1. O. Brendel, A.J.A., LXII [1958], 241.

2. In the Campana Tomb the animal groups of the two lower fields may be said to have retained the character of guardians. For the similar arrangements in Early Archaic tombs at Caere [Tomba degli Animali dipinti, Tomba dei Leoni dipinti] see G. Bovini, Ampurias, XI [1949], 63-90, plates 1-3.

3. Pallottino, 29-32; L. Bantis, S. Etr., XXIV [1955/6], 143-81; dating, 179-81; H. Leisinger, Malerei der Etrusker [Stuttgart, 1954], plates 12-19.

4. Ducati, 191 and note 96. They are already worn by the ladies of the Boccanera slabs [102-4], and by the recently discovered seated terracotta 'divinities' from Murlo [I. Gantz, Dialoghi di Archeologia, VI [1972], 172, figures 29, 31, 33-4].

5. Possible chthonian connoatations of the bull-man, and representations of obscene character in funerary contexts: F. Altheim, A History of Roman Religion [New York, 1938], 69-71, 489-90, notes 113-15; cf. above, Chapter 11, Note 19.

6. Pallottino, 37-42; Leisinger, op. cit., plates 34-42. Detailed publication: G. Becatti and F. Magi, Le pitture della Tomba degli Auguri [Rome, 1956]; review by this author, A.J.A., LXII [1958], 240-2.

7. Pontic amphorae, above, pp. 153-4. In comparison with related vase paintings, the Tomb of the Augurs appears as the earlier and leading work: T. Dohrn, Die schwarzgigurigen etruskischen Vasen [Berlin, 1937], 82-4, gives a list of comparisons between the Tomb of the Augurs and the style of the Tityos Painter, the most advanced among the artists in the presumably Vulcian workshop of the Pontic amphorae, whom he thinks a follower of the Tarquinian master. Caeretan hydriae: below, pp. 171-4.

8. R. S. Young, A.J.A., LX [1956], 255-6; even details may be compared: e.g., the indication of eyelashes by radiating lines in the wrestlers of the Tomb of the Augurs and the fragment, ibid., plate 86, figure 20.

9. E. Akurgal, Griechische Reliefs des VI.Jahrkunderts aus Lykien [Berlin, 1942], 52-97, plates 7-14. For connections between this tomb and the style of the Caeretan hydriae see also the review listed above [Note 6], 242. A very similar relief, combining, as was the habit in Etruria, athletic games with musical accompaniment, has come to light at Xanthos: M. McIlink, A.J.A., LX [1956], plate 122, figure 11.

10. In determining the date of the Tomb of the Augurs the following points should be considered: closely related typologically [with respect to the system of decoration] are the Tombs of the Dead Man and of the Inscriptions. See illustrations in F. Weege, Etruskische Malerei [Halle, 1921], plates 44-6 and 73-5, especially plate 73, showing the rear wall of the Tomb of the Inscriptions with centrally placed, painted door as in the Tomb of the Augurs. Yet stylistically both tombs appear to be somewhat later. The quite developed zigzag folds over the right arm and shoulder of the woman bending down to the dead man [ibid., plate 46] can hardly be dated before 520. As in the previously mentioned comparisions with Pontic vases, the Tomb of the Augurs seems to stand at the head of any series of comparable monuments. For the zigzag folds in the Tomb of the Augurs see Becatti and Magi, op.cit., plates 4 and 9.

11. Monograph: J. M. Hemelrijk, De caeretaanse Hydriae, diss., Leiden [Amsterdam, 1956]: the catalogue, pp. 109-15, lists thirty items. Recent articles: F. Devambez, 'Deux nouvelles hydries de Caere and Louvre', Monuments Piot, XLI [1946], 29-62, plates 5 and 6; M. Santangelo, 'Les nouvelles hydries de Caere au Museo de la Villa Giullia', Monuments Piot, XLIV [1950], 1-43, plates 1-3; V. Kallipolitis, 'Une nouvelle hydrie de Caere', Monuments Piot, XLVIII [1956], 55-62, plate 6. For the latter specimen, now at Dunedin, cf. also J. K. Anderson, 'A Caeretan Hydria in Dunedin', J.H.S., LXXV [1955], 1-6.

