. Etruscan tomb paintings, Their subjects and significance. Fig. 3 3KITCHEN INTERIOR IN THE TOMBA GOLINI. Fig. 34. PAINTING IN THE TOMBA DEL LETTO FUNEBREAfter a coloured drawing in the Helbig Museum KITCHEN SCENES 41 similar, only that the dough is kneaded with pieces of metaland not with staves. In these scenes from kitchen and wine-cellar, where thewood is being chopped,^ where the cooks are swinging thesaucepans or working at the range ,^ where young slaves arestruggling with sideboards covered with drinking-vessels, theinscriptions contain the names of the slaves. Men desiredto be served
. Etruscan tomb paintings, Their subjects and significance. Fig. 3 3KITCHEN INTERIOR IN THE TOMBA GOLINI. Fig. 34. PAINTING IN THE TOMBA DEL LETTO FUNEBREAfter a coloured drawing in the Helbig Museum KITCHEN SCENES 41 similar, only that the dough is kneaded with pieces of metaland not with staves. In these scenes from kitchen and wine-cellar, where thewood is being chopped,^ where the cooks are swinging thesaucepans or working at the range ,^ where young slaves arestruggling with sideboards covered with drinking-vessels, theinscriptions contain the names of the slaves. Men desiredto be served in the after-life by the same skilful slaves asin the present, and it was therefore the custom in latertimes to add the names. This reminds one of the Egyptiantomb-reliefs, where sometimes the serfs and the slave girlsare designated only by the name and mark of the estate,so that in a way each of them represents one of the estatesof the deceased lord, whereas in other cases they have theirproper names attached and survive as personalities in theafter-life. XIII Thus we see a slow transformation takin
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Keywords: ., bookcentury1900, bookdecade1920, booksubjecttombs, bookyear1922
