with their colors,—but mainly in an opaque carnelian, admirably calculated to show off the beauty of the workmanship. The change from use to ornament is abrupt, and perceivable in the earliest Etruscan examples, and proves conclusively to me two disputed points; namely, that the Scarabæus pilularius and his allied notions came from Egypt to Etruria, and that the Etruscan and Egyptian races were utterly diverse in origin and antithetic in intellectual character. The eminent utilitarianism of the latter leaves no room for purely artistic effort, while the former literally non tetiget quod non ornavit. Even the pictorial and sculptural representations of the Egyptians were absolutely subservient to history or worship; but the Etruscans cared so little for their own history as to leave us almost no inscribed monuments, though the remains of their taste and skill stand side by side with what we have of Greek work. They seem, indeed, to have been a more absolutely artistic people even than the Greeks, in whom art was exalted by a certain union with intellectual culture, the result of which was, of course, a larger growth and nobler ideal than the more ornamental Etrurian mind could attain. This points to an Eastern origin more in kinship with the Persian than the Greek, and to-day only illustrated by the Persian ornamentation.
The Scarabæus then, instead of the rude, straightforward representation of the Egyptian workman, assumes a more elegant form, with elaborate sculpture of all the insect characteristics, the edges of the wings and the lines that divide them from the chest being exquisitely beaded and wrought, and the claws being relieved and modelled with the highest care and most artistic finish. The form of the image, in fact, generally resembles more the beautiful green beetle which I have often caught in the mountains around Rome, than his plebeian and utilitarian cousin, the Scarabæus pilularius. The contour of the stone beneath the Scarabæus proper is markedly distinguished from the insect portion, and ornamented with a relieved cornice, more or less elaborate according to the general finish of the stone. I have one in which this cornice of .073 inch in width contains an upper and a lower bead and a U moulding of which the parts are only one fourth the height of the cornice in breadth, and yet are cut with mathematical regularity and completeness. The bead that marks the junction of the wings and chest is divided into squares of .0045 inch in dimension. If this care is given to the less important part of the stone, what may we not expect from the intaglii which make the more important objects of the lapidary's work! A stone, three fourths of an inch in length, contains two full-length figures seated in conversational attitudes, the extended hand of one of which, with the thumb and four fingers perfectly defined, is only .063 inch in length.
The great inequality between the power of design and the executive skill and taste in mere ornamentation in the characteristic Etruscan work is comparable only to those Eastern products which I have before alluded to,—the Persian fabrics. The animals are drawn without any regard to anatomical or optical truth,—foreshortening taken by a royal road, and grace thrown overboard. The hog is generally shown as flatted out, the legs appearing two on each side of the body; and the members of all animals are stowed away with more direct reference to composition of masses than of animal organisms. I remember one of a horse, in which, there not being room for the four legs in their natural places, one was hung up at the side where a vacant space offered itself.
The earliest work seems to be done by a graving process, as if cutting were by lines; the later is evidently done by the drilling operation now in use, and the process is much more apparent, especially in the drill-like terminations. This was probably owing to the use of the diamond itself for the incision, instead of the steel point and diamond dust, as in modern times, and to the great difficulty in getting a point on the implement.
