VOLUME IX, SLICE VIII

Ethiopia to Evangelical Association

ARTICLES IN THIS SLICE:

ETHIOPIA EUONYMUS ETHNOLOGY and ETHNOGRAPHY EUPALINUS ETHYL EUPATORIA ETHYL CHLORIDE EUPATRIDAE ETHYLENE EUPEN ETIENNE, CHARLES GUILLAUME EUPHEMISM ETIQUETTE EUPHONIUM ETNA (volcano) EUPHORBIA ETNA (Pennsylvania, U.S.A.) EUPHORBIACEAE ETON EUPHORBIUM ETRETAT EUPHORBUS ETRURIA EUPHORION ETTENHEIM EUPHRANOR ETTINGSHAUSEN, CONSTANTIN EUPHRATES ETTLINGEN EUPHRONIUS ETTMUeLLER, ERNST MORITZ LUDWIG EUPHROSYNE ETTMUeLLER, MICHAEL EUPHUISM ETTRICK EUPION ETTY, WILLIAM EUPOLIS ETYMOLOGY EUPOMPUS EU EURASIAN EUBOEA EURE EUBULIDES EURE-ET-LOIR EUBULUS (of Anaphlystus) EUREKA EUBULUS (Athenian poet) EUREKA SPRINGS EUCALYPTUS EURIPIDES EUCHARIS EUROCLYDON EUCHARIST EUROPA EUCHRE EUROPE EUCKEN, RUDOLF CHRISTOPH EUROPIUM EUCLASE EURYDICE EUCLID (of Megara) EURYMEDON EUCLID (Greek mathematician) EUSDEN, LAURENCE EUCRATIDES EUSEBIUS (many bishops) EUDAEMONISM EUSEBIUS (bishop of Rome) EUDOCIA AUGUSTA EUSEBIUS (of Caesarea) EUDOCIA MACREMBOLITISSA EUSEBIUS (of Emesa) EUDOXIA LOPUKHINA EUSEBIUS (of Myndus) EUDOXUS (of Cnidus) EUSEBIUS (of Nicomedia) EUDOXUS (of Cyzicus) EUSKIRCHEN EUGENE OF SAVOY EUSTACE EUGENE EUSTATHIUS (of Antioch) EUGENICS EUSTATHIUS (Macrembolites) EUGENIE EUSTATHIUS (of Thessalonica) EUGENIUS EUSTYLE EUGENOL EUTAWVILLE EUHEMERUS EUTHYDEMUS EULENSPIEGEL, TILL EUTIN EULER, LEONHARD EUTROPIUS EUMENES (rulers of Pergamum) EUTYCHES EUMENES (Macedonian general) EUTYCHIANUS EUMENIDES EUTYCHIDES EUMENIUS EUYUK EUMOLPUS EVAGORAS EUNAPIUS EVAGRIUS EUNOMIUS EVANDER EUNUCH EVANGELICAL ALLIANCE EUNUCH FLUTE EVANGELICAL ASSOCIATION

ETHIOPIA, or AETHIOPIA (Gr. [Greek: Aithiopia]), the ancient classical name of a district of north-eastern Africa, bounded on the N. by Egypt and on the E. by the Red Sea.[1] The application of the name has varied considerably at different times. In the Homeric poems the _Aethiopes_ are the furthest of mankind both eastward and westward; the gods go to their banquets and probably the Sun sets in their country. With the growth of scientific geography they came to be located somewhat less vaguely, and indeed their name was employed as the equivalent of the Assyrian and Hebrew Cush (q.v.), the Kesh or Ekosh of the Hieroglyphics (first found in Stele of Senwosri I.), i.e. a country extending from about the 24th to the 10th degree of N. lat., while its limits to the E. and W. were doubtful. The etymology of the name, which to a Greek ear meant "swarthy-faced," is unknown, nor can we say why in official inscriptions of the Axumite dynasty the word is used as the equivalent of Habashat (whence the modern Abyssinia), which, from the context would appear to denote a tribe located in S. Arabia, whose name was rendered by the Greek geographers as _Abaseni_ and _Abissa_.

The inhabitants of Ethiopia, partly perhaps owing to their honourable mention in the Homeric poems, attracted the attention of many Greek researchers, from Democritus onwards. Herodotus divides them into two main groups, a straight-haired race and a woolly-haired race, dwelling respectively to the East and West, and this distinction is confirmed by the Egyptian monuments. From his time onwards various names of tribes are enumerated, and to some extent geographically located, most of these appellations being Greek words, applied to the tribes by strangers in virtue of what seemed to be their leading characteristics, e.g. "Long-lived," "Fish-eaters," "Troglodytes," &c. The bulk of our information is derived from Egyptian monuments, whence it appears that, originally occupied by independent tribes, who were raided (first by Seneferu or Snefru, first king of the IVth or last of the IIIrd Dynasty) and gradually subjected by Egyptian kings (the steps in this process are traced by E.W. Budge, _The Egyptian Sudan_, 1907, i. 505 sqq.), under the XVIIIth Dynasty it became an Egyptian province, administered by a viceroy (at first the Egyptian king's son), called prince of Kesh, and paying tributes in negroes, oxen, gold, ivory, rare beads, hides and household utensils. The inhabitants frequently rebelled and were as often subdued; records of these repeated conquests were set up by the Egyptian kings in the shape of steles and temples; of the latter the temple of Amenhotep (Amenophis) III. at Soleb or Sulb seems to have been the most magnificent. Ethiopia became independent towards the 11th century B.C., when the XXIst Dynasty was reigning in Egypt. A state was founded, having for its capital Napata (mod. _Merawi_) at the foot of Jebel Barkal, "the sacred mountain," which in time became formidable, and in the middle of the 8th century conquered Egypt; an Egyptian campaign is recorded in the famous stele of King Pankhi. The fortunes of the Ethiopian (XXVth) Dynasty belong to the history of Egypt (q.v.). After the Ethiopian yoke had been shaken off by Egypt, about 660 B.C., Ethiopia continued independent, under kings of whom not a few are known from inscriptions. Besides a number whose names have been discovered in cartouches at Jebel Barkal, the following, of whom all but the third have left important steles, can be roughly dated: Tandamane, son of Tirhaka (667-650), Asperta (630-600), Pankharer (600-560), Harsiotf (560-525), Nastasen (525-500). From the evidence of the stele of the second (the Coronation Stele) and that of the fifth it has been inferred that the sovereignty early in this period became elective, a deputation of the various orders in the realm being (as Diodorus states), when a vacancy occurred, sent to Napata, where the chief god Amen selected out of the members of the royal family the person who was to succeed, and who became officially the god's son; and it seems certain that the priestly caste was more influential in Ethiopia than in Egypt both before and after this period. Another stele (called the Stele of Excommunication) records the expulsion of a priestly family guilty of murder (H. Schaefer, _Klio_, vi. 287): the name of the sovereign who expelled them has been obliterated. The stele of Harsiotf contains the record of nine expeditions, in the course of which the king subdued various tribes south of Meroe and built a number of temples. The stele of the last of these sovereigns, now in the Berlin Museum, and edited by H. Schaefer (Leipzig, 1901), contains valuable information concerning the state of the Ethiopian kingdom in its author's time. Shortly after his accession he was threatened with invasion by Cambyses, the Persian conqueror of Egypt, but (according to his own account) destroyed the fleet sent by the invader up the Nile, while (as we learn from Herodotus) the land-force succumbed to famine (see CAMBYSES). It further appears that in his time and that of his immediate predecessors the capital of the kingdom had been removed from Napata, where in the time of Harsiotf the temples and palaces were already in ruins, to Merce at a distance of 60 camel-hours to the south-east. But Napata retained its importance as the religious metropolis; it was thither that the king went to be crowned, and there too the chief god delivered his oracles, which were (it is said) implicitly obeyed. The local names in Nastasen's inscription, describing his royal circuit, are in many cases obscure. A city named Pnups (Hierogl. Pa-Nebes) appears to have constituted the most northerly point in the empire. These Ethiopian kings seem to have made no attempt to reconquer Egypt, though they were often engaged in wars with the wild tribes of the Sudan. For the 5th and 4th centuries B.C. the history of the country is a blank. A fresh epoch was, however, inaugurated by Ergamenes, a contemporary of Ptolemy Philadelphus, who is said to have massacred the priests at Napata, and destroyed sacerdotal influence, till then so great that the king might at the priests' order be compelled to destroy himself; Diodorus attributes this measure to Ergamenes' acquaintance with Greek culture, which he introduced into his country. A temple was built by this king at Pselcis (Dakka) to Thoth. Probably the sovereignty again became hereditary. Occasional notices of Ethiopia occur from this time onwards in Greek and Latin authors, though the special treatises by Agatharchides and others are lost. According to these the country came to be ruled by queens named Candace. One of them was involved in war with the Romans in 24 and 23 B.C.; the land was invaded by C. Petronius, who took the fortress Premis or Ibrim, and sacked the capital (then Napata); the emperor Augustus, however, ordered the evacuation of the country without even demanding tribute. The stretch of land between Assuan (Syene) and Maharraka (Hiera Sycaminus) was, however, regarded as belonging to the Roman empire, and Roman cohorts were stationed at the latter place. To judge by the monuments it is possible that there were queens who reigned alone. Pyramids were erected for queens as well as for kings, and the position of the queens was little inferior to that of their consorts, though, so far as monumental representations go, they always yielded precedence to the latter. Candace appears to be found as the name of a queen for whom a pyramid was built at Meroe. A great builder was Netekamane, who is represented with his queen Amanetari on temples of Egyptian style at many points up the Nile--at Amara just above the second cataract, and at Napata, as well as at Meroe, Benaga and Naga in the distant Isle of Meroe. He belongs, probably, to the Ptolemaic age. Later, in the Roman period, the type in sculpture changed from the Egyptian. The figures are obese, especially the women, and have pronounced negro features, and the royal person is loaded with bulging gold ornaments. Of this period also there is a royal pair, Netekamane and Amanetari, imitating the names of their conspicuous predecessors. In the 4th century A.D. the state of Meroe was ravaged by the Nubas(?) and the Abyssinians, and in the 6th century its place was taken by the Christian state of Nubia (see DONGOLA).

Contrary to the opinion of the Greeks, the Ethiopians appear to have derived their religion and civilization from the Egyptians. The royal inscriptions are written in the hieroglyphic character and the Egyptian language, which, however, in the opinion of experts, steadily deteriorate after the separation of Ethiopia from Egypt. About the time of Ergamenes, or (according to some authorities) before, a vernacular came to be employed in inscriptions, written in a special alphabet of 23 signs in parallel hieroglyphic and cursive forms. The cursive is to be read from right to left, the hieroglyphic, contrary to the Egyptian method, in the direction in which the figures face. The Egyptian equivalents of six characters have been made out by the aid of bilingual cartouches. Words are divided from each other by pairs of dots, and it is clear that the forms and values of the signs are largely based on Egyptian writing; but as yet decipherment has not been attained, nor can it yet be stated to what group the language should be assigned (F. Ll. Griffith in D.R. MacIver's _Areika_, Oxford, 1909, and later researches).

Notices in Greek authors are collected by P. Paulitschke, _Die geographische Erforschung des afrikanischen Continents_ (Vienna, 1880); the inscriptions were edited and interpreted by G. Maspero, _Revue archeol_. xxii., xxv.; _Melanges d'Assyriologie et d'Egyptologie_, ii., iii.; _Records of the Past_, vi.; T.S.B.A. iv.; Schaefer, l.c., and _Zeitschrift fuer aegyptische Sprache_, xxxiii. See also J.H. Breasted, "The Monuments of Sudanese Nubia," in _American Journal of Semitic Languages_ (October 1908), and the work of E.W. Budge cited above. A description of the chief ruins and the results of Dr D.R. MacIver's researches in northern Nubia, begun in 1907, will be found under SUDAN: _Anglo-Egyptian_.

_The Axumite Kingdom_.--About the 1st century of the Christian era a new kingdom grew up at Axum (q.v.), of which a king Zoscales is mentioned in the _Periplus Maris Erythraei_. Fragments of the history of this kingdom, of which there is no authentic chronicle, have been made out chiefly by the aid of inscriptions, of which the following is a list:--(1) Greek inscription of Adulis, copied by Cosmas Indicopleustes in 545, the beginning, with the king's name, lost. (2) Sabaean inscription of Ela Amida in two halves, discovered by J. Theodore Bent at Axum in 1893, and completed by E. Littmann in 1906. (3) Ethiopic inscription probably of the same king, imperfect (Littmann). (4) Trilingual inscription of Aeizanes, the Greek version discovered by Henry Salt in 1805, the Sabaean by Bent, and the Ethiopic (Geez) by Littmann. (5) Ethiopic inscription of Aeizanes (so Littmann), son of Ela Amida, discovered by Eduard Rueppell in 1833. (6) Ethiopic inscriptions of Hetana-Dan'el, son of Dabra Efrem. These are all long inscriptions giving details of wars, &c. The sixth is later than the rest, which are to be attributed to the most flourishing period of the kingdom, the 4th and 5th centuries A.D. The fourth is pagan, the fifth Christian, Aeizanes having in the interval embraced Christianity. It was to this king that the emperor Constantius addressed a letter in 356 A.D.

Aeizanes and his successors style themselves kings of the Axumites, Homerites (Himyar), Raidan, the Ethiopians (Habasat), the Sabaeans, Silee, Tiamo, the Bugaites (Bega) and Kasu. This style implies considerable conquests in South Arabia, which, however, must have been lost to the Axumites by A.D. 378. They claim to rule the Kasu or Meroitic Ethiopians; and the fifth inscription records an expedition along the Atbara and the Nile to punish the Nuba and Kasu, and a fragment of a Greek inscription from Meroe was recognized by Sayce as commemorating a king of Axum. Except for these inscriptions Axumite history is a blank until in the 6th century we find the Axumite king sending an expedition to wreck the Jewish state then existing in S. Arabia, and reducing that country to a state of vassalage: the king is styled in Ethiopian chronicles Caleb (Kaleb), in Greek and Arabic documents El-Esbaha. In the 7th century a successor to this king, named Abraha or Abraham, gave refuge to the persecuted followers of Mahomet at the beginning of his career (see ARABIA: _History, ad init_.). A few more names of kings occur on coins, which were struck in Greek characters till about A.D. 700, after which time that language seems definitely to have been displaced in favour of Ethiopic or Geez: the condition of the script and the coins renders them all difficult to identify with the names preserved in the native lists, which are too fanciful and mutually contradictory to furnish of themselves even a vestige of history. For the period between the rise of Islam and the beginning of the modern history of Abyssinia there are a few notices in Arabic writers; so we have a notice of a war between Ethiopia and Nubia about 687 (C.C. Rossini in _Giorn. Soc. Asiat. Ital_. x. 141), and of a letter to George king of Nubia from the king of Abyssinia some time between 978 and 1003, when a Jewish queen Judith was oppressing the Christian population (I. Guidi, _ibid_. iii. 176, 7).

