Bronze lamp.
Museum of Fine Arts. Inventory No.
50.1290.
V. Wartha’s collection.
H: 10-3, L: 17-4.
Pear-shaped body; projecting nozzle with
curved termination. Circular rim at the edge
of the discus and the nozzle. A deepening
groove runs from the nozzle towards the
centre of the discus, which is supplied with
three filling-holes. At the end of the handle,
which curves backwards and then forwards,
a horse’s head with maned neck emerges
from a three-fold calyx. On the underside is
an almond-shaped base, slightly sunk in the
centre.
285 Bronze lamp.
Collection of L. Basch. Inventory No.
1951.47.
Provenience unknown.
H: 4-7, L; io-1. Fine, smooth surface.
Round body with a small, rounded, pro­
jecting nozzle. The nozzle is divided from
the discus by a straight line, and is perhaps
separately cast. The shoulder is set off from
the discus by two concentric circles; around
the filling-hole is an indistinct ring. Slightly
raised flat base, surrounded by a sunken ring;
vertical ring handle on the side opposite to
the nozzle.
286 Bronze lamp.
Museum of Fine Arts. Inventory No.
56.41.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H: 3-2, L: 9-3.
Factory-lamp type, with two pierced
knobs on the shoulder. The shoulder slopes
143
outwards. The oil-hole is surrounded by a
completely circular rim, with no connection
with the nozzle. Between the nozzle, with
its rounded termination, and the rim is an
open, rectangular channel. On the concave
reverse are two concentric circles, with a
raised point in the centre.
287 Bronze lamp.
Museum of Fine Arts. Inventory No.
56.44.A.
Transferred from the Historical Museum
in 1955. Provenience unknown.
H : 2, L: 7-5. Base slightly damaged.
Factory-lamp type, tw o knobs on shoulder;
raised shoulder rim, w ith a channel open
towards the nozzle. Small hole near the
filling-orifice. Concentric circle on the con­
cave reverse.
Museum of Fine Arts. Inventory No.
51-947-
Transferred from the Museum of Applied
Arts in 1951. Provenience unknown.
H : 8, L: 12-4. The nozzle is damaged
underneath, and deformed. Cover missing.
Globular body and projecting nozzle with
rounded termination, joining the side of the
body in a curved line. Part of the hinge for
the missing lid is adjacent to the oil-hole.
Vertical ring-handle, above which is a leaf­
shaped thumb-plate terminating in a double
'mob. At the base of the nozzle and in the
middle of the thumb-plate are suspension
rings. On the underside, in the centre of the
high circular base, is a square hole for the
pin of a lamp-stand.
289 Bronze lamp.

288 Bronze lamp.

Collection of L. Basch. Inventory No.
1951-45-
From Cavalia.
H: 8'2, L: 16-4- Slightly granular surface.
Round body with two long projecting
nozzles, at the terminations of which, encircl­
ing the wick-holes, are star-shaped decorative
rims with scalloped edges. Hinged lid, with
a lid-rest behind it. The large handle, with
its thumb-plate, is broken away. Circular
base, with two semicircular knobs on the
sides for inserting into a stand. The nozzles
and the body, above and below, are damaged.

Ancient lamps were made of different materials: besides the mass-produced clay
lamps, examples moulded in glass, silver and especially in bronze are also known338.
As is shown by the rich candelabra and lamp finds at Pompeii, the wealthier people
and those of higher social class illuminated the interior of their rooms with bronze
lamps decorated with reliefs339. Bronze lamps also occur in considerable numbers

338. Menzel, 106; Walters, XI—XII.

339. Roux-Barré, Pompéi, i —50, Pis 1—61.

144
in the Hungarian collections. Chronologically, lamp 275, of the Basch collection,
is the earliest. It stands on three small legs and the rim is decorated with fine
leaf pattern. On each side of the handle, opposite to the nozzle, are semi­
circular projections, with circular decoration reminiscent of the early type
of volute. The handle, which presumably could be used also as a thumb-
plate, may have been decorated with a palmette pattern: this is indicated
by the lines incised at its root. On the basis of the decorative elements, the large
filling-hole, and the three-legged base, we can infer that the time of its manu­
facture is to be placed in the late Hellenistic period340. At the same time, it is
one of the bronze prototypes of that group of lamps with a round body and a slightly
projecting semicircular nozzle, in which the nozzle is set off from the shoulder by
a straight line, at each end of which is an impressed ring pattern. Here the ring
decorations still have a functional role, being the ends of the rivets which secure the
cover. A similar fine leaf pattern is shown by the Vindonissa Type XVII lamp
no. 1052341. The shape, the narrow, outward-sloping edge and the projecting, vo-
luted, narrow nozzle point to the late period of the Hellenistic lamps and the early
period of the volute lamps, i.e. to the end of the ist century B.C. Its presence alone
in the material of Vindonissa is not, unfortunately, an exact chronological factor,
since bronze objects were used for a long period of time when compared with
ceramic products342. An early volute interpretation is shown by lamp 276, with its
flat-topped nozzle and leaf-shaped triangular thumb-plate. The time of manu­
facture of this lamp can be put at the end of the ist century B.C. and the beginning
of the ist century A.D. This is shown by the volutes, extending also underneath,
by the rounded nozzle termination, the base-ring and the ring handle under the
thumb-plate.
The form of the bull’s head-shaped lamp 277 is already known among the
clay lamps of the first century343. It also occurs in the material from Pompeii344.
Among the bronze lamps no. 278 is one of the most usual forms. The type,
complete with its lid, also occurs in the Pompeii material345. Loeschcke describes two
examples among the Vindonissa material346. According to him, both the Pompeii
and the Vindonissa occurrences are exceptional, and the type was presumably more
popular in the last decade of the ist century A.D.347
Lamp 282 is also a form frequently found. The voluted nozzle base, in which the
volutes end in rosettes, the flat top of the nozzle348, the concave discus, the large

340. Walters, XI—XII.

341. Loeschcke, Pl. XXI, No. 1052a, b, 322, 452.
342. Menzel, 106.
343- Waldhauer, 64, 65, Nos 502, 508—512, Pis XLVII—XLVIII; Walters, XI—XII.
344. Roux-Barré, Pompei 45, Pl. 57.
345. Roux-Barré, Pompei 48, Pl. 59.
346 Loeschcke, 454, Nos 1057, 1058.
347. Menzel, 89/7, 107—108
348. Menzel, ibidem.

145
10 Szentléleky
filling-hole, as well as the outcurving double handle, with its heart-shaped termi­
nation, show the characteristics of the first two thirds of the ist century A.D.
The handle with a heart-shaped thumb-plate is also known in the Pompeii material349.
The handle, divided and extending considerably backwards, with its heavy thumb-
plate, was necessary to form a counter-balance on the side opposite the nozzle,
because, especially with the heavy bronze body, in the absence of such a handle the
lamp would fall nozzle down. On the underside are characteristic concentric raised
circles350. Lamp no. 279 and no. 288 were probably manufactured in the second
third of the ist century A.D., or in the first third of the 2nd century. The voluted
nozzles and the handles, extending in a curve towards the discus and decorated with
ram ’s heads, point to this.
Lamp no. 285 represents a form also Known among fired clay lamps and extending
into the 2nd century351. An analogous example is kept in the British Museum352.
Lamp no. 286 belongs to an early variety of factory-lamps, where the rim of the
discus does not open towards the nozzle. Loeschcke describes an analogous example
under the numbers 1066a and 1066b353. As in the case of the similar type of lamp in
clay, it occurs in the material from Pompeii354. But here, in contrast to the examples
of Vindonissa, the British Museum355 and the Museum of Fine Arts, it does not have
a ring-shaped band handle with a small round loop for the suspension chain, but
a handle terminating in a horse’s head. Loeschcke mentions a similar lamp from
Adenau, found in a grave of the time of Trajan, and also a mould from Worms.
Also, other sites in the Rhine region show that the type was manufactured locally.
In Lamp no. 1, of similar type, from Intercisa, Radnóti sees western provincial
influence across the Danube356.
Lamp no. 287 shows already the more usual developed form of the factory-lamp.
The channel of the nozzle opens out into the discus; it cannot have been manu­
factured before the 2nd century A.D., because it is not known either in the material
of Pompeii, or in the Vindonissa material which is not later than the end of the ist
century A.D.357 At Intercisa the type was found in the 2nd century layer358, and in
Pannonia this variant was manufactured in the 2nd and 3rd centuries A.D., by several
workshops.
Example no. 289 belongs to the late group of bronze lamps of the 4th and 5th
centuries. Characteristic are the long, projecting twin nozzles. Large lamps with
a long, projecting nozzle were widely distributed during Hellenistic times, but in

349. Roux-Barré, Pompéi, Pl. 36, No. 3.

350. Walters, 16, No. 70, Pl. VI.
331. Lamp, 141, 161.
352. Walters, 222, no. 1472, Pl. VIII.
353. Loeschcke, 326—327, 458.
354. Roux-Barré, Pompéi, 17, Pl. 37.
335. Walters, 222, No. 1469.
336. A. Radnóti, Intercisa II. (Arch. Hung. Vol. 37), Budapest 1937, 2o9.
357. Roux-Barré, Pompéi, VI. i —50, Pis 1—61; Loeschcke, 268, 269.
358. A. Radnóti, Intercisa II., 209, Pl. XLIV, Nos 10, 12, 13.

