lately discovered in the Ruins of' Selinus. 169 



In reflecting on the very remote origin of Selinus, and the 

 resemblances in the above mentioned sculptures, to those of the 

 early Etruscan style, we could believe them, says the author, 

 also the production of an Etruscan chisel. 



This opinion, he adds, will appear less improbable, if we re- 

 flect, that the Siculi, from Italy, came to take possession of the 

 island, to which they gave their name, about 300 years before 

 the Greeks, and might have brought with them the arts which 

 then flourished in Etruria. Yet, still it would not be erroneous 

 to attribute a Grecian origin to the sculptures, if it be true, as 

 celebrated scholars have maintained, that the Etruscans learned 

 the arts from the Pelasgi or the Tyrrhenians. Hence Winckle- 

 man recommended monuments of the most ancient Etruscan 

 style, as the only remains which could give an idea of the ear- 

 liest specimens of Grecian sculpture *. 



Of the Phoenicians, the author thinks it unnecessary to say a 

 word ; because they did not found a single town in Sicily ; be- 

 cause they had no connection with it, but for a short period ; 

 because they had no intercourse with the Siculi, but as traders ; 

 because, when they came as allies to the Segestans, Selinus had 

 already existed for ages ; because they did not cultivate the fine 

 arts ; and because we possess nothing of their works, but a few 

 rude coins. 



With regard to the sculptures of the temple of The Pillars, 

 the author remarks, " There can be no doubt that they are 

 the productions of a Grecian chisel."" From their style being 

 quite similar to the marbles of Mgina, sculptured about sixty 

 years before the time of Pericles, we not only discern (in com- 

 parison to the above mentioned sculpture) a great progress in 

 the art, but a high degree of perfection. The drawing of the 

 figures is correct and elegant, the heads beautiful and attractive, 

 the forms rounded, the action simple and natural, the drapery 

 disposed in compressed and parallel folds, with much graceful- 

 ness, the shadows as well as the lights, distributed in soft grada- 

 tion. Another characteristic excellence of these figures, ob- 



• The justice of this remark has since been confirmed by the discovery of the 

 .^gina marbles, in which the style is exactly what has been hitherto called Etrus- 

 can, forming the long lost link which connects the stiff outline of Egyptian art 

 with the perfection of Grecian sculpture— Tr. 



