And how lovely these have been, and still are I The band of dancing figures that go round the room still is bright in colour, fresh, the women in thin spotted dresses of linen muslin and coloured mantles with fine borders, the men merely in a scarf. Wildly the bacchic woman throws back her head and curves out her long, strong fingers, wild and yet contained within herself, while the broad-bodied young man turns round to her, lifting his dancing hand to hers till the thumbs all but touch. They are dancing in the open, past little trees, and birds are running, and a little fox-tailed dog is watching something with the naïve intensity of the young. Wildly and delightedly dances the next woman, every bit of her, in her soft boots and her bordered mantle, with jewels on her arms; till one remembers the old dictum, that every part of the body and of the anima shall know religion, and be in touch with the gods. Towards her comes the young man piping on the double flute, and dancing as he comes. He is clothed only in a fine linen scarf with a border, that hangs over his arms, and his strong legs dance of themselves, so full of life. Yet, too, there is a certain solemn intensity in his face, as he turns to the woman beyond him, who stoops in a bow to him as she vibrates her castanets.

  She is drawn fair-skinned, as all the women are, and he is of a dark red colour. That is the convention, in the tombs. But it is more than convention. In the early days men smeared themselves with scarlet when they took on their sacred natures. The Red Indians still do it. When they wish to figure in their sacred and portentous selves they smear their bodies all over with red. That must be why they are called Red Indians. In the past, for all serious or solemn occasions, they rubbed red pigment into their skins. And the same today. And today, when they wish to put strength into their vision, and to see true, they smear round their eyes with vermilion, rubbing it into the skin. You may meet them so, in the streets of the American towns.

  It is a very old custom. The American Indian will tell you: ‘The red paint, it is medicine, make you see!’ But he means medicine in a different sense from ours. It is deeper even than magic. Vermilion is the colour of his sacred or potent or god body. Apparently it was so in all the ancient world. Man all scarlet was his bodily godly self. We know the kings of ancient Rome, who were probably Etruscans, appeared in public with their faces painted vermilion with minium. And Ezekiel says (23: 14, 15): ‘She saw men pourtrayed upon the wall, the images of the Chaldeans pourtrayed with vermilion...all of them princes to look to, after the manner of the Babylonians of Chaldea, the land of their nativity.’

  It is then partly a convention, and partly a symbol, with the Etruscans, to represent their men red in colour, a strong red. Here in the tombs everything is in its sacred or inner-significant aspect. But also the red colour is not so very unnatural. When the Italian today goes almost naked on the beach he becomes of a lovely dark ruddy colour, dark as any Indian. And the Etruscans went a good deal naked. The sun painted them with the sacred minium.

  The dancers dance on, the birds run, at the foot of a little tree a rabbit crouches in a bunch, bunched with life. And on the tree hangs a narrow, fringed scarf, like a priest’s stole; another symbol.

  The end wall has a banqueting scene, rather damaged, but still interesting. We see two separate couches, and a man and a woman on each. The woman this time is dark-haired, so she need not be a courtesan. The Etruscans shared the banqueting bench with their wives; which is more than the Greeks or Romans did, at this period. The classic world thought it indecent for an honest woman to recline as the men did, even at the family table. If the woman appeared at all, she must sit up straight, in a chair.

  Here, the women recline calmly with the men, and one shows a bare foot at the end of the dark couch. In front of the lecti, the couches, is in each case a little low square table bearing delicate dishes of food for the feasters. But they are not eating. One woman is lifting her hand to her head in a strange salute to the robed piper at the end, the other woman seems with the lifted hand to be saying No! to the charming maid, perhaps a servant, who stands at her side, presumably offering the alabastron, or ointment-jar, while the man at the end apparently is holding up an egg. Wreaths hang from the ivy-border above, a boy is bringing a wine-jug, the music goes on, and under the beds a cat is on the prowl, while an alert cock watches him. The silly partridge, however, turns his back, stepping innocently along.

  This lovely tomb has a pattern of ivy and ivy berries, the ivy of the underworld Bacchus, along the roof-beam and in a border round the top of the walls. The roof-slopes are chequered in red and black, white, blue, brown, and yellow squares. In the gable angle, instead of the heraldic beasts, two naked men are sitting reaching back to the centre of an ivy-covered altar, arm outstretched across the ivy. But one man is almost obliterated. At the foot of the other man, in the tight angle of the roof, is a pigeon, the bird of the soul that coos out of the unseen.

  This tomb has been open since 1830, and is still fresh. It is interesting to see, in Fritz Weege’s book, Etruskische Malerei, a reproduction of an old water-colour drawing of the dancers on the right wall. It is a good drawing, yet, as one looks closer, it is quite often out, both in line and position. These Etruscan paintings, not being in our convention, are very difficult to copy. The picture shows my rabbit all spotted, as if it were some queer cat. And it shows a squirrel in the little tree in front of the piper, and flowers, and many details that have now disappeared.

  But it is a good drawing, unlike some that Weege reproduces, which are so Flaxmanized and Greekified; and n jade according to what our great-grandfathers thought they ought to be, as to be really funny, and a warning for ever against thinking how things ought to be, when already they are quite perfectly what they are.

