The Tomb of the Diver is an archaeological monument, built in about 500 to 475 BCE[1] and found by the Italian archaeologist Mario Napoli on 3 June 1968 during his excavation of a small necropolis about 1.5 km south of the Greek city of Paestum in Magna Graecia, in what is now southern Italy.

[2] The northern wall shows one guest on the leftmost couch engaging in kottabos, an ancient game of tossing wine from a cup at a target.

[3] In the interior of the tomb, only a few objects were found: near the corpse (widely supposed to be a young man, despite the heavily deteriorated state of the skeleton) were a turtle shell,[4] two arýballoi and an Attic lekythos.

Many scholars argue that this tomb is decidedly Greek due to the subject matter of symposium, which was not a social activity the Etruscans were known to engage in.

[2] The local Campanians had taken control of Paestum by about 400 BCE and left many painted tombs, but they mostly show an obsession with horses and equine sport.

[3] A krater-kantharos is quickly thrown and finished with a matte paint, loosely resembling a volute krater but with a wider body and less ornamental handles, and again was made for funerary purposes.

[2] There is a theory that the central nude figure on the west wall is in fact a representation of the deceased, and his lack of dress in the scene may be interpreted as an example of formal undress which is seen with Greek gods and heroic deaths.

[2] If the members of the party on the west wall are just arriving, it can be interpreted that the remaining two seats on the lounges are open for the older man and the central nude and that the girl with the flute is another entertainer for these men.

The men reclining on the northern and southern walls display acts of pederasty, the socially accepted romantic relationship between an older man and a younger boy in ancient Greek culture.

[5] A symposium was a common location for these types of relationships to develop because they were a private space for elite Greek men to escape the realities of their daily lives.

[2] This wall does include its own details of mastery, such as the distinctive outline of the oenochoe implying a silver material in comparison to the solid form of the krater, which is known to be ceramic.

[2] The Maestro della Lastra Sud is still considered the inferior artist, however, due to the lack of complexity in his composition and the minimal detail in the wall overall.