652 LUCE— BRIEF HISTORY OF THE 



collection now also dispersed, but most of which is in Vienna ; and 

 the album of the collection of the Due de Luynes, that most active 

 amateur of art, which is new in Paris in the Bibliotheque Nationale 

 (Paris, 1840). 



The most important album since Passeri, however, was F. Ing- 

 hirami's " Pitture di Vasi FittiH " (Fiesole, 1833-37; republished in 

 1852-56 as "Pitture di Vasi Etruschi"). This is usually abbre- 

 viated as V.F., and it is still an important book. Inghirami issued 

 other portfolios as well, the most important being his " Museo 

 Chiusino " as album of finds from Chiusi, the ancient Clusium. The 

 two albums of G. Micali, " Monumenti Inediti per Servire alia 

 Storia degli Antichi Popoli Italiani " (1833; usually abbreviated as 

 "Storia"), and "Monumenti Inediti" (1844) contain vases and 

 are of considerable importance, as is a similar album, " ]\Ionumens 

 Inedits," by the Frenchman, Raoul Rochette (1828). 



But the most important and far-reaching of these early albums 

 was Stackelberg's " Graber der Hellenen " (1837), made up after 

 travelling in Greece. This book stopped the " Etruscan theory " of 

 which I shall now speak, from growing, and proved beyond perad- 

 venture the Greek origin of the vases. 



Let us now consider what progress had been made in the study 

 of vases by means of these albums. There were up to 1827, and, 

 indeed, in a minor degree, up to the publication of Stackelberg in 

 1837, two theories as to the origin, the Etruscan and the Greek. 

 The former view was held by all the earliest authorities such as 

 Montfaucon and Passeri; but, in 1764, the great Winckelmann 

 brought out his " History of Ancient Art." In this epoch-making 

 book, and in his "Monumenti Antichi," which came out in 1769, 

 he publishes some vases, and he saw at once that their spirit was 

 that of Greece, not Etruria ; he therefore called them Italo-Greek, 

 suggesting Magna Grsecia as the place of their production. He was 

 followed by most of the French scholars, such as Millin, Millingen 

 and Laborde ; but the Italians, largely through national pride, held 

 on to the Etruscan theory as long as it was possible to do so, and 

 Inghirami called the vases Etruscan even as late as 1856. The dis- 

 covery of vases in Greece, of course, confirmed the position of the 

 Greek protagonists. 



