We have, therefore, every reason to be deeply grateful to the late Carl Jacobsen who, at the beginning of the nineties, had the Etruscan tomb-paintings facsimiled on their actual scale. A somewhat similar experiment had already been tried, and the result is a number of facsimiles preserved in the Museo Gregoriano of the Vatican, but these are more decorative than exact. At first, the Italian painters, to whom Helbig, at the request of Carl Jacobsen, entrusted the task—the first was Marozzi—evidently imagined that Carl Jacobsen wanted these paintings as mural decorations for his museum and had no artistic or scientific aim in View, and letters from Helbig show that, as late as 1895, he did not scruple to let Becchi, the painter, fill in a damaged head from a picture in the Tomba dei Vasi Dipinti after the reproduction in _Monumenti_, vol. ix (1870). The first copies sent to the Ny Carlsberg Glyptotek were therefore of the same ‘picture-postcard’ colouring as the earlier ones in the Museo Gregoriano, but gradually Carl Jacobsen increased the rigour of his demands for conscientious exactitude, and the facsimiles now on exhibition in the Helbig Museum of the Ny Carlsberg Glyptotek are almost all executed according to the more modern and better principles of copying. To be sure, these copies still leave a great deal to be desired in the way of scientific exactitude; I have been able myself to ascertain this by a careful comparison with notes taken from the originals in the tombs of Corneto, and Weege more especially has pointed out rather grave mistakes in the copies of the paintings from the Tomba delle Bighe. But these may be supplemented by a series of beautiful coloured drawings dating from the last years of Jacobsen’s life: they are framed and constitute a whole picture-book open to the public in the Helbig Collection. A large number of ground plans and decorative details are included in these drawings, in addition to the most important of the paintings, and here the copying has been executed with great accuracy. The Ny Carlsberg Glyptotek, then, thanks to Carl Jacobsen, is the place where investigators can most easily form an idea of the development of Etruscan wall-painting, far more easily than in Florence where the late Director, Milani, ordered new copies which, in my opinion, are considerably inferior to those of Carl Jacobsen. But for all that, the facsimiles of the Ny Carlsberg Glyptotek ought not to be the last word of science on the subject. Mr. Weege proposes, as the method of the future, the taking in the tombs themselves of gigantic photographs on which careful painters might add the colouring; instead of two there will thus only be one possibility of distortion, namely, in the colours themselves. But one might perhaps go still further and take large chromatic photographs which would fix both forms and colours for all time, so that we might view the gradual destruction of the originals with less dismay than at present.