3. _Burial chambers_ (cucumella) with artificial hills above them, and provided with a tower-like construction, or with conical columns. They are found near Volci, Tarquinii, and Viterbo. 4. _Chambers, vertically hewn into the rocks_, with a simple or decorated entrance near Tuskania. 5. Rock-hewn chambers _with façades screening the entrance_, as at Aria, or with Doric fronts as at Orchia. Asia furnished patterns for the decoration and construction of these tombs. The reliefs are full of lively scenes, reminding us of Assyrian and Babylonian sculptures. The figures are heavy, the legs short and thick; the upper part of the statues is placed ‘en face,’ whilst the legs and feet are in profile. The monstrous element predominates. Harpies, chimeras, winged lions, sphinxes, and griffins abound; but they are void of any symmetrical arrangement, and are dry, stiff, and as revolting as possible in their coarse outlines. With regard to the construction of their walls it is remarkable that they improved very early on the Kyklopean mode, and constructed the very best regular freestone walls. They had arched gates, built with wedge-shaped stones, which produced by their span a firmly-vaulted construction. The Etruskans thus acquired a lasting merit in the history of art by the new epoch which they inaugurated with the introduction of this decidedly progressive element in the technical construction of architectural works. As _potters_ and _metal-workers_ they distinguished themselves more than either as architects or sculptors. As the Chinese are considered as the potters _par excellence_ of the farthest East, the Etruskans may be called the potters of the West. In burning, painting, and fashioning clay they appear to have acquired a speciality, so that their trade in vases extended all over the then known world, and even the Greeks furnished their houses with Etruskan pottery in preference to their own. The gloomy mythology of the Etruskans was far better suited to potters, manufacturing black vases with red figures, or red vases with black figures, or for casting dark bronze figures, than to sculptors handling white marble. They also distinguished themselves in chiselling and founding metal. Innumerable chests, candelabra, metal frames for looking-glasses, and other utensils show their cleverness in working gold, silver, and bronze. Some ivory carvings, described in a report of the Archæological Society at Rome, 1862, are of great interest. They were found at Præneste (Palestrina), where also silver vessels in the purest Egyptian style, and an ivory tablet with Assyrian patterns, were excavated. More important even than these discoveries are four ivory tablets found at Corneto, showing traces of gilding and painting. The carvings represent scenes of every-day life, mixed with mystic figures. We see on the tablets a lady and gentleman sitting at dinner, served by a little boy; a huntsman chasing game; a kind of sea-divinity