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https://doi.org/10.11588/diglit.785#0071
introduction.] THE SCULPTURE OF ETRURIA. Ixxi
From all this we learn, that if Etruria was indebted to Greece
for the excellence she attained in the representation of the
human form, the latter was ready to admit, and to avail her-
self of the native skill and taste of her pupil. And well may it
have been so; for it were impossible that the Greeks should
not admire such works as the bronze lamp in the Museum of
Cortona, the casket from Vulci, and the golden wreaths in the
Museo Gregoriano, or the exquisite' specimens of gold filagree-
work in the same collection, and in that of Cavaliere Campana.
The art of statuary was very ancient in Italy. It was either
in wood or stone, the first being applied in very remote times
to the images of the gods.3 The Etruscans also made use of
this primitive material; for a very ancient Jupiter at Populonia
was carved from the trunk of a vine.4 Of their works in stone
numerous specimens have come down to us, some on the facades
or walls of their rock-hewn sepulchres, others in detached sta-
tues, but chiefly on sarcophagi and cinerary urns; for it was
their custom to decorate these monuments with the effigies of
the deceased, and with reliefs of various descriptions. The
extant sculpture of Etruria is indeed almost wholly sepulchral.
It is not in general so archaic or so peculiarly national in cha-
racter as the works in metal, and betrays rather the influence
of Greek than of Egyptian art. Yet it is from works of this
description that we learn most of the manners, customs, inner
life, and religious creed, as well as of the costume and personal
characteristics of this singular people. The most archaic works
of Etruscan sculpture are the cippi, or so-called " altars," of
fetid limestone, from Chiusi and its neighbourhood, whose bas-
reliefs show a purely native style of art; together with a few
full-sized figures in relief, like the warrior in the Museum of
than the Greeks, who often went bare- Romans. It is probable that the sort of
footed, whereas the former wore shoes Etruscan calceus, which Servius (ad Mn.
or sandals, richly embossed and gilt, or VIII. 458) says was worn by Roman
fastened by gilt thongs. Pollux, loc. cit.; senators, was the boot or buskin repre-
Plin. loc. cit.; Ovid. Amor. III. 13, 26. sented on the figures of the tombs of
Thus Etruscan figures are often repre- Tarquinii. For further notices on this
sented naked jn every other part but the subject, seeMiiller,Etrusk.I. 3,10—11.
feet. As in other articles of costume, 3 pj^. XXXIV. 16.
the Etruscans here set the fashion to the 4 Plin. XIV. 2.
From all this we learn, that if Etruria was indebted to Greece
for the excellence she attained in the representation of the
human form, the latter was ready to admit, and to avail her-
self of the native skill and taste of her pupil. And well may it
have been so; for it were impossible that the Greeks should
not admire such works as the bronze lamp in the Museum of
Cortona, the casket from Vulci, and the golden wreaths in the
Museo Gregoriano, or the exquisite' specimens of gold filagree-
work in the same collection, and in that of Cavaliere Campana.
The art of statuary was very ancient in Italy. It was either
in wood or stone, the first being applied in very remote times
to the images of the gods.3 The Etruscans also made use of
this primitive material; for a very ancient Jupiter at Populonia
was carved from the trunk of a vine.4 Of their works in stone
numerous specimens have come down to us, some on the facades
or walls of their rock-hewn sepulchres, others in detached sta-
tues, but chiefly on sarcophagi and cinerary urns; for it was
their custom to decorate these monuments with the effigies of
the deceased, and with reliefs of various descriptions. The
extant sculpture of Etruria is indeed almost wholly sepulchral.
It is not in general so archaic or so peculiarly national in cha-
racter as the works in metal, and betrays rather the influence
of Greek than of Egyptian art. Yet it is from works of this
description that we learn most of the manners, customs, inner
life, and religious creed, as well as of the costume and personal
characteristics of this singular people. The most archaic works
of Etruscan sculpture are the cippi, or so-called " altars," of
fetid limestone, from Chiusi and its neighbourhood, whose bas-
reliefs show a purely native style of art; together with a few
full-sized figures in relief, like the warrior in the Museum of
than the Greeks, who often went bare- Romans. It is probable that the sort of
footed, whereas the former wore shoes Etruscan calceus, which Servius (ad Mn.
or sandals, richly embossed and gilt, or VIII. 458) says was worn by Roman
fastened by gilt thongs. Pollux, loc. cit.; senators, was the boot or buskin repre-
Plin. loc. cit.; Ovid. Amor. III. 13, 26. sented on the figures of the tombs of
Thus Etruscan figures are often repre- Tarquinii. For further notices on this
sented naked jn every other part but the subject, seeMiiller,Etrusk.I. 3,10—11.
feet. As in other articles of costume, 3 pj^. XXXIV. 16.
the Etruscans here set the fashion to the 4 Plin. XIV. 2.