In order to understand the significance of this representation one has to realize that such detailed pictures of spectators at athletic games are unknown in Greek art. The nearest parallel is the assembly of the gods, the Olympian spectators, in the frieze of the Treasury of the Siphnians at Delphi,[34] and in the Parthenon frieze, between which the Tomba delle Bighe chronologically occupies an intermediate position, about twenty-five years later than the former, and about fifty years earlier than the latter. At the same time we learn that female spectators were also present; this was not so at the Olympic games, but seems to have been a common Italic custom. The stands, too, appear typically Italic; on such ἴκρια the spectators were seated at those athletic games and contests which in earlier times, according to Vitruvius (v. 1), were held in the market-places of Italian towns. Amphitheatres were not known till the first century B.C., but if one imagines these market-places on festival days with such wooden stands built up on all four sides, and these stands curved round at the corners in order that the spectators might see better, one can understand how the shape of the amphitheatre originated.[35] [Sidenote: TOMBA DELLA SCIMMIA AT CHIUSI] Within the sphere of Etruscan painting also, this is the only large representation of an audience. Elsewhere the artist limited himself to the individual figure as representative of the spectators; thus in the Tomba della Scimmia (the Monkey Tomb) at Chiusi, the only spectator is a lady dressed in black and sheltered by a sunshade; she is seated on a high chair without a back (diphros), her feet on a footstool (fig. 20). The tomb was discovered in 1846 by François. The pictures are executed in a thin colour, probably a sort of water-colour, applied directly to the stone without an intermediate layer of stucco; a similar technique is employed in the other and larger tomb at Chiusi, the Tomba Casuccini. The four walls are decorated with scenes from the race-course and the palaestra. Behind the lady on the wall which is reproduced, we see two men in rapid motion and with ample gestures probably intended to render the bustle and hurry at the funeral, which is also represented, as we have seen, by one of the figures in the Augur tomb (cp. fig. 4). The sunshade carried by the ‘widow’ was an Oriental fashion, but in the fifth century B.C. the women of Greece had adopted it, as is shown by the _Knights_ of Aristophanes (l. 1348 σκιάδειον). To the left the usual flute-player is standing, and the round dais in front of him is not an altar, but, as Milani was the first to point out, the small table on which prizes were placed.[36] Next comes a girl with a censer on her head. She is generally taken to be a female juggler, but carrying a tall object on one’s head is still a common practice with the women of the South, and censers (thymiateria), as we learn from Dionysius of Halicarnassus, were always