No. 14. Two exquisite sarcophagi differing in every way from the one described above. So flowery is the work upon them that one scarcely realises to what dark ages they belong. The terra-cotta seems just baked, the paint is sticking to it. The griffins and sea horses, the portraits on the lids, all are most exquisitely treated. No. 12. The wonderful mirrors in this case have been admirably described by Dennis (see page 428). The one with the story of Helen engraved on it (No. 11) is quite one of the loveliest pieces of work ever discovered in the soil of Etruria. No. 3. A sarcophagus with the most delightful procession depicted upon its panels. There has been a good deal of discussion about the subject represented. Some say it is a migration, or a colony going forth to fulfil the vow of sacred spring; others that it is a procession going to a sacrifice. Dennis suggests another interpretation. "It seems to me," he says, "much more satisfactory to suppose that it is a return from a successful foray. There are captives bound, and made to carry their own property for the benefit of their victors; their women behind, not bound, but accompanying their lords, their faithful dog following them into captivity, their beasts of burden laden with their gods; their weapons and agricultural implements carried by one of the guards and their cattle driven on by the rest." The sacrifice is the most probable interpretation, for there is something solemn and sinister about the composition. Not only criminals but also human victims are being taken along by the fascinating but inexorable guards. The treatment of the figures is very archaic, and yet it is realistic. The long-eared goats, the horses and the mules step forward with an engaging regularity. Their shepherds or their leaders turn, as such people invariably do turn, to gesticulate and to explain among themselves upon the way. The two side panels represent banquet-scenes, banquets, we may imagine, which were given to commemorate whatever event the procession itself was leading to. The work on this Sarcophagus has been ascribed to the fifth century before Christ. No. 8. Under a glass shade, a strange little figure in bronze about 14 inches high, representing Hygiea, the Goddess of Health (daughter of Æsculapius) or, as some say, the Genius of Long Life. Smaller figure under same glass represents Telesphorus, the genius of convalescence, seated, entirely enveloped in a cloak. ROOM VII. has a rather miscellaneous collection of later Roman and Etruscan work, also some objects from Cyprus. No. 36. A little tomb where the door is left half open, the key hung up upon a peg, perhaps to show that the spirit is free to wander in and out. ROOMS VIII. AND IX.