[60] In the same picture we also find a representation of a true Greek motive, kottabos. Another momentary motive appears in the Tomba d’Orfeo e d’Euridice at Corneto (_Monumenti_ v. pl. 17), a slave pulling off his master’s slippers. [61] Hypothymides were first used ‘by the Aeolians and Ionians who wore them round their necks, as we learn from the poems of Anacreon and Alcaeus’ (Athenaeus xv. 678 d); Cp. Plutarch, _Quaest. conviv._ iii. _probl._ 1, 3. In Ionia the women perfumed their bosoms and wore wreaths of flowers round their ‘delicate necks’, as Sappho says (Athenaeus xv. 674 c-d). [62] Athenaeus ix. 409 e. XI [Sidenote: SYMPOSIA] But we can go still further and establish beyond the possibility of doubt that where men alone are gathered at the symposium of eternity, the pictures represent the heads of the families who ordered the tombs and had them decorated. To be sure, the pictures of the sixth and the beginning of the fifth centuries do not give us any information as to this—even the symposium in the Tomba delle Bighe is without inscription; but in this respect also the sepulchral paintings become more communicative after the middle of the fifth century. In the Tomba Golini at Orvieto, discovered in 1863 and called after its discoverer, and, to judge from its style, contemporary with the Tomba degli Scudi and the front chamber of the Tomba dell’Orco, we see in the symposium on the back wall (fig. 31) two men on the same couch drinking to the accompaniment of the two familiar musicians. Beneath the couch we can make out dimly a servant, and a hunting leopard, probably feeding; both have their names attached: that of the animal is Kankru. In Egyptian reliefs also, dating from the Fifth Dynasty, we occasionally find names attached to the domestic animals depicted, for instance ducks and pigeons. Of the two men reclining on the couch the foremost holds a drinking-bowl and an egg. In the Ny Carlsberg facsimile he is represented as beardless, but no doubt wrongly. It is an elderly man; his face is one of the earliest examples of naturalism in Etruscan portraiture. The other, full-bearded, holds a flat, fluted vessel without foot, presumably one of the celebrated Etruscan golden vessels which are more minutely characterized in a symposium in the Tomba della Pulcella; they were even introduced into Athens, where, side by side with Corinthian works in bronze, they formed part of the decoration of a wealthy house, and they are eulogized in a poem by Critias,[63] one of Athens’ finest _beaux esprits_. [Sidenote: TOMBA GOLINI AT ORVIETO]