Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 62431-h.htm or 62431-h.zip: (http://www.gutenberg.org/files/62431/62431-h/62431-h.htm) or (http://www.gutenberg.org/files/62431/62431-h.zip) Images of the original pages are available through Internet Archive. See https://archive.org/details/etruscantombpain00poul Transcriber’s note: Text enclosed by underscores is in italics (_italics_). Superscripted characters are enclosed by curly brackets immediately after a caret character (example: inscriptionum Graecarum_,^{3}) Page headings, marked as sidenotes, are placed at the beginning of the relevant paragraph. Footnotes are located at the end of each chapter. ETRUSCAN TOMB PAINTINGS * * * * * * Oxford University Press _London_ _Edinburgh_ _Glasgow_ _Copenhagen_ _New York_ _Toronto_ _Melbourne_ _Cape Town_ _Bombay_ _Calcutta_ _Madras_ _Shanghai_ Humphrey Milford Publisher to the UNIVERSITY * * * * * * [Illustration: FIG. 11. ‘LA BELLA BALLERINA’ IN THE TOMBA FRANCESCA GIUSTINIANI After the facsimile of the Ny Carlsberg Glyptotek _Frontispiece_] ETRUSCAN TOMB PAINTINGS Their Subjects and Significance by FREDERIK POULSEN Keeper of the Classical Department of the Ny Carlsberg Glyptotek, Copenhagen Fellow of the Danish Royal Society Translated by Ingeborg Andersen, M.A. [Illustration: Publisher’s Device] Oxford At the Clarendon Press 1922 TO MY FRIEND IN STUDIES AND TRAVELS OVE JÖRGENSEN, M.A. PREFACE The following sketch is based upon investigations made in the Etruscan Tombs at Corneto and Chiusi, and on comparison of the original wall-paintings with the facsimiles and drawings made from them and preserved in the Helbig Museum in the Ny Carlsberg Glyptotek. It was originally published in Danish, in 1919, as a guide to students in that Department. I am greatly indebted to Mr. G. F. Hill, of the British Museum, for his revision of the translation. Meanwhile the first volume of the promised work of Fritz Weege (_Etruskische Malerei_, Halle, 1921) has appeared, copiously and splendidly illustrated. The text contains general views concerning Etruscan religion and society rather than descriptions of the paintings themselves, and I cannot refrain from saying that I find Weege’s statements and opinions, and the parallels which he adduces, too often more fanciful than convincing, in spite of the vast erudition displayed therein. I do not find anything in my own text which I feel inclined to alter after reading his book. FREDERIK POULSEN.