holding in each hand a fish; and a man in a biga driving winged horses. These figures might have formed representations concerning the zodiac, namely: the Twins, Sagittarius, Pisces, and the Sun (Phœbus or Horus). The receding forehead of the driver and his manner of holding the whip are types which we constantly meet in Egyptian sculptures and reliefs. About 660 B.C. Eucheir, Diopos, Eugrammos and Demeratos were driven from Korinthum into Etruria, and from that date we note a decided improvement in the artistic productions. The Etruskans began to excel in terra-cotta and bronze works. Their vases, amphoræ, statuettes, cinerary and mystic chests, prove this. Their mystic chests (cistæ mysticæ, corresponding to the quippa-chests of the Mexicans) were made of embossed bronze. The lids were ornamented with mysterious animals, and the legs formed of the claws or paws of mythical brutes. Foliage and Greek frets in good arrangement were also used. Their candelabra are of a superior design. Other works of art, such as ornamented backs and handles for mystic mirrors, in gold, silver, or bronze, are of excellent technical execution. There was, however, too much of the aborigine Turanian element left in the Etruskans. The noble and elevating rhythmus of Greek idealisation is everywhere wanting. Cooking utensils, small pieces of furniture, tables, chairs, and couches, aqueducts and viaducts, and even cloacas, were made and constructed to perfection, but as soon as they attempted the production of human forms, or of higher works in architecture, they did not succeed. The heads of their figures are either too small or too large. The legs are short; the drapery in stiff lines hangs down with rope-like regularity. Animals are much better executed; but the human form, in consequence of a scrupulous and constrained conception, and an exaggerated attention to detail, had a cold, lifeless appearance, void of all spiritual animation. Their imagination was one-sidedly directed by nature and religion to take a gloomy and distorted view of creation, and their products bear this spiritual stamp. In everything they touched we recognise the Egyptian mythology with its stifling breath, and the influence of the volcanic ground on which the Aryans were thrown, amongst a number of superstitious Turanians. The rumbling, fire-spitting Vesuvius and Ætna worked on the brains of the new immigrants. The sudden, devastating bursts of fire and water filled their minds with horror; they were forced to ponder over the instability of human things. The beauty of the Italian sky, the exuberant luxury of the vegetation, heightened in them a feeling of dumb despair. The contrast between life and death was too striking, and filled the souls of the artists with awe and dread, reflected in their artistic compositions.