. Etruscan tomb paintings, Their subjects and significance. h the questionwhether the oft-recurring motive on the Roman sarcophagiof two genii holding a cloth (parapetasma) between them, asa background either for a scene or for the portrait of thedeceased (fig. 44), can be traced to Etruscan prototypes ornot. Hitherto, we have probably been too one-sided inattributing the types and symbols of the plastic art of Romansarcophagi to Greek pictures, and the investigation of theshare of Etruria therein would be a fine subject for a mono-graph. XVIII But the benevolent genii and Lasas are absolutely
. Etruscan tomb paintings, Their subjects and significance. h the questionwhether the oft-recurring motive on the Roman sarcophagiof two genii holding a cloth (parapetasma) between them, asa background either for a scene or for the portrait of thedeceased (fig. 44), can be traced to Etruscan prototypes ornot. Hitherto, we have probably been too one-sided inattributing the types and symbols of the plastic art of Romansarcophagi to Greek pictures, and the investigation of theshare of Etruria therein would be a fine subject for a mono-graph. XVIII But the benevolent genii and Lasas are absolutely in theminority in the paintings and plastic art of Etruria, andbecome rarer as time goes on. The mood rises from sinistergloom to wild terror. Two pictures will illustrate thisclimax. In the Tomba del Tifone at Corneto, which wasdiscovered in 1832 and which is one of the grandest of thefamily vaults of Etruria, there is preserved, besides theserpent-legged demons from which the tomb has derived itsname, a large wall-painting representing the journey of a. Fig. 41 RELIEF ON A TOMB ALTAR FROM CHIUSI In the Barracco Collection in Rome
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