The Abyssinian chronicles, it may be noted, attribute the foundation of the kingdom to Menelek (or Ibn el-Hakim), son of Solomon and the queen of Sheba. The Axumite or Menelek dynasty was driven from northern Abyssinia by Judith, but soon after another Christian dynasty, that of the Zagues, obtained power. In 1268 the reigning prince abdicated in favour of Yekuno Amlak. king of Shoa, a descendant of the monarch overthrown by Judith (see ABYSSINIA).

See A. Dillman, _Die Anfaenge des axumitischen Reiches_ (Berlin, 1879); E. Drouin, _Revue archeol_. xliv. (1882); T. Mommsen, _Geschichte der roemischen Provinzen_, chap. xiii.; W. Dittenberger, _Orientis Graeci Inscriptiones selectae_, Nos. 199, 200; Littmann u. Kroncker, _Vorbericht der deutschen Aksum-Expedition_ (Berlin, 1906), and Littman's subsequent researches.

ETHIOPIC LITERATURE

The employment of the Geez or Ethiopic language for literary purposes appears to have begun no long time before the introduction of Christianity into Abyssinia, and its pagan period is represented by two Axumite inscriptions (published by D.H. Mueller in J.T. Bent's _Sacred City of the Ethiopians_, 1893), and an inscription at Matara (published by C.C. Rossini, _Rendiconti Accad. Lincei_, 1896). As a literary language it survived its use as a vernacular, but it is unknown at what time it ceased to be the latter. In Sir W. Cornwallis Harris's _Highlands of Aethiopia_ (1844) there is a list of rather more than 100 works extant in Ethiopic; subsequent research has chiefly brought to light fresh copies of the same works, but it has contributed some fresh titles. A conspectus of all the MSS. known to exist in Europe (over 1200 in number) was published by C.C. Rossini in 1899 (_Rendiconti Accad. Lincei_, ser. v. vol. viii.); of these the largest collection is that in the British Museum, but others of various sizes are to be found in the chief libraries of Europe. R.E. Littmann (in the _Zeitschrift fuer Assyriologie_, xv. and xvi.) describes two collections at Jerusalem, one of which contains 283 MSS.; and Rossini (Rendiconti, 1904) a collection of 35 MSS. belonging to the Catholic mission at Cheren. Other collections exist in Abyssinia, and many MSS. are in private hands. In 1893 besides portions of the Bible some 40 Ethiopic books had been printed in Europe (enumerated in L. Goldschmidt's _Bibliotheca Aethiopica_), but many more have since been published.

Geez literature is ordinarily divided into two periods, of which the first dates from the establishment of Christianity in the 5th century, and ends somewhere in the 7th; the second from the re-establishment of the Salomonic dynasty in 1268, continuing to the present time. It consists chiefly of translations, made in the first period from Greek, in the second from Arabic. It has no authors of the first or even of the second rank. Its character as a sacred and literary language is due to its translation of the Bible, which in the ordinary enumeration is made to contain 81 books, 46 of the Old Testament, and 35 of the New. These figures are most probably obtained by adding to the ordinary canonical books _Maccabees, Tobit, Judith, Wisdom, Ecclesiasticus, Baruch, Jubilees, Enoch_, the _Ascension of Isaiah, Ezra IV., Shepherd of Hermas, the Synodos_ (Canons of the Apostles), the _Book of Adam_, and _Joseph Ben Gorion_. For the distinction between canonical and apocryphal appears to be unknown to the Ethiopic Church, whose chief service to Biblical literature consists in its preservation of various apocryphal works which other parts of Christendom have lost or possess only in an imperfect form (see ENOCH; JUBILEES, BOOK OF, &c.). It should be observed that the _Maccabees_ of the Ethiopic Bible is an entirely different work from the books of that name included in the Septuagint, of which, however, the Abyssinians have a recent version made from the Vulgate; specimens of their own _Maccabees_ have been published by J. Horovitz in the _Zeitschrift fuer Assyriologie_, vol. xx. The MSS. of the Biblical books vary very much, and none of them can claim any great antiquity; the oldest extant MS. of the four Books of Kings appears to be one in the Museo Borgiano, presented by King Amda Sion (1314) to the Virgin Mary in Jerusalem (described by N. Roupp, _ibid._ xvi. 296-342). Hence P. de Lagarde supposed the Ethiopic version to have been made from the Arabic, which indeed is in accordance with a native tradition. This opinion is held by few; C.F.A. Dillman distinguished in the case of the Old Testament three classes of MSS., a _versio antiqua_, made from the Septuagint (probably in the Hesychian text), a class revised from Greek MSS., and a class revised from the Hebrew (probably through the medium of an Arabic version). An examination of ten chapters of St Matthew by L. Hackspill (ibid. vol. xi.) led to the result that the Ethiopic version of the Gospels was made about A.D. 500, from a Syro-occidental text, and that this original translation is represented by Cod. Paris. Aeth. 32; whereas most MSS. and all printed editions contain a text influenced by the Alexandrian Vulgate, and show traces of Arabic. Rossini (_ibid._ x. 232) has made it probable that the Abba Salama, whom the native tradition identifies with Frumentius, evangelist of Abyssinia, to whom the translation of the Bible was ascribed, was in reality a Metropolitan of the early 14th century, who revised the corrupt text then current. Of the ancient translation the latest book is said to be Ecclesiasticus, translated in the year 678. The New Testament has been published repeatedly (first in Rome, 1548-1549; some letters about its publication were edited by I. Guidi in the _Archivio della Soc. Rom. di Storia Patria_, 1886), and C.F.A. Dillmann edited a critical text of most of the Old Testament and Apocrypha, but did not live to complete it; portions have been edited by J. Bachmann and others.

Other translations thought to belong to the first period are the _Sher'ata Makhbar_, ascribed to S. Pachomius; the _Kerilos_, a collection of homilies and tracts, beginning with Cyril of Alexandria _De recta fide_; and the _Physiologus_, a fanciful work on Natural History (edited by F. Hommel, Leipzig, 1877).

Of the works belonging to the second period much the most important are those which deal with Abyssinian history. A court official, called _sahafe te'ezazenet_ (secretary), having under him a staff of scribes, was employed to draw up the public annals year by year; and on these official compositions the Abyssinian histories are based. The earliest part of the Axum chronicle preserved is that recording the wars of Amda Sion (1314-1344) against the Moslems; it is doubtful, however, whether even this exists in its original form, as some scholars think; according to its editor (J. Perruchon in the _Journ. Asiat._ for 1889) it is preserved in a recension of the time of King Zar'a Ya'kub. Under King Lebna Dengel (1508-1540) the annals of his four predecessors, Zar'a Ya'kub, Baeda Maryam, Eskender and Na'od (1434-1508) were drawn up; those of the first two were published by J. Perruchon (Paris, 1893); in the _Journ. Asiat._ for 1894 the same scholar published a further fragment of the history of Baeda Maryam, written by the tutor to the king's children, and the history of Eskender, Amda Sion II. and Na'od as compiled in Lebna Dengel's time. The history of Lebna Dengel was published by the same scholar (_Journ. Semit._ i. 274) and Rossini (_Rendiconti_, 1894, v. p. 617); that of his successor Claudius (1540-1559) by Conzelmann (Paris, 1895); that of his successor Minas (1559-1563) by F.M.E. Pereira (Lisbon, 1888); those of the three following kings, Sharsa Dengel, Za Dengel, and Ya'kub, by Rossini (_Rendiconti_, 1893). The history of the next king Sysenius (1606-1632) by Abba Meherka Dengel and Tekla Shelase was edited by Pereira (Lisbon, 1892); the chronicles of Joannes I., Iyasu I. and Bakaffa (1682-1730) by I. Guidi, with a French translation (Paris, 1903-1905); all are contemporary, and the names of the chroniclers of the last two kings are recorded. Besides these we have the partly fabulous chronicle of Lalibela (of uncertain date, but before the Salomonian dynasty was restored), edited by Perruchon (Paris, 1892); and a brief chronicle of Abyssinia, drawn up in the reign of Iyasu II. (1729-1753), embodying materials abridged, but often unaltered, was published by R. Basset, in the _Journ. Asiat._ for 1882 (cf. Rossini in the _Rendiconti_, 1893-1894, p. 668), and has since formed the basis for Abyssinian history. Many compilations of the sort exist in MS. in libraries, and great praise is bestowed on the one which E. Rueppell, when travelling in Abyssinia, ordered to be drawn up for his use. It is now in the collection of his MSS. at Frankfurt. Ethiopic scholars speak of a special "historical style" which comes from the mixture of the styles of different periods, and the admixture of Amharic phrases and idioms. The historian of the wars of Amda Sion is credited with some literary merit; most of the chroniclers have little.

The remaining literature of the second period is thought to begin somewhat earlier than these chronicles. To the time of King Yekuno Amlak (1268-1283) the historical romance called _Kebra Nagaset_ (Glory of Kings) is assigned by its editor, C. Bezold (Bavarian Academy, 1904); other scholars gave it a somewhat later date. Its purpose is to glorify the Salomonian dynasty, whence, in spite of a colophon which declares it to be a translation, it was regarded as an original work; since, however, it shows evident signs of having been translated from Arabic, Bezold supposes that its author, Ishak, was an immigrant whose native language was Arabic, in which therefore he would naturally write the first draft of his book. To the time of Yagbea Sion (ob. 1294) belongs the _Vision of the Prophet Habakkuk in Kartasa_, as also the works of Abba Salama, regarded as the founder of the Ethiopic renaissance, one of whose sermons is preserved in a Cheren MS. With his name are connected the _Acts of the Passion_, the _Service for the Dead_ and the translation of Philexius, i.e. Philoxenus. King Zar'a Ya'kub composed or had composed for him as many as seven books; the most important of these is the _Book of Light_ (Mashafa Berhan), paraphrased as _Kirchenordnung_, by Dillmann, who gave an analysis of its contents (_Ueber die Regierung des Koenigs Zar'a Ya'kob_, Berl. Acad., 1884). He also organized the compilation of the Miracles of the Virgin Mary, one of the most popular of Ethiopic books; a magnificent edition was printed by E.W. Budge in the Meux collection (London, 1900). In the same reign the Arabic chronicle of al-Makin was translated into Geez. Under Lebna Dengel (ob. 1540), besides the above-mentioned collection of chronicles, we hear of the translation from the Arabic of the history and martyrdom of St George, the Commentary of J. Chrysostom on the Epistle to the Hebrews, and the ascetic works of J. Saba called _Aragawi manfasawi._ Under Claudius (1540-1559) Maba Sion is said to have translated from the Arabic _The Faith of the Fathers_, a vast compilation, including the _Didascalia Apostalorum_ (edited by Platt, London, 1834), and the _Creed of Jacob Baradaeus_ (published by Cornill, _ZDMG_. xxx. 417-466), and to the same reign belong the _Book of Extreme Unction (Mashafa Kandil_), and the religious romance _Barlaam et Joasaph_ also paraphrased from the Arabic (partly edited by A. Zotenberg in _Notices et Extraits_, vol. xxviii.). _The Confession of Faith_ of King Claudius has been repeatedly printed. The reign of Sharsa Dengel (ob. 1595) was marked by many literary monuments, such as the religious and controversial compilation called _Mazmura Chrestos_, and the translation, by a certain Salik, of the religious encyclopaedia (Mashafa Haia) of the monk Nikon; an Arab merchant from Yemen, who took on conversion the name Anbakom (Habakkuk), translated a number of books from the Arabic. Under Ya'kub (ob. 1605) the valuable chronicle of John of Nikiou was translated from Arabic (edited by A. Zotenberg with French translation in _Notices et extraits_, vol. xxiv.). Under John, about 1687, the _Spiritual Medicine_ of Michael, bishop of Adtrib and Malig, was translated. The literature that is not accurately dated consists largely of liturgies, prayers and hymns; Ethiopic poetry is chiefly, if not entirely, represented by the last of these, the most popular work of the kind being an ode in praise of the Virgin, called _Weddase Maryam_ (edited by K. Fries, Leipzig, 1892). Various hymn-books bear the names _Degua, Zemmare_ and _Mawas'et_ (Antiphones); there is also a biblical history in verse called _Mashafa Madbal_ or _Mestira Zaman_. Homilies also exist in large numbers, both original and translated, sometimes after the Arabic fashion in rhymed prose. Hagiology is naturally an important department in Ethiopic literature. In the great collection called _Synaxar_ (translated originally from Arabic, but with large additions) for each day of the year there is the history of one or more saints; an attempt has been made by H. Duensing (1900) to derive some actual history from it. Many texts containing lives of individual saints have been issued. Such are those of Maba Sion and Gabra Chrestos, edited by Budge in the Meux collection (London, 1899); the Acts of S. Mercurius, of which a fragment was edited by Rossini (Rome, 1904); the unique MS. of the original, one of the most extensive works in the Geez language, was burned by thieves who set fire to the editor's house. The same scholar began a series of _Vitae Sanctorum antiquiorum_, while _Monumenta Aethiopiae hagiologica_ and _Vitae Sanctorum indigenarum_ have been edited by B. Turaiev (Leipzig and St Petersburg, 1902, and Rome, 1905). Other lives have been edited by Pereira, Guidi, &c. Similar in historical value to these works is the _History of the Exploits of Alexander_, of which various recensions have been edited by Budge (London, 1895). See further ALEXANDER THE GREAT, section on the legends, ad fin.

