31 Symposium in the Tomba Golini at Orvieto 38 32 Wall-painting in the Tomba Golini 38 33 Kitchen interior in the Tomba Golini 40 34 Painting in the Tomba del Letto funebre, at Corneto 40 35 Demon in the Tomba dell’ Orco 49 36 Picture in the Tomba dell’ Orco at Corneto 50 37 Hades, Persephone and Geryon in the Tomba dell’ Orco 50 38 Drawing from Michelangelo’s sketch-book 51 39 Wall-painting from the Tomba François at Vulci 54 40 Painting in the Tomba Golini at Orvieto 54 41 Painting from the Tomba della Pulcella 54 42 Relief on a tomb altar from Chiusi. In the Barracco Collection in Rome 56 43 Cinerary urn from Chiusi 56 44 Roman sarcophagus in the Ny Carlsberg Glyptotek 58 45 Procession of the dead in the Tomba del Tifone 58 46 Painted frieze in the Tomba del Cardinale 58 47 Part of the frieze in the Tomba del Cardinale 58 ETRUSCAN TOMB-PAINTINGS I The tombs and tomb-paintings of Etruria constitute a field of archaeology in which the investigator is particularly apt to be reminded of numerous sins of omission and to be haunted by a painfully uneasy conscience. Indeed, the older archaeologists have less reason to plead guilty before the bar of science than those of more recent times. When the discovery and excavation of the Etruscan tombs began to make headway in the twenties of the nineteenth century, publications in text and illustrations followed comparatively close upon the discoveries. The first misfortune, however, took place when three of the most interesting tombs were published, the Tomba delle Bighe, the Tomba delle Iscrizioni, and the Tomba del Barone. [Sidenote: STACKELBERG AND KESTNER]