. Etruscan tomb paintings, Their subjects and significance. Fig. 24 BACK WALL IN THE TOMBA DEI LEOPARDI After Arch. Jahrb. 1916, pi. 9. Fig. 25MARRIED COUPLE ON AN ETRUSCAN CINERARY URN TO MBA DEI LEOPARDI—HUNTING LEOPARDS 31 by Weege in the article mentioned above. The pictures areamong the best preserved in the whole of Etruria, and datefrom about the same time as the Bighe tomb, about 500 tomb takes its name from the two almost life-sizedleopards in the pediment (fig. 24). They have been neatlyproved by Weege to be hunting leopards. As early as thedays of ancient Egypt leopards were
. Etruscan tomb paintings, Their subjects and significance. Fig. 24 BACK WALL IN THE TOMBA DEI LEOPARDI After Arch. Jahrb. 1916, pi. 9. Fig. 25MARRIED COUPLE ON AN ETRUSCAN CINERARY URN TO MBA DEI LEOPARDI—HUNTING LEOPARDS 31 by Weege in the article mentioned above. The pictures areamong the best preserved in the whole of Etruria, and datefrom about the same time as the Bighe tomb, about 500 tomb takes its name from the two almost life-sizedleopards in the pediment (fig. 24). They have been neatlyproved by Weege to be hunting leopards. As early as thedays of ancient Egypt leopards were trained for hunting pur-poses, and hunting leopards appear in Greek vase-paintingsand Etruscan wall-paintings, for instance, in the earliertombs such as the Tomba delle Leonesse and the Tomba delTriclinio, where the animal lies beneath a couch. In theMiddle Ages the hunting leopard was still trained in theEast, and is therefore depicted in the paintings of the Renais-sance—for instance in the pictures of Gentile da Fabrianoand Benozzo Gozzoli—as seated on the cruppers of the horsesbehind the Magi or their servants.^ In mod
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
