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The engravers of the mirrors were less inventive than were the sculptors of the ash-urns, and they moved in a much narrower sphere. Their work is for the most part that of the ordinary mechanic whose hand is none too sure. The compositions taken from tragedy are common with those already met with on the Etruscan sarcophagi. There are Orestes and Pylades at the temple of the Tauric Artemis^[86]; the Kalydonian Hunt, following the Μελέαγρος^[87]; Daidalos constructing the wooden cow^[88]; Polyxena taking her farewell of Hekabe^[89]; three scenes from the Telephos legend^[90]; the parting scene between Alkestis and Admetos^[91]; and Prometheus chained to the Caucasus^[92]. These instances at least may be adduced to emphasize the fact of the wide-spread familiarity of the Etruscans with tragedy. There is no doubt whatever that in these common everyday articles, as well as on their sarcophagi, the Etruscans had illustrations of the tragic poetry that may have been brought to them by troops of ‘Dionysiac artists’^[93].