In the style of these remains, three distinct eras of art among the Etruscans may be discerned. The first, or ancient style, commences with the earliest notices of the people. It has been confounded with the Egyptian and the Grecian; but the similarity is not greater than characterises the infancy of invention among every people. And though, apart, it might be difficult to discern their national or original elements, considered in connexion with the style of the following era, their distinctive character becomes apparent, of an unfettered imagination, essaying its feeble powers by no systematic, no conventional representation, arising, as in Egypt, from an impulse foreign to art; while, from Greek sculpture of the same age, we clearly distinguish the rudiments of new modes, and certain specialities in the relations between fancy and feeling with nature. The vigorous imagination, the bold forms and general tendency to exaggeration, which may be traced even in its infancy, display in its perfection, during the second epoch, the peculiar characteristics of Etruscan sculpture. In the works of this age, there is strength, and massiveness, and power; but they want delicacy of proportion, discrimination of character, and graceful simplicity. The third epoch embraces that period which beheld the gradual disappearance of the Tuscans as an independent state from the face of Italy. Their political empire was ingulfed in the extending dominion of Rome: the discriminative character of their genius merged in the arts of the colonial Greeks; when, as we have already seen, the schools of Rhegium and Crotona sent forth masters equal, if not superior, to those of Greece. These eras, in date and duration, nearly coincide with as many revolutions in the political history of the nation. Their greatest extent of territory was held but for a short time, being quickly reduced on the south by settlements of the Dorian colonies, and on the north by the Gauls and Ligurians. It was only during their diminished, but secure and admirably constituted empire in Etruria Proper, that their national arts flourished, and their national style was formed. Each of twelve allied, but separately independent capitals, then became a school of art, the friendly rival of her compeers--each exciting the industry, and directing the advance, of the other--each the Athens of ancient Italy. Inflamed by the brutal spirit of mere conquest, the Romans broke in upon this tranquillity; and though, at first, science proved more than a match for force, Etruria, with her free institutions, her elective magistracy, her solemn insignia, fell beneath their rude despotism.