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Show 158 THE ETRUSCANS AND TIIEIR ART. rigid archaic style of the Tuscan bronze-figures; 100 the later Dorio style, carried to Tarquinii from Corinth by Demaratus, which characterizes the potteries of Italy; and perhaps a still later Attic style, chaste and dignifLOd, such as we admire on the best Etruscan vases. Inasmuch, however, as all tho names of the artists inscribed on the vas s, tho alphabet of the inscriptions, and the style of the drawing, arc exclusively Grecian, there are many archroologists who do not attribute them to Etruria, but believe they may have either been imported from Greece, or manufactured in Etruria by guilds of Greek artists who maintained their nationality in tho midst of the Tuscans. Tho national typo of Tuscan physiognomies is rather ugly:cntiroly diffct'cnt from the Egyptian, Shemitic, Assyrian or Greek cast. It is characterized by a low forehead, high cheek-bones, and a coarse and prominent chin. The following wood-cut [38] shows two archaic heads fr:om an embossed silv~r-roliof found in Perugia,101 now in the British Museum. The next figure is a fragment of a statue, [39] sculp- Fig. 88. Fig. 8!l. El'RUSOAN HEADS. VuLOIAN IIEAD. turc~ out of .a porous volcanic stone called Nenfro. It was found at Vulc1, and IS remarkable for tho Egyptian head-dress and Etruscan featu~·cs.'ll2 Tl~e.hcad of Eos, or Aurora, [40] from a celebrated bronze now m_ tl.l01J3r~tu!h Museu~, found at Falterona in the province of ?asc?tt~o, g1vos a poor tcloa of tho Tuscan feeling for beauty; still, tno hvclmcss of the movement and the excellent execution of the statnctt~ canu?t but ex.c~te our admiration. Another head [41] of a bronze figure m tho Bnt1sh Museum strikingly exhibits the Etruscan 160 Tho 'F.truscan bronzes closoly resemble tho archaic Grook figures: still tho poculinr Etruscan physiognomy, and tho national fnshion of shn.ving tho beard dis;inguish them ft·om tho early Grook monuments. ' 161 1\hr.T.lNOEN, Ancient Incdited .Jfonument8, Ill, pl. 162 Afonume11ti dell' Imtituto, I, pl. XLI; o.nd LENO m, Tombcaux 6trusquu Annali dell' In&ti- -l~ppm • 163 Soc nlso MtOAT.I, Mon. Inediti, pp. 86-08, to.voln. XIli, 1 o.nd 2. TIIE ART OF TIIE GREEKS. 159 type of features. These four specimens suffice to show the peculi- Fig. 40. Fig. 41. Eos. E1·nusoAN. arity of, and the difference between, the art of Etruria and that of the surrounding nations. It occupies a higher rank than the art of Phoonicia, but it is inferior to tho Greek, since it remained dependent upon foreign forms, and was unable to acclimatize itself thoroughly in upper Italy. VI.-TIIE ART OF TIIE GREEKS. IT was the Greeks, who, amonO' the Japetido nations, occupied the most importa,nt place in the history of mankind. Though comparatively few in number, they have, during the short time of their national independence, clone more for the ennoblement of the human race, than any other people on earth. It was among the Greeks that the genius of freedom, for the first time in history, expanded its wings in highly civilized states, even under the most complicated relations of aristocracy and democracy, of unity, suzerainty and federalism. Under tho rule of liberty, the GJ·cck mind dived boldly into tho sea of knowledge, and along with tho treasures of science secured that idea of plastical beauty and measure, which pervades all the IIcllcnic life so thoroughly that even virtue was known amongst tlutt gifted race only as xaf...oxaycx£1Za; that is to say, beauty and goodness. 'l'he power of Greek genius manifested itself not only by its intensity when applying itself to science and art, but likewise by its expansion and fertility. All the shores of the Euxinc, of lower Italy, Siclly, Cyrcnc, and considerable portions of the Gaulish coast, wore studded with Greek colonies, proceeding from the mother |