  We climb up to the world, and pass for a few minutes through the open day. Then down we go again. In the Tomb of the Bacchanti the colours have almost gone. But still we see, on the end wall, a strange wondering dancer out of the mists of time carrying his zither, and beyond him, beyond the little tree, a man of the dim ancient world, a man with a short beard, strong and mysteriously male, is reaching for a wild archaic maiden who throws up her hands and turns back to him her excited, subtle face. It is wonderful, the strength and mystery of old life that comes out of these faded figures. The Etruscans are still there, upon the wall.

  Above the figures, in the gable angle, two spotted deer are prancing heraldically towards one another, on either side the altar, and behind them two dark lions, with pale manes and with tongues hanging out, are putting up a paw to seize them on the haunch. So the old story repeats itself.

  From the striped border rude garlands are hanging, and on the roof are little painted stars, or four-petalled flowers. So much has vanished! Yet even in the last breath of colour and form, how much life there is!

  In the Tomba del Morto, the Tomb of the Dead Man, the banqueting scene is replaced by a scene, apparently, of a dead man on his bed, with a woman leaning gently over to cover his face. It is almost like a banquet scene. But it is so badly damaged! In the gable above, two dark heraldic lions are lifting the paw against two leaping, frightened, backward-looking birds. This is a new variation. On the broken wall are the dancing legs of a man, and there is more life in these Etruscan legs, fragment as they are, than in the whole bodies of men today. Then there is one really impressive dark figure of a naked man who throws up his arms so that his great wine-bowl stands vertical, and with spread hand and closed face gives a strange gesture of finality. He has a chaplet on his head, and a small pointed beard, and lives there shadowy and significant.

  Lovely again is the Tomba delle Leonesse, the Tomb of the Lionesses. In its gable two spotted lionesses swing their bell-like udders, heraldically facing one another across the altar. Beneath is a great vase, and a flute-player playing to it on one side, a zither-player on the other, making music to its sacred contents. Then on either side of these goes a narrow frieze of dancers, very strong and lively in their prancing. Under the frieze of dancers is a lotus dado, and below that again, all round the room, the dolphins are leaping, leaping all downwards into the rippling sea, while birds fly between the fishes.

  On the right wall reclines a very impressive dark red man wearing a curious cap, or head-dress, that has long tails like long plaits. In his right hand he holds up an egg, and in his left is the shallow wine-bowl of the feast. The scarf or stole of his human office hangs from a tree before him, and the garland of his human delight hangs at his side. He holds up the egg of resurrection, within which the germ sleeps as the soul sleeps in the tomb, before it breaks the shell and emerges again. There is another reclining man, much obliterated, and beside him hangs a garland or chain like the chains of dandelion-sterns we used to make as children. And this man has a naked flute-boy, lovely in naked outline, coming towards him.

  The Tomba della Pulcella, or Tomb of the Maiden, has faded but vigorous figures at the banquet, and very ornate couch-covers in squares and the key-pattern, and very handsome mantles.

  The Tomba dei Vasi Dipinti, Tomb of the Painted Vases, has great amphorae painted on the side wall, and springing towards them is a weird dancer, the ends of his waist-cloth flying. The amphorae, two of them, have scenes painted on them, which can still be made out. On the end wall is a gentle little banquet scene, the bearded man softly touching the woman with him under the chin, a slave-boy standing childishly behind, and an alert dog under the couch. The kylix, or wine-bowl, that the man holds is surely the biggest on record; exaggerated, no doubt, to show the very special importance of the feast. Rather gentle and lovely is the way he touches the woman under the chin, with a delicate caress. That again is one of the charms of the Etruscan paintings: they really have the sense of touch; the people and the creatures are all really in touch. It is one of the rarest qualities, in life as well as in art. There is plenty of pawing and laying hold, but no real touch. In pictures especially, the people may be in contact, embracing or laying hands on one another. But there is no soft flow of touch. The touch does not come from the middle of the human being. It is merely a contact of surfaces, and a juxtaposition of objects. This is what makes so many of the great masters boring, in spite of all their clever composition. Here, in this faded Etruscan painting, there is a quiet flow of touch that unites the man and the woman on the couch, the timid boy behind, the dog that lifts his nose, even the very garlands that hang from the wall.

  Above the banquet, in the triangle, instead of lions or leopards, we have the hippocampus, a favourite animal of the Etruscan imagination. It is a horse that ends in a long, flowing fish-tail. Here these two hippocampi face one another prancing their front legs, while their fish-tails flow away into the narrow angle of the roof. They are a favourite symbol of the seaboard Etruscans.

  In the Tomba del Vecchio, the Tomb of the Old Man, a beautiful woman with her hair dressed backwards into the long cone of the East, so that her head is like a sloping acorn, offers her elegant, twisted garland to the white-bearded old man, who is now beyond garlands. He lifts his left hand up at her, with the rich gestue of these people, that must mean something each time.

  Above them, the prancing spotted deer are being seized in the haunch by two lions. And the waves of obliteration, wastage of time and damage of men, are silently passing over all.

  So we go on, seeing tomb after tomb, dimness after dimness, divided between the pleasure of finding so much and the disappointment that so little remains. One tomb after another, and nearly everything faded or eaten away, or corroