, and
. On a vase mentioned by Gerhard, Nike inscribes on a shield the word
, Lasna.[[2336]]
§ 2. Etruscan Terracotta Work
It remains to say a few words on the other uses of clay among the Etruscans. This subject has indeed been discussed to some extent in Chapter III., regarding the use of clay in general in classical times. But there are some features of work in terracotta which are peculiar to this people. For their extensive use of this material we are quite prepared by the evidence of the pottery found in their tombs, which shows that they understood the processes of manufacture perfectly, even if they failed in their attempts at decoration. As we shall see, they employed it constantly, not only for finer works of art, but for ordinary and more utilitarian purposes. This we know not only from the existing remains, but from many passages of ancient writers, who speak of the Etruscan preference for clay and their skill in its use.
Pliny, in particular, speaks of the art of modelling in clay as “brought to perfection in Italy, and especially in Etruria.”[[2337]] He attributes its introduction to the three craftsmen whom Demaratos brought with him from Corinth in the seventh century B.C.—Eucheir, Eugrammos, and Diopos—whom he styles fictores.[[2338]] This story of its origin need not, of course, be implicitly believed; nor, on the other hand, need the statement of Tatian,[[2339]] who, followed in modern times by Campana and other Italian writers, claimed for Italy a priority over Greece in the art of making terracotta figures. For their statues the Etruscans certainly seem to have preferred clay to any other material. Although few of these have descended to us, there are many passages in Roman literature which imply their excellence, and it is chiefly from these that our knowledge of Etruscan statues in terracotta is derived. The Romans, unable themselves to execute such works, were obliged to employ Etruscan artists for the decoration of their temples, as in the notable instance of that of Jupiter on the Capitol. A certain Volca of Veii[[2340]] was employed by Tarquinius Priscus, about 509 B.C., to make the statue of the god, which was of colossal proportions, and was painted vermilion, the colour being solemnly renewed from time to time. The same artist made the famous chariot on the pediment of the temple, which, instead of contracting in the furnace, swelled to such an extent that the roof had to be taken off. This circumstance was held to prognosticate the future greatness of Rome.[[2341]] Volca also made a figure of Hercules in the Forum Boarium, and we read that Numa consecrated a statue of Janus[[2342]]; but the material in the latter case is not actually specified as terracotta.
Pliny goes on to say that such statues existed in many places even in his day. He also speaks of numerous temples in Rome and other towns with remarkable sculptured pediments and cornices; the existing remains of some of these will presently be discussed. There is no doubt that the use of terracotta for the external decoration of temples was even more general in Etruria than in Greece; and, whereas in Greece it ceased in the fifth century, in Etruria it lasted down to Roman times. The use of bricks in Etruria seems to have belonged entirely to the time when it had lost its independence, under Roman dominion. For instance, the brick walls of Arretium, which are highly spoken of by Pliny and Vitruvius,[[2343]] do not belong to the Etruscan, but to the later city; and although Gell alleged that he saw tufa walls with a substructure of tiling at Veii, Dennis sought for these in vain[[2344]]; even a pier of a bridge resting on tiles which he found there proved to be later work. For buildings and for tombs the principal material seems to have been tufa, but the tiles of the roofs were probably of terracotta, as were sometimes those used for covering tombs.[[2345]]