Similar uncoloured, not very reliable drawings continued to be the method of reproducing the Etruscan tomb-paintings in the following decades; after these drawings were made the reproductions in handbooks like Jules Martha’s _L’Art étrusque_ (Paris, 1889). An Englishman, George Dennis, in his _Cities and Cemeteries of Etruria_ (London, 1878), gives a vivid description of Tuscan scenery and of the ancient tombs. At times he rises to a lyrical enthusiasm; for instance, in his description of a dancing figure, ‘la bella ballerina di Corneto’, in the Tomba Francesca Giustiniani. But neither Dennis nor any later visitor procured copies which come up to their enthusiasm; in fact, the beautiful ballerina has never even been drawn or photographed, and is not to be found in any work on archaeology or art. Dennis’s book throws a dreadful light upon contemporary excavation. About Veii, he writes that the greater part of the district belongs to the Queen of Sardinia, who in the excavating season positively lets out tracts of land to Roman dealers, who rifle the tombs of everything convertible into cash and then cover them in with earth. He describes such an excavation at Vulci: a tomb being opened, nothing but pottery was found; the excavators, in their disgust, smashed and destroyed everything, in spite of the English traveller’s protests and entreaties. This took place on the estate of the Princess of Canino.[2] [Sidenote: MODERN LITERATURE] This happened in the sixties. In the seventies such vandalism comes to an end; but the publications do not improve. For example, in the excellent article on the Tomba François at Vulci which Körte published in the _Archäologisches Jahrbuch_ for 1897, the illustrations are poor: and it was not until 1907 that Körte published, in the second volume of the _Antike Denkmäler_, beautiful coloured reproductions of the paintings in three tombs at Corneto, the Tomba dei Tori, the Tomba delle Leonesse, and the Tomba della Pulcella. A popular description by Mary Lovett Cameron, _Old Etruria and Modern Tuscany_ (London, 1909), marks no progress as far as the illustrations are concerned, and the text is amateurish and superficial.[3] Von Stryk’s dissertation, _Die etruskischen Kammergräber_, published at Dorpat in 1910, is unillustrated: the text is full of errors, and in the discursive descriptions no account is taken of the difference between the present state of the tomb-paintings and that revealed by the earlier publications. Weege’s above-mentioned article on the Tomba delle Bighe and the Tomba dei Leopardi only appeared in 1916: here at last the entire material is utilized—the old drawings and descriptions, modern photographs, and the author’s own careful notes. According to a prospectus recently issued, a larger work on Etruscan tomb-paintings, by the same author, is shortly to appear; it will be awaited with interest.