plastic vases of the late sixth and fifth centuries. Pomegranates and simple flowers are also not unusual. All amulet wearers depicted on Etruscan fourth-century mirrors are elite subjects, and most are identified as divinities and heroes. Two examples are important for amber pendants, especially because of the material’s association with Apollo/Aplu and Dionysos/Fufluns. On many fourth-century Etruscan mirrors, Aplu wears pendants around his neck or on his upper arm. On a mid- fourth-century Etruscan bronze mirror in Naples, the infant Dionysos/Fufluns is already adorned with a ribbon of amulets during his birth from Tinia’s thigh. Fufluns as a youth, now with a necklace of amulets but otherwise unadorned, is kissed by his mother, Semele, on another in Berlin.178 Figure 39 Ram’s Headpendant, Etruscan, 525–480 B.C. Amber, L: 3.6 cm (12⁄5 in.), W: 2 cm (4⁄5 in.), D: 1.8 cm (7⁄10 in.). Los Angeles, J. Paul Getty Museum, Key illustrations of animal pendants in use are painted in 76.AO.82. Gift of Gordon McLendon. See cat. no. 39. the Tarquinian Tomb of Hunting and Fishing (circa 510 B.C.) (figure 38).179 On the back wall of the main chamber, the male banqueter wears a necklace of three (possibly amber) rams’ heads almost identical to the Getty amber rams’ heads (figure 39). In the first room of the tomb (figure 40), simple carriers with ram’s- and lion’s-head pendants, similar to those in the Getty (figure 41), hang from branches. This room of the tomb may depict the grove of Apollo or a Dionysian setting. Figure 40 Figured amulet necklaces in the antechamber of the Tomb of Hunting and Fishing, Tarquinia, Etruscan, ca. 510 B.C. Fresco. Details from nineteenth-century watercolor painting by G. Mariani. From Steingräber 2006, p. 96. Figure 38 Reclining Couple with an Attendant, back wall of the Tomb of Hunting and Fishing, Tarquinia, Etruscan, ca. 510 B.C. Fresco. By permission of La Soprintendenza per i Beni Archeologici dell’Etruria Meridionale, Roma / IKONA. 54 INTRODUCTION