1. P. Romanelli, Notizie degli Scavi [1943], 239-42, 240 note 1. List of specimens preserved: M. Pallottino, Monumenti Antichi, XXXVI [1937], cols. 197-207 and note 4 on p. 197. Possible use of these reliefs: A. Akerstrūm, Studien über die etruskischen Gräber[Lund, 1934], 57-9; Pallottino, op. cit., cols 202-3; G. Ricci, Notizie degli Scavi [1952], 224-31. For the duration of the type, which is continued somewhat beyond the middle of the sixth century, see Riis, 160.

2. Centaurs: G. Dumezil, Le Problème des centaurs [Paris, 1929]. Early Greek representations: P. V. Baur, Centaurs in Ancient Art. The archaic Period [Berlin, Centaurs in Ancient Art. The Archaic Period [Berlin, 1912]; Andrén, lxxxvi, note 3. For the winged demon see next note.

3. Argive bronze bands with embossed reliefs: above, Chapter 5, Note 13. The winged demon in a square can also be referred to Dorian art: Perseus on the metope from Thermon, H. Payne, Necrocorinthia [Oxford, 1931], 80, figure 23D. Cf. the stamped terracotta reliefs from Argos [S. P. Karousou in Annuario della Scuola Archeologica di Atene, XXIV/XXVI [1946/8], 40 figure 3 in note V 21[1], and the observations made above, pp. 83-4, with regard to Caeretan red ware with stamped decoration. Both the kneeling-running figure and the centaur with human forelegs, framed by 'metopes', are found in this ware around 600; cf. P. Mingrazzini, Van della Collezione Castellani [Rome, 1930]. 11, plate 9.

4. Monumental painting' is here to be understood as meaning wall painting on a sizeable scale, or paintings designed for architectural use on a scale similar to wall painting. Most extant example of Greek painting are not monumental in this sense. Hardly any are architectural. Notable exceptions are the fragments of wall painting in an Archaic, eastern Greek style discovered in 1955 at Gordion in Phrygia [R. S. Young, A.J.A., LX [1956], 255-6, plates 85-6]; for the more recently discovered painted tombs in Lycia see M. Mellink, A.J.A., LXXIV [1970], 251-3, plates 59-61; LXXV [1971], 246-9, plates 50-2, 250-5, plates 53-6; LXXVI [1972], 263-8, plates 58-60. The Tomb of the Diver at Paestum is the first painted Greek tomb found in the West: M. Napoli, La Tomba del Tuffatore [Bari, 1970].

5. For a comprehensive survey of ancient painting including Etruscan, rimarily in Chronological, not regional, order, see A. Rumpf, Malerei und Zeichnung [Munich, 1953]; idem, A.J.A., LX [1956], 78.

6. Development of Etruscan wall paintings: M. Pallottino, Etruscan Painting [Geneva, 1952]. Their technique, ibid., 18-19.

7. A. Rumpf, Die Wandmalerei in Veji [Leipzig, 1915], 61-5; also idem, Malerei und Zeichnung, 29; A. Akerström, Stuien über die etruskeischen Gräber [Lund, 1934], 16. Arguments in favour of a date about, or somewhat after, 600: Riis, 158-9; G. Bovini, 'La pintura etrusca del periodo orientalizante [siglos VII, VIa. de J.C.]', Ampurias, XI [1949], 76-87; L. Banti, 'La pitture della Tomba Campana a Veii', S. Etr., XXXVIII [1970], 27-43.

8. Rumpf, Die Wandmalerei in Veji, 64-5. The typanum in the Tomb of Hunting and Fishing, representing a 'Return of the Hunters', offers the nearest thematic parallel; Ducati, plate 79, figure 229, and below, pp. 187-8.

9. Riis, 66-7.

10. Hares, hounds, and hunters occur both on Protocorinthian and Attic black-figure vases, probably owing to Ionian influence: Beazley, 1, note 4; P. Ducati, Pontische Vasen [Rome, 1968], 13. For a much more elaborate example in Ionian art see the Clazomenian sarcophagus, Rumpf, Malerei und Zeichnung, 69 and plate 18, figure 5. Here the theme, hunting on horseback and chariot, is quite oriental, and probably recalls the sports of Persian nobles.

11. Museo Archeologico no. 75840: Riis, 77, plate 13, figure 4.