A couple of flying genii appear already in the Tomba della Pulcella, which belongs to the first half of the fifth century, in the pointed pediment above the recess in which the ashes of the dead were deposited. They carry between them a cloth which they seem to be laying down, probably the cerecloth for the dead (fig. 41).[112] Perhaps this also explains the mysterious scene, figured on two tomb altars from Chiusi, one of which is in the Barracco Collection (fig. 42), the other in the Ny Carlsberg Glyptotek (Catalogue No. H. 76). The motives of the reliefs on these limestone altars from Chiusi and on the cinerary urns from the same town, all dating from the sixth century, are taken from the funeral, like the subjects in the contemporary tomb-paintings, and represent the lament of men and women over the dead on the bier, the burial feast and the preparations for it, and the wild dancing-scenes at the funeral. It may thus be that the scene on the relief illustrated, which seems to give a picture of the women’s quarters, represents the women of the house in the act of scrutinizing and choosing the cerecloth for the deceased; meanwhile, the house was probably draped with cloth, and the dwellers of the house put on mourning. Presumably the mourning colour of the Etruscans was white, like that of the Romans at a later date; when in mourning, the women of Rome, to the wonder of Plutarch, assumed white dresses and white headgear, at the same time loosening their hair.[113] The hair flowing down upon the shoulders is also frequently seen in reliefs on cinerary urns. But there is still something mysterious in this motive, and an examination of the mutilated ash urn in the Museum of Chiusi (fig. 43) does not make it any clearer. This urn has hitherto been explained as representing a marriage scene. But as the opposite side of the urn represents scenes at the door of the tomb, it is more natural to interpret this relief also as a death scene; the flute-player and the two men with laurel branches we know from the funeral ceremonies (cp. p. 19), and the curious scene to the right, where two men draw a fringed cloth like a baldachin over a veiled centre figure, each of whose arms is held by two side figures (probably a man and a woman), might then be conjectured to represent a sort of symbolic interment where the dead is placed in a sitting posture, supported by the family, instead of the normal posture, full length on the bier.