Apart from the literary material and the few surviving fragments of religious law and ritual, there are two other sources of light of which we can now avail ourselves, archaeology and anthropology; but it must be confessed that as yet their illuminating power is somewhat uncertain. It reminds the scrupulous investigator of those early days of the electric light, when its flickering tremulousness made it often painful to read by, and when, too, it might suddenly go out and leave the reader in darkness. It is well to remember that both sciences are young, and have much of the self-confidence of youth; and that Italian archaeology, now fast becoming well organised within Italy, has also to be co-ordinated with the archaeology of the whole Mediterranean basin, before we can expect from it clear and unmistakable answers to hard questions about race and religion. This work, which cannot possibly be done by an individual without _co-operation_--the secret of sound work which the Germans have long ago discovered--is in course of being carried out, so far as is at present possible, by a syndicate of competent investigators.[14] In order to indicate the uncertain nature of the light which for a long time to come is all we can expect from Italian archaeology, I have only to remind you that one of the chief questions we have to ask of it is the relation of the mysterious Etruscan people to the other Italian stocks, in respect of language, religion, and art. Whether the Etruscans were the same people whom the Greeks called Pelasgians, as many investigators now hold: whether the earliest Roman city was in any true sense an Etruscan one: these are questions on the answers to which it is not as yet safe to build further hypotheses. In regard to religion, too, we are still very much in the dark. For example, there are many Etruscan works of art in which Roman deities are portrayed, as is certain from the fact that their names accompany the figures; but it is as yet almost impossible to determine how far we can use these for the interpretation of Roman religious ideas or legends. Many years ago a most attractive hypothesis was raised on the evidence of certain of these works of art, where Hercules and Juno appear together in a manner which strongly suggests that they are meant to represent the male and female principles of human life; this hypothesis was taken up by early writers in the _Mythological Lexicon_, and relying upon them I adopted it in my _Roman Festivals_,[15] and further applied it to the interpretation of an unsolved problem in the fourth _Eclogue_ of Virgil.[16] But since then doubt has been thrown on it by Wissowa, who had formerly accepted it. As being of Etruscan origin, and found in places very distant from each other and from Rome, we have, he says, no good right to use these works of art as evidence for the Roman religion.[17] The question remains open as to these and many other works of art, but the fact that the man of