Of Law the most important monument is the _Fatha Nagaset_ (Judgment of Kings), of which an official edition was issued by I. Guidi (Rome, 1899), with an Italian translation; it is a version probably made in the early 16th century of the Arabic code of Ibn 'Assal, of the 12th century, whose work, being meant for Christians living under Moslem rule, was not altogether suitable for an independent Christian kingdom; yet the need for such a code made it popular and authoritative in Abyssinia. The translator was not quite equal to his task, and the Brit. Mus. MS. 800 exhibits an attempt to correct it from the original.

Science can scarcely be said to exist in Geez literature, unless a medical treatise, of which the British Museum possesses a copy, comes under this head. Philosophy is mainly represented by mystical commentaries on Scripture, such as the _Book of the Mystery of Heaven and Earth_, by Ba-Hailu Michael, probably of the 15th century, edited by Perruchon and Guidi (Paris, 1903). There is, however, a translation of the Book of the Wise Philosophers, made by Michael, son of Abba Michael, consisting of various aphorisms; specimens have been edited by Dillmann in his Chrestomathy, and J. Cornill (Leipzig, 1876). There is also a translation of _Secundus the Silent_, edited by Bachmann (Berlin, 1888). Far more interesting than these is the treatise of Zar'a Ya'kub of Axum, composed in the year 1660 (edited by Littman, 1904), which contains an endeavour to evolve rules of life according to nature. The author reviews the codes of Moses, the Gospel and the Koran, and decides that all contravene the obvious intentions of the Creator. He also gives some details of his own life and his occupation of scribe. A less original treatise by Walda Haywat accompanies it. Epistolography is represented by the diplomatic correspondence of some of the kings with the Portuguese and Spanish courts; some documents of this sort have been edited by C. Beccari, _Documenti inediti per la storia d' Etiopia_ (Rome, 1903); lexicography, by the vocabulary called _Sawasew_. The first Ethiopic book printed was the Psalter (Rome, 1513), by John Potken of Cologne, the first European who studied the language.

See C.C. Rossini, "Note per la storia letteraria Abissina," in _Rendiconti della R. Accad. dei Lincei_ (1899); Fumagalli, _Bibliografia Etiopica_ (1893); Basset, _Etudes sur l'histoire de l'Ethiopie_ (1882); Catalogues of various libraries, especially British Museum (Wright), Paris (Zotenberg), Oxford and Berlin (Dillmann), Frankfurt (Goldschmidt). Plates illustrating Ethiopic palaeography are to be found in Wright's Catalogue; an account of the illustrations in Ethiopic MSS. is given by Budge in his _Life of Maba Sion_; and a collection of inscriptions in the church of St Stefano dei Mori, in Rome, by Gallina in the _Archivio della Soc. Rom. di Storia Patria_ (1888). (D. S. M.*)

FOOTNOTE:

[1] For the topography and later history see SUDAN and ABYSSINIA.

ETHNOLOGY and ETHNOGRAPHY (from the Gr. [Greek: ethnos], race, and [Greek: logos], science, or [Greek: graphein], to write), sciences which in their narrowest sense deal respectively with man as a racial unit (_mankind_), i.e. his development through the family and tribal stages into national life, and with the distribution over the earth of the races and nations thus formed. Though the etymology of the words permits in theory of this line of division between ethnology and ethnography, in practice they form an indivisible study of man's progress from the point at which anthropology (q.v.) leaves him.

Ethnology is thus the general name for investigations of the widest character, including subjects which in this encyclopaedia are dealt with in detail under separate headings, such as ARCHAEOLOGY, ART (and allied articles), COMMERCE, GEOGRAPHY (and the headings for countries and tribes), FAMILY, NAME, ETHICS, LAW, MYTHOLOGY, FOLK-LORE (and allied articles), PHILOLOGY (and allied articles), AGRICULTURE, ARCHITECTURE, RELIGION, SOCIOLOGY, &c., &c. It covers generally the whole history of the material and intellectual development of man, as it has passed through the stages of (a) hunting and fishing, (b) sheep and cattle tending, (c) agriculture, (d) industry. It investigates his food, his weapons, tools and implements, his housing, his social, economic and commercial organization, forms of government, language, art, literature, morals, superstitions and religious systems. In this sense ethnology is the older term for what now is called sociology. At the present day the progress of research has in practice, however, restricted the "ethnologist" as a rule to the study of one or more branches only of so wide a subject, and the word "ethnology" is used with a somewhat vague meaning for any ethnological study; each country or nation has thus its own separate ethnology. It becomes more convenient, therefore, to deal with the ethnology as a special subject in each case. "Ethnography," in so far as it has a distinctive province, is then conveniently restricted to the scientific mapping out of different racial regions, nations and tribes; and it is only necessary here to refer the reader to the separate articles on continents, &c., where this is done. The only fundamental problem which need here be referred to is that of the whole question of the division of mankind into separate races at all, which is consequential on the earlier problem (dealt with in the article ANTHROPOLOGY) as to man's origin and antiquity.

If we assume that man existed on the earth in remote geological time, the question arises, was this pleistocene man specifically one? What evidence is there that he represented in his different habitats a series of varieties of one species rather than a series of species? The evidence is of three kinds, (1) anatomical, (2) physiological, (3) cultural and psychical.

1. Dr Robert Munro, in his address to the Anthropological section of the British Association in 1893, said: "All the osseous remains of man which have hitherto been collected and examined point to the fact that, during the larger portion of the quarternary period, if not, indeed, from its very commencement, he had already acquired his human characteristics." By "characteristics" is here meant those anatomical ones which distinguish man from other animals, not the physical criteria of the various races. Do, then, these anatomical characteristics of pleistocene man show such differences among themselves and between them and the types of man existing to-day as to justify the assumption that there has ever been more than one species of man?

The undoubted "osseous remains" of pleistocene man are few. Burial was not practised, and the few bones found are for the most part those which have by mere chance been preserved in caves or rock-shelters. Of these the three chief "finds," in order of probable age, are the Trinil (Java) brain-cap, the lowest human skull yet described, characterized by depressed cranial arch, with a cephalic index of 70; the Neanderthal (Germany) skull, remarkable for its flat retreating curve with an index of 73-76; and the two nearly perfect skeletons found at Spy (Belgium), the skulls of which exhibit enormous brow ridges with cranial indices of 70 and 75. All these skulls, taken in conjunction with other well-authenticated human remains such as those found at La Naulette (Belgium), Shipka (Balkan Peninsula), Olmo (Italy), Predmert (Bohemia) and in Argentina and Brazil, make it possible to reconstruct anatomically the varying types of pleistocene man, and to establish the fact that in essential features the same primitive type has persisted through all time. The skeleton bones show differences so slight as to admit of pathological or other explanation. What Professor Kollmann says of man to-day was true in the remotest ages. Referring to Cuvier's statement that from a single bone it is possible to determine the very species to which an animal belongs, he says, "Precisely on this ground I have mainly concluded that the existence of several human species cannot be recognized, for we are unacquainted with a single tribe from a single bone of which we might with certainty determine to what species it belonged." Such differences as the bones exhibit are progressive modifications towards the higher neolithic and modern types, and are in themselves entirely incapable of supporting the theory that the owner of the Trinil skull, say, and the "man of Spy" belonged to separate species. All these "osseous remains" belong to the palaeolithic period, and from the cranial indices it is thus clear that palaeolithic man was long-headed. Neolithic man is, speaking generally, round-headed, and it has been urged that round-headedness is entirely synchronous with the neolithic age, and that the long-headed palaeolithic species of mankind gave place all at once to the round-headed neolithic species. The point thus raised involves the physiological as well as, indeed more than, the anatomical proofs of man's specific unity.

2. All physiologists agree that species cannot breed with species. Darwin himself laid it down as a fundamental principle. If then the palaeolithic and neolithic types represented separate species, they would be found to remain distinct through all time. This is not the case. There is evidence that extreme dolichocephaly continued into neolithic times, and was only slowly modified into brachycephaly. In the neolithic caves of Italy, Austria, Belgium, and the barrows of Great Britain, skulls of all types are found. The later cave-dwellers and early dolmen builders of Europe were at first long-headed, then of medium type, and finally in some places exclusively round-headed. In England the round-heads appear to be synchronous with the metal age, as shown by the contents of the barrows, and, as on the continental mainland, the two types gradually blended. Permanent fertility between them in prehistoric Europe is thus proved. And this is the case throughout the habitable globe. An examination of the osseous remains of American man supports the view that the human species has not varied since quaternary times. The palaeolithic type is to be found among modern European populations. Certain skulls from South Australia seem cast in almost the same mould as the Neanderthal. After thousands of years nearly pure descendants of quaternary man are found among living races. And man's mutual fertility in prehistoric is repeated throughout historic times: strict racial purity is almost unknown. Thus the unity of the species man is proved by the test of fertility.

3. The works of early man everywhere present the most startling resemblance. The palaeolithic implements all over the globe are all of one pattern. "The implements in distant lands," writes Sir J. Evans, "are so identical in form and character with the British specimens that they might have been manufactured by the same hands.... On the banks of the Nile, many hundreds of feet above its present level, implements of the European types have been discovered; while in Somaliland, in an ancient river-valley at a great elevation above the sea, Sir H.W. Seton-Karr has collected a large number of implements formed of flint and quartzite, which, judging from their form and character, might have been dug out of the drift-deposits of the Somme and the Seine, the Thames or the ancient Solent." This identity in the earliest arts is repeated in the later stages of man's culture; his arts and crafts, his manners and customs, exhibit a similarity so close as to compel the presumption that all the races are but divisions of one family. But perhaps the greatest psychical proof of man's specific unity is his common possession of language. Theodore Waitz writes: "Inasmuch as the possession of a language of regular grammatical structure forms a fixed barrier between man and brute, it establishes at the same time a near relationship between all people in psychical respects.... In the presence of this common feature of the human mind, all other differences lose their import" (_Anthropology_, p. 273). As Dr J.C. Prichard urged, "the same inward and mental nature is to be recognized in all races of men. When we compare this fact with the observations, fully established, as to the specific instincts and separate psychical endowments of all the distinct tribes of sentient beings in the Universe we are entitled to draw confidently the conclusion that all human races are of one species and one family." It has been argued that stock languages imply stock races, but this assumption is untenable. There are some fifty irreducible stock languages in the United States and Canada, yet, taking into consideration the physical and moral homogeneity of the American Indian races, he would be a reckless theorist who held that there were therefore fifty separate human species. If it were so, how have they descended? There are no anthropoid apes in America, none of the ape family higher than the Cebidae, from which it is impossible to trace men. Again, in Australia there is certainly one stock language, yet there are not even Cebidae. In Caucasia, there are many distinct forms of speech, yet all the peoples belong to the Caucasic division of mankind.

Man, then, may be regarded as specifically one, and thus he must have had an original cradle-land, whence the peopling of the earth was brought about by migration. The evidence tends to prove that the world was peopled by a generalized proto-human form. Each division of mankind would thus have had its pleistocene ancestors, and would have become differentiated into races by the influence of climatic and other surroundings. As to the man's cradle-land there have been many theories, but the weight of evidence is in favour of Indo-Malaysia.

Of all animals man's range alone coincides with that of the habitable globe, and the real difficulty of the "cradle-land" theory lay in explaining how the human race spread to every land. This problem has been met by geology, which proves that the earth's surface has undergone great changes since man's appearance, and that continents, long since submerged, once existed, making a complete land communication from Indo-Malaysia. The evidence for the Indo-African continent has been summed up by R.D. Oldham,[1] and proofs no less cogent are available of the former existence of an Eurafrican continent, while the extension of Australia in the direction of New Guinea is more than probable. Thus the ancestor of man was free to move in all directions over the eastern hemisphere. The western hemisphere was more than probably connected with Europe and Asia, in Tertiary times, by a continent, the existence of which is evidenced by a submarine bank stretching from Scotland through the Faeroes and Iceland to Greenland, and on the other side by continuous land at what is now the Behring Straits.

Acclimatization has been urged as an argument against the cradle-land theory, but the peopling of the globe took place in inter-Glacial if not pre-Glacial ages, when the climate was much milder everywhere, and thus pleistocene man met no climatic difficulties in his migrations.

Probably before the close of Palaeolithic times all the primary divisions of man were specialized in their several habitats by the influence of their surroundings. The profound effect of climate is seen in the relative culture of races. Thus, tropical countries are inhabited by savage or semi-savage peoples, while the higher races are confined to temperate zones. The primary divisions of mankind, Ethiopic, Mongolic, Caucasic, were certainly differentiated in neolithic times, and these criteria had almost certainly occurred not consecutively in one area but simultaneously in several areas. A Negro was not metamorphosed into a Mongol, nor the latter into a White, but the several semi-simian precursors under varying environments developed into generalized Negro, generalized Mongol, generalized Caucasian.

Taking, then, these three primary divisions as those into which it is most reasonable broadly to divide mankind they may be analysed as to their racial constituents and their habitats as follows:--

1. Caucasic or White Man is best divided, following Huxley, into (a) Xanthochroi or "fair whites" and (b) Melanochroi or "dark whites." (a) The first--tall, with almost colourless skin, blue or grey eyes, hair from straw colour to chestnut, and skulls varying as to proportionate width--are the prevalent inhabitants of Northern Europe, and the type may be traced into North Africa and eastward as far as India. On the south and west it mixes with that of the Melanochroi and on the north and east with that of the Mongoloids. (b) The "dark whites" differ from the fair whites in the darkening of the complexion to brownish and olive, and of the eyes and hair to black, while the stature is somewhat lower and the frame lighter. To this division belong a large part of those classed as Celts, and of the populations of Southern Europe, such as Spaniards, Greeks and Arabs, extending as far as India, while endless intermediate grades between the two white types testify to ages of intermingling. Besides these two main types, the Caucasic division of mankind has been held with much reason to include such aberrant types as the brown Polynesian races of the Eastern Pacific, Samoans, Hawaiians, Maoris, &c., the proto-Malay peoples of the Eastern archipelago, sometimes termed Indonesians, represented by the Dyaks of Borneo and the Battaks of Sumatra, the Todas of India and the Ainus of Japan.

