with the little pendent fantasies in gold, which we may see in the Campana collection, is the fragment from which we build Etruria, taking a little help from the time-defying walls, and a hint from the sarcophagus whose mutually embracing effigies of the two made one tell that position given to woman which made Rome what she was after the fraud of Romulus gave to Romans Etruscan wives.
The Etrurians were the gold-workers of all time. Like shawls of Cashmere, Greek statuary, Gothic architecture, and Saracenic tracery, Etruscan gold-work stands absolutely alone,—the result of an artistic instinct deeper than any rules or any instruction, and therefore not to be improved or repeated. It is characterized by the most subtile and lovely use of decorative masses and lines,—not for representation or imitation, which are not motives to enter into pure ornament, but for the highest effect of beautiful form and rich color, without giving the eye or mind any associative or intellectual suggestion. The vice of all modern ornamentation is, that it insists on mixing natural history with decoration. It cannot avoid preaching, as fairy stories now-a-days cannot stop without a moral for good children, and consequently is, like them, stupid and unreal. The best ornamentation is that which is farthest from imitation; and that, in gold-work, is the Etruscan. As we had occasion to say in the preceding pages, the Scarabæus marks the difference between the moralizing Egyptian mind and the beauty-loving Etruscan. And if we might point a moral in an article defiant of morals, it would be in comparing the black, blood-stained history of Egypt with the fair record of the Larthian people. Beauty is its own moral and its own redeemer, and a mind that loves it may be corrupted to decay, but cannot be led into brutality or sunk into obscurity. Of the magnificence of the living people we can scarcely judge, since all we have now is the gorgeous array of those who were robed for the eternal rest. Castellani, in his pamphlet on the antique gold-work (Dell' Oreficeria Antica, Discorso di August Castellani), says: "But the excavations of Etruria which have preserved, what with pictures, apparel, and fabrics, so many of the antique sacerdotal ornaments, add almost nothing to the little we know about the names and uses of them. Micali says that 'the mechanism of the whole Etruscan government was beyond doubt priestly in its institutions.' After such a declaration by one of the most accurate narrators of ancient Italian history, I should scarcely know what to add to convey an idea of the pomp in which the priestly class of Etruria lived and robed itself. We can conjecture that the great poitrel in the Etruscan museum in the Vatican, the two magnificent bridles of the Campana museum, all the collars of extraordinary size and the large bullæ of various forms and dimensions which come from the various collections, and the innumerable vases, pateræ, cups, and goblets of gold, silver, and bronze found in the sepulchres, were all implements, furniture, and ornaments devoted to the service of religion. And such a multitude of objects may give some indication both of the multiplicity of the mysteries and sacred functions, and of the treasures which must have been contained in the antique temples, plundered by the barbarians, and then destroyed by the intolerant zeal of ignorant disciples of a new, triumphant religion."
What the wealth of the favored Etruscan fanes must have been may be conjectured from the fact that Dionysius carried from one on the sea-coast treasures to the amount of $40,000,000.
Of the gold-working, Castellani's restorations and imitations will give us a tolerable idea, so far as workmanship is concerned, though he himself confesses to be unable to equal all its qualities. I translate an interesting passage.
"Having proposed to ourselves, then, to restore as far as we could, and, so to speak, to renew the antique gold-work, we first set ourselves to search
