Etruscan Museum. ROME. IV. Right Bank. 309
We now return to the sixth room, in order thence to reach the —
IX. Room on the right, where Bronzes of every description, domestic uten-
sils, weapons, ornaments, jewellery, etc, are arranged. By the wall to
the right, 313. Statue of a warrior, found at Todi in 1835, with Umbrian in¬
scription : Ahal Trutitis d'unum dede, i.e. Aliala Trutidius donum dedit, prov-
ing it to be a votive offering, perhaps to Mars (3rd or 2nd cent. B. C).
On the wall as far as the window, helmets, shields, mirrors with en-
graved designs. By the right window, ''327. Ovai cista of bronze from Vulci,
with stamped reliefs of Amazon battles, which when found contained articles
of the female toilet. By the exit, Boy with a bird, in bronze.
Passing through a door on the right, we next enter the X. Room, or
Corridor, where water-pipes and several small bronzes are preserved.
[The XI. Room (at present closed) contains ali kinds of vases (some of
the most ancient of which are engraved with geometrical patterns), as well
as copies of Tomb Paintings from Corneto and Vulci, invaluable in the study
of early Italian art. The most ancient style (down to about B.C. 450) is re¬
presented by the paintings on the narrow sides of the saloon (excepting the
scene over the door), which somewhat resemble early-Greek designs, but are
ruder and more destitute of expression. The next stage (after B.C. 450) is
exemplifled by the designs on the long wall, where the progress is traced
which the Etruscans had made in the art of drawing and in their ideas of
the human figure, under the influence of the Greeks ; at the same time
Etruscan peculiarities are observable, especially in the heads, which are
ali in profile. These paintings, like the preceding, also represent games
and dances performed in honour of the dead. The third and fully-developed
period is represented by the picture, over the door, of Pluto and Proserpine
(the latter full-face), which may probably be regarded as coeval with those
in the 8th room. For economy of space several rows of these paintings
are here exhibited one above another, but in the tombs each wall was em¬
bellished with a single row only. It is interesting to observe the graduai
expansion of the eolour-scale. The visitor should also notice that the
paintings were intended to be seen by an artificial light, and hence the
garlands, plants, and bronzes are painted blue instead of green.]
We now return to the 9th room, where, immediately to the right, by the
Windows, is a glass-cabinet with votive objects, found at the minerai springs
of Vicarello, near the Lago di Bracciano (p. 392; chiefly gold and Silver
goblets); bronze vessels, rings, polished stones. In the centre of the room
a cabinet with objects excavated at Pompeii in presence of Pius IX., in¬
cluding a fine equestrian relief in marble. The revolving glass-cabinet in
the centre contains golden *Ornaments ; in the upper section are arranged those
found in 1829 in the tomb of the Regulini-Galassi at Cerveteri (p. 393), in the
lower similar objects from other Etruscan tombs. These show the great skill
and taste in workmanship of this kind to which the splendour-loving Etrus¬
cans had attained, and the chains, wreaths, rings, etc, afford models which
are rarely equalled by Roman jewellers of the present day (see Castellani,
p. 120). Many of the objects, however, are not of Etruscan origin, but
were manufactured for export in Phoenician or Carthaginian workshop,?,
from Assyrian and Egyptian models. Of this kind are the three Silver
dishes plated with gold and adorned with embossed scenes in the upper part
of the cabinet (resembling articles in the Treasure of Praeneste, p. 169),
and the gold ornaments to the right and left (breastplate, bracelets, etc),
with embossed ornamentation or fine granulated work. Opposite the 2nd
window, 329. Bronze statuette of a boy with a bulla and Etruscan inscrip¬
tion. Then a brazier with tongs and poker. Opposite the 3rd window is
(No. 207) a second, but less perfect cista, with engraving of a group of
athletes. By the walJ, 205. Restored biga; 206. Arm in bronze, of admir¬
able workmanship, found at Civita Vecchia along with the dolphin's tail
to the right of the biga and the spear on the wall behind; ali three
fragments belonged to a colossal figure of an emperor in the guise of
Neptune. Beyond, a bust of a man and several mirrors with designs.
In the cases, small bronzes. By the fourth wall: candelabra, cauldrons,
shields. The four-wheeled censer (No. 57; specially noteworthy) and the
brazen bed (No. 155) in front of it, both of great antiquity, were found in the
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