2. Mongolic or Yellow Man prevails over the vast area lying east of a line drawn from Lapland to Siam. His physical characteristics are a short squat body, a yellowish-brown or coppery complexion, hair lank, straight and black, flat small nose, broad skull, usually without prominent brow-ridges, and black oblique eyes. Of the typical Mongolic races the chief are the Chinese, Tibetans, Burmese, Siamese; the Finnic group of races occupying Northern Europe, such as Finns, Lapps, Samoyedes and Ostyaks, and the Arctic Asiatic group represented by the Chukchis and Kamchadales; the Tunguses, Gilyaks and Golds north of, and the Mongols proper west of, Manchuria; the pure Turkic peoples and the Japanese and Koreans. Less typical, but with the Mongolic elements so predominant as to warrant inclusion, are the Malay peoples of the Eastern archipelago. Lastly, though differentiated in many ways from the true Mongol, the American races from the Eskimo to the Fuegians must be reckoned in the Yellow division of mankind.

3. Negroid or Black Man is primarily represented by the Negro of Africa between the Sahara and the Cape district, including Madagascar. The skin varies from dark brown to brown-black, with eyes of the same colour, and hair usually black and always crisp or woolly. The skull is narrow, with orbital ridges not prominent, the jaws protrude, the nose is flat and broad, and the lips thick and everted. Two important families are classed in this division; some authorities hold, as special modifications of the typical Negro to-day, others as actually nearer the true generalized Negroid type of neolithic times. First are the Bushman of South Africa, diminutive in stature and of a yellowish-brown colour: the neighbouring Hottentot is believed to be the result of crossing between the Bushman and the true Negro. Second are the large Negrito family, represented in Africa by the dwarf races of the equatorial forests, the Akkas, Batwas, Wochuas and others, and beyond Africa by the Andaman Islanders, the Aetas of the Philippines, and probably the Senangs and other aboriginal tribes of the Malay Peninsula. The Negroid type seems to have been the earliest predominant in the South Sea islands, but it is impossible to say certainly whether it is itself derived from the Negrito, or the latter is a modification of it, as has been suggested above. In Melanesia, the Papuans of New Guinea, of New Caledonia, and other islands, represent a more or less Negroid type, as did the now extinct Tasmanians.

Excluded from this survey of the grouping of Man are the aborigines of Australia, whose ethnical affinities are much disputed. Probably they are to be reckoned as Dravidians, a very remote blend of Caucasic and Negro man. For a detailed discussion of the branches of these three main divisions of Man the reader must refer to articles under race headings, and to NEGRO; NEGRITOS; MONGOLS; MALAYS; INDIANS, NORTH AMERICAN; AUSTRALIA; AFRICA; &c., &c.

BIBLIOGRAPHY.--J.C. Prichard, _Natural History of Man_ (London, 1843), _Researches into the Physical History of Mankind_ (5 vols., 1836-1847); T.H. Huxley, _Man's Place in Nature_ (London, 1863), and "Geographical Distribution of Chief Modifications of Mankind," in _Journ. Anthropological Institute_ for 1870; Theodore Waitz, _Anthropologie der Naturvoelker_ (1859-1871); A. de Quatrefages, _Histoire generale des races humaines_ (Paris, 1889); E.B. Tylor, _Anthropology_ (1881); Lord Avebury, _Prehistoric Times_ (1865; 6th ed., 1900) and _Origin of Civilization_ (1870; 6th ed., 1902); F. Ratzel, _History of Mankind_ (Eng. trans., 1897); A.H. Keane, _Ethnology_ (2nd ed., 1897), and _Man: Past and Present_ (2nd ed., 1899); G. de Mortillet, _Le Prehistorique_ (Paris, 1882; 3rd ed., 1900); D.G. Brinton, _Races and Peoples_ (1890); J. Deniker, The Races of Man (London, 1900); Hutchinson's _Living Races of Mankind_ (1906).

FOOTNOTE:

[1] Writing in the _Geographical Journal_, March 1894, on "Evolution of Indian Geography," he says: "The plants of Indian and African coal measures are without exception identical, and among the few animals which have been found in India one is indistinguishable from an African species, another is closely allied, and both faunas are characterized by the very remarkable genus group of reptiles comprising the Dicynodon and other allied forms (see _Manual of Geology of India_, 2nd ed. p. 203). These, however, are not the only analogies, for near the coast of South Africa there are developed a series of beds containing the plant fossils in the lower part and marine shells in the upper, known as the Uitenhage series, which corresponds exactly to the small patches of the Rajmahal series along the east coast of India. The few plant forms found in the lower beds of Africa are mostly identical with or closely allied to the Rajmahal species, while of the very few marine shells in the Indian outcrops, which are sufficiently well preserved for identification, at least one species is identical with an African form. These very close relationships between the plants and animals of India and Africa at this remote period appear inexplicable unless there were direct land communications between them over what is now the Indian Ocean. On the east coast of India in the Khasi Hills, and on the coast of South Africa, the marine fossils of late Jurassic and early cretaceous age are largely identical with, or very closely allied to each other, showing that they must have been inhabitants of one and the same great sea. In western India the fossils of the same age belong to a fauna which is found in the north of Madagascar, in northern and eastern Africa, in western Asia, and ranges into Europe--a fauna differing so radically from that of the eastern exposures that only a few specimens of world-wide range are found in both. Seeing that the distances between the separate outcrops containing representatives of the two faunas are much less than those separating the outcrops from the nearest ones of the same fauna, the only possible explanation of the facts is that there was a continuous stretch of dry land connecting South Africa and India and separating two distinct marine zoological provinces."

ETHYL, in chemistry, the name given to the alkyl radical C2H5. The compounds containing this radical are treated under other headings; the hydride is better known as ethane, the alcohol, C2H5OH, is the ordinary alcohol of commerce, and the oxide (C2H5)2O is ordinary ether.

ETHYL CHLORIDE, or HYDROCHLORIC ETHER, C2H5Cl, a chemical compound prepared by passing dry hydrochloric acid gas into absolute alcohol. It is a colourless liquid with a sweetish burning taste and an agreeable odour. It is extremely volatile, boiling at 12.5 deg. C. (54.5 deg. F.), and is therefore a gas at ordinary room temperatures; it is stored in glass tubes fitted with screw-capped nozzles. The vapour burns with a smoky green-edged flame. It is largely used in dentistry and slight surgical operations to produce local anaesthesia (q.v.), and is known by the trade-name kelene. More volatile anaesthetics such as anestile or anaesthyl and coryl are produced by mixing with methyl chloride; a mixture of ethyl and methyl chlorides with ethyl bromide is known as somnoform.

ETHYLENE, or ETHENE, C2H4, or H2C:CH2, the first representative of the series of olefine hydrocarbons, is found in coal gas. It is usually prepared by heating a mixture of ethyl alcohol and sulphuric acid. G.S. Newth (_Jour. Chem. Soc._, 1901, 79, p. 915) obtains a purer product by dropping ethyl alcohol into syrupy phosphoric acid (sp. gr. 1.75) warmed to 200 deg. C., subsequently raising the temperature to 220 deg. C. It can also be obtained by the action of sodium on ethylidene chloride (B. Tollens, _Ann._, 1866, 137, p. 311); by the reduction of copper acetylide with zinc dust and ammonia; by heating ethyl bromide with an alcoholic solution of caustic potash; by passing a mixture of carbon bisulphide and sulphuretted hydrogen over red-hot copper; and by the electrolysis of a concentrated solution of potassium succinate,

(CH2.CO2K)2 + 2H2O = C2H4 + 2CO2 + 2KOH + H2.

It is a colourless gas of somewhat sweetish taste; it is slightly soluble in water, but more so in alcohol and ether. It can be liquefied at -1.1 deg. C., under a pressure of 421/2 atmos. It solidifies at -181 deg. C. and melts at -169 deg. C. (K. Olszewski); it boils at -105 deg. C. (L.P. Cailletet), or -102 deg. to -103 deg. C. (K. Olszewski). Its critical temperature is 13 deg. C., and its specific gravity is 0.9784 (air = 1). The specific gravity of liquid ethylene is 0.386 (3 deg. C.). Ethylene burns with a bright luminous flame, and forms a very explosive mixture with oxygen. For the combustion of ethylene see FLAME. On strong heating it decomposes, giving, among other products, carbon, methane and acetylene (M. Berthelot, _Ann._, 1866, 139, p. 277). Being an unsaturated hydrocarbon, it is capable of forming addition products, e.g. it combines with hydrogen in the presence of platinum black, to form ethane, C2H6, with sulphur trioxide to form carbyl sulphate, C2H4(SO3)2, with hydrobromic and hydriodic acids at 100 deg. C. to form ethyl bromide, C2H5Br, and ethyl iodide, C2H5I, with sulphuric acid at 160-170 deg. C. to form ethyl sulphuric acid, C2H5.HSO4, and with hypochlorous acid to form glycol chlorhydrin, Cl.CH2.CH2.OH. Dilute potassium permanganate solution oxidizes it to ethylene glycol, HO.CH2.CH2.OH, whilst fuming nitric acid converts it into oxalic acid. Several compounds of ethylene and metallic chlorides are known; e.g. ferric chloride in the presence of ether at 150 deg. C. gives C2H4.FeCl3.2H2O (J. Kachtler, _Ber._, 1869, 2, p. 510), while platinum bichloride in concentrated hydrochloric acid solution absorbs ethylene, forming the compound C2H4.PtCl2 (K. Birnbaum, _Ann._, 1868, 145, p. 69).

ETIENNE, CHARLES GUILLAUME (1778-1845), French dramatist and miscellaneous writer, was born near Saint Dizier, Haute Marne, on the 5th of January 1778. He held various municipal offices under the Revolution and came in 1796 to Paris, where he produced his first opera, _Le Reve_, in 1799, in collaboration with Antoine Frederic Gresnick. Although Etienne continued to write for the Paris theatres for twenty years from that date, he is remembered chiefly as the author of one comedy, which excited considerable controversy. _Les Deux Gendres_ was represented at the Theatre Francais on the 11th of August 1810, and procured for its author a seat in the Academy. A rumour was put in circulation that Etienne had drawn largely on a manuscript play in the imperial library, entitled _Conaxa, ou les gendres dupes_. His rivals were not slow to take up the charge of plagiarism, to which Etienne replied that the story was an old one (it existed in an old French _fabliau_) and had already been treated by Alexis Piron in _Les Fils ingrats_. He was, however, driven later to make admissions which at least showed a certain lack of candour. The bitterness of the attacks made on him was no doubt in part due to his position as editor-in-chief of the official _Journal de l'Empire_. His next play, _L'Intrigante_ (1812), hardly maintained the high level of Les Deux Gendres; the patriotic opera _L'Oriflamme_ and his lyric masterpiece _Joconde_ date from 1814. Etienne had been secretary to Hugues Bernard Maret, duc de Bassano, and in this capacity had accompanied Napoleon throughout his campaigns in Italy, Germany, Austria and Poland. During these journeys he produced one of his best pieces, _Brueys et Palaprat_ (1807). During the Restoration Etienne was an active member of the opposition. He was seven times returned as deputy for the department of Meuse, and was in full sympathy with the revolution of 1830, but the reforms actually carried out did not fulfil his expectations, and he gradually retired from public life. Among his other plays may be noted: _Les Deux Meres, Le Pacha de Suresnes_, and _La Petite Ecole des peres_, all produced in 1802, in collaboration with his friend Gaugiran de Nanteuil (1778-1830). With Alphonse Dieudonne Martainville (1779-1830) he wrote an _Histoire du Theatre Francais_ (4 vols., 1802) during the revolutionary period. Etienne was a bitter opponent of the romanticists, one of whom, Alfred de Vigny, was his successor and panegyrist in the Academy. He died on the 13th of March 1845.

His _Oeuvres_ (6 vols., 1846-1853) contain a notice of the author by L. Thiesse.

ETIQUETTE, a term for ceremonial usage, the rules of behaviour observed in society, more particularly the formal rules of ceremony to be observed at court functions, &c., the procedure, especially with regard to precedence and promotions in an organized body or society. Professions, such as the law or medicine, observe a code of etiquette, which the members must observe as protecting the dignity of the profession and preventing injury to its members. The word is French. The O. Fr. _estiquette_ or _estiquet_ meant a label, or "ticket," the true English derivative. The ultimate origin is Teutonic, from _sticken_, to post up, stick, affix. Cotgrave explains the word in French as a billet for the benefit or advantage of him that receives it, a form of introduction and also a notice affixed at the gate of a court of law. The development of meaning in French from a label to ceremonial rules is not difficult in itself, but, as the _New English Dictionary_ points out, the history has not been clearly established.

ETNA (Gr. [Greek: Aitne], from [Greek: aitho], burn; Lat. _Aetna_), a volcano on the east coast of Sicily, the summit of which is 18 m. N. by W. of Catania. Its height was ascertained to be 10,758 ft. in 1900, having decreased from 10,870 ft. in 1861. It covers about 460 sq. m., and by rail the distance round the base of the mountain is 86 m., though, as the railway in some places travels high, the correct measurement is about 91 m. The height cannot have been very different in ancient times, for the so-called Torre del Filosofo, which is only 1188 ft. below the present summit, is a building of Roman date. The shape is that of a truncated cone, interrupted on the west by the Valle del Bove, a huge sterile abyss, 3 m. wide, bounded on three sides by perpendicular cliffs (2000 to 4000 ft.). Its south-west portion, which is the deepest, was perhaps the original crater. There are also some 200 subsidiary cones, some of them over 3000 ft. high, which have risen over lateral fissures. On the slopes of the mountain there are three distinct zones of vegetation, distinguished by Strabo (vi. p. 273 ff.). The lowest, up to about 3000 ft., is the zone of cultivation, where vegetables, and above them where water is more scanty, vines and olives flourish. Owing to its extraordinary fertility it is densely populated, having 930 inhabitants per sq. m. below 2600 ft., and 3056 inhabitants per sq. m. in the triangle between Catania, Nicolosi and Acireale. The next zone is the wooded zone, and is hardly inhabited, only a few isolated houses occurring. The lower part of it (up to about 6000 ft.) consists chiefly of forests of evergreen pines (_Pinus nigricans_), the upper (up to about 6800 ft.) of birch woods (_Betula alba_). A few oaks and red beeches occur, while chestnut trees grow anywhere between 1000 and 5300 ft. In the third and highest zone the vegetation is stunted, and there is a narrow zone of sub-Alpine shrubs, but no Alpine flora. In the last 2000 ft. five phanerogamous species only are to be found, the first three of which are peculiar to the mountain: _Senecio Etnensis_ (which is found quite close to the crater), _Anthemis Etnensis, Robertsia taraxacoides, Tanacetum vulgare_ and _Astragalus siculus_. No trace of animal life is to be found in this zone; for the greater part of the year it is covered with snow, but by the end of summer this has almost all melted, except for that preserved in the covered pits in which it is stored for use for cooling liquids, &c., in Catania and elsewhere. The ascent is best undertaken in summer or autumn. From the village of Nicolosi, 9 m. to the N.W. of Catania, about 7 or 8 hours are required to reach the summit. Thucydides mentions eruptions in the 8th and 5th centuries B.C., and others are mentioned by Livy in 125, 121 and 43 B.C. Catania was overwhelmed in 1169, and many other serious eruptions are recorded, notably in 1669, 1830, 1852, 1865, 1879, 1886, 1892, 1899 and March 1910.

