Habits and Customs.—The lack of literary remains of the Etruscans does not cramp our knowledge of their habits as much as might be supposed, owing to the numerous paintings that are left. These paintings are on the walls of the tombs at Veii, Corneto, Chiusi (Clusium), and elsewhere,[11] and give a varied picture of the dress, utensils and habits of the people. The evidence of many ancient authors cannot be questioned that as a race the Etruscans in historic times were much given to luxurious living. So much so in fact that Virgil (Georg. ii. 193) speaks of the pinguis Tyrrhenus (a trumpeter at the altar) and Catullus (xxxix. 11) of the obesus Etruscus. Diodorus (v. 40) gives a succinct account in which he says that “their country was so fertile they derived therefrom not only sufficient for their needs but enough to supply them with luxuries. Twice a day they partook of elaborate repasts at which the tables were decked with embroidered cloths and vessels of gold and silver. The servants were numerous and noticeable for the richness of their attire. The houses, too, were large and commodious. In fact, giving themselves up to sensuous enjoyments they had naturally lost the glorious reputation their ancestors had won in war.” This last remark shows that Diodorus recognized the important difference between the early Etruscans who built up the country and the later ones who merely enjoyed it. Naturally courtesans flourished in such a community. Timaeus and Theopompus tell how the women lived and ate and even exercised with the men (Athen. xii. 14; cf. iv. 38), habits which of course gave the Roman satirists many openings for attack (Plaut. Cist. ii. 3. 563; cf. Herod, i. 98; Strabo xi. 14). In dress they differed but little from the Romans, both wearing the toga and the tunic. Hats too, often of pointed form, were common (Serv. ad Aen. ii. 683), as the paintings show, but it was their shoes for which they were particularly famous. One author (Lydus, de Magistr. i. 17. 36) suggests that Romulus borrowed from Etruria the type of shoe he gave the senators, and this may well be true, though the form mentioned, the kampagus, is of late origin. At any rate σανδάλια Τυρρηνικά are frequently mentioned. From the pictures and remains we know that they had wooden soles strengthened with bronze, and that the uppers were of leather and bound with thongs.
Their occupations of trade and agriculture have been already mentioned. For their leisure hours they had athletic games including gladiatorial shows (Athen. iv. 153; cf. Livy ix. 40. 7; Strabo v. 250), hunting, music and dancing. All these are shown in the tomb pictures, and all, with the exception of the hunting, developed first as a part of religious service, and their importance is shown by the strictness of the rules that governed them (Cicero, De harusp. resp. ii. 23). Did a dancer lose step, or an attendant lift his hand from the chariot, the games lost their value as a religious service. An idea of the splendour of the triumphs that accompanied victorious generals and of the parades at the games is given by Appian (De reb. Punic. viii. 66) and Dionysius (vii. 92). The music that was an accompaniment of all their occupations, even of hunting (Aelian, De natur. anim. xii. 46), was mainly produced by the single or double flute, the mastery of which by the Etruscans was known to all the world. They also had small harps and trumpets.
For the regularization of all these duties and pleasures there was a calendar and time-division for the day. It is noteworthy that the beginning of the day was for them the moment when the sun was at the zenith (Serv. ad Aen. v. 738). In this they differed from the Greeks, who began their day with the sunset, and the Romans, who reckoned theirs from midnight. The weeks were of eight days, the first being market day and the day when the people could appeal to the king, and the months were lunar. The years were kept numbered by the annual driving of a nail into the walls of the temple of Nortia at Volsinii (Livy vii. 3. 7), a custom later adopted by the Romans, who used the Capitoline temple for the same purpose. In Rome this rite was performed on the Ides of September, and it is likely that it took place in Etruria on the same date, the natural end of the year among an agricultural folk. A still longer measure of time was the saeculum, which was supposed to be the length of the longest life of all those born in the year in which the preceding oldest inhabitant died (Censorinus, De die natali, 17. 5; cf. Zosimus ii. 1). According to later writers[12] the Etruscan race was to last ten saecula, and the emperor Augustus in his memoirs (Serv. ad. Bucol. ix. 47) says that the comet of the year 44 B.C. was said by the priests to betoken the beginning of the tenth saeculum. The earliest saecula had been, according to Varro, 100 years long. The later ones varied in length from 105 to 123 years. The round number 100 is obviously an ex post facto approximation, and the accuracy of the others is probably more apparent than real, but if we reckon back some 900 years from the date given by Augustus we arrive at just about the time when the archaeological evidence leads us to believe that the Etruscans in Italy were beginning to recognize their individuality.
