kind of figured earthenware, which was
marked with the name of the masters and the place of manufacture,
and was sold over a wide district as far even as Etruria. The little
altars of terra-cotta with figures that have recently been brought
to light on the Esquiline correspond in style of representation as in
that of ornament exactly to the similar votive gifts of the Campanian
temples. This however does not exclude Greek masters from having also
worked for Rome. The sculptor Damophilus, who with Gorgasus prepared
the painted terra-cotta figures for the very ancient temple of Ceres,
appears to have been no other than Demophilus of Himera, the teacher
of Zeuxis (about 300). The most instructive illustrations are
furnished by those branches of art in which we are able to form a
comparative judgment, partly from ancient testimonies, partly from
our own observation. Of Latin works in stone scarcely anything else
survives than the stone sarcophagus of the Roman consul Lucius Scipio,
wrought at the close of this period in the Doric style; but its noble
simplicity puts to shame all similar Etruscan works. Many beautiful
bronzes of an antique chaste style of art, particularly helmets,
candelabra, and the like articles, have been taken from Etruscan
tombs; but which of these works is equal to the bronze she-wolf
erected from the proceeds of fines in 458 at the Ruminal fig-tree in
the Roman Forum, and still forming the finest ornament of the Capitol?
And that the Latin metal-founders as little shrank from great
enterprises as the Etruscans, is shown by the colossal bronze figure
of Jupiter on the Capitol erected by Spurius Carvilius (consul in 461)
from the melted equipments of the Samnites, the chisellings of which
sufficed to cast the statue of the victor that stood at the feet of
the Colossus; this statue of Jupiter was visible even from the Alban
Mount. Amongst the cast copper coins by far the finest belong to
southern Latium; the Roman and Umbrian are tolerable, the Etruscan
almost destitute of any image and often really barbarous.
The fresco-paintings, which Gaius Fabius executed in the temple of
Health on the Capitol, dedicated in 452, obtained in design and
colouring the praise even of connoisseurs trained in Greek art in
the Augustan age; and the art-enthusiasts of the empire commended
the frescoes of Caere, but with still greater emphasis those of Rome,
Lanuvium, and Ardea, as masterpieces of painting. Engraving