The first class is the most numerous, and contains many beautiful, indeed, for those early ages, wonderful specimens. These are all cast of a compound metal, being of two kinds, either mythological or symbolical in their representations. Of the statues, it is difficult to say whether those in marble be early Greek or Etruscan; the smaller ones in bronze are more authentic, being household divinities, or merely ornaments: of those in the size of nature, scarcely one has escaped suspicion of its true age. One or two exhibit great beauty. Of the ancient relievos found in various parts of Italy, several are admitted to be genuine Etruscan; and here there can be little hesitation, as a series of sepulchral monuments, sarcophagi, and altars, might be arranged and compared throughout the whole period of Italian history. Gem engraving was brought to great perfection at an early period both in Greece and Italy. Of this minute but charming art, probably the oldest specimen now extant represents five of the seven chiefs who fought against Thebes. Of this the design is inartificial, and the workmanship rude; other Etruscan gems, however, or _scarabæi_, from their resemblance to the shape of a beetle, as the Tydeus and Peleus, equal the most exquisite performances in this branch. The most curious and numerous remains belong to the class of engraved bronzes, or pateræ, small vessels used in sacrificing, circular, and, in the single instance of the Etruscan, with a handle. On the bottom, inside, which is perfectly flat, being merely a plate surrounded with a shallow brim, there is usually engraved some mythological subject, of simple design, expressed in few, bold, firm, and deep lines.