1. P. Ducati, Pontische Vasen [Berlin, 1932]; Beazley, 12, with bibliography. Localization in Caere rather than Vulci does not seem warranted to me; but see arguments to the contrary in Ä. Äkerstrûm, Opuscula Romana, I [1954], 2331. Illustrations 100 and 101: Ducati, op. cit., 7-9, plates 1-2.

2. For this question cf. also G. M. A. Hanfmann, Art Bulletin, XIX [1937], 481-2.

3. The Etruscan pointed cap should not be called 'tutulus'; in some instances it may be called 'mitra', the Greek kerchief which was also used by Etruscan women [A. Rumpf, A.J.A., LX [1956], 75].

4. For the four painters active in the workshop, their chronological order and stylistic development, see T. Dohrn, Die schwarzfigurigen etruskischen Vasen [Berlin, 1937], 78-82.

5. G. Lippold, 'Kraton', in Pauly-Wissowa, XI, 1660. Painting on wooden tablets remained a cu rrent practice from then on, throughout the Middle Ages and beyond. It played a decisive part in developing and preserving the tradition of detachable easel painting in contrast to wall paintings. For the Etruscan paintings on clay, see bibliography below, Chapter 14, Note 18.

6. R. P. Hinks, Catalogue of Paintings and Mosaics [London, British Museum, 1933], 3-5, plates 1-2, nos. 5-5e, for bibliography, description, and restorations; also F. Roncalli, Le lastre dipinte da Cerveteri [Florence, 1965], 69-77, plates 12-15. F. Messerschmidt in Archiv für Religionswissenschaft, XXXVII [1941/2], 364-90 is not convincing; the woman with the snakes cannot be an object of cult. Colour reproductions of London 5b [seated sphinx] and 5e [three women to the right] in Pallottino, 26, 27.

7. M. Moretti, Ara Pacis Augustae [Rome, 1948], plates 8-9; E. Simon, Ara Pacis Augustae [TÄbingen, 1967], 10, plate 8.

8. The animal on the sceptre represents a small bull rather than a horse, as suggested by Hinks, op. cit., 4, no. 5c, cf. A. Neppi Modena, Emporium, LXVII [1928], 99; a suitable emblem for Mercury, god of herds, and fit for the occasion, one herdsman speaking to another. For supposedly Trojan sceptres and heralds' staves kept in Italian sanctuaries, see bibliography in F. Boemer, Rom aund Troia [Baden-Baden, 1951], 60, note 20. Further to Mercury's petasos, see the one H. Payne drew from a Corinthian sherd, J. H. S., LXXI [1951], plate 29d. The Etruscan painter added the 'apex' on top, as a sign of greater dignity.

9. This outfit corresponds to earlier iconography which, in Greece, was the rule till the middle of the sixth century; ccf. R. Hampe, in Festschrift B. Schweitzer [Stuttgart, 1954], 79. In explaining the representation as a 'Judgment of Paris' I agree with C. Clairmont, Das Parisurteil [ZÄrich, 1951], 46-7.

10. All Boccanera slabs are heavily touched with modern patches of paint, but hardly sufficiently to alter their significance and attributes, as far as one can tell at sight. The question if the set is complete or if there were additional slabs, now lost, cannot be decided at present. The procession to the right seems to lack a goal. If the above interpretation proves correct, the relation between the two processions was similar to the frequent combination on vases of the . . . . [text missing] with some other pertinent story; cf. Clairmont, op. cit., 97-100.

11. The pair of antithetical sphinxes with raised paws [not illustrated here] has counterparts in related Etruscan monuments, e.g. Loeb tripod C; G. H. Chase, A.J.A., XII [1908], plate 18. The Pontic amphora in Paris, Bibliothèque Nationale 173 [Ducati, op. cit., plates 22-3], may be about a decade later. Relations between the Boccanera slabs and Greek paintings on vases from Chios were observed by A. Rumpf, Malerei und Zeichnung [Munich, 1953], 46.