The sarcophagi which played so important a part in the tomb were also frequently made of terracotta, this material being most commonly employed in Etruria. We have already mentioned (p. 62) the series of archaic painted sarcophagi, which have all come from Clazomenae, near Smyrna, and furnish us with much valuable information on the art of painting in Ionia in the sixth century B.C. They will receive some attention from this point of view in Chapter VIII. The British Museum contains two very remarkable examples of Etruscan terracotta sarcophagi, which are described in Chapter XVIII., as well as a series of smaller examples, which are mere cinerary urns. Among other examples of terracotta as used in tombs may be mentioned here a series of small reliefs found in tombs at Capua and elsewhere in Southern Italy. They consist of masks of Satyrs, river-gods, and Gorgons, and are often highly coloured in red and blue. They are of late archaic work, about 480 B.C., but the exact way in which they were used to decorate the tombs is uncertain. The British Museum collection contains many specimens of these objects.[364] There is a curious class of objects which hardly come under the heading of any other category, but may be conveniently discussed here. Complete specimens are very rare, but there is one in the Museum at Geneva which has been identified as a brazier (πύραυνος or ἐσχάρα), and more recently as a baking-oven (κλίβανος).[365] The form is that of a large basin on a high stand, hollow underneath, with three square solid handles projecting upwards from the rim. These handles, of which over a thousand examples are to be found in various collections, are usually the only part remaining, sometimes with part of the rim attached. They are decorated with heads and other devices, usually in relief on square panels, and the majority of these heads are of a Satyric or grotesque character, wearing conical caps or adorned with ivy-wreaths. They probably represent demons of some kind, and are placed there with superstitious intent, to avert evil influences from whatever was baked or cooked in the vessel. Similar masks are usually seen attached to representations of forges and ovens on the painted vases,[366] and remind us of the pseudo-Homeric invocation of evil deities against the potters of Samos (see also p. 213 below). Professor Furtwaengler has identified the heads as those of the Kyklopes, the attendant workmen of Hephaistos.[367]