According to Lyell, Etna is rather older than Vesuvius--perhaps of the same geological age as the Norwich Crag. At Trezza, on the eastern base of the mountain, basaltic rocks occur associated with fossiliferous Pliocene clays. The earliest eruptions of Etna are older than the Glacial period in Central and Northern Europe. If all the minor cones and monticules could be stripped from the mountain, the diminution of bulk would be extremely slight. Lyell concluded that, although no approximation can be given of the age of Etna, "its foundations were laid in the sea in the newer Pliocene period." From the slope of the strata from one central point in the Val del Bue he further concluded that there once existed a second great crater of permanent eruption. The rocks erupted by Etna have always been very constant in composition, viz. varieties of basaltic lava and tuff containing little or no olivine--the rock type known as labradorite. At Acireale the lava has assumed the prismatic or columnar form in a striking manner; at the rock of Aci it is in parts spheroidal. The Grotte des Chevres has been regarded as an enormous gas-bubble in the lava. The remarkable stability of the mountain appears to be due to the innumerable dikes which penetrate the lava flows and tuff beds in all directions and thus bind the whole mass together.

From the earliest times the mountain has naturally been the subject of legends. The Greeks believed it to be either the mountain with which Zeus had crushed the giant Typhon (so Pindar, Pyth. i. 34 seq.; Aeschylus, _Prometheus Vinctus_, 351 seq.; Strabo xiii. p. 626), or Enceladus (Virgil, _Georg._ i. 471; Oppian, Cyn. i. 273), or the workshop of Hephaestus and the Cyclopes (Cic. _De divin._ ii. 19; cf. Lucil., _Aetna_, 41 seq., Solin, 11). Several Roman writers, on the other hand, attempted to explain the phenomena which it presented by natural causes (e.g. Lucretius vi. 639 seq.; Lucilius, _Aetna_, 511 seq.). Ascents of the mountain were not infrequent in those days--one was made by Hadrian.

See Sartorius von Waltershausen, _Atlas des Aetna_ (Leipzig, 1880); E. Chaix, _Carta Volcanologica e topographica dell' Etna_ (showing lava streams up to 1892); G. de Lorenzo, _L'Etna_ (Bergamo, 1907).

ETNA, a borough of Allegheny county, Pennsylvania, U.S.A., in the western part of the state, on the W. bank of the Allegheny river (about 5 m. from its junction with the Monongahela), and about 2 m. N. of the city of Pittsburg, of which it is a suburb. Pop. (1880) 2334; (1890) 3767; (1900) 5384 (1702 foreign-born); (1910) 5830. It is served by the Pennsylvania railway and by electric lines. Among its industrial establishments are rolling mills, tube and pipe works, furnaces, steel mills, a brass foundry, and manufactories of electrical railway supplies, boxes, asbestos coverings, enamel work and ice. The city's industrial history dates from 1820, when a small factory for the manufacture of scythes and sickles was set up. Natural gas, piped from Butler county, was early used here as a fuel in the iron mills. Etna, formerly called Steuart's Town, was incorporated as a borough in 1869.

ETON, a town of Buckinghamshire, England, on the north (left) bank of the river Thames, opposite Windsor, within which parliamentary borough it is situated. Pop. of urban district (1901) 3301. It is famous for its college, the largest of the ancient English public schools. The "King's College of Our Lady of Eton beside Windsor" was founded by Henry VI. in 1440-1441, and endowed mainly from the revenues of the alien priories suppressed by Henry V. The founder followed the model established by William of Wykeham in his foundations of Winchester and New College, Oxford. The original foundation at Eton consisted of a provost, 10 priests, 4 clerks, 6 choristers, a schoolmaster, 25 poor and indigent scholars, and the same number of poor men or bedesmen. In 1443, however, Henry considerably altered his original plans; the number of scholars was increased to 70, and the number of bedesmen reduced to 13. A connexion was then established, and has been maintained ever since, though in a modified form, between Eton and Henry's foundation of King's College, Cambridge. One of the king's chief advisers was William of Waynflete, who had been master of Winchester College, and was appointed provost of Eton in 1443. Among further alterations to the foundation in this year was the establishment of _commensales_ or commoners, distinct from the scholars; and these under the name of "oppidans" now form the principal body of the boys. The college survived with difficulty the unsettled period at the close of Henry's reign; while Edward IV. curtailed its possessions, and was at first desirous of amalgamating it with the ecclesiastical foundation of St George, Windsor Castle. In 1506 the annual revenue amounted to L652; and through benefactions and the rise in the value of property the college has grown to be very richly endowed. In 1870 commissioners under an act of 1868 appointed the governing body of the college to consist of the provost of Eton, the provost of King's College, Cambridge, five representatives nominated respectively by the university of Oxford, the university of Cambridge, the Royal Society, the lord chief justice and the masters, and four representatives chosen by the rest of the governing body. By this body the foundation was in 1872 made to consist of a provost and ten fellows (not priests, but merely the members of the governing body other than the provost), a headmaster of the school, and a lower master, at least seventy scholars (known as "collegers"), and not more than two chaplains or conducts. Originally it was necessary that the scholars should be born in England, of lawfully married parents, and be between eight and sixteen years of age; but according to the statutes of 1872 the scholarships are open to all boys who are British subjects, and (with certain limitations as to the exact date of birth) between twelve and fifteen years of age. A number of foundation scholarships for King's College, Cambridge, are open for competition amongst the boys; and there are besides several other valuable scholarships and exhibitions, most of which are tenable only at Cambridge, some at Oxford, and some at either university. The teaching embraces the customary range of classical and modern subjects; but until the first half of the 19th century the normal course of instruction remained almost wholly classical; and although there were masters for other subjects, they were unconnected with the general business of the school, and were attended at extra hours.

The school buildings were founded in 1441 and occupied in part by 1443, but the whole original structure was not completed till fifty years later. The older buildings consist of two quadrangles, built partly of freestone but chiefly of brick. The outer quadrangle, or school-yard, is enclosed by the chapel, upper and lower schools, the original scholars' dormitory ("long chamber"), now transformed, and masters' chambers. It has in its centre a bronze statue of the royal founder. The buildings enclosing the inner or lesser quadrangle contain the residence of the fellows, the library, hall and various offices. The chapel, on the south side of the school-yard, represents only the choir of the church which the founder originally intended to build; but as this was not completed Waynflete added an ante-chapel. The chapel was built upon a raised platform of stone, as was the hall, in order to lift it above the flood-level of the Thames. It contains some interesting monuments of provosts of the college and others, and at the west end of the ante-chapel is a fine marble statue of the founder in his royal robes, by John Bacon. A chantry contains the tomb of Roger Lupton (provost 1503-1535), whose most notable monument is the fine tower between the school-yard and the cloisters to the east; though other parts of his building also remain. The space enclosed by two buttresses on the north side of the chapel, at the point where steps ascend to the north door, is the model of the peculiar form of court for the game of fives which takes name from Eton, with its "buttress" (represented by the projecting balustrade), the ledges round the walls, and the step dividing the floor into two levels. From the foundation of the college the chapel was used as the parish church until 1854, and not until 1875, after the alteration of the ancient constitution had secularized the foundation, was the parish of Eton created into a separate vicarage. The chapel does not accommodate the whole school; and a new chapel, from the designs of Sir Arthur Blomfield, is used by the lower school. The library contains many manuscripts (notably an Oriental and Egyptian collection) and rare books; and there is also a library for the use of the boys. The college in modern times has far outgrown its ancient buildings, and new buildings, besides the lower chapel, include the new schools, with an observatory, a chemical laboratory, science schools and boarding-houses. In 1908 King Edward VII. opened a fine range of buildings erected in honour of the Old Etonians who served in the South African War, and in memory of those who fell there. The architect was Mr L.K. Ball, an old Etonian. The buildings include a school hall, a domed octagonal library, and a classical museum.

The principal annual celebration is held on the 4th of June, the birthday of King George III., who had a great kindness for the school. This is the speech-day; and after the ceremonies in the school a procession of boats takes place on the Thames. In the sport of rowing Eton occupies a unique position among the public schools, and a large proportion of the oarsmen in the annual Oxford and Cambridge boat-race are _alumni_ of the school. Another annual celebration is the occasion of the contest between collegers and oppidans at a peculiar form of football known as the wall game, from the fact that it is played against a wall bordering the college playing-field. This game takes place on St Andrew's Day, the 30th of November. The field game of football commonly played at Eton has also peculiar rules. The annual cricket match between Eton and Harrow schools, at Lord's ground, London, is always attended by a large and fashionable gathering. A singular custom termed the _Montem_, of unknown origin, but first mentioned in 1561, was observed here triennially on Whit-Tuesday. The last celebration took place in 1844, the ceremony being abolished just before it fell due in 1847. It consisted of a procession of the boys in a kind of military order, with flags and music, headed by their "captain," to a small mound called Salt Hill, near the Bath road, where they levied contributions, or "salt," from the passers-by and spectators. The sum collected sometimes exceeded L1000--the surplus, after deducting certain expenses, becoming the property of the captain of the school. The average number of pupils at Eton exceeds 1000.

See E.S. Creasy, _Memoirs of Eminent Etonians, with Notices of the Early History of the College_ (1850); _Sketches of Eton_ (1873); Sir H.C. Maxwell Lyte, _History of Eton College from 1440 to 1875_ (1875); J. Heneage Jesse, _Memoirs of Celebrated Etonians_ (1875); _The Eton Portrait Gallery_, by a Barrister of the Inner Temple (1875); A.C. Benson, _Fasti Etonienses_ (1899); L. Cust, _History of Eton College_ (1899).

ETRETAT, a watering-place of France, in the department of Seine-Inferieure, on the coast of the English Channel, 161/2 m. N. by E. of Havre by road. Pop. (1906) 1982. It is situated between fine cliffs in which, here and there, the sea has worn archways, pinnacles and other curious forms. The small stream traversing the valley, at the extremity of which Etretat lies, flows underground for some distance but rises to the surface on the beach. A Roman road and aqueduct and other Roman and Gallic remains have been discovered. The church of Notre-Dame, a Romanesque building, with a nave of the 11th century and a central tower and choir of the 13th century, is a fine example of the Norman architecture of those periods. Fishing is carried on, though there is no port and the fishermen haul their boats up the beach; the old hulks (_caloges_) serve as sheds and even as dwellings. Etretat sprang into popularity during the latter half of the 19th century, largely owing to the frequent references to it in the novels of Alphonse Karr.

ETRURIA, an ancient district of Italy, the extent of which varied considerably, and, especially in the earliest periods, is very difficult to define (see section Language). The name is the Latin equivalent of the Greek [Greek: Turrenia] or [Greek: Tursenia], which is used by Latin writers also in the forms _Tyrrhenia, Tyrrhenii_; the Romans also spoke of Tusci, whence the modern Tuscany (q.v.). In early times the district appears to have included the whole of N. Italy from the Tiber to the Alps, but by the end of the 5th century B.C. it was considerably diminished, and about the year 100 B.C. its boundaries were the Arnus (Arno), the Apennines and the Tiber. In the division of Italy by Augustus it formed the seventh _regio_ and extended as far north as the river Macra, which separated it from Liguria.

_History_.--The authentic history of Etruria is very meagre, and consists mainly in the story of its relations with Carthage, Greece and Rome. At some period unknown, prior to the 6th century, the Etrurians became a conquering people and extended their power not only northwards over, probably, Mantua, Felsina, Melpum and perhaps Hadria and Ravenna (Etruria Circumpadana), but also southwards into Latium and Campania. The chronology of this expansion is entirely unknown, nor can we recover with certainty the names of the cities which constituted the two leagues of twelve founded in the conquered districts on the analogy of the original league in Etruria proper (below). In the early history of Rome the Etruscans play a prominent part. According to the semi-historical tradition they were the third of the constituent elements which went to form the city of Rome. The tradition has been the subject of much controversy, and is still an unsolved problem. It is practically certain, however, that there is no foundation for the ancient theory (cf. Prop. iv. [v.] 1. 31) that the third Roman tribe, known as Luceres, represented an Etruscan element of the population, and it is held by many authorities that the tradition of the Tarquin kings of Rome represents, not an immigrant wave, but the temporary domination of Etruscan lords, who extended their conquests some time before 600 B.C. over Latium and Campania. This theory is corroborated by the fact that during the reigns of the Tarquin kings Rome appears as the mistress of a district including part of Etruria, several cities in Latium, and the whole of Campania, whereas our earliest picture of republican Rome is that of a small state in the midst of enemies. For this problem see further under ROME: _History_, section "The Monarchy."

After the expulsion of the Tarquins the chief events in Etruscan history are the vain attempt to re-establish themselves in Rome under Lars Porsena of Clusium, the defeat of Octavius Mamilius, son-in-law of Tarquinius Superbus, at Lake Regillus, and the treaty with Carthage. This last event shows that the Etruscan power was formidable, and that by means of their fleet the Etruscans held under their exclusive control the commerce of the Tyrrhenian Sea. By this treaty Corsica was assigned to the Etruscans while Carthage obtained Sardinia. Soon after this, decay set in. In 474 the Etruscan fleet was destroyed by Hiero I. (q.v.) of Syracuse; Etruria Circumpadana was occupied by the Gauls, the Campanian cities by the Samnites, who took Capua (see CAMPANIA) in 423, and in 396, after a ten years' siege, Veii fell to the Romans. The battle of the Vadimonian Lake (309) finally extinguished Etruscan independence, though for nearly two centuries still the prosperity of the Etruscan cities far exceeded that of Rome itself. Henceforward Etruria is finally merged in the Roman state.