Religion.—To retrace the religious development of the Etruscans from its mystic beginnings is beyond our power, and it is unlikely that any future discoveries will help us much. We are, however, able to draw a clear, if not a detailed, picture of the worship paid to the various divinities, partly from the direct information we have concerning them and partly from the analogies which may safely be drawn between them and the Romans.
The frequency of sacrifice among them and their belief in the short duration of the race[13] show clearly their belief in a good and a bad principle, and the latter seems to have been predominant in their minds. Storms, earthquakes, the birth of deformities, all gave evidence of evil powers, which could be appeased sometimes only by human sacrifice. We miss here the Greek joy in human life and the beauties of earth. The gods (aesar) were divided into two main groups, the Dii Consentes and a vaguer set of powers, the Dii Involuti (Seneca, Quaest. Nat. ii. 41), to whom even Jupiter bowed. They all dwelt in various parts of the heavens (Martianus Capella, De nupt. Phil. i. 41 ff.). Of the Dii Consentes the most important group consisted of Jupiter (Tinia), Juno (Uni) and Minerva (Menrva). In some towns, such as Veii and Falerii, Juno was the chief deity, and at Perusia she was worshipped like the Greek Aphrodite in conjunction with Vulcan (the Greek Hephaestus). This shows that though in exterior form the Etruscan gods were influenced by the Greeks, still their character and powers betoken different beliefs. An interesting point to note about Minerva (Menrva) is that she was the goddess of the music of flutes and horns. The myth of Athena and Marsyas probably originated in Asia Minor, and a Pelasgian Tyrrhenian founded in Argos the temple of Athena Salpinx (Paus. ii. 21. 3). The evident connexion between Asia Minor and Etruria in these facts cannot be overlooked. Besides these deities there were Venus (Turan), Bacchus (Fufluns), Mercury (Turms), Vulcan (Sethlans). Of these, Sethlans is in a way the most important, for he shows a connexion in prehistoric times between Etruria and the East.[14] Other deities of Greek origin there were—Ares, Apollo, Heracles, the Dioscuri; in fact, as the centuries passed, the Greek divinities were adopted almost without exception. Besides these there were also many gods of Latin or Sabine origin, of whom little is known but their names; these may often be local appellations for the same god. Among these were Voltumna at Volsinii and Vertumnus at Rome, Janus, Nortia, goddess of Fortuna, Fēronia, whose temple was at a town of the same name at the foot of Soracte,[15] Mantus, Pales, Vejovis, Eileithyia and Ceres. Such were the leading gods; in addition there was the world of spirits whom we know in Rome as the Manes, Lares and Penates. The latter were of four classes, pertaining to Jove, Neptune, the gods of the lower world, and to men.[16] The Lares too were of various sorts (familiares, compitales, viales), and with them the souls of the dead, after the performance of due expiatory rites, took their place as dii animales (Serv. ad Aen. iii. 168 and 302). The Manes are the vaguest group of all and were confined almost wholly to the lower world (Festus, s.v. “Mundus”; Apuleius, De deo Socratis). Over all these ruled Mantus and Mania, the counterparts of Pluto and Persephone in Greece. As a result of this complete hierarchy of divine powers the priesthood of Etruria was large, powerful, and of such fame that Etruscan haruspices were sent for from distant places to interpret the sacrifices and the oracles (Livy v. i. 6, xxvii. 37. 6).