12. Nestor hydria, Paris, Louvre: E. Pottier, 'Fragments d'une hydrie de Caere à Représentation homérique', Monuments Piot, XXXIII [1933], 67-94, plates 7-8, and Santangelo, op. cit., 8, note 1.

13. Santangelo, op. cit., 37 and note 3.

14. No chronological argument can be based on the development of this polychrcomy: T.B.I., Webster, 'A Rediscovered Caeretan Hydria', J.H.S., XLVII [1928], 196-205.

15. For details see bibliography above, Note 11, especially Hemelrijk, op. cit., Comparisons with contemporary Etruscan art: N. Plaoutine, 'Le Peintre des hydries de Caere', Revue Archéologique, XVIII [1941], 8-9. Also Dohrn, op. cit. [Note 7], 128-31, 141. In this connection it is perhaps not without interest that a Vilannovan favourite, the 'horse tamer', recurs on the Caeretan hydriae, transmuted into a youthful page; see Kallipolitis, op. cit., 56 and note 4 for Greek antecedents; for the earlier Italian examples see above, Chapter 2, Notes 20 and 21.

16. A. Furtwängler and K. Reichhold, Greichische Vasenmalerei [Munich, 1906], 5-6, plate 2. Distinctions between the Knee Painter and the Busiris Painter: Hemelrijk, op. cit., 17-25.

17. Egyptian reminiscences in the Busiris painting: R. Herbig, 'Herakles im Orient', Corolla L. Curtius [Stuttgart, 1937], 206 and note 2.

18. The monography of F. Roncalli, Le lastre dipinte da Cerveteri [Florence, 1965], provides detailed information on this whole body of material, with earlier bibliography. The Campana slabs, discovered in 1856: ibid., 15-24, nos. 1-9, plates 1-8; Boccanera slabs, 28-33, nos. 16-20, plates 12-15. A fragment in Berlin, unexplained [abduction of Helen?], ibid., 25, no. 10, plates 9 and 10, may be placed between the London and the Louvre series. The style is closer to the Tomb of the Augurs than to either set, before, rather than after, 530. Caere was evidently a centre of Archaic painting: Pliny saw some of her old wall paintings still in their places, N.H. 35.17. Not all fragments were discovered in tombs: some stem from temples or public buildings in or near the town, such as the fragments from the Temple of Hera [Roncalli, op. cit., 33-7, nos. 23-9, plates 16-18], and the last set unearthed, broken in numerous small pieces but not beyond reconstruction, which represented the death of Medusa at the hand of Perseus [ibid., 42-6, nos. 43-8, plates 23-7]. The colour scheme is unusual: red ground instead of the yellow found in the Boccanera and Campana slabs; mostly white, black, and red in the figures. The style differs from that of the Boccanera slabs but seems about coeval with them. The bucchero pesante pitcher now in Palermo, above, Chapter 12, Note 7 [Giglioli, plate 53], should be compared for the type of Medusa as well as the composition. The only case so far of Etruscan painted terracotta slabs from outside Caere may conveniently be mentioned here, although it belongs to a later time, towards the end of the Archaic period: the set from the Portonaccio Temple at Veii [E. Stefani, Notizie degli Scavi [1953], 67-80]. The much damaged series decorated a wall inside the building, with sundry representations arranged in superimposed zones [ibid., 69, figure 48]. According to this reconstruction one must regard them as the earliest example extant of a system of wall decoration which in due time produced the friezes of the synagogue of Dura, or later still Giotto''s Arena Chapel at Padua.

19. The nearest Greek parallels are Crointhian: A Rumpf, Malerei und Zeichnung [Munich, 1953], 53.

20. Pallottino, 33.

21. Gigliioli, plate 108, figure 1; Roncalli, op. cit., 22, no. 6, plate 6.

22. Above, p. 156.

23. See Pallottino, 35, for the slab with the two seated old men. As to the abduction scene, the posture of the two principal characters running with one foot lifted would not ordinarily signify anything more than swift movement; cf. the black bodyguard of King Busiris on the back of the Caeretan hydria discussed above, pp. 172-3. However, in conjunction with the wings it may denote running through the air or, in other words, flying. In the famous Pompeian painting which for us constitutes the locus classicus in ancient art of the sacrifice of Iphigeneia, Artemis still appears in the sky: G. Lippold, Antike Gemäláekopien [Munich, 1951], 53-6, plate 8, figure 39.