ETRURIA

Speranza

During the late seventh and sixth centuries B. C., the ETRUSCANS expanded northward and eastward to the RIVER PO and the Adriatic coast as well as southward into CAMPANIA.

This particular confrontation was fateful, for the subsequent history of ETRURIA is marked by conflicts with Greeks and Carthaginians, but MOST ESPECIALLY WITH the growing power of ROMA.

Ruled by the Etruscans during the seventh century, B. C., ROMA was in effective control of MOST ETRUSCAN territory by the early third century B. C.

The interrelation of influences is as complex in the art of ETRURIA as in that of Southern Italy.

The Greek contribution in the respective regions is particularly noteworthy.

In ETRURIA, Greek presence took the form of objects, imported by the thousands, as well as borrowings from the arts of MAGNA GRAECIA.

There were no colonies as in Southern Italy, far fewer emigrants perpetrating traditions that were alien and often separate from those of the indigenous popuulations.

Thus, in Etruria, foreigh subjects, styles and types of objects were continually being assimilated into local production.

Although ETRUSCAN art remained distinctive to the end, during the HELLENISTIC period, the creations of Central and Southern Italy lost their previously pronounced differences.

Etruscan art was particular good at metalworking, pottery, jewelry, and amber-carving.

The main entres of production were in ETRURIA and at PRAENESTE (Palestrina), a highly Etruscanised Latin city to the south.

With the resources available to them, and their consummate skills, Etruscan artists created a rich tradition that contributed decisively to the achievements of their Roman successors.