Page:History of Architecture in All Countries Vol 1.djvu/314

 282 ETRUSCAN ARCHITECTURE. Part 1. remains of the dead, and reverence for their memory. Tombs, con- sequently, and not temples, were the objects on which they lavished their architectural resources. They certainly were not idolaters, in the sense in which we usually understand the term. They had no dis- tinct or pi-ivileged priesthood, and consequently had no motive for erect- ing- temples which by their magnificence should be pleasing to their gods, or tend to the glorification of their kings or priests. Still less were they required for congregational purposes by the people at large. The only individual temple of Etruscan origin of which we have any knowledge, is that of Capitoline Jupiter at Rome.^ Originally small, it was repaired and rebuilt till it became under the Empire a splendid fane. But not one vestige of it now remains, nor any de- scription from which we could restore its appearance with anything like certainty. From the chapter of the work of Vitruvius just alluded to, we learn that the Etruscans had two classes of temples : one circular, like their structural tombs, and dedicated to one deity ; the other class rectangular, but these, always possessing three cells, were devoted to the worship of three gods. The general arrangement of the plan, as descrilied by Vitruvius, was that shown on the plan below (Fig. 1), and is generally assented to by 1G7 Plan and Elevation of an Etruscan Tenii)le. all those who have attempted the restoration. In larger temples in Roman times the number of pillars in front may liave l)een doubled, and they would thus be arranged like those of the portico of the Pantheon, which is essentially an Etruscan arrangement. The resto- ration of the elevation is more difficult, and the argument too long to be entered upon here;^ but its construction and proportions seem to have been very much like those drawn in the above diagram (Fig. 2). Of course, as wooden structures, they were richly and elaborately carved, and the effect heightened by colors, but it is in vain to attempt ' Dionysius, iv. 61. 2 For more detail, see " The True Principles of Beauty in Art," p. 446 et seq.