ETRUSCAN ANTIQUITIES

The large recent discoveries of Etruscan objects have not materially altered the conclusions arrived at a generation ago. It is not so much our appreciation of the broad lines of the manners and arts of the Etruscans that has altered as our understanding of the geographic and social causes which made them what they were. One great difficulty in the study of the remains is that a very large portion of them have been found by unofficial excavators who have been naturally unwilling to tell whence they came, and that certain other excavations, such as those carried out by Comm. Barnabei for the Villa Giulia museum, have been carried out under conditions which help but little towards increasing our knowledge.[1] The increase has, however, been steady, even if not all one could wish.

_Ethnology_.--The origin of the Etruscans will most likely never be absolutely fixed,[2] but their own tradition (Tacitus, _Ann._ iv. 55) that they came out of Lydia seems not impossible. Herodotus (i. 94) and Strabo (v. 220) tell of Lydians landing at the mouth of the Po and crossing the Apennines into Etruria. Thus it seems certain that though the earliest immigrants, known to the later Etruscans as the _Rasena_, may have come down from the north, still they were joined by a migration from the east before they had developed a civilization of their own, and it is this double race that became the Etruscans as we know them in tradition and by their works. To give a date to the migration of the Rasena from the north, for which the only evidence is the fact that the Etruscan language is found in various parts of north Italy,[3] is impossible, but we can perhaps give an approximate one to the coming of the Lydians or Tyrrhenians (Thuc. iv. 109; Herod. i. 57). We know that there was a great wave of migration from Greece to Italy about 1000 B.C., and as the earliest imported Greek objects found in the tombs cannot be dated many generations later than this, this year may be considered as giving us roughly the time when the real Etruscan civilization began.

It has been, and still is, a common mistake to speak of the Etruscans as though they were closely confined to that part of Italy called Etruria on the maps, but it is quite certain that in the early stages of their development they were differentiated from the Umbrians on the north-east and the Latins on the south in ways due rather to the locality than to race or essential character.[4] To primitive peoples open seas or deserts are a greater hindrance to intercourse than mountains or rivers, and even these did not cut off Etruria from the neighbouring regions of Italy. The Apennines that separated her from Umbria were not difficult to cross, and the Tiber which formed the boundary between her and Latium has been a far greater element of separation in the minds of modern authors than it ever was in reality. Narrow, not particularly swift, often shallow, such a stream can never have caused more than a moment's delay to the hardy Etruscans. When Rome was founded, the river of course could be used like a moat round a castle as a means of defence, but that is very different from its being a permanent bar to the spread of a given culture. The fact that the alphabets used in other parts of Italy besides Etruria are derived from the Etruscan or from similar Grecian sources, that Rome was ruled by Etruscan kings, that the temple of Jupiter on the Capitoline was decorated by Etruscan artists (Livy x. 23; Pliny, _H.N._ xxxv. 157), that the decorations of the temple found by Signor Mazzoleni near Conca (_Notizie degli scavi_, 1896) are of the same kind as others found in Etruria, show that the influences which grew to their clearest development in the region west of the Tiber had a marked effect over a broader region than is usually admitted. This too was the belief of the Greek historians, many of whom considered Rome as a Tyrrhenian city.[5]

_Cities and Organization_.--The chief cities of Etruria proper were Veii, Tarquinii, Falerii, Caere, Volci, Volsinii, Clusium, Arretium, Cortona, Perusia, Volaterrae (Volterra), Rusellae, Populonium and Faesulae. That the country was thickly settled is made plain by the ruins that have been found. It was governed by kings who were elected for life, but whose power depended largely on the leaders (_lucumones_) of the separate states or regions and on the aristocracy (Censorinus, _De die natali_, iv. 13). Later the office of king was abolished and replaced by annual magistrates (Livy v. 1). Below the aristocracy came the free people, who were divided into _curiae_ (Serv. _ad Aen._ x. 202), and then the slaves. There can be little doubt that the early organization of the people at Rome was typical of Etruria (Niebuhr, _Roem._ Gesch. 2nd ed. i. 389).

A league of twelve cities is mentioned by the ancients (Livy iv. 23), whose delegates met at the temple of Voltumna, but we are not told which cities formed the league, and there can be little doubt that the list changed from time to time. A glance at the map makes clear some of the general relations of these cities to one another and to the outer world. They are well spread all over the country, and by no means only along the coast. None of the important ones is among the mountains. This means that the earliest inhabitants of the country were not roving traders like the Mycenaean Greeks, and that the cities drew their wealth and strength from agricultural pursuits, for which the country was well suited, as the three rivers, Arnus, Umbro and Tiber, with their feeders (not to mention several lesser streams), channel it in all directions. We get a hint as to the government of the cities from the fact that many of the Roman forms and apanages of office were derived from the Etruscans (Dion. Hal. iii. 61); for instance, the diadem worn by those honoured with a triumph, the ivory sceptre and the embroidered toga (Tertull. _De Cor._ 13), and so too the golden bulla and the praetexta (Festus, s.v. "Sardi"). Such things give us an idea as to the aristocratic basis of the government. Of the actual laws we know something also. Cicero (_Div._ ii. 23) tells the story of the miraculous uncovering by a ploughboy of a child who had the wisdom of a sage, and how the child's words were written down by the amazed folk, and became their archives and the source of their law. Coming down to historic times we find that their code, known as the libri _disciplinae Etruscae_, consisted of various parts (Festus, s.v. "Ritualis"). There were the _libri haruspicini_ (Cic. _Div._ i. 33, 72), which dealt with the interpretation of the will of the gods by means of sacrifice; the _libri fulgurales_, which explained the messages of the gods in the thunder and lightning; and finally the _libri rituales_, which held the rules for the conduct of daily life--how to found cities, where to place the gates, how to take the census, and the general ordering of the people both in peace and war.

_Natural Resources and Commerce_.--Such was the country and such the laws. The people were a warrior stock with little commercial skill. Much of their wealth was due to trade, but they were not the restless, conquering blood that goes in search of new markets. They waited for the buyers to come to them. That their wealth and consequent power were gathered contemporaneously with that of Greece is shown by various facts. One of these is that Dionysius of Phocaea settled in Sicily after the Ionian revolt (in which his native city took part) had been quelled by Darius, and thence harried the Etruscans (Herod. vi. 17). Their power is also shown by the fact that they made an alliance with the Carthaginians, with the result that they obtained control of Corsica (Herod. i. 166), and this union continued for many generations.[6] That this treaty was no exceptional one is shown by Aristotle (_Pol._ iii. 96, _Op._ ii. 261), who says that there were numerous treatises, concerning their alliances and mutual rights, between the two peoples. That the Greeks held the Etruscans in considerable dread is suggested by the fact that Hesiod (_Theog._ 1011 foll.) names one of their leaders Agrios, "the Wild Man," and by the fear they had of the straits of Messina, where they imagined Scylla and Charybdis, which, unless the whirlpools were of very different character then than now, were as likely to be the pirate bands of Carthaginians and Etruscans who guarded the channel. And this explanation is strengthened by Euripides (_Med._ 1342, 1359), whose Medea compares herself to "Scylla, who dwells on the Tyrrhenian shore." The wealth that was the source of this power of the Etruscans must in the main have been drawn from agriculture and forestry. The rich land with its many streams could scarcely be surpassed for the raising of crops and cattle, and the hills were heavily timbered. That it was such material as this, which leaves no trace with the passing of time, that they sold cannot be doubted, for there is plenty of evidence that their country was visited by foreign traders of many lands, and that they bought largely of them, especially of metals. Metals also suggest that another source of their wealth was that of the middleman. Their towns were the centres of exchange, where the north and west met the south and east. They had no mines of gold or tin, but the carriers of tin, iron or amber[7] from the north met in the markets of Etruria the Phoenician and Greek merchants bringing gold and ivory and the other luxuries of the East. The quantities of gold, silver and bronze found in Etruscan tombs prove this clearly. Of these metals the only one found in unworked form, in what are practically pigs, is bronze. This in the form of _aes rude_ has frequently been found in considerable quantities, and the larger and better formed bits of metals known as _aes signatum_ are not rare. Both forms are usually spoken of as the earliest forms of money, but as the _aes rude_ generally bears no marks of valuation or of any mint, and as the _aes signatum_ is far too large and heavy for ordinary circulation, it is probable that these shapes of metal are not to be considered strictly or alone as coins, but as forms given to the alloy of tin and copper made and sold by the Etruscans to the foreigners for purposes of manufacture. This of course does not exclude their use as money. Where the copper for this bronze came from is not certain, but probably a great part was from the mines at Volaterrae. Still another proof that what the Etruscans sold was the product of their fields or crude metals imported from the north, is the fact that though in the museum at Carthage and elsewhere there are a few vases and other objects which probably come from Etruria, still such objects are extremely uncommon. On the other hand, articles obviously imported from the East are by no means uncommon in Etruria. Such are the ostrich shells from Volci,[8] the Phoenician cups from Palestrina,[9] the Egyptian glazed vases and scarabs found on more than one site.[10] All this goes to show that the Etruscans lacked in their earlier days skilful workers in the arts and crafts.

_Habits and Customs_.--The lack of literary remains of the Etruscans does not cramp our knowledge of their habits as much as might be supposed, owing to the numerous paintings that are left. These paintings are on the walls of the tombs at Veii, Corneto, Chiusi (Clusium), and elsewhere,[11] and give a varied picture of the dress, utensils and habits of the people. The evidence of many ancient authors cannot be questioned that as a race the Etruscans in historic times were much given to luxurious living. So much so in fact that Virgil (_Georg_. ii. 193) speaks of the _pinguis Tyrrhenus_ (a trumpeter at the altar) and Catullus (xxxix. 11) of the _obesus Etruscus_. Diodorus (v. 40) gives a succinct account in which he says that "their country was so fertile they derived therefrom not only sufficient for their needs but enough to supply them with luxuries. Twice a day they partook of elaborate repasts at which the tables were decked with embroidered cloths and vessels of gold and silver. The servants were numerous and noticeable for the richness of their attire. The houses, too, were large and commodious. In fact, giving themselves up to sensuous enjoyments they had naturally lost the glorious reputation their ancestors had won in war." This last remark shows that Diodorus recognized the important difference between the early Etruscans who built up the country and the later ones who merely enjoyed it. Naturally courtesans flourished in such a community. Timaeus and Theopompus tell how the women lived and ate and even exercised with the men (Athen. xii. 14; cf. iv. 38), habits which of course gave the Roman satirists many openings for attack (Plaut. _Cist._ ii. 3. 563; cf. Herod, i. 98; Strabo xi. 14). In dress they differed but little from the Romans, both wearing the toga and the tunic. Hats too, often of pointed form, were common (Serv. _ad Aen._ ii. 683), as the paintings show, but it was their shoes for which they were particularly famous. One author (Lydus, _de Magistr._ i. 17. 36) suggests that Romulus borrowed from Etruria the type of shoe he gave the senators, and this may well be true, though the form mentioned, the _kampagus_, is of late origin. At any rate [Greek: sandalia Turrenika] are frequently mentioned. From the pictures and remains we know that they had wooden soles strengthened with bronze, and that the uppers were of leather and bound with thongs.

Their occupations of trade and agriculture have been already mentioned. For their leisure hours they had athletic games including gladiatorial shows (Athen. iv. 153; cf. Livy ix. 40. 7; Strabo v. 250), hunting, music and dancing. All these are shown in the tomb pictures, and all, with the exception of the hunting, developed first as a part of religious service, and their importance is shown by the strictness of the rules that governed them (Cicero, _De harusp. resp._ ii. 23). Did a dancer lose step, or an attendant lift his hand from the chariot, the games lost their value as a religious service. An idea of the splendour of the triumphs that accompanied victorious generals and of the parades at the games is given by Appian (_De reb. Punic._ viii. 66) and Dionysius (vii. 92). The music that was an accompaniment of all their occupations, even of hunting (Aelian, _De natur. anim._ xii. 46), was mainly produced by the single or double flute, the mastery of which by the Etruscans was known to all the world. They also had small harps and trumpets.

For the regularization of all these duties and pleasures there was a calendar and time-division for the day. It is noteworthy that the beginning of the day was for them the moment when the sun was at the zenith (Serv. _ad Aen._ v. 738). In this they differed from the Greeks, who began their day with the sunset, and the Romans, who reckoned theirs from midnight. The weeks were of eight days, the first being market day and the day when the people could appeal to the king, and the months were lunar. The years were kept numbered by the annual driving of a nail into the walls of the temple of Nortia at Volsinii (Livy vii. 3. 7), a custom later adopted by the Romans, who used the Capitoline temple for the same purpose. In Rome this rite was performed on the Ides of September, and it is likely that it took place in Etruria on the same date, the natural end of the year among an agricultural folk. A still longer measure of time was the saeculum, which was supposed to be the length of the longest life of all those born in the year in which the preceding oldest inhabitant died (Censorinus, _De die natali_, 17. 5; cf. Zosimus ii. 1). According to later writers[12] the Etruscan race was to last ten _saecula_, and the emperor Augustus in his memoirs (Serv. _ad. Bucol._ ix. 47) says that the comet of the year 44 B.C. was said by the priests to betoken the beginning of the tenth _saeculum_. The earliest _saecula_ had been, according to Varro, 100 years long. The later ones varied in length from 105 to 123 years. The round number 100 is obviously an _ex post facto_ approximation, and the accuracy of the others is probably more apparent than real, but if we reckon back some 900 years from the date given by Augustus we arrive at just about the time when the archaeological evidence leads us to believe that the Etruscans in Italy were beginning to recognize their individuality.

_Religion_.--To retrace the religious development of the Etruscans from its mystic beginnings is beyond our power, and it is unlikely that any future discoveries will help us much. We are, however, able to draw a clear, if not a detailed, picture of the worship paid to the various divinities, partly from the direct information we have concerning them and partly from the analogies which may safely be drawn between them and the Romans.

