DOI Page / Citation link:
https://doi.org/10.11588/diglit.847#0487
clusium. 457
stood a marble altar with a sacred procession and
religious ceremony going on to the lyre and flute. One
altar had represented upon it two warriors on horse-
back holding shields, and the face of each was painted
red—it is in the very oldest style known, and of a kind
found only in Chiusi and the Val de Chiana. One
fragment of an altar has an inscription upon it, be-
neath a youth who lies upon the ground veiled.
In opposition, as it were, to these marble altars
of the highest antiquity in basso relievo, we saw two
marble cinerary urns, or monuments, with subjects
upon them in alto relievo, and in a style many cen-
turies later, when Etruscan subjects began to be re-
presented in the Greek and Eoman manner. The first
portrays the genius of death with his hammer
raised, having struck down one victim, and being
prepared to strike down another, whilst he still
watches over a combat between two persons near
him. When this vase was first brought to light, the
figures had over them an inscription in black letters,
but they are now almost obliterated and quite illegi-
ble. Upon the lateral faces of the urn are the good
and evil genius, each on his own side, keeping a gate
into the world of spirits, and anxiously watching to
discover by which the newly disembodied soul will
pass. We longed to see how it was finally disposed
of, but this is not told; and it is impressive to mark
how carefully the Etruscans have in general avoided
passing their own judgment upon any one. The
deceased probably met his death in battle. The lid of
the urn is composed of his effigy, but wants the head.
stood a marble altar with a sacred procession and
religious ceremony going on to the lyre and flute. One
altar had represented upon it two warriors on horse-
back holding shields, and the face of each was painted
red—it is in the very oldest style known, and of a kind
found only in Chiusi and the Val de Chiana. One
fragment of an altar has an inscription upon it, be-
neath a youth who lies upon the ground veiled.
In opposition, as it were, to these marble altars
of the highest antiquity in basso relievo, we saw two
marble cinerary urns, or monuments, with subjects
upon them in alto relievo, and in a style many cen-
turies later, when Etruscan subjects began to be re-
presented in the Greek and Eoman manner. The first
portrays the genius of death with his hammer
raised, having struck down one victim, and being
prepared to strike down another, whilst he still
watches over a combat between two persons near
him. When this vase was first brought to light, the
figures had over them an inscription in black letters,
but they are now almost obliterated and quite illegi-
ble. Upon the lateral faces of the urn are the good
and evil genius, each on his own side, keeping a gate
into the world of spirits, and anxiously watching to
discover by which the newly disembodied soul will
pass. We longed to see how it was finally disposed
of, but this is not told; and it is impressive to mark
how carefully the Etruscans have in general avoided
passing their own judgment upon any one. The
deceased probably met his death in battle. The lid of
the urn is composed of his effigy, but wants the head.