The Etruscans, or Tyrrhenians, were the ancestors of the Tuscans, and long before the dominion of the Romans they were the preponderating race of all Italy. They occupied not only the whole of the southern slope of the Apennines as far as the Tiber, but had also founded a confederation of twelve towns in the Campagna, of which Capua was the head, and as traders and pirates they held possession of the Tyrrhenian Sea, still named after them. The island of Capri was one of their most advanced outposts towards the south. The Adriatic was likewise their own, for Adria, Bologna (called Felsina by them), Ravenna, and Mantua were Etruscan colonies, and the Rhætians in the Alpine valleys were their allies, and perhaps kinsmen. But who were the Etruscans? They have been classed with Aryans, Ugrians, and Semites; with Greeks, Germans, Scythians, Egyptians, and Turks. The Etruscan inscriptions on ancient monuments, though very legible, have not hitherto been deciphered satisfactorily. If Corssen’s interpretation is accepted, their language resembled the Latin tongues; but this {249} philologist, after all, may not be entitled to be called the “Œdipus of the Etruscan sphinx.” The most common type of the Etruscans, as transmitted to us on cinerary vases, is that of squat men, often inclining to obesity, with broad shoulders, prominent face, curved noses, broad retreating forehead, dark complexion, dolichocephalous skull, and curly hair. This type is neither Hellenic nor Italian. Amongst their monuments there are none of those curious structures known as _nuraghi_, which abound in Malta, Sardinia, and Pantellaria, but dolmens are numerous. The sepulchral monuments, of which many thousands have already been brought to light, prove that the arts had attained a high degree of development in ancient Etruria. The paintings in the interior of the vaults, the bas-reliefs on the sarcophagi, the vases, candelabra, pottery, and bronzes, resemble similar work produced by the genius of Greek artists. The arrangement of their dwelling-houses, though not devoid of originality, proves the intimate connection existing between the civilisations of the Etruscans and early Greeks. It was the Etruscans who initiated Rome into the arts. The _Cloaca Maxima_, the most ancient monument of the Eternal City, the wall named after Servius Tullius, the Mamertine prison, and, in fact, all the remains of the Rome of the kings, were their work. It was they who erected the temples, supplied the statues to deities, built the dwelling-houses, and furnished them with articles of ornament. Even the she-wolf of bronze, now in the Capitoline Museum, and a symbol of the Roman people, appears to be of Etruscan workmanship.