Although the same rule might be held in a less broad sense to apply to Etruria, it is deserving of more lengthened consideration. When, in 1825, the great discoveries were made at Vulci, the learned world was divided as to the places to which the vases should be credited. Some maintained that they were made in Greece and imported; others, that they were made in Etruria by Greek workmen; others, that they were really Etruscan; others, that they were partly native and partly imported from Greece; and still others, that many of them came from Magna Græcia and Sicily. To reconcile these suppositions, without affecting the eastern origin of Etruscan art, we are reminded that the Pelasgi--the name given to the ancient inhabitants of Greece--founded Agyllos, on the coast of Etruria. Bunsen places the first introduction of art into Etruria at this remote period. We come next to the arrival of Demaratus in Tarquinii, about the year B.C. 655. Demaratus was a wealthy Corinthian, of the family of the Bacchiadæ. On the usurpation by Cypselus of the government of Corinth, Demaratus fled, accompanied by all his family, and, landing in the above named flourishing city, married an Etruscan bride, and by her had a son, Lucumon, who afterward occupied the throne of Rome under the name of Tarquinius Priscus, the fifth king of the Romans and the first of the Tarquins. Demaratus was either accompanied or followed by certain of the artists who had brought celebrity to Corinth for its pottery, and thus the art of Greece, as it was at that period, might have been introduced into Etruria. It must, however, be admitted that the story of Demaratus is not as clear as might be wished, the authorities differing as to his status in Corinth, and as to Lucumon, who is considered by some as having been merely one of his companions. The Tyrrheno-Pelasgians were driven from the sea-coast probably in the sixth century before Christ. We would from these facts be led to expect specimens of ceramic art, firstly, rude and indigenous; secondly, showing signs of the same Oriental origin from which Greece derived its first lessons; and thirdly, examples of pure Greek fabrication mingled with Etruscan imitations. In regard to such a collection as that found at Vulci, it may thus be assumed that there is a modicum of truth in each of the suppositions above referred to. There cannot, in any case, be any reason for calling in question the statement that, in the main, Etruscan ceramic art was of Grecian birth. We are speaking of the productions of 2300 years ago. Etruria was open to the little world surrounding the eastern end of the Mediterranean. Its ships brought enamelled bottles from Egypt, which its citizens set in gold and placed in their tombs. It had maritime connections with Spain, Phœnicia, and perhaps with England, and with the southern ports of the Italian peninsula, and those of Sicily. It imported both potters and