Case B.
No. 31. Pempobolo or graffio—an instrument used for stirring the bodies of the dead as they burned, and for raking in the ashes afterwards.
No. 35. Cottabu. This strange looking implement was probably used for a kind of game practised at Etruscan feasts. It is supposed that at the end of a feast, when the guests grew merry, a toast was proposed, and that a glass was put on the tray at the top of the pole just under the little deity, and then carried round the room. The broader plate below was put to catch the wine as it fell with the swinging of this most ungainly instrument.
Case D.
Nos. 10 to 33, 40 to 60. A collection of small metal images, Lari, or household gods, most of them very Greek in treatment, some of them archaic.
Nos. 34 to 40. A collection of lead missiles for slings. These are inscribed with words of the most marked abuse designed for the enemy. On one of them is written: (in Latin characters) “For thy right eye”—the sort of naïve thing a schoolboy might design.
Room V.
“As beautiful pottery like that of Vulci and Tarquinii is very rarely found at Perugia, it seems probable that it was not manufactured on the spot,” writes Dennis. And if one has seen the various other local Etruscan Museums in Italy, one will feel decidedly disappointed in the vase-room at Perugia. One or two interesting points may however be noted. It is strange to mark the difference between the two separate classes of vases, between the genuine Greek work, which the Etruscans had the good taste to prize, and that of their own imitations of it. Note Nos. 3, 5, 14, all of which are probably Etruscan copies from real Greek vases. They are like the imitative sketches of children, lacking in understanding and in feeling, and pathetic in their clumsy failure. Nos. 7, 8, 10, and 12, are all specimens probably of real Greek work.
No. 22. A fine terra-cotta vase—probably genuine Etruscan work—with four heads of Bacchus at the base.