[Sidenote: FUTURE REPRODUCTIONS] A detailed estimate of the _artistic_ significance and properties of the Etruscan wall-paintings is not yet possible, if only because no adequate pictures for reproduction exist. What can be done—and what will be attempted in the following pages—is to give an account of the content of the pictures and of the main lines of their development. Even that is not superfluous. Investigators have never really given themselves time to enter deeply into the spirit and content of these pictures, or to ask themselves the question which arises, one may say, with every picture, namely, how far the representation is a loan from Greek art and civilization, and how far it bears the local Etruscan stamp. [Illustration: FIG. 1 WALL-PAINTING FROM THE TOMBA CAMPANA] [Illustration: FIG. 2 MAIN PICTURE IN THE TOMBA DEI TORI AT CORNETO] FOOTNOTES: [1] _Jahrbuch des deutschen archäologischen Instituts_, xxxi. 1916, p. 106 ff. [2] _Cities and Cemeteries_, p. 119. [3] The same is true of the second edition of Luigi Dasti’s _Notizie di Tarquinia-Corneto_, 1910. II [Sidenote: TOMBA CAMPANA AT VEII] The first stage of development is represented by the Tomba Campana at Veii. This tomb was discovered in 1843, and a good description of it is given by Canina in _Antica Città di Veii_ (1847), but it has never been published with adequate illustrations. A new and thorough treatment of the ornamentation and motives of its pictures is given in a Leipzig dissertation by Andreas Rumpf (_Die Wandmalereien in Veii_, 1915). But this, too, is without illustrations. The central doorway of the back wall is provided with an ornamental painted border and flanked by paintings in yellow, grey, and red on a blue ground. The work is primitive. The ornamentation is akin to that of Greek vase-painting of the seventh century B.C. The pictures are purely decorative: animals and fabulous animals such as lion, sphinx, deer, and panther fill the surface side by side with lotus-flowers and palmettes. There is no narrative element. To be sure, Weege, like others before him, has tried to construe one of the pictures (fig. 1) into a mythological scene: the boy on the horse, which is led by the bridle by a man walking behind, is thought to be a dead man on his way to Hades, and the man with the loin-cloth, carrying an axe over his shoulder, to the left in front of the horse, to be the Etruscan death-god and conductor of souls, Charun, to whom we shall return later. Weege also thinks that the animal crouching on the back of the horse is a hunting leopard. But, apart from the rather puzzling question, what the hunting leopard has to do with the ride to Hades, the animal is not a hunting leopard at all: it is a feline animal with a short tail, while the hunting leopard has a long tail. The animal was only placed there to fill up the space, thus illustrating the poverty of ideas in these pictures. Moreover, as the