. Etruscan tomb paintings, Their subjects and significance. Fig. 40. PAINTING IN THE TOMBA GOLINI AT ORVIETO. Fig. ^i. PAINTING FROM THE TOMBA DELLA PULCELLA CEREMONY OF THE CERECLOTH 55 scratching an inscription on a tablet (cp. fig. 27), whileanother holds a torch upside down. Both these figures arerepeated in the reliefs of the Etruscan cinerary urns and passdirectly into the plastic art of Roman sarcophagi as twoallegorical figures : Fama, who writes the merits of thedead on a tablet, and the genius of Death with torch couple of flying genii appear already in the Tomba dellaPulc
. Etruscan tomb paintings, Their subjects and significance. Fig. 40. PAINTING IN THE TOMBA GOLINI AT ORVIETO. Fig. ^i. PAINTING FROM THE TOMBA DELLA PULCELLA CEREMONY OF THE CERECLOTH 55 scratching an inscription on a tablet (cp. fig. 27), whileanother holds a torch upside down. Both these figures arerepeated in the reliefs of the Etruscan cinerary urns and passdirectly into the plastic art of Roman sarcophagi as twoallegorical figures : Fama, who writes the merits of thedead on a tablet, and the genius of Death with torch couple of flying genii appear already in the Tomba dellaPulcella, which belongs to the first half of the fifth century,in the pointed pediment above the recess in which the ashesof the dead were deposited. They carry between them acloth which they seem to be laying down, probably the cere-cloth for the dead (fig. 41).^ Perhaps this also explains themysterious scene, figured on two tomb altars from Chiusi,one of which is in the Barracco Collection (fig. 42), the otherin the Ny Carlsberg Glyptotek (Catalogue No. H. 76). Themotives of the reliefs on these limestone
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