146
these the upper surface of the nozzle is straight and not curved, as in the case of
lamp 289359. On the lamps of the 4th and 5th centuries A.D. Christian symbols
occur frequently in place of the thumb-plate360. Around the nozzle a large flat area
is placed, the rim of which is decorated with incised linear patterns. Thus, in the
case of lamp 289, at the edge of the eight-pointed star-shaped rims surrounding the
wick-holes, a circular groove follows the scalloped form of the rim. The projecting
nozzle of the lamp unearthed in Tápiógyörgye in 1938 and kept in the Hungarian
Historical Museum is also decorated by an incised running wave motif. Gy. László
dates the Tápiógyörgye lamp to the 5th century A.D. and referring to the similar
ancient Christian material found in abundance at Abu Simbel, he believes the type
to be of Egyptian, or more exactly, of Coptic origin361.

339. Locschcke, 472—473, Fig. 44.

360. Menzel, n o , 112, Fig. 92/1, 5.
361. Gy. László, La lampe de bronze coptc trouvée ä Tápiógyörgye, Folia Archaeologies
1—2 (1939) IU-

147
10*
 INDEXES
MUSEUMS AND COLLECTIONS

MUSEUM OF FINE ARTS

Inv. no. Cat. no. Inv. no. Cat. no. Inv. no. Cat. no.

SOT36 114 50.1141 159 50.1175 314

50.1020 3 50.1142 158 50.1x76 326
50.1021 4 50.1143 160 50.1177 221
50.1022 5 50.1144 X5S 50.1178 258
50.1023 6 50.1145 x6i 50.1179 244
50.1111 72 50.II46 164 50.1180 346
50.1112 109 50.II47 8l 50.1277 248
50.1113 71 50.1148 86 50.1278 249
50.1114 74 50.1149 87 50.1279 245
5Ó.III5 103 50.1150 77 50.1280 177
50.III6 102 50.II5I 141 50.1281 231
5Ö.III7 105 50.II52 108 50.1282 44
50.1118 99 50.1153 40 50.1283 4S
50.1119 100 50.1154 70 50.1284 175
50.1120 101 50.1155 176 50.1285 43
50.1121 76 50.1156 35 50.1287 261
50.1122 96 50.1157 168 50.1288 116
50.1123 93 50.1158 173 50.1289 59
50.1124 92 50.1159 m 50.1290 284
5Ó.I125 90 50.1160 190 50.1291 18
$0.1126 78 50.1161 185 50.1292 19
5Ö.Í127 127 50.1162 237 50.1293 22
50.1128 128 50.1163 211 50.1294 25
50.1130 267 50.1164 57 50.1295 21
50.1131 242 50.1165 56 50.1296 8
50.1132 241 50.1166 58 50.1297 7
50.1133 233 50.1167 61 50.1298 24
50.1134 232 50.1168 62 50.1299 265
50.1135 З34 50.1169 60 50.1300 31
50.1136 201 50.1170 329 50.1301 138
$0.1137 З64 50.1171 223 50.1320 88
50.1138 50 50.1172 228 51.101 136
50.1139 135 50.1173 213 51.102 15
50.1140 169 50.1174 2x5 51-ЮЗ 16

149
Inv. no. Cat. no. Inv. no. Cat. no. Inv. no. Cat. no-

51.104 17 54 348 75 65.10. A. 80

51.105 38 55-126 235 65.11. A. 79
51.182 143 55-127 243 65.12. A. 53
51.183 162 55-128 192 65.13. A. 52
51.184 89 55-129 219 65.14. A. 125
51.185 187 55-13° 224 65.15. A. 121
51.186 186 55-131 184 65.16. A. 120
51.203 14 56.31. A. 274 65.17. A. 150
51.207 251 56.32. A. 172 65.18. A. 142
51.340 263 56.33. A. 66 65.19. A. 149
51.634 189 56.34. A. 67 65.20. A. 147
51.635 179 56.35. A. 46 65.21. A. 148
51.844 152 56.36. A. 222 65.22. A. 145
51.845 139 56.37- A. 37 65.23. A. 146
51.846 49 56.38. A. 48 65.24. A. 47
51.847 54 56.39- A. II 65.25. A. no
51.947 288 56.40. A. 112 65.26. A. 55
51.957 283 56.41. A. 286 65.27. A. 137
52.78 182 56.42. A. 280 65.28. A. 64
52.79 208 56.43. A. 281 65.29. A. 180
52.80 239 56.44. A. 287 65.30. A. 178
J2.81 217 56.45. A. 279 65.31. A. 122
52.82 39 56.68. A. 266 65.32. A. 254
52.83 51 56.87. A. 269 65.33. A. 240
52.84 12 57. 7 - A. 106 65.34. A. 238
52.85 26 59. 4. A. 27 65.38. A. 212
52.86 188 59. 5- A. 167 65.39. A. 195
52.87 10 59. 7. A. 63 65.40. A. 194
52.744 124 59-23- A. 236 65.41. A. 198
52.745 30 59-29- A. 250 65.42. A. 197
52.746 191 59-30- A. I 65.43. A. 199
52.747 34 60. 8. A. 273 65.44. A. 268
52.834 107 64. 8. A. 257 65.45. A. 270
52.835 123 64.13. A. 2 65.96. A. 65
52.836 259 65. 4. A. 29 65.97. A. 203
52.837 262 65. 5. A. 28 65.98. A. 126
52.839 271 65. 6. A. 13 65.99. A. 151
52.956 272 65. 7. A. 82 65.100.A. 94
53.227 20 65. 8. A. 98 65.101.A. 156
53.228 260 65. 9. A. 97 68.5.A. 95
T. 669. 163

