- chapter 56: Landscape and illusionism –
Figure 56.9 Tarquinia, Tomb of Orcus II, rear wall (left). Image courtesy of Stephan Steingräber.
(Photograph: Steingräber, Schwanke).NOTES1 For example, Spivey 1997: 104; Steingräber 2006: passim. Haynes 2000: 225, 231, etc.;
Pieraccini 2011: 65, suggests that in addition to Greek infl uence, one city may have inspired
another artistically. See Chapter 48 on foreign artisans.
2 Brendel 1995: 120–121, while he recognized the strong infl uence of Greek art and culture on
Etruscan.
3 Steingräber 2006: 63, 123–125. (Campana and Boccanera Plaques from Cerveteri. On
formerly unpublished plaques: Pieraccini 2011: 55–70.
4 Moretti 1970: xxiii–xxv; Spivey 1997: 104–108; Steingräber 2006: 10, 20; Vlad Borelli
2003: 140–153.
5 Steingräber 2006: 16.
6 For example, Steingräber 2006: 62: Campana Plaque, circa 570 bc.
7 Archaeological evidence: Haynes 2000: 172–174, Gravisca as one example. See also 64–65
for sources on Greek immigrants, specifi cally Demaratos of Corinth. (Pliny HN. 35. 152).
8 Discovered in 2006. Boitani 2010: 23–47.
9 Boitani 2010: 23–24.
10 Steingräber 1986: No. 176, 374–376, with bibliography.
11 Corinthian and Etrusco-Corinthian painting: Amyx 1988; Szilágyi 1992.
12 Steingräber 2006: 58–60.
13 Brendel and Serra Ridgway 1995: 120–122, excellent discussion of what is and is not Greek
about these paintings.
14 This is not to say that all Tarquinian tomb paintings from this period adhere to an identical
scheme, but that most follow this general scheme.
15 Vlad Borelli, L. V. 1986: 83–84.
16 On the larger question of the reception of Greek myth and specifi cally on the imagery in this
tomb see: Oleson 1975: 189–200. See also Osborne 2001: 277–295.
17 General description and bibliography: Steingräber (ed.) 1986: No. 50, 293–294; an
informative study: Holloway 1965: 341–347.
18 A similar rocky formation separates the large ship from the depiction of the deceased about
to partake in a banquet in the Tomb of the Ship. Steingräber 2006: 153.
19 Holloway (1965: 69) traces elements of the painting to Greek vase painting, but notes that
in Greek vase painting “...the crucial effect of the open sky is always lacking.” Examples