Nos. 10 to 33, 40 to 60. A collection of small metal images, Lari, or household gods, most of them very Greek in treatment, some of them archaic. Nos. 34 to 40. A collection of lead missiles for slings. These are inscribed with words of the most marked abuse designed for the enemy. On one of them is written: (in Latin characters) "For thy right eye"--the sort of naïve thing a schoolboy might design. ROOM V. "As beautiful pottery like that of Vulci and Tarquinii is very rarely found at Perugia, it seems probable that it was not manufactured on the spot," writes Dennis. And if one has seen the various other local Etruscan Museums in Italy, one will feel decidedly disappointed in the vase-room at Perugia. One or two interesting points may however be noted. It is strange to mark the difference between the two separate classes of vases, between the genuine Greek work, which the Etruscans had the good taste to prize, and that of their own imitations of it. Note Nos. 3, 5, 14, all of which are probably Etruscan copies from real Greek vases. They are like the imitative sketches of children, lacking in understanding and in feeling, and pathetic in their clumsy failure. Nos. 7, 8, 10, and 12, are all specimens probably of real Greek work. No. 22. A fine terra-cotta vase--probably genuine Etruscan work--with four heads of Bacchus at the base. ROOM VI. The gems of the museum may be said to have been gathered together in this room, and the object which at once attracts one on entering is the large sarcophagus of an Etruscan gentleman and his evil genius, or Fate, which stands by the east window. Dennis has an admirable description of it: "An Etruscan of middle age," he says, "is reclining in the usual costume and attitude of the banquet, with a bossed phiala in his left hand, and his right resting on his knee. At his feet squats a hideous old woman, stunted and deformed, whose wings show her to be a demon. She seizes one of his toes with her right hand and grasps his right wrist with her left. (Some authorities say she is feeling the pulse of the dying man.) She turns her head to look at him, yet he appears quite unconscious of her presence. She doubtless represents the Moira or Fate, whose touch deprives him of life. The monument is from Chiusi, and of the fetid limestone of that district. Both heads are moveable, and the bodies hollow, proving that this, which looks like the lid of a sarcophagus, is itself a cinerary urn." No. 18. An Etruscan helmet of the finest work.