[24] Thus the facsimile at this point gives more than I at any rate could see: on the other hand, less as far as brow and nose are concerned. [25] Plutarch, _Aetia Romana_ 98. [26] Plautus, _Truculentus_ 290, 294, _Mostellaria_ 259 ff. In Greece also, women used white lead as paint: Lysias i. 14 and 17. [27] Quotation from Aeschylus by Theophrastus (who endorses the opinion): _History of Plants_ ix. 15. 1. [28] _Hellenica_ iii. 2. 5. [29] Cp. Tacitus, _Histor._ iv. 53, on the inauguration of the rebuilt Capitolium: ’spatium omne quod templo dicabatur evinctum vittis coronisque; ingressi milites, quis fausta nomina, _felicibus ramis_.’ VI Contemporary with the group of the Tomba degli Auguri and the Tomba delle Iscrizioni is the Tomba del Barone, discovered at Corneto in 1827 and named, as already mentioned, after Baron Kestner. After the paintings of this tomb Stackelberg executed a fine water-colour, and Thürmer a number of drawings, now in the University of Strasburg. The style—both in the shape of the heads and in the treatment of the draperies—is still Ionic, but the proportions are more slender, probably owing to Chian or Attic influence. Composition and technique are both unique in the paintings of this tomb. We content ourselves with reproducing one main wall, the left (fig. 14), where a black horse with light grey hoofs, mane, and tail, is led by a man wearing red boots and a brown mantle lined with green. He is speaking with one hand raised to a woman in a long grey chiton, a brown mantle lined with green, and a brown cap. Then comes a man with green boots leading a brown horse. [Illustration: FIG. 13. BACK WALL IN THE TOMBA DELLE LEONESSE After a drawing in the Helbig Museum] [Illustration: FIG. 14. LEFT MAIN WALL IN THE TOMBA DEL BARONE] [Sidenote: TOMBA DEL BARONE] Similar quiet pictures are found on the other two walls of the tomb; on the back wall a man is standing with his arm round a young flute-player’s neck, and is greeted by a woman. The dress of the woman is Etruscan; the subjects also are probably Etruscan—the preparations for the pompa and the dancing feast. But everything breathes coolness and calm, and we miss the usual jollity. The technique is equally remarkable. It is not the usual fresco painting: experiments have been made with size-paint, that is, an attempt at painting in distemper on the plaster stucco covering the walls. The attempt has failed; the colour has run in large blotches.