tion, has been found in Aegina),
and therefore they may very well have come to the Etruscans through
the Greeks. The Italians may have bought from the Phoenician; they
learned only from the Greek.

To the further question, from what Greek stock the Etruscans in
the first instance received their art-models, a categorical answer
cannot be given; yet relations of a remarkable kind subsist between
the Etruscan and the oldest Attic art. The three forms of art, which
were practised in Etruria at least in after times very extensively,
but in Greece only to an extent very limited, tomb-painting,
mirror-designing, and graving on stone, have been hitherto met with
on Grecian soil only in Athens and Aegina. The Tuscan temple does
not correspond exactly either to the Doric or to the Ionic; but in
the more important points of distinction, in the course of columns
carried round the -cella-, as well as in the placing of a separate
pedestal under each particular column, the Etruscan style follows
the more recent Ionic; and it is this same Iono-Attic style of
building still pervaded by a Doric element, which in its general
design stands nearest of all the Greek styles to the Tuscan. In
the case of Latium there is an almost total absence of any certain
traces of intercourse bearing on the history of art. If it was--as
is indeed almost self-evident--the general relations of traffic
and intercourse that determined also the introduction of models
in art, it may be assumed with certainty that the Campanian and
Sicilian Hellenes were the instructors of Latium in art, as in
the alphabet; and the analogy between the Aventine Diana and the
Ephesian Artemis is at least not inconsistent with such an hypothesis.
Of course the older Etruscan art also served as a model for Latium.
As to the Sabellian tribes, if Greek architectural and plastic art
reached them at all, it must, like the Greek alphabet, have come
to them only through the medium of the more western Italian stocks.

If, in conclusion, we are to form a judgment respecting the artistic
endowments of the different Italian nations, we already at this
stage perceive--what becomes indeed far more obvious in the later
stages of the history of art--that while the Etruscans attained to
the practice of art at an earlier period and produced more massive
and rich workmanship, their works are inferior to those of the
Latins and Sabellians in appropriateness and utility no less than
in spirit a