Art.—The evidence drawn from tradition and custom which we have so far considered in relation to the origin and beliefs of the Etruscans has taken us into the prehistoric times much earlier than those when the handicrafts developed into true fine arts. The contents of the earliest graves[17] show but few traces of any feeling for art either in architecture or in the lesser forms of household and personal decoration. Gradually, however, as one comes down towards the more fixed historic periods, certain objects, obviously imported from the eastern Mediterranean, occur, and these are the first signs of an interest in the beauty or curiosity of things, an interest that local workmen could not yet satisfy, but which stirred them to endeavour. It was probably during the 9th century that this began, not long after the period when foreign trade began to flourish.
The history of Etruscan art has usually been wrongly estimated owing to the widespread delusion that objects found in Etruria were in the true sense products of native artists and indicative of native-grown culture. It is only recently, and not even yet completely, that the term “Etruscan” has been given up as the name for the terra-cotta vases (which were found in the 19th century by the earlier archaeologists of the modern scientific school in great quantities in the Etruscan tombs); these are now known to have been made by Greek potters. There are few books on the subject of Etruscan art. The best known is Jules Martha’s L’Art étrusque (2nd ed., 1889), a book which, though full of accurate data, shows absolute lack of discrimination between those works that are of Etruscan fabric and those that were brought from other lands, particularly Greece and the Greek colonies of Magna Graecia and Sicily. These latter are too generally forgotten in the study both of Greek and of Etruscan art, and all works which show the Greek spirit are vaguely supposed to have been produced on the Greek mainland. As much of the following must be to some extent controversial in character, a concrete illustration may serve to prevent misconception as to this important distinction. The beautiful throne in the Ludovisi collection representing the birth of Aphrodite is commonly spoken of as though made by some sculptor in Greece. It seems at least as likely that it comes from Sicily. Not only is the character of the modelling similar to what we find on Sicilian sculptures and coins, and not quite so sharp as on most works from Greece, but there is a lyrical feeling for nature in the pose of the figures and in the pebbled soil on which the main group stands, which seems to answer to the Sicilian feeling as we know it in poetry rather than to the Greek.
The houses of the earliest times were, to judge by the burial urns known from their shape as hut-urns, small single-room constructions of rectangular plan similar to certain types of the capanne used by the shepherds to-day. Architecture. Probably the walls were wattled and the roofs were certainly thatched, for the urns show plainly the long beams fastened together at the top and hanging from the ridge down each side. Tombs cut in the rock offer other and later models of house construction, but give no suggestion that the Etruscans had any artistic sense in architecture. Such tombs are mostly later than the 5th century B.C., and show the most simple form of wood construction. Posts or columns hold up the walls and the sloping roofs, the latter made of beams with boards laid lengthwise, covered by others from ridge to eave, the intervening space forming a coffer, sometimes decorated. Though the walls of such tombs are often covered with paintings, the relation of the various parts (and, let it be remembered, these tombs represent the houses of the living) shows but the coarsest sense of proportion. The elements of the decoration, such as capitals, mouldings, rosettes, patterns, are borrowed from Greece, Egypt or elsewhere, and are used redundantly and with no refinement.[18]
The temples did not differ from those in Greece in any essential principal of construction except that they were generally square, from the desire to make them answer to the templum or quadripartite division of the heavens elaborated by the priests. In Roman times, “Etruscan style” was the term used for colonnades with wide intercolumniations, and this shows how the early builders used wood with its possibility of long architrave beams rather than stone as in Greece. The interior arrangements of the temple also varied from the Grecian models, for owing to the fact that the gods of Etruria were often worshipped in groups of three the cella was divided into three chambers. The decoration—metopes, friezes, acroteria, &c.—was of terra-cotta fastened by nails to the wooden walls.
Though we know that the Etruscans were famous for their games,[19] still there are no remains of circi, and so too, though the satyristae were well known,[20] no theatres are left. They were obviously a race of no literary taste or culture. The theatre at Fiesole which is often referred to as Etruscan unquestionably dates from Roman times.