Ancient historians of the greatest fidelity and re search have praised the wise legislation and equitable government of the Etruscans. The whole of Etruria was separated into twelve divisions, over each of which presided a chief magistrate or Leucomon. From this supreme council of twelve, the members chose a king, or more properly commander-in-chicf, who, in war, conducted to the field the united armies of the repub lic. The election of these governors was vested in the people, and the nation is said to have cherished art almost personal hostility to hereditary kings. The con stitution of the Etruscan state thus combined the dig nity and union of aristocracy, with the energy and freedom of popular government. It was the former in the executit e, the latter in principle. To this ad mirable polity, to the security which it assured, to the emulation it excited, is chiefly to be attributed the early progress of the Etruscans in art and elegance. A principle is thus ascertained which fully accounts for the superiority of this people, and which furnishes another proof of the influence, insisted upon in the commencement of this essay, that political institutions exercise over the character and productions of nation al genius. We do not enter, therefore, into farther discussion on the origin of the inhabitants, by exhib iting the various arguments in support of the view we have embraced, which might be deduced from a corn parison of ancient authors—from the analogies of the Greek and aboriginal dialects of Italy—from the evi dent union of the Cadmean with a more decidedly oriental, and consequently more ancient character in the Etrusco-Pelasgic alphabet—from the style, and in some instances, as at Paestum, the situation of Etrus can architectural remains. It is sufficient for the reader to bear in mind, that sculpture in Etruria had attained a degree of excellence prior to any extensive cultivation of the art in Greece.
The remains of Etruscan sculpture are not numer ous, and of these some are of doubtful authenticity. The works of national art, taken in general, consist of coins or medals—statues of bronze and marble relievos—sculptures—gems—engraved bronze—and paintings.
The coins or medals of the various Etrurian cities are not only the most numerous, but the most ancient remains of their arts. By means of these, many diffi cult points in the history and geography of ancient Italy have been, or may be explained. As evidence by which to judge of the refinement and skill of these early ages, many are to be regarded as wonderful ex amples of beautiful design and delicacy of execution. They are of two kinds, either mythological or merely symbolical in their representations, and appear all to have been cast of a composition, not a pure metal. As mistakes are likely to occur from confounding the colonial Greek or Phcenician coins with the genuine Etruscan, no observations should be regarded founded on specimens without inscriptions. The practice of constantly placing inscriptions on their works, seems Dever to have been omitted by the artists of Tuscany, and furnishes a very probable presumption respecting the authenticity of their labours.
Etruscan statues are either of bronze or marble, each'of which classes may be again subdivided ac cording to the magnitude of the works. Of bronze figures in miniature, resemblance both of men and animals, examples are commonly to be met with in museums. These probably are images of the house hold deities, and no unfrequently seem to have been ornaments merely; but from specimens so minute, it is not easy to deduce any certain or useful conclusions.
Of bronze statues the size of life, there are very few, and of these scarcely one has escaped suspicion as to its antiquity. Of the marble statues, whether large or small, it is exceedingly difficult to pronounce whether they be Etruscan or Greek.
Relievos bearing the general character of Etruscan are found iu Home, Florence, and other parts of Italy. Of these works, the most ancient are doubtless sepul chral monuments, erected prior to the practice of cre mation, as a mode of sepulture; but we have also sarcophagi belonging to the latest era, when the artists of Etruria may be considered as almost colonial Greeks. Intermediate between these two are various mythological relievos and altars. Of these Winkle man selects as genuine four, now, if we remember aright, in the museum of the capitol. Apotheosis of Isis; a round altar with three figures; a square altar with the labours of Ilercules; and another roymd altar, or rather mouth of a well. To these recent discove ries have made several additions.
Engraving on gems seems to have been brought to some degree of perfection at an early period both in Italy and Greece. Of this minute art, probably the oldest specimen now in existence represents five of the seven chiefs who fought against Thebes. It is a cor nelian 72 tenths by 5i tenths or an inch in the diagon als of the oval facet on which the figures are engraved, three seated and two standing, each having his name affixed. The composition is extremely inartificial, but not unpleasing, although by no means indicating a re fined knowledge. Other Etruscan gems, however, have been found, which equal the most exquisite per formances of ancient art,—such as the cornelian re presenting Tydeus drawing the arrow from his leg; and Peleus dressing his hair, engraved on an agate. These three, and Etruscan gems in general, are of that form called Scarabei, from their resemblance to a beetle, being oval, flat on the engraved side, and convex on the back. Each is pierced through the longer diam eter, leaving it doubtful whether worn suspended as an amulet from the neck, or on the finger as a ring.
One of the most curious remains of Etruscan art, which is also the most numerous class, comprises en graved bronzes or paterx. These, it is well known, were round, flat and shallow dishes, from which was poured wine or water during the sacrifices. The Etruscan pater are not quite circular, but have a short tapering handle, round which sometimes is brought the shallow brim, so that it forms part of the cup. This handle is peculiar to Etruscan workman ship. On the bottom inside, which is perfectly flat, and from four to six inches in diameter, is engraved in deep, broad, and bold lines, usually some mytho logical composition. OF these designs the style is simple—the lines few and straight, but exhibiting firmness and correctness of hand: with more of power than grace of expression or attitude. These make a near approach to our outline engravings, except that the strokes have much more force. Indeed we re member to have examined one at Bologna, represent ing the birth of Minerva, from which the brim had been removed, and being put through a printing press in the usual way, had given off a very good impres sion exhibited along with the original.