artistic treatment on a level with the contemporary coins of
Greece, that the inscription alone serves to distinguish the one
from the other.

Latin

It is a fact less known, but not less certain, that Latium also, while
inferior to Etruria in the copiousness and massiveness of its art,
was not inferior in artistic taste and practical skill. Evidently the
establishment of the Romans in Campania which took place about the
beginning of the fifth century, the conversion of the town of Cales
into a Latin community, and that of the Falernian territory near Capua
into a Roman tribe,(39) opened up in the first instance Campanian art
to the Romans. It is true that among these the art of gem-engraving so
diligently prosecuted in luxurious Etruria is entirely wanting, and we
find no indication that the Latin workshops were, like those of the
Etruscan goldsmiths and clay-workers, occupied in supplying a foreign
demand. It is true that the Latin temples were not like the Etruscan
overloaded with bronze and clay decorations, that the Latin tombs were
not like the Etruscan filled with gold ornaments, and their walls
shone not, like those of the Tuscan tombs, with paintings of various
colours. Nevertheless, on the whole the balance does not incline in
favour of the Etruscan nation. The device of the effigy of Janus,
which, like the deity itself, may be attributed to the Latins,(40)
is not unskilful, and is of a more original character than that of
any Etruscan work of art. The beautiful group of the she-wolf with the
twins attaches itself doubtless to similar Greek designs, but was--as
thus worked out--certainly produced, if not in Rome, at any rate by
Romans; and it deserves to be noted that it first appears on the
silver moneys coined by the Romans in and for Campania. In the
above-mentioned Cales there appears to have been devised soon after
its foundation a peculiar 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 ver