. Etruscan tomb paintings, Their subjects and significance. the fourth or following inscription runs: arnth spuriana s[uth]il hece cefariceka, and means, Aruns Spurinna monumentum sepul-crale . . condidit, adornavit, or the like.^ IV A CONSIDERABLE group of Etruscan tomb-paintings, datingfrom the middle of the sixth century, show in their composi-tion close connexion with Ionic vase-painting, especially withthe so-called Caeretan hydriae, while their main pictures tellus something about the Etruscans themselves and theirconceptions of Life and Death and Eternity. Only in theanima
. Etruscan tomb paintings, Their subjects and significance. the fourth or following inscription runs: arnth spuriana s[uth]il hece cefariceka, and means, Aruns Spurinna monumentum sepul-crale . . condidit, adornavit, or the like.^ IV A CONSIDERABLE group of Etruscan tomb-paintings, datingfrom the middle of the sixth century, show in their composi-tion close connexion with Ionic vase-painting, especially withthe so-called Caeretan hydriae, while their main pictures tellus something about the Etruscans themselves and theirconceptions of Life and Death and Eternity. Only in theanimal friezes beneath the painted roof-supports does theold decorative conception of the human and animal figurestill linger ; elsewhere the pictures now have content andmeaning. We may take the Tomba degli Auguri in Corneto, ^ Poulsen, Orient, p. 67. other inscriptions, and for numerous 2 I am greatly indebted to Professor linguistic suggestions on the general O. A. Danielsson of Upsala for in- subject of my treatise. formation about this as well as about. o<: o Q < o M O <: TOMBA DEGLIA U G U R I ii discovered in 1878, as our starting-point. There are coloureddrawings as well as full-sized facsimiles of its pictures in theHelbig Museum. The middle of the back wall of this tomb is occupied bya painted door flanked by two men in white chitons andshort black cloaks lined with red ; on their feet are peakedshoes. They raise both arms in a gesture of lament, beatingtheir foreheads as the ancient texts have it.^ With thisscene (fig. 3) the key-note is struck : the living stand at thedoor of the tomb and moan for the dead, a subject speciallyappropriate to the decoration of the walls of a tomb. The scenes on the main walls are also associated with thefuneral ceremonies. On the right-hand main wall (fig. 4) aboy is seen to the left in a white tunic with black dots, carryinga stool and raising one arm and his face to a man who, dressedin a red and brown cloak and brown shoes, see
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
