
Recent publications of parts of the Hellenistic necropolis of Tarquinia include examples of (modest) wall paintings, for the first time accompanied by their full archaeological and local context. They can therefore be used as the basis for a wider assessment of the chronology and iconological interpretation of well-known major monuments of Tarquinian tomb painting (Tombe Bruschi, Cardinal, Typhon, etc.), leading to a better appreciation of the quality and variety of the Etruscan achievement, and of its specific identity in respect of the Greek and South Italian 'models'.