his temple--were executed in Veii, and the large ornaments of a
similar kind placed on the roofs of temples passed generally among
the later Romans under the name of "Tuscanic works."

On the other hand, among the Italians--not among the Sabellian
stocks merely, but even among the Latins--native sculpture and
design were at this period only coming into existence. The most
considerable works of art appear to have been executed abroad.
We have just mentioned the statues of clay alleged to have been
executed in Veii; and very recent excavations have shown that works
in bronze made in Etruria, and furnished with Etruscan inscriptions,
circulated in Praeneste at least, if not generally throughout
Latium. The statue of Diana in the Romano-Latin federal temple on
the Aventine, which was considered the oldest statue of a divinity
in Rome,(21) exactly resembled the Massiliot statue of the Ephesian
Artemis, and was perhaps manufactured in Velia or Massilia. The
guilds, which from ancient times existed in Rome, of potters,
coppersmiths, and goldsmiths,(22) are almost the only proofs of
the existence of native sculpture and design there; respecting the
position of their art it is no longer possible to gain any clear
idea.

Artistic Relations and Endowments of the Etruscans and Italians

If we endeavour to obtain historical results from the archives of
the tradition and practice of primitive art, it is in the first place
manifest that Italian art, like the Italian measures and Italian
writing, developed itself not under Phoenician, but exclusively
under Hellenic influence. There is not a single one of the aspects
of Italian art which has not found its definite model in the art
of ancient Greece; and, so far, the legend is fully warranted which
traces the manufacture of painted clay figures, beyond doubt the
most ancient form of art in Italy, to the three Greek artists,
the "moulder," "fitter," and "draughtsman," Eucheir, Diopos, and
Eugrammos, although it is more than doubtful whether this art came
directly from Corinth or came directly to Tarquinii. There is
as little trace of any immediate imitation of oriental models as
there is of an independently-developed form of art. The Etruscan
lapidaries adhered to the form of the beetle or -scarabaeus-, which
was originally Egyptian; but --scarabaei-- were also used as models
for carving in Greece in very early times (e. g. such a beetle-stone,
with a very ancient Greek inscrip