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 and beauty.  This certainly is apparent, in the case of our present epoch, only in architecture.  The polygonal wall-masonry, as appropriate to its object as it was beautiful, was frequent in Latium and in the inland country behind it; while in Etruria it was rare, and not even the walls of Caere are constructed of polygonal blocks.  Even in the religious prominence—­remarkable also as respects the history of art—­assigned to the arch(23) and to the bridge(24) in Latium, we may be allowed to perceive, as it were, an anticipation of the future aqueducts and consular highways of Rome.  On the other hand, the Etruscans repeated, and at the same time corrupted, the ornamental architecture of the Greeks:  for while they transferred the laws established for building in stone to architecture in wood, they displayed no thorough skill of adaptation, and by the lowness of their roof and the wide intervals between their columns gave to their temples, to use the language of an ancient architect, a “heavy, mean, straggling, and clumsy appearance.”  The Latins found in the rich stores of Greek art but very little that was congenial to their thoroughly realistic tastes; but what they did adopt they appropriated truly and heartily as their own, and in the development of the polygonal wall-architecture perhaps excelled their instructors.  Etruscan art is a remarkable evidence of accomplishments mechanically acquired and mechanically retained, but it is, as little as the Chinese, an evidence even of genial receptivity.  As scholars have long since desisted from the attempt to derive Greek art from that of the Etruscans, so they must, with whatever reluctance, make up their minds to transfer the Etruscans from the first to the lowest place in the history of Italian art.

Notes for Book I Chapter XV

1.  I. XII.  Priests

2.  I. XIII.  Handicrafts

3.  Thus Cato the Elder (de R. R. 160) gives as potent against sprains the formula:  -hauat hauat hauat ista pista sista damia bodannaustra-, which was presumably quite as obscure to its inventor as it is to us.  Of course, along with these there were also formulae of words; e. g. it was a remedy for gout, to think, while fasting, on some other person, and thrice nine times to utter the words, touching the earth at the same time and spitting:—­“I think of thee, mend my feet.  Let the earth receive the ill, let health with me dwell” (-terra pestem teneto, salus hie maneto-.  Varro de R. R. i. 2, 27).