These mysterious Etruscans have formed the theme of an internecine war of monographs. On the whole we may pronounce that those scholars who maintain their Lydian origin have completely demolished the arguments of those who aver that they sprang from the Rhætian Alps—and vice versâ. It remains possible, therefore, that the Etruscans came from nowhere in particular but were as aboriginal and autochthonous as any European people. It is true that we cannot make out much of their language, but that is also true of the aboriginal Cretans—and of many other autochthonous peoples. Their earliest remains are of a type familiar to us in the earliest strata of production all over the Mediterranean coast-lands—prehistoric polygonal masonry, a beehive tomb, incised bucchero nero vases and so forth. Their later and finer work shows a distinct cousinship with that of Greece though sometimes curiously debased and uncouth in spirit. In bronze-working they were very skilful.[5] They developed painting to a high pitch in early times, and the British Museum possesses some interesting examples from Cære. It was indeed believed by Pliny that Corinthian painters had settled in Etruria, that being the usual account by which the ancients explained resemblances. But we may believe that the art of painting is indigenous on the soil of Tuscany. Their pottery is very similar to that of Greece.[6] It appears that the flourishing period of Etruscan art coincided with that of the greatest
| FIG. I. ARCHAIC BRONZE: PAN | FIG. 2. ARCHAIC BRONZE: ARTEMIS |
| Plate V. | |
Etruscan Fresco. Head of Hercules
extent of their empire, namely, the sixth and early fifth centuries B.C. Their plastic work was mostly in terra-cotta, for the native marbles do not seem to have been quarried. Some of their terra-cotta coffins, adorned with conventional portraits of the deceased and finished off by the application of paint, show considerable technical skill, but always that strange grotesque spirit.[7] From all accounts these Etruscans were a superstitious and cruel race. It was from them that the Romans learnt their bloody craft of divination by the inspection of the entrails of newly slain victims, and there is little doubt that the victims had not always been the lower animals. We are told that the insignia of royalty at Rome—the toga with scarlet