The frequency of sacrifice among them and their belief in the short duration of the race[13] show clearly their belief in a good and a bad principle, and the latter seems to have been predominant in their minds. Storms, earthquakes, the birth of deformities, all gave evidence of evil powers, which could be appeased sometimes only by human sacrifice. We miss here the Greek joy in human life and the beauties of earth. The gods (_aesar_) were divided into two main groups, the _Dii Consentes_ and a vaguer set of powers, the _Dii Involuti_ (Seneca, _Quaest. Nat._ ii. 41), to whom even Jupiter bowed. They all dwelt in various parts of the heavens (Martianus Capella, _De nupt. Phil._ i. 41 ff.). Of the _Dii Consentes_ the most important group consisted of Jupiter (_Tinia_), Juno (_Uni_) and Minerva (_Menrva_). In some towns, such as Veii and Falerii, Juno was the chief deity, and at Perusia she was worshipped like the Greek Aphrodite in conjunction with Vulcan (the Greek _Hephaestus_). This shows that though in exterior form the Etruscan gods were influenced by the Greeks, still their character and powers betoken different beliefs. An interesting point to note about Minerva (_Menrva_) is that she was the goddess of the music of flutes and horns. The myth of Athena and Marsyas probably originated in Asia Minor, and a Pelasgian Tyrrhenian founded in Argos the temple of Athena Salpinx (Paus. ii. 21. 3). The evident connexion between Asia Minor and Etruria in these facts cannot be overlooked. Besides these deities there were Venus (_Turan_), Bacchus (_Fufluns_), Mercury (_Turms_), Vulcan (_Sethlans_). Of these, Sethlans is in a way the most important, for he shows a connexion in prehistoric times between Etruria and the East.[14] Other deities of Greek origin there were--Ares, Apollo, Heracles, the Dioscuri; in fact, as the centuries passed, the Greek divinities were adopted almost without exception. Besides these there were also many gods of Latin or Sabine origin, of whom little is known but their names; these may often be local appellations for the same god. Among these were Voltumna at Volsinii and Vertumnus at Rome, Janus, Nortia, goddess of Fortuna, Feronia, whose temple was at a town of the same name at the foot of Soracte,[15] Mantus, Pales, Vejovis, Eileithyia and Ceres. Such were the leading gods; in addition there was the world of spirits whom we know in Rome as the Manes, Lares and Penates. The latter were of four classes, pertaining to Jove, Neptune, the gods of the lower world, and to men.[16] The Lares too were of various sorts (_familiares, compitales, viales_), and with them the souls of the dead, after the performance of due expiatory rites, took their place as _dii animales_ (Serv. _ad Aen._ iii. 168 and 302). The Manes are the vaguest group of all and were confined almost wholly to the lower world (Festus, s.v. "Mundus"; Apuleius, _De deo Socratis_). Over all these ruled Mantus and Mania, the counterparts of Pluto and Persephone in Greece. As a result of this complete hierarchy of divine powers the priesthood of Etruria was large, powerful, and of such fame that Etruscan _haruspices_ were sent for from distant places to interpret the sacrifices and the oracles (Livy v. i. 6, xxvii. 37. 6).

_Art_.--The evidence drawn from tradition and custom which we have so far considered in relation to the origin and beliefs of the Etruscans has taken us into the prehistoric times much earlier than those when the handicrafts developed into true fine arts. The contents of the earliest graves[17] show but few traces of any feeling for art either in architecture or in the lesser forms of household and personal decoration. Gradually, however, as one comes down towards the more fixed historic periods, certain objects, obviously imported from the eastern Mediterranean, occur, and these are the first signs of an interest in the beauty or curiosity of things, an interest that local workmen could not yet satisfy, but which stirred them to endeavour. It was probably during the 9th century that this began, not long after the period when foreign trade began to flourish.

The history of Etruscan art has usually been wrongly estimated owing to the widespread delusion that objects found in Etruria were in the true sense products of native artists and indicative of native-grown culture. It is only recently, and not even yet completely, that the term "Etruscan" has been given up as the name for the terra-cotta vases (which were found in the 19th century by the earlier archaeologists of the modern scientific school in great quantities in the Etruscan tombs); these are now known to have been made by Greek potters. There are few books on the subject of Etruscan art. The best known is Jules Martha's _L'Art etrusque_ (2nd ed., 1889), a book which, though full of accurate data, shows absolute lack of discrimination between those works that are of Etruscan fabric and those that were brought from other lands, particularly Greece and the Greek colonies of Magna Graecia and Sicily. These latter are too generally forgotten in the study both of Greek and of Etruscan art, and all works which show the Greek spirit are vaguely supposed to have been produced on the Greek mainland. As much of the following must be to some extent controversial in character, a concrete illustration may serve to prevent misconception as to this important distinction. The beautiful throne in the Ludovisi collection representing the birth of Aphrodite is commonly spoken of as though made by some sculptor in Greece. It seems at least as likely that it comes from Sicily. Not only is the character of the modelling similar to what we find on Sicilian sculptures and coins, and not quite so sharp as on most works from Greece, but there is a lyrical feeling for nature in the pose of the figures and in the pebbled soil on which the main group stands, which seems to answer to the Sicilian feeling as we know it in poetry rather than to the Greek.

Architecture.

The houses of the earliest times were, to judge by the burial urns known from their shape as _hut-urns_, small single-room constructions of rectangular plan similar to certain types of the _capanne_ used by the shepherds to-day. Probably the walls were wattled and the roofs were certainly thatched, for the urns show plainly the long beams fastened together at the top and hanging from the ridge down each side. Tombs cut in the rock offer other and later models of house construction, but give no suggestion that the Etruscans had any artistic sense in architecture. Such tombs are mostly later than the 5th century B.C., and show the most simple form of wood construction. Posts or columns hold up the walls and the sloping roofs, the latter made of beams with boards laid lengthwise, covered by others from ridge to eave, the intervening space forming a coffer, sometimes decorated. Though the walls of such tombs are often covered with paintings, the relation of the various parts (and, let it be remembered, these tombs represent the houses of the living) shows but the coarsest sense of proportion. The elements of the decoration, such as capitals, mouldings, rosettes, patterns, are borrowed from Greece, Egypt or elsewhere, and are used redundantly and with no refinement.[18]

The temples did not differ from those in Greece in any essential principal of construction except that they were generally square, from the desire to make them answer to the _templum_ or quadripartite division of the heavens elaborated by the priests. In Roman times, "Etruscan style" was the term used for colonnades with wide intercolumniations, and this shows how the early builders used wood with its possibility of long architrave beams rather than stone as in Greece. The interior arrangements of the temple also varied from the Grecian models, for owing to the fact that the gods of Etruria were often worshipped in groups of three the cella was divided into three chambers. The decoration--metopes, friezes, acroteria, &c.--was of terra-cotta fastened by nails to the wooden walls.

Though we know that the Etruscans were famous for their games,[19] still there are no remains of _circi_, and so too, though the _satyristae_ were well known,[20] no theatres are left. They were obviously a race of no literary taste or culture. The theatre at Fiesole which is often referred to as Etruscan unquestionably dates from Roman times.

Underground tombs have already been mentioned in their relation to house-architecture, but there are the _tumuli_ such as that called _la Cucumella_ at Volci, that of the Curiatii at Albano, or that of Porsena at Clusium, which Pliny describes as one of the wonders of Italy (_H.N._ xxxvi. 19). These great walled-in mounds with their complex of interior chambers are interesting as reminiscent of tombs in Lydia, but architecturally they are barbaric and show no developed skill.

There remains one monument which has always been supposed to show a real advance made by the Etruscans in the art of architecture--the _cloaca maxima_ in Rome. This round-arched drain was supposed to have been built by Etruscans, and it was only in 1903 that Commendatore Boni in excavating the Forum proved that the drain was originally uncovered, and that the arch was built at the end of the Republic. Thus the honour, not of discovering the arch, for it was known to the East, but of popularizing its use, does not belong to the Etruscans, though they did use it at a comparatively late time for city gates, as at Volterra.[21] The false arch and dome of the Mycenaeans seems to have been familiar to them, though there are but few cases of its use on a large scale. The best-known instances are the Tullianum or Mamertine prison in Rome, the Regulini-Galassi tomb at Cervetri,[22] one at Sesto Fiorentino near Florence,[23] at Cortona,[24] at Chiusi, and also those in Latium.[25]

Although there was, therefore, but little development in the greater arts of literature and architecture among the Etruscans, it is evident enough that there was much desire to possess the products of the lesser arts, such as sculpture, jewelry and household ornaments. But here too the study has been made difficult by the failure to distinguish between native and imported products. Before studying the objects themselves it is well to recall the legendary character of Etruscan chronology as reckoned in _saecula_. Helbig[26] showed that we cannot consider any of the traditional dates as being accurate until about 644 B.C., the beginning, that is, of the fifth _saeculum_. This is probably about one hundred years after the introduction of the Chalcidian (Ionic) alphabet into the country. One of the earliest examples of the use of it is on a vase found in the Regulini-Galassi tomb. In considering the trade of the country it has been pointed out that its chief political connexions were with Carthage, but the artistic sense of Carthaginians or other Phoenicians was not more developed than that of the Etruscans. They were traders, and doubtless brought the Etruscans some of the Egyptian and Eastern objects which have been found in their tombs, articles that date from the 7th and 6th centuries B.C. But beside the Phoenicians the Ionian Greeks from the 9th century had been trading and colonizing in Sicily and Italy. Herodotus (i. 163) tells how the Phocaeans were the first of the Greeks to take long voyages, and that they discovered the Adriatic and Tyrrhenian seas and Iberia. Thucydides (vi. 3. 1) says that it was Chalcidians from Euboea who first settled in Sicily. Pliny (_Hist. Nat._ xxxv. 12. 43) writes in the same sense, for he tells of Demaratus who came from Corinth with the artists Eucheir, Diopus, Eugrammus, about 650 B.C., and first started sculpture in Italy. These traditions of the coming of Ionian Greeks to Italy are completely borne out by the archaeological remains found in Ionian lands and in Etruria, and it is agreed that a great part of what has hitherto been considered Etruscan is no more Etruscan than the Moorish plates of the 15th century found in Italy are Florentine. The best works in most of the smaller arts are almost without exception Greek, the earlier Ionian, the later Attic; the remainder are made with the distinct intention of imitating Greek models, and so should be considered as Greek, inasmuch as they do not show a natural, original expression of feeling on the part of the Etruscan workman. The Etruscans were dull artists in all lines. They were skilful copyists, nothing more, as is absolutely proved by the simple fact that we know of no Etruscan artist by name. If one takes the articles which are of obviously local manufacture, such as the burial urns[27] or the ordinary bronze mirrors, or the pottery, it would be hard to find a similar quantity of work by any other race so lacking in originality of conception or high excellence of technique.

In the study of the monuments a division must be made distinguishing between the obviously Greek works, the works done with a desire to copy Greek models and the work of native artists. To separate the objects in the way suggested required a very considerable familiarity with Greek art, and though in many cases the result may be doubtful, still so much must be taken from the Etruscans that they are shown to have little more artistic feeling than the Romans. In the earlier centuries a strong eastern influence appears in the copying of sphinxes and similar eastern motives, but this soon gave way to the stronger Greek influence, as was natural, for the intercourse with the Phoenicians was spasmodic whereas that with the Greeks was constant. But even with the Greeks to kindle their imaginations, the Etruscans produced no school of art; no steady progression is traceable. In various towns there were various fashions of pottery or jewelry, but good, bad and indifferent constantly occur together in a way possible only among a people who possessed no natural artistic capacities and had no widespread standards of cultivated taste. The Ionians have been mentioned as having strongly affected the arts in Etruria, and, though in the later centuries Athens undoubtedly exported heavy consignments to Italy, the taste of the Etruscans seems generally to have preferred the rather heavy loose style of the Ionians, even when direct contact with them was lost and its place taken by direct relations with Athens and her colonies.

Pottery.

Pottery[28] practised enormously by the Etruscans shows as clearly as possible their essential strength and weakness as artists. Even the black ware called _bucchero_ is now known to have been manufactured in other lands and not to be an exclusively Etruscan style. In the earlier tombs this ware is present in greater numbers than any other, and the vases exhibit considerable dexterity of manufacture so far as form goes. But it is evident from comparisons with early Ionian vases that the better proportioned of the shapes are direct copies of the Ionian. The decoration of the _bucchero_ is either engraved, in which case it is almost always extremely rude, or formed by figures modelled or pressed by a mould on to the body of the vase. In these two last cases the figures are often suggestive of the farther East (Egyptian and Mesopotamia), but still more frequently they are taken from Greek originals, and the natural tendency of the Etruscan artist to be a copyist is very marked. Whence the moulds for these vases came is not known, but analogy with other classes of work makes it practically certain that some were imported and some made by the imitating workmen. There are other classes of vases which at first sight look as though they were imported from Greece, but by the nature of their clay are recognized to be Etruscan imitations of Greek originals. The imitation is often very skilful, for the Etruscan artist rivalled his Grecian master in deftness of hand, if not in imagination. Such, for instance, are the large amphoras decorated with bands of animals in the Corinthian style. Besides these native Vases the tombs have yielded great quantities of others which used to be called Etruscan, but are now known to have been imported from Greece. Until the 6th century B.C. these vases are mostly Ionian, but at that time the trade of the Phocaeans was waning before that of Athens, and henceforward the Athenian ware is the commonest. Intercourse with Athens, however, came to an end about 480, when the Sicilian Greeks mastered the trade of the western Mediterranean, so that in the Etruscan tombs later than this date we find fewer and fewer imported vases, and more and more native imitations. It is generally taken for granted that these Attic vases were brought to Etruria by Greek traders, but considering how little the Greek historians, even Herodotus, knew of that country, this is unlikely. Then, too, the chief products Etruria had to give Greece were metals, so it is more likely that it was the Etruscan traders who, having carried metal to Greece (where Etruscan bronze was famous[29]), brought back the vases.

Scarabs.

