- Richard Daniel De Puma –
discussion of attributions, see M. P. Baglione and F. Gilotta, CSE Italia 6, Villa Giulia I, pp.
96–97, no. 38.
44 Hermitage, St. Petersburg inv. V.505: ES IV, pl. 322; E. Mavleev in F. Roncalli (ed.), Gens
antiquissima Italiae. Antichità dall’Umbria a Leningrado (Milan, 1990), no. 8.19, pp. 413–417.
45 De Puma 2005: no. 44, p. 60 (with parallels cited).
46 De Puma 1993: no. 23, p. 44. Compare the male Lasa on no. 22 and another in De Puma
1987, no. 10.
47 De Puma 2005: no. 33, p. 50.
48 British Museum inv. 626: ES II, pl. 213.
49 See, for example, L. Agostiniani, Le ‘iscrizioni parlanti’ dell’Italia antica. Florence, 1982.
50 For discussion of these mirrors and their inscriptions, see de Grummond 2000: 75–77 and
Pandolfi ni 2000: 224. Note that malana is probably an alternative spelling of malena.
51 For a list of 38 examples, see de Grummond 2000a: 66–67. To this list may now be added the
mirror in Princeton University Art Museum inv. 1998–46; see De Puma 2001.
52 Maggiani 1992. He treats the Casuccini Mirror from Chiusi, now Siena, Museo Archeologico
inv. 176.
53 De Puma 2001: 27.
54 For a general survey of the topic, see Bonfante and de Grummond, “Inscriptions on Etruscan
Mirrors” in de Grummond (ed.) 1982: 69–78.
55 British Museum inv. 3213: ES V, pl. 146. See also, Bonfante and de Grummond (n. 54), p.
75.
56 Ibid., p. 76.
57 De Grummond 2009, Appendix I (pp. 178–180) conveniently lists these with references.
58 For example, ES I, pl. XXII, 7–9 (published in 1843).
59 Fontaine 1995, Tables I–II (pp. 205, 207) list the types of objects and numbers as well as
fi ndspots, if known. His lists can now be supplemented by at least four more mirrors and one
candelabrum. For a list of inscriptions that include owner’s name, see Appendix II, p. 212.
60 For a map of the known fi ndspots, thus far recorded, see Fontaine 1995, Fig. 1, p. 202.
61 See De Puma 2008b and 2013, nos 6.25–6.40. The tomb-group is on display in the newly-
renovated Etruscan Gallery at the Museum and the objects can be accessed on the Museum’s
website: http://www.metmuseum.org.
62 De Grummond 2009, Appendix II (pp. 181–182). I wonder if the Villanovan tang mirror
(fi g. 2) was also intentionally damaged. Note the bent tang and heavy creases on the right
side of disc. If this does represent intentional mutilation, it might push the beginnings of this
funerary practice back to the ninth century bc.
63 For the mirror and her discussion, see Ibid., 175–177, Figs 44–45; the mirror is also discussed
in CSE Italia 4, no. 6.
64 Carpino 2008.
65 Carpino 2008: 3, 13, Charts I–III. The tombs were excavated and fi rst published by Lucia
Cavagnaro Vanoni, Richard E. Linington and Francesca R. Serra Ridgway. For references, see
Carpino 2008: 26, n. 4.
66 Rallo 1974; De Puma 1985.
67 Stopponi 1994: 207–209, fi g. 62; pls XXXII, b–c and XXXV, c–d.
68 De Puma 1993: 37–45, nos 15–25; De Puma 2008a. This fi ne group, now in the Museum of
Fine Arts, Boston, has several unusual mirrors. There are two silver box mirrors (nos 15–16),
a silver handle mirror (no. 18, undecorated), a magnifi cent bronze tang mirror (no. 23), a bone
mirror handle (no. 25), and a very small handle mirror (no. 24), which I have suggested may
have been a toy mirror from Fastia Velsi’s childhood.