In the pictures of the Scudi tomb the wife, as we have seen, _is sitting_. But in the Tomba dei Vasi Dipinti, besides a man and a woman, two children are present at the symposium, which would be inconceivable in a hetaera picture; and in a picture in the front chamber of the Tomba dell’Orco at Corneto, discovered in 1868 and dating from the same period as the Scudi tomb, there are traces of a man and a woman reclining together, and the inscription informs us that the woman is a free-born woman named Velia—the family name has unfortunately been destroyed—and that she is married to Arnth Velchas, a descendant of one of the noblest families in Etruria (fig. 28). With this, then, the last and final proof of the untenability of the hetaera theory has been adduced: this woman, whose head is one of the most beautiful in the sepulchral chambers of Etruria (fig. 29), reclines with her husband on the couch in the picture in the tomb, even as she was buried with him in the tomb itself. A failure to appreciate this fact would imply a complete denial of Etruscan family feeling and pride of race. The dancing women, on the other hand, for instance, the woman in the Tomba delle Leonesse already cited above, and another, still more wanton, who in the Tomba degli Bacchanti foots it with a fat dancer, must be interpreted as hetaerae. They illustrate the phrase of Plautus: ‘prostibile est tandem? stantem stanti savium dare amicum amicae?’ To the same category of hired dancers belongs the man to the left of the one who is dancing with inverted cithara.[59] [Illustration: FIG. 28. ARNTH VELCHAS AND WIFE ON COUCH PICTURE IN THE TOMBA DELL’ ORCO After a coloured drawing in the Helbig Museum] [Illustration: FIG. 29. HEAD OF ARNTH VELCHAS’ WIFE FROM THE TOMBA DELL’ ORCO] [Illustration: FIG. 30. BACK WALL IN THE TOMBA DEL VECCHIO]