Though most collections make no distinction between Greek and Etruscan scarabs the differences, though slight, are quite certain, and consist in the greater elaboration of the borders, edges and backs of the Etruscan examples. The commonest material for these gems is red carnelian, and agate frequently occurs. The beetle shape is undoubtedly due to the Phoenicians, who familiarized the Etruscans with the Egyptian scarab and with its signification as an amulet; while in technique they are more Greek, in use they are more Egyptian, for they were used not only as seals but as ornaments--as in the decoration of necklaces.[30] What we learn from them merely serves to strengthen what we learn from the pottery--that the Etruscans depended on the Greek world for their artistic conceptions. Though many Phoenician gems (in fact, scarcely any other kind) have been found in Sardinia, these are comparatively rare in Etruria, where the earliest gems occur about 650 B.C. Some of these earliest show the Ionian influence, which is also shown in certain gold rings, but most of them represent the Attic style as seen on the black-figured vases of Athens. To understand them one has but to know Attic sculpture, the complete history of which is repeated in these small and beautifully worked stones. At first one finds the single figures, awkward in form and modelling, but full of life in composition--one finds the same mistakes in anatomy (i.e. the muscles of the stomach); and then come the figures beautifully worked and accurately observed, but with the slight hardness and rigidity that belongs to all pre-Raphaelite work; and finally one sees the figures carved with the easy assurance of the master, sometimes single, sometimes in groups, but always Attic in their unrivalled representation of the beauties of the human figure, and in the innumerable lovely scenes taken from everyday life. Not infrequently inscriptions are cut in the gem, but these are not as on Greek gems the name of the carver or the owner, but the name of the Greek hero represented. In regard to technique one point is specially noteworthy. Many of the gems are carved with the round drill, and the disks made by this are not modelled into any real semblance of a figure. This is not a sign of the antiquity of the gem, for there are examples in which together with this method will be seen a figure finished with the greatest care; it is thus evident that the gem-cutter left the marks of his round drill because of their decorative value. This they undoubtedly possess, and it is one of the few cases in which the Etruscans showed any art sense.

Bronze.

Bronze was used extensively. Weapons of course were fashioned of it, but these are simple in shape and decoration; no such examples as those from Mycenae occur. Objects of large size, as the bronze doors of Veii,[31] the chariots of Perugia in the New York museum, or large tripods or shields, show that the artisans had large quantities of the material at their disposal. As with the vases or gems, so in these metal objects the distinction must be drawn between pure Etruscan work and the work that was done by Greek workmen or by artisans copying the Greek style. As Etruscan art has been wrongly estimated through forgetfulness of the Greek influence, so Greek bronzes have possibly received credit that does not belong to them. Etruscan candelabra and vases were famous among the Greeks (Ath. i. 28. 6; xv. 700 c). The chariots above mentioned and the tripods in the Harvard museum are plainly Greek; the round shields with ornament in bands are native. Antefixes of tombs were of bronze, and in some cases the eyes of the figures were inlaid with glass paste. The best-known articles of bronze are the mirrors,[32] which are very dependent on Greece for their models, though the poor style in which the scenes that decorate them are in most cases carved shows that these articles of common use were produced, as was natural, mainly by ordinary workmen. In rare cases the figures are not engraved but are given in low relief. These mirrors seem to have been mainly intended for women, and the scenes on them in large numbers of cases are of such a character as to bear out this idea; for instead of scenes of battle such as occur on the gems, scenes with satyrs and maenads are commoner, or the story of Helen or the labours of Hercules. So far as development goes they pass through the same stages as the gems, though owing to their larger surface they are more generally decorated with groups of figures.[33] Another well-known class of work is the _cistae_ or cylindrical bronze boxes found mostly at Praeneste, where they seem to have been especially popular. The engraved figures on them are of the same character as those on the mirrors, and it is noteworthy that these figures are often better in style than the figures modelled in the round that serve as handles, or than the legs which also are modelled. This, taken together with the fact that the same figures are repeated in several cases on more than one gem or mirror, makes it probable that the workmen, like the later potters of Arezzo, had a stock of models brought from Greece, which they repeated and combined to suit their fancy.

Gold and silver.

The paintings and contents of the tombs have made it plain that the wealth of the Etruscans was very considerable, and that they spent much on jewelry, gold and silver.[34] Their extravagance in this regard was well known,[35] and the rings, the necklaces, the diadems, the bracelets and the earrings show that there was a large class of well-to-do people. The eastern and Greek influences are clearly marked in the figures used in decoration, and in certain shapes of rings, but in one technical matter the Etruscans seem to have made a discovery: it was in the use of granulated ornament, that is, ornament made by soldering on to the gold object infinitely small globules of the same metal laid in various designs and patterns, each globule soldered by itself. Though this style of ornament occurs in Egypt, Cyprus, Rhodes and Magna Graecia, nowhere is it accomplished with such extraordinary minuteness as in Etruria. That they should do this was natural. The difficulty of it seems to have pleased them, for it is commoner than the earlier filigree work made of wire soldered on to the gold base. Reference has been made to the scarabs set as ornament in the gold necklaces, and similarly we find amber used and, in the later work, precious stones and pearls.

Sculpture.

As in Greece the Etruscans first carved their figures out of wood,[36] but what these figures were like we can only imagine. The earliest known figures in the round are even less successful than the contemporary Greek work. An early attempt at a female bust[37] is made not by casting but by riveting plates of bronze together. A half life size bust in the Tyszkiewicz collection[38] made probably about 600 B.C. is cast solid. Later they learned the art of hollow-casting, but their attempts to reproduce figures in the round are generally lacking in skill. One reason for this was the lack of good marble, the quarries at Carrara not having been used till Roman times. Terra-cotta was the material most commonly used, and their skill in modelling and colouring this was great. The earlier statues of large size have perished; but there are three famous sarcophagi which show the work of Ionian Etruscan artists;[39] one is in the British Museum, one in the Louvre and one in the Villa di Papa Giulio at Rome. The elaborate detail and careful work, the types of the figures and the style of their dress all point to the same Ionic origin as that of the bronze chariots already mentioned. The type of sarcophagus illustrated by these examples became very common, and in the figures that decorate the covers can be traced the various influences that affected the whole of Etruscan art. In an example from Volci[40] the later Attic influence is strongly marked. Such work shows little power of origination, but much of the interest taken by careful workmen by copying carefully, and the tendency that such workmen almost invariably display of overloading the subject with too much ornament and detail. The small ash-urns, either of stone or terra-cotta, are in certain ways more interesting than the more elaborate sarcophagi, for on these urns the heads of the figures reclining on one elbow which form the usual decoration of the covers are often obvious attempts at portraiture. Single busts[41] show this same desire for accurate likeness of the person represented, and in this one line of art the Etruscans showed a new feeling, one that found its finest expression in the hands of the later Roman portraitists. The main difference between such portraits and the Greek ones is that the Greek artist thought of his subject as illustrating character that showed itself in ways of repose and thought--the essential, lasting individuality. The Etruscan and Roman portraitist thought, on the other hand, of his subject as illustrating character in ways of action; hence pure Etruscan and Roman portraits are much more tense in line, and the expression of the eye is not dreamy but distinctly focussed. They are different, but, as art, one is as fine as the other. The scenes on the sides of these urns are, as in the case of the gems and mirrors, very frequently taken from Greek story, and often are scenes of battle.[42] Work in relief for the friezes and the other decorations of temples was very common, and shows remarkable skill in the mere processes of modelling and baking the slabs of terra-cotta that were fastened by nails to the beams. So far as the figures themselves are concerned, they seem to have but little meaning in connexion with the building they decorate. Satyrs and maenads, chariot-races and such scenes taken over from Greek models are perhaps the commonest. In none of the obviously native work is there any more instinctive feeling for the greater qualities of sculpture than in the gems. Little is original, almost everything dependent on earlier masters. There is no absorption of the artist by his work which produces great work, great because the beholder thinks rather of the work produced than of the artist who produces it. For this reason such figures as the bronze chimaera or the bronze Athena in the Florence museum are presumably not Etruscan but Greek.

Painting.

There is no evidence that the Etruscans had easel-paintings like the Greeks, but their skill in painting is well illustrated by the pictures with which they frequently covered the inner walls of their tombs. The wall was prepared with a coating of fine white stucco on which the figures were painted with a large variety of tints. The best of them have been found at Tarquinii, Chiusi, Volci, Caere, Veii.[43] The paintings exhibit the usual Greek influences. They show a certain ponderous realism, but as works of art they are of little value. As pictures of the life and customs of the people they are of great importance.

Coins.

As works of art their coins[44] are the worst efforts of the Etruscans. Gold, silver and bronze were used, but no examples can be dated earlier than the beginning of the 5th century B.C. The coins are struck according to four different standards of weight, due perhaps to different trade-connexions. The bronze coinage shows a distinct scale of reduction in weight due to the increasing use of the precious metals. Many examples show a design only on one side. The designs of the majority of the types are taken from Greek models, but strangely enough the die-cutters show no such skill as that of the makers of gems.

_Arms and Armour_.--In the early periods the chief weapons (besides bows and arrows which bore flint or bronze heads) were few and simple, and were of bronze. Iron ones have been found, and their rarity is doubtless partly due to their having rusted away. Spears of very various weights were common and also swords and daggers. These latter had straight two-edged blades with the handle either of the same piece or of some other material fastened on with rivets. The blades of the daggers are generally engraved with lines and zigzags. Shields were of circular and oval shape. These two were of bronze, the round ones decorated in Homeric fashion with concentric circles of ornament, the motives being geometric patterns or an animal repeated endlessly. Breastplates with overlapping shoulder-straps and belts, broader in front than behind, with decoration of the same kind as the bucchero vases, are not uncommon. Greaves and helmets completed their equipment. The former seem to have been less ornate than those the Greeks wore; the latter were of various shapes, the commonest being round caps with a knob on the top, or a deeper shape with a crest from front to back. Some are shown with side-pieces raised like wings, but these are perhaps merely cheek-pieces raised on hinges. In later times they had trumpets and axes, and their arms became practically the same as the Roman, as one sees from the representations in the tombs. (R. N.)

LANGUAGE

1. By "Etruscan" is meant the language spoken by the people called Etrusci (more commonly Tusci) by the Romans, Turskum numen (i.e. _Tuscum nomen_) by their neighbours the Umbrians of Iguvium (q.v.), and [Greek: Tursenoi] (later, e.g. in Strabo's time, [Greek: Turrenoi]) by the Greeks. Their own name for themselves was _Rasenna_ (or _Rasena_), according to Dionysius Halic. (i. 30), but it seems now to be fairly probable that this was no more than the name of a leading house (represented later on in Pisa and elsewhere) dominant at some fairly early date in some one locality (see below). Niebuhr attempted on slender grounds (_Rom. Hist._, ed. 3 [Eng. trans.], i. p. 41) to distinguish between the [Greek: Turrenoi] and the Tusci in order to accept the strongly supported tradition of a Lydian origin for the "Tyrrhenes" (see below), while rejecting it for the "Tuscans," but no one has since attempted to maintain the distinction (Dittenberger, _Hermes_, 1906, p. 85, footnote, regards the form [Greek: -enoi] as a "Graecized form of a local name" equivalent to _Tusci_), and we now know enough of the morphology of Etruscan names to recognize _Tur-s-co-_ and _Tur-s-eno-_ as closely parallel Etrusco-Latin stems, cf. _Venu-c-ius: Venu-senus_ both from Etr. _venu_ (Schulze, _Lat. Eigennamen_, p. 405) and _Ras-ena: Ras-c-anius_ (ibid. p. 92); or _Voluscus, Volscus: Volusenus_ (where the formative suffixes in each word are Etrusco-Latin whether the root be the same or not). But the analysis of the names cannot be entirely satisfactory until the first syllable of Etrusci--in Greek writers sometimes [Greek: Etrouskoi], e.g. in _Strabo_--ed. Meineke--has been explained.

2. The extent of territory over which this language was spoken varied considerably at different epochs, but we have only a few fixed points of chronology. From two separate sources, both traditional and probably sound (Dion. Hal. i. 26, and Plutarch, _Sulla_, 7; cf. Varro, quoted by Censorinus c. 17. 6), we should ascribe the first appearance of the Etruscans in Italy to the 12th century B.C. The intimate connexion in form between the names _Roma, Romulus_ and the Etruscan gentes rumate, rumulna (_Romatia, Romilia_, &c.), and the fact that many of the early names in Rome (e.g. _Ratumenna, Capena, Tities, Luceres, Ramnes_) are characteristically Etruscan, justifies the conclusion that the foundation of the city, in the sense at least of its earliest fortification, was due to Etruscans (Schulze, p. 580). The most likely interpretation of Cato's date for the Etruscan "foundation" of Capua is 598 B.C. (Conway, Italic Dialects, pp. 99 and 83). In 524 B.C. (Dion. Hal. vii. 2) the Etruscans were defeated by Aristodemus of Cumae, and in 474 by Hiero of Syracuse in a great naval battle off Cumae. Between 445 and 425 (_It. Dial._ l.c.) they were driven out of Capua by the Samnites, but they lingered in parts of Campania (as far south as Salernum) till at least the next century, as inscriptions show (ib. pp. 94 ff., 53), as at Praeneste and Tusculum (ib. p. 310 ff.) till the 3rd century or later. In Etruria itself the oldest inscriptions (on the stelae of Faesulae and Volaterrae) can hardly be later than the 6th century B.C. (C. Pauli, _Altital. Forsch._ ii. part 2, 24 ff.); the Romans had become dominant early in the 3rd century (C.I.L. xi. 1 _passim_), but the bulk of the Etruscan inscriptions show later forms than those found in the old town of Volsinii destroyed by the Romans in 280 B.C. (C. Pauli, ib. i. 127). In the north of Italy we find Etruscan written in two alphabets (of Sondrio and Bozen) between 300 and 150 B.C. (id. ib. pp. 63 and 126). The evidence of an Etruscan linen book wrapped round a mummy (see below) seems to suggest that there was some Etruscan colony at Alexandria in the period of the Ptolemies. At least one Etruscan suffix has passed into the Romance languages, _-i[t]a_ or _-ita_ in Etr. _lautni[t]a_ (from _lautni_ "familiaris," or "libertus"), and Etr.-Lat. _Iulitta_, which became Ital. _-etta_, Fr.-Eng. _-ette_.

3. Finally must be mentioned the remarkable pre-Hellenic epitaph discovered on the island of Lemnos in 1885 (Pauli, _Altital. Forsch._