introduction of the furnace; (3) by extensive imitation of Greek

ceramic and metal forms. The earliest _bucchero_ vases at Vulci and Corneto synchronise with Corinthian pottery of the middle style, about 630-600 B.C., and they last down to the end of the fifth century. The appearance of the alphabet seems to point to a marked incursion of Greek influence in the early part of the seventh century. The story of the arrival of Demaratos of Corinth, about 665 B.C., with the three artists whom he brought in his train, Diopos, Eucheir, and Eugrammos,[2281] is no doubt an echo of this. The progress of Hellenism was, however, momentarily arrested by the growing power of Carthage, which may partly account for the temporary Orientalising of Etruscan civilisation. It is certainly to the Carthaginian influence in Italy that the Phoenician objects found in the seventh century tombs, such as the silver bowls of Praeneste, are due. Oriental influence is also seen in the large tombs at Vulci, Caere, and Vetulonia, but it is hardly so strong as was at one time supposed; and of late years scholars have generally recognised that Ionian art and commerce played a much larger part throughout in the civilisation of Etruria[2282]; and, further, that Oriental art found its way mainly through these channels. At all events there was throughout the seventh and sixth centuries a keen struggle for supremacy in the Western Mediterranean, in which the Etruscans, the Phoenicians of Carthage, and the Ionian and Continental Greeks alike shared; and hence the diverse influences at work in Etruria. But it was not long before Greece, with its rising colonies of Cumae, Sybaris, and Syracuse, made its predominance to be felt in the Western Mediterranean, and this was consummated by the final victory of Hiero over the combined fleets of Carthage and Etruria off Cumae in 474 B.C. A monument of this exists to the present day in the bronze helmet dedicated by that king at Olympia, now in the British Museum. We may further define as the second great period of Greek importations, that extending over the sixth and fifth centuries, a period which saw the development not only of the local _bucchero_ fabrics, but also of the Greek black- and red-figured vases, which, heralded by the Corinthian wares, now pour in a continuous stream into Etruria. To this same period belong the paintings of the Etruscan tombs. The earliest influences from Greece came, as has been hinted, through colonies like Chalcidian Cumae, which were the chief agents in the Hellenisation of Etruria; but at Cervetri, at any rate, the prevailing influence was Corinthian, as testified by the remarkable series of Corinthian and quasi-Corinthian vases in the Campana collection at the Louvre. Later in the sixth century came the connection with Athens, the chief results of which are to be seen in the contents of the tombs of Vulci (Vol. I. p. 76). It extends from the time of the Peisistratidae (540-520 B.C.) down to about 450 B.C., being probably brought to an end by the Peloponnesian War and the destruction of the Athenian maritime supremacy; but isolated instances of importations occur down to the time of Alexander the Great, in the Panathenaic amphorae of which dated examples of 336 B.C. have been found at Cervetri (Vol. I. p. 390). In sketching this outline of Hellenic influence in Etruria we have overstepped the limits of chronological sequence, and must retrace our steps in order to deal first with the local products of the period from 650 B.C. onwards, and secondly with the effects of the Greek civilisation on the same. * * * * * =Polledrara ware.=—The Grotta d’ Iside or Polledrara tomb at Vulci has been dated, on the authority of a scarab of Psammetichos I. (656-611 B.C.) which it contained, towards the closing years of the seventh century. This dating has been generally accepted, and there seems no reason to doubt it, although the evidence of an isolated scarab is not always as trustworthy as appears at first sight. Besides local bronze work and objects of Egyptian or quasi-Egyptian character, it contained one vase of unique character which calls for special consideration.[2283] This is a hydria of somewhat peculiar, if not unique form, with a very wide body and rudimentary foot. In some details, especially in the treatment of the handles, it exhibits obvious evidence of imitation of metal-work. Although at first sight resembling _bucchero_ ware, the clay is seen on examination to be of a different type, not being grey but reddish brown in fracture, while the lustrous black surface is produced by a thin coating or slip. It is decorated with designs in three colours, red, blue, and a yellowish white, which were laid on the black and then fired. The red is best preserved, the blue fairly so, but the white has almost entirely disappeared.