150
 DÉRI MUSEUM, DEBRECEN

Inv. no. Cat. no. Inv. no. Cat. no.

E.VII.I. 144 R.IX.34. 235

E.VII.3. 247 IV.48/1904—10 134
E.VII.4. 91 IV.48/1904—12 210
R.V.8. 277 IV.48/1904—14 133
R.V.9. 278
R.IX.19. 9
R.IX.20. 129
R.IX.21. 132
R.IX.22. 130
R.IX.23. 131
R.IX.24. 220
R.IX.2S. 253
R.IX.26. 181
R.IX.27. 183
R.IX.28. 206
R.IX.29. 204
R.IX.30. X 04

COLLECTION OF L. BASCH

Cat. no. Cat. no. Cat. no

23 I 19 205
36 153 207
68 154 209
69 157 252
70 165 255
73 166 256
83 171 275
84 193 276
85 196 282
117 200 285
118 202 289

COLLECTION OF L. CASTIGLIONE AND E. VARGA

Cat. no. Cat. no. Cat. no.
33 42 227
41 ИЗ 230
US

COLLECTION OF L. KÁKOSY
Cat. no. Cat. no. Cat. no.

32 174 218
140 216

151
 PROVENIENCES
(The geographical names are followed by the catalogue numbers)

Abydos: 258 Girgenti: 251

Arsinoe-Crocodilopolis (Fayum): 33,230 Italy: 15,16,17,38,267
Aquilea: 77, 185 Jerusalem-Bethesda: 1, 250
Bizerta: 236 Karanis Korn Usin (Fayum): 42
Brigetio(?): 276,282 Mit Rahine: 41, 113, 1x5, 227
Carthage: 3, 4, j, 6, 44, 89, 158, 159, 160, Palmyra: 186, 187
162, 164, 169, 214 Rom e: 179,189
Cavalia: 289 Savaria(?): 9, 129, 130, 131, 132, 181, 183,
Corinth: 18, 19, 22, 27 204, 206, 207, 220
Cyprus: 40,92,93,96 Szamosújvár: 133,134
E gypt: 30, 32, 34, 35,124, 140, 174, 191, 216, Tunis: 143
218, 263, 273 Tunis, El Djem: 163
Gela: 14 Tinnye(?): 157

SIGNATURES A N D INSCRIPTIONS
(followed by the catalogue numbers)

A 37, 119, 223, 224, 225, 227, 228 EIPH 176

£ 48 и
A N 58 H 173
C 84 AEONTOT 112
C.FABRIC.MAS 54 ОЛГМШ ОГ 171
C.OPPI.RES 109, 156
C L O HELI 139 Y 70
CRESCES 130
F 82
FO R T IS 121, 124, 132, 134 О б9 , 79, 85
iM C 67 0 77I4g
K EM C 146 a
LDP 128 0 73
L Q P 122 П 2o8
M 140
M A 105 217
MNOVIVSTI 169, 173
PAL 86 ж
PHOETASPI 90 V 310
PRISCU S F 238 0% 21J
R 238
SEXTUS 131 ^ 55
STROBILI 154 I 218
U R S I 129 ( |)
V 73, 201
VIBIANI 135 I 239
VIBIUS 120 g 25„
V IC T 166 *
V IC T O R F 126 § 212

152
 NAMES AND SUBJECTS

Abacacnum (Messina) 32 Basch, L. 12, 15, 17; see also Index of Muse­
Abu Simbel 147 ums and Collections
Abydos 123, 132 Beit Mirsim 22
Acorn 106 Beöthy, Zs. 9—10
Adenau 148 Béres, A. 17
Aegaean Sea 50 Bernhard, M. L. 44, 46—7, 39, 60, 88, 104,
Aegina 41 107, 113, 124, 128, 130
Africa 113, 127 Bersa, G. 76
Agrippina 113 Bird 128
Alexandria 26, 87—8, 103, 127, 138 Bird’s head 55, 57—8, 83, 107
Alps 79 , 93 Bird on a branch 78, 80
Altar 97, 105 Bizerta 126
Amiran, K. B. K. 23 Black Sea 74, 79
Amphora pattern 46—7 Branch pattern 107, i n , 116, 118, 121—2,126
Animal contest 97 Branch with fruit 78
Animals 93, 101, 126 Bregenz 76
Animal-tamer 97 Brigetio 13, 15, 59, 118; sec also Ószőny
Aphrodite n o British Museum see London
Apponyi, S. 12 Broneer, O. 28—9, 31—3, 35~ 7. 40— 1.
Aquileia 68, n o 43—4, 46—7, jo—I, 54—5, 64—5, 70—1,
Aquincum 93, 102, 113, 118, 135 79—80, 82—3, 92, 101,103,106—7,112—
Arcadius 113 3 120, 127—8, 132, 136
Ariston 50 Bronze objects 13
Arndt, P. 9—10 Budapest, Hungarian Historical Museum
Arsinoe, Crocodilopolis (Fayum) 45, 123 10, 13, 15, 21—2, 27—8, 31, 39—41, 46,
Asia Minor 120 49, 53—5. 57, 61—3, 68—9, 73, 75 . 85,
Ass 89 91, 95, 99, 105—6, n o —I, 119, 122,
Äström, P. 24 125—6, 131, 133—5, 137, 139, 142—4, 147
Athens 32, 41, 50, 107, 127—8 Hungarian National Museum 7—8, 10—n
Agora 29, 33, 83 Hungarian National Museum, Department
Eleusinion 33 of Antiquities 8
Athena 63, 67, 70, 77, 137 Museum of Applied Arts 8, n , 43, 67—8,
Attis 83 78—9, 81, 109, 125—7, 129—30, 143
Augustus 47, 50—1, 58, 75—6, 79. 117 Museum of Fine Arts 9—15, 17; see also
Index of Museums and Collections
Museum of Fine Arts, Department of
Baden, Museum 51 Ancient Art 9—13, 15, 17
Bailey, D. M. 17, 24—5, 32, 41, 74, 102, 114, Museum of Fine Arts, Egyptian Collec­
130, 133 tion 10
Band-handle 39—41, 46—7, 49—51, 54—5, Museum of Fine Arts, Near-Eastern
57—9, 70, 85, 133 Collection 10
Barré, L. 74, 144—6 Poly technical University 9, 12
Barrois. A.—G. 23—4 Széchényi Library 12
153
Bull 75 Crosier 126
Bulls’ head 73—4, 141, 145 Crosses, raised 132
Bust 97, h i , 126 Cybele 83
В уbios 22 Cyprus 8, I I —2, 24—6, 49, 77, 79—80
Byrsa 24
Dacia 102
Dancing boy 68, 70
Caesar 51 Danube 118, 142, 146
Callixtus, Catacomb of 109, h i , 113 Debrecen, Déri Museum 8, 11—2, 15, 20;
Capitoline Triad 98—9, 101—2 see also Index of Museums and Collec­
Carthage 9, 21—2, 24—6, 53, 74—5, 99 . tions
103, 105 Delattre, P. 26
Castiglione, L. 12, 15, 17, 70, 74, 87, 106—7; Delhaes, I. 8, 11, 61, 85
see also Index of Museums and Collec­ Delos 50
tions Demeter 36, 79, 103
Cavalia 144 Déri, F. 8—9, i i , 79, 90, 96, n o , 117, 122,
Centaur n o , 112 126, 129
Cerberus 137—8 Diadem 115
Chersonesus 112—3 Dionysus 87
Child’s face 85 El Djem 100
Cintas, P. 22, 24—5 Dobrovits, A. n , 63, 67, 96, 99, 105, 117
Circle 53 Dog 143
Circles, painted 31 attacking a stag 100, 104
Circus scene 103 running 99, 125
Claudius 113, 133 Dolphin 49, 68
Cnidus, Sanctuary of Demeter 36, 103 Domitian 101
Coating, brown 125 Dots 51, 53—9,61—3. 65,68—9, 81,83,91,
brownish-red 100 95—101,105,109—13,116, 119, 122, 125,
cream-coloured 54
130, 134, 139
dark-red 49
grey 126, 130— I
light-brown 45, 109 Eagle 77, 97, 99 . 102, n o —n , 113
light-ochre 90 Edfu 44, 46, 124
orange 43, 69 Egypt 15—6, 22, 43—7, 49, Si, 73 —4 , 76, 85,
red 116, 125 88—9, 95, 102, i n , 113—4, 121—4, 127,
reddish 95 134, 140, 147
reddish-brown 62 Egyptian antiquities in Hungary 8
violet-red 45—6 Egyptian Collection, Museum of Fine Arts,
white 121 Budapest 10
yellowish pink 99 Entz, G. 7
Cock 69, 78, 80, 127 Ephesus 32, 50—1, 107, 120
Colchester and Essex, Museum 133 Erdélyi, G. 12
Cologne 65, 80 Eros 70, 105, n o
Comic mask 85—7 Erotic symplegma 54, 67—8, 71, 81—3
Constantine 132 Esquiline lamp 50
Constantinople 8 Etruria 25
Constantius 51
Coptic lamps 113—4, 147 Fabius 118
Corinth 9, 28—9, 32—3, 37. 39—40. 50—1. Far East 10
70, 82, 106—7, 112, 120, 128 Fejérváry, G. 7, I I
Cornucopia 49—50 Felter, M. 49
Crescent 62—4, 73—4 , 77 . 99 , 142 Female figure 67, 70, 77, 120, 142
Crescent moon n o Ferron, J. 24
Crete 22 Fischbach, О. i6

