. Etruscan tomb paintings, Their subjects and significance. Fig. 19. PART OF THE SMALL FRIEZE IN THE TOMBA DELLE BIGHE After Arch. Jahrb. 1916. Fig. 20. PART OF THE TOMBA BELLA SCIMMIAAT CHIUSI THE AUDIENCE 25 arms, and the back of her head, and under that a tutulus. Nextto her sits a young girl with a tutulus, noble in bearing andgesture like a young goddess. Then follows a varied companyof youths, women, and a bearded man. The young man, who isrepresented partly frontal with his chin resting on his handand the head and left leg frontal, is of special interest. Theproblem of foreshortening ha
. Etruscan tomb paintings, Their subjects and significance. Fig. 19. PART OF THE SMALL FRIEZE IN THE TOMBA DELLE BIGHE After Arch. Jahrb. 1916. Fig. 20. PART OF THE TOMBA BELLA SCIMMIAAT CHIUSI THE AUDIENCE 25 arms, and the back of her head, and under that a tutulus. Nextto her sits a young girl with a tutulus, noble in bearing andgesture like a young goddess. Then follows a varied companyof youths, women, and a bearded man. The young man, who isrepresented partly frontal with his chin resting on his handand the head and left leg frontal, is of special interest. Theproblem of foreshortening has been very neatly solved. Underthe wooden floor of the stands the common folk are disportingthemselves, some of them engrossed in anything but thegames. In order to understand the significance of this representa-tion one has to realize that such detailed pictures of spectatorsat athletic games are unknown in Greek art. The nearestparallel is the assembly of the gods, the Olympian specta-tors, in the frieze of the Treasury of the Siphnians atDelphi,^ and in the Parthenon frieze, between which theTomba delle Bighe chronologically occupies
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
