We may now refer to a remarkable series of drawings, representing the funeral of Patroclus, described by Homer, which were discovered in the Etruscan sepulchre of the Tarquinii near what once was Vulci and is now "Ponte della Badia," in the year 1857, and which is described in _Noel des Vergers L'Etrurie et les Etrusques_, and in _Corpus Inscriptionum Italicarum_ (Turin 1867), the latter of which I use as my authority. In one of the scenes we find depicted the sacrifice of the Trojan youths at the grave of Patroclus. The artist has not left to the fancy of the observer the identification of his figures, but has written in Etruscan letters the modified names of the actors. Beginning from the right hand, we find Ajax Oileus, and next to him a naked Trojan youth, whose hands are bound behind his back, and who is guarded by Telamonian Ajax. Behind and besides him is Charon, and in front of the latter is another Trojan youth, nude, seated on the ground, and receiving his death-wound from Achilles. Behind the latter stands a winged, draped, tall female figure, whom at one time I took to be the glorified soul of Patroclus; but, having seen a similar figure on other Etruscan designs depicting human sacrifice or death, and finding over the head of this one the word _fanth, vanth, or fano_--according to the value which we assign to the digamma or F and O--which is, I think, equivalent to the Latin _Fatum_, fate, &c., we must regard the figure as resembling Azrael--"the angel of death." Besides and behind her stands a draped man unarmed, having a fixed countenance of settled melancholy, and regarding without a shade of exultation the death of the young Trojan whom Achilles slaughters. Over his head are the words _hinthial patrucles_, which is believed to signify "the shade of Patroclus." The last figure in the group is Agamemnon. This and the other sculptures in the tomb are extremely interesting to the archaeologists, firstly, because they bear evidence of a very superior style of art; secondly, because they testify to the antiquity of Homer's _Iliad_, and its popularity in other nations than the Greek. They show, moreover, that the wealthy men amongst the Etrurians were not ignorant of the Grecian language, or rather literature, although they had difficulty in adapting the Hellenic words to their own alphabet; lastly, they ought to be especially valuable to us inasmuch as they demonstrate the existence of a belief in ancient Italy of the resurrection of the body, and of the existence of angels precisely the same in shape as those which pious Christians delight to see in their churches, and in their manuals of devotion. It is worthy of notice that upon some Etruscan vases in the museum at Munich there are angelic warriors covered with armour--a winged female carrying a caduceus, and winged horses--like Pegasus, and probably like those seen by Zechariah, the Hebrew vaticinator.