But the Etruscans’ artistic genius shows at the best in their architectural sculpture in painted terracotta, free-standing or in high relief. Their best-known masterpiece in this genre is the Apollo of Veii (Fig. 2.16), designed for the ridgepole of an archaic temple. Discovered in 1916, it is now in the Villa Giulia museum in Rome. The stylized treatment of the ringlets, the almond eyes, the fixed smile are all characteristic of archaic Greek art, and the fine edges of the profile, lips, and eyebrows suggest an original in bronze. But this is no mere copy. It is the work of a great original artist, probably the same Vulca of Veii who was commissioned in the late sixth century B.C. to do the terracottas for the Capitoline temple in Rome. The sculptor is telling the story of the struggle between Apollo and Hercules for the Hind of Ceryneia: the god is shown as he tenses himself to spring upon his opponent; the anatomical knowledge, the expression of mass in motion, and the craftsmanship required to cast a life-size terracotta (a feat which even now presents the greatest technical difficulties) are all alike remarkable. A set of antefixes (used, as we have seen, to cover the ends of half-round roof-tiles), from the archaic temple at Satricum in Latium, in the same museum, are noteworthy for their humor. They represent a series of nymphs pursued by satyrs. The satyrs are clearly not quite sober, and the nymphs are far from reluctant. In a particularly fine piece (Fig. 2.17) the satyr frightens the nymph with a snake which he holds in his left hand, while he slips his right hand over her shoulder to caress her breast. Her gestures are almost certainly not those of a maiden who would repel a man’s advances. [Illustration: FIG. 2.16 Rome, Villa Giulia Museum. Apollo of Veii, terracotta. (MPI)] [Illustration: FIG. 2.17 Rome, Villa Giulia Museum. Terracotta antefix of satyr and nymph, from Satricum. (MPI)] A third Etruscan masterpiece in terracotta, of later date, but still showing the same striking vitality as the two pieces just described, is the pair of winged horses in high relief (Fig. 2.18), first published in 1948, which come probably from the pediment of the temple called the Ara della Regina, on the site of the Etruscan city (as opposed to the necropolis) of Tarquinia, and now in the Tarquinia museum. The proud arching of the horses’ necks, their slim legs, their rippling muscles are rendered to make them the quintessence of the thoroughbred, so that we forget that the delicate wings would scarcely lift their sturdy bodies off the ground. In these three masterpieces art is none the less vibrant for being put at the service of religion. Here is created a new Italic expressionistic style, so admirable that many would hold that Italian art did not reach this level again until the Renaissance. * * * * * [Illustration: FIG. 2.18 Tarquinia, Museum. Winged horses, terracotta relief, from Ara della Regina. (MPI)]