[2284] The designs are arranged in three friezes, of which the lower consists only of isolated bits of key-pattern. On the two upper rows are scenes from the story of Theseus and Ariadne, together with Centaurs, Sphinxes, and other accessory figures. On the upper row Theseus slays the Minotaur; on the lower, Theseus and Ariadne are seen, firstly in a chariot, secondly leading a dance of four other figures, the hero playing a lyre, while Ariadne holds the clue.[2285] The colouring scheme is most elaborate, and cannot be detailed here; an occasional use of incised lines may also be noted. A small two-handled cup or kylix,[2286] of a type often found at Naukratis decorated with eyes, was also found in this tomb, and appears to belong to the same class. The clay is similar to that of the hydria, as is the decoration, which however, owing to the flaking off of the black slip, has largely disappeared. Although in its technique it resembles the hydria, the subjects and motives are probably derived from Naukratis. Only a few other examples of this “Polledrara” ware are known: an oinochoë in Berlin,[2287] two vases in the Louvre,[2288] and a vase found at Cervetri, unpublished.[2289] From the contents of the tomb in which the last-named was found, it may fairly be dated early in the sixth century. Mr. Cecil Smith regards the Polledrara hydria as the result of an Italian attempt to imitate the new _bucchero_ technique which was at this time being perfected (see below), the form of the vase being borrowed from an Ionic source.[2290] Ionic influence (see above, p. 296) is visible in more than one respect in this vase, as also in the reliefs decorating the bronze bust from the same tomb. Other details, such as the imitation of metal-work, are rather to be referred to a Corinthian source; and it is worthy of note that two Corinthian vases were among the contents of the tomb. The striving after a gaudy effect by the use of polychrome decoration, and especially the employment of blue, a colour otherwise unknown in vase-painting before the end of the fifth century, finds a parallel in the sixth century poros-sculptures from the Athenian Acropolis, in which even more violent effects of colour are attained, as in the bright blue beard of the Triton. But in this case there seems little doubt that the idea is borrowed from Egypt, with its fondness for brightly decorated mummy-cases and bright blue images of faïence and porcelain. Other details which betray an Egyptian origin are the lions’ masks, the all-pervading lotos-flower, and the seated dog or jackal. The connecting link is no doubt the great trading centre of Naukratis, through whose agency the Egyptian scarabs, porcelain objects, and ostrich eggs found in this tomb also came to Etruria. As a parallel to the Polledrara finds should here be cited the painted terracotta panels from Caere now in the British Museum and Louvre, which are certainly local products, and give a realistic representation of the Etruscan people. They are described below (p. 319). These again, both in subject and style, lead to a comparison with the large Etruscan terracotta sarcophagi, of which the most remarkable is that in the British Museum.[2291] Here, as in the Polledrara bronze bust, the rude native attempts at sculpture in the round are combined with reliefs which successfully reflect the style of Ionic art. Lastly, we note another parallel in the paintings of animals on the walls of a tomb at Veii.[2292] Mr. Cecil Smith sums up: “The Polledrara ware was probably local Italian, made at Caere under the combined influence of Ionian and Naukratite imports, acting on an artistic basis principally derived from Corinth.” Developed _pari passu_ with the red _impasto_ ware (of which a painted example was found in the Vulci tomb), it gradually gave way to the _bucchero_ ware with which we deal in our next section. It only remains to note that similar ware has been found in Rhodes,[2293] where also later wares of a genuine _bucchero_ type, unpainted, have come to light; and these appear to be instances of a counter-importation from Etruria to Asia Minor. The only other piece of pottery from the Polledrara tomb which calls for special comment is one to which reference has just been made, a large _pithos_ of the primitive _impasto_ red ware, made on the wheel (Plate LVI.). It falls into line with the painted and stamped fabrics from Caere already described (p. 292 ff.), and is, like the hydria, painted in polychrome, but the colours are much faded. The subjects are a frieze of animals and a ship. Three other tombs which rival the Polledrara in size and importance are the Regulini-Galassi tomb at Caere,[2294] the Tomba del Duce at Vetulonia,[2295] and the Bernardini tomb at Praeneste.[2296] Although the finds of pottery herein were small, they are yet of great interest for the history of Etruscan art in general, especially as they afford evidence for approximate dating. In the two former Etruscan inscriptions were found. The Caere and Praeneste tombs are probably the earliest, about 650 B.C., and the Del Duce and Polledrara tombs are not later than the end of the seventh century. ------------------------------------------------------ PLATE LVI [Illustration: EARLY ETRUSCAN POTTERY.