154
Fish 69 Hampel, J. 8
Flavian Age 92, 102 Handle, pierced 100 , 141
Fleissig, J. 12, 75, 123 vertical 67—8, 70, 91, 95, 97—8, n o —11,
Floral garland 97 113, 115—7. 119—120, 142
pattern 47, 125, 129 vertical pierced 53, 61—2, 64, 73—4, 81,
Fremersdorf, F. 16, 65, 92 83, 95—7, 99—100, 103, 105—7, 109—
Frog 121—4, 129 i n , 116, 134
Fruit 97 vertical ring 144
Fugmann, K. 24 vertical unpierced 112
Harpocrates 85
Galling, K. 22—5 Hautecoeur, L. 55
Garas, К. 17 Hekler, A. 9, 10, 12
Garland with leaves 97, 125 Helios 103, 113
Gaza 22 Henszelmann, I. 7
Gela 26, 31—2 Heqet 123
Germany 16, 70 Herring-bone pattern 112
Gerster, P. 8—9, 12, 37, 39—40 Heart-shaped plate 143
Gezer 22 Hippocampus 62, 64
Girgenti (Agrigento) 131 Hofheim 76, 133
Gjerstad, E. 24 Hopp, F. 9, II, 21—2, 25, 53,75, 96, 98—100,
Gladiatorial equipment 79 105
Glassware 13 Horse, running 125
Glaze, black 40, 49 Horse’s head 63, 143, 146
blackish-red 53 Howland, R. H. 32, 41, 47
brownish-black 27, 39 Human, figure 101, 106, n o , 117, 125
dark-brown 40, 43 head 63, 115, 142
dark-grey 56 Hungarian National Museum see Budapest
green 132 Historical Museum see Budapest
greysh-black 39, 54 Hungary 7, 9, 10, 12—4, 27
metallic-black 27 antiquities of 8—9
orange to brownish-black 39 collections of antiquities 7—13, 145; see
red 31—2 also Budapest
red metallic 138
reddish 37 Intercisa 13, 118, 146
reddish-brown 57, 67 Italy 8, 15, 32, 35—6, 46, 50, 64, 70, 74,
terracotta-red 31 76, 79—80, 82, 88, 92—3, 103—4, 106,
Globules 106, 112 109, 112, 120, 137
Goat 95 Iványi.D. 16,41, 51,70—1 ,76,79—80, 82—3,
Goldmann, H. 29, 37, 51, 35, 65, 80 86—8, 92—4, 101, 104, 117—8, 120,
Gorgon 63, 96
123—4, 127—8, 132, 137
Gozzo 26 Ivy leaf 56, 61, n o
Grapes 82, 96, 117, n 9 , 134 tendril 46—7
Greece 11—2, 15, 28, 32, 92, 103, 107, 112,
120
Griffin 69 , 71 Jericho 22
Jerusalem (Bethesda) 130
Gyula, Museum 8, 11, 109, 135 Jewish candelabrum 59
Juhász, Gy. 59, 70, 80
Haán, A. 8, II, 109, 135 Juno 99
Hadrian 102, 118 Jupiter 99, 102
Haken, R . 55, 59, 83, 104, 113, 136 Amon 134
Half-circles 50
Haltern 55—6, 58—9. 64, 70, 75, 79 Kádár, Á. 17
Hama 24 Kádár, Z. i n , 113

155
Kákosy, L. 15,17; see also Index of Museums Megiddo 22
and Collections Menzel, H. 16, 25, 29, 32—3, 41, 46—7,
Karanis — Kom Usim, in the Fayum 49 51. 55. 58—9, 64—5, 70—1, 74, 76, 80,
Kaufmann, C. M. 47, 51, 124 82—3, 88, 104, 113, 120, 124, 127—8,
Kennedy, Ch. A. 23 130, 132, 144—5, 147
Kline 106—7 Miletus 120
Knobs 29, 40—I, 89—91, 93—4, 107, 112—3, Miltner, F. 16, 50, 92, 94, 120, 127, 130
123, 129—30, 134, 143—4 Minerva 99
Kovács-Karap, E. 10 Minto, A. 25
Kufic inscription 130 Mit Rahineh (Memphis) 49, 85, 88, 123
Kunze, E. 58—9 Modena 93, 102
Kühler, K. 82 Modius 139—40
Mohács, Museum 132
La Baume, P. 102 Moon 97
Laddern pattern 122 Mould 43
Lakos, J. 21 Munich 8, 10
Láng, N. 9
László, Gy. 147 Naucratis 32, 47, 88
Lázár, J. 31, 40, 53, 57—8, 62, 68—9, 77—8, Near East 26
81, 89, 91, 95—7, 109—10, 115—6, 121, Near-Eastern Collection, Museum of Fine
126, 131, 137 Arts, Budapest 10
Leaf 45, 51, 64, 80, 82, 96—7, too, 119—20, Negro 97, 121
125—6, 130, 134, 145 Nemes, M. 10
Leaves, veined 119 N et pattern 129
Leda 119 Niessen, C. A., Collection of 44, 56, 71, 80,
Leningrad, Hermitage 47, 56, 73, 76, 80, 107, 82, 83, 104, 136
114 Nijmegen 93
Lenticular decoration 49—50, 53—4 Nona 76
Lerat, L. 58, 137 N orth Africa 25—6
Letters, impressed 59 Nubia 13
Linear pattern 76, 97, 147
Lion 78, 89, 105, 107, 127, 128, 141 Oak-leaf pattern 106
attacking a mule 68, 70 Olympia 58—9
running 125 Olynthus 28—9, 32, 41
Loeschcke, S . 16, 55—6, 58—9, 64—5, Orlandini, P. 26
69—71, 7^—6, 79—80, 82—3, 87, 92—4. Orosháza, Szántó Kovács Museum 81,
101—2, 104, 117, I 3 S. 145—7 89 , 133—4, 137
London 11 Oroszlán, Z. 9— i i , 63, 67, 69, 86, 99, 105,
British Museum 32, 36, 47, 59,70,79—80, , "7
83, 87—8, 103—4, 146 Oszőny 141—2; see also Brigetio
Lug 40, 43- 45—7 . 53—4 , 73 . 82, 131, 139 O tto, H. 23
Luna h i , 113
Paint, brown 37,41, 62—3, 67—9, 73, 75 , 77 .
Macellum 118, 135 89—91, 98, 100, 106, 109, 119, 126, 134
Maenad 54 brown to black 68
Mahler, E. 9 brownish-yellow n o
Mainz 59 brownish 85
Römisch-Germanisches Zentralmuseum brownish-red 53, 78, n o
46—7, 55. 58—9, 70—i, 80, 113, 120, 128 dark-brown 96
Malta 26 dark-red 99—100
Maroc 25 grey 61, 69, 79, 89 , 93, 103, 112, 122, 125,
Mask 69, 73, 85—7, 89, 93, 134 131
May, Th. 133 greyish-brown 133
Mediterranean 9, 12—3, 24, 26, 50, 79 light brown 96—7

156
Paint (continued) Ráth, Gy. 7, 9, I I —2
red 53,62,68,73—4,77—9, 81, 86, 90—1, Rays 43, 53, 63, 91, 99
95, 98, 107, 117, 137 Resatus 118
reddish 97 Rhine 148
reddish-brown 45, 95, 105, h i , 130 Rhoussos, Rhousopoulos 12
reddish-orange 53, 132 Révay, J. 109, i n
orange 31, 67, 69 , 79, 81, 9 o, 95, 97, 99, Ring pattern 122, 127, 129—30, 145
106, 109—io, 116, i i 9, 126—7, 137 Rizza, G. 33
orange to black 63 Robinson, D. M. 28—9, 31—3, 40— I
pinkish-orange 97 Rome 101, 109, i n , 113, 128
white and yellow 129 Rosette 61, 75, 78, 96—8, 100—1, 106—7,
Palestine 22—5 109, i n —2, 116, 119—20, 126, 139, 143,
Palm branch 80, 102, 126, 128 145
leaf 46, 96, 99, 122—3 Roux, G. 74, 144—6
Palmette 46—7, 49, 61—2, 64, 142—3, 145
Palmyra i n , 113
Pan 98, 102, 141 Sabaria (Savaria) 13, 15, 101, 117—8; see
Pannonia 13—4, 16, 70—1, 79, 82, 9 o— 1, also Szombathely
94, 101, 113, 117—8, 132, 136, 146 Sacred Monogram 113, 126—8
Papposilenus 87 Sakkara 47
Paulovics, I. 101 Salzburg 55
Peacock 63, 65 Sarapis 95, 102, 106—7, n o , 113, 137—8
Pearl 63 Sardinia 32
Pellicer, M. 25 Satrius 65
Petals 64, 102, 141 Scarbantia 101
Petrie, W. M. Flinders 51 Schaeffer, Cl. A. 22—3
Pine-branch garland i n Schleif, H. 58—9
Plant pattern h i , 133 Schubart, H. 25
Planta pedis 59, 70, 80, 100, 103, 120, 134 Scranton, R. L. 50
Pompei 74, 76, 102, 144—6 Semicircular design 51, 123
Ponsich, M. 71, 80, 83, 137 Serapeum 138
Populonia 25 Shear, T. L. 33
Pozzuoli 103, 134 Shell 78—80, 82, 86—7, 126, 128
Prague 58 Sicily 9, I I
National Museum 55, 59 Side handles 46—7, 55
University, Institute of Archaeology 59 Silenus 54, 67, 82, 134,
Praschniker, C. 101 SiSak 70
Pritchard, J. B. 23 Slip, dark grey 49
Procopius, B. I I orange 27
Ptolemy II, Soter 29 Sol 95, 103, i n , 113
Pulszky, F. 7, II Spiral grooves 37
Punic territories 24—5 marks 39
tendrils 130
Quadruped figure i n Sprincz, E. 17
Star n o , 115
Radial grooves 49 Storno Collection 117
lines 43, 47, 49—50, 64—5, 88, 99—101, Streza 59
103, 107, 129, 133 String marks 31, 58
Radisics, E. 12 Strobilus 102
Radnóti, A. 146 Suspension handle 91, 113, 134
Raetia 70 holes 23
Rahmandi, L. Y. 24 knobs 107
Ram ’s head 142, 146 lug 87
Ras Shamra 22 ring 73—4, 86, 89, 102
157
Syro-Phoenician coastal region 22, 24 Victory 135
Szamosújvár (Gherla) 91 Vienna 8, 13, 15
Székely, Z. 17 Vindonissa 16, 55, 65, 70, 76, 80, 145—6
Szentléleky, T. 71, 86—7, 92—4, 102, 106, Vine-leaf 63, 87, 119—20
112—3, 118, 135, 139 tendril 45
Szilágyi, J. Gy. 8, 12, 17, 70, 74, 87, 97, 121 Vines 106, 119, 130
Szombathely 15, 27, 90—1, n o , 116—7, Volute 46—7, 49, 55, 61—5, 67—70, 75—82,
122, 131; see also Sabaria 87—9,100,103,113,115—8, 122—3, 13s.
141—3. 145—6
Tápiógyörgye 146 Vuillemot, G. 25
Tarsus 29, 51, 65, So, 107
Tendrils 96, too, 103 Wagner, Zs. 17
Tharros 25 Waldhauer, О. 32—3, 37, 44, 46—7, 50,
Thasos 10 56, 59, 64—5, 73—4,76,80, 83,101, 104,
Thompson, H. A. 28—9, 41, 50, 74, 127, 137 и г —з, 13 5—6 , 145
Thumb-plate 77 Walters, H. B. 32—3, 41, 43—4. 47. 5°—1,
Thyrsus 67 55—6 , 59. 64—5, 70—1, 74. 79—80, 83,
Tiberius 5 5 , 7 0 — I , 7 9 , 8 2 86—8, 101, 103, 113, 120, 134—5, 137,
Tinnye 9 8 , 1 0 2 144—6
Tongues 45—7, 49, 75, 81—2,97,99—100, Warsaw, National Museum 47
105, 107, 116 Wartha, V. 9, I I , 27, 54, 62, 73, 85, 90—1,
Tragic mask 69, 134 95, 105, 109, 113, 116, 121, 123, 126, 129,
Trajan 146 134. 143
Tree pattern 122, 126, 133 Wavy line 106
Trier 76 Wash basin 142
Museum 102 Weil, O. 130
Tripi see Abacaenum Weinberg, S. S. 29
Tube 31—2 Wessetzky, V. 12
Tunis 96 Wheel 28, 31, 35, 37, 39—40, 50, 58, 131
Whip 97
Utica 23 W olf’s head 63
Worms 146
Valentinian 132 Wreath 106, 109, 117
Varga, E. 12; see also Index of Museums
and Collections Zeus-Sarapis 95
Vase-like design 45—6 Zichy, F. 8 , 9, I I — 2, 49, 77—9
Vespasian 76, 101, 133 Zig-zag pattern 129—30
Vessberg, O. 26, 28, 79—80
Vessel 142 Zsolnay, A. 10

158
PLATES
6b
13a На 15a
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16a

23 a 24a 25 a
16b 17b 18b 19b

20b 21b 22b

23b 24b 25b

32a 33 a 34a
26b 27b 28 Ь

29b 30 b 31b

32b 33b здь

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35a

41a 42a 43a

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41 b 42b 43b
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50 Ь 51b 52 b
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55 Ь

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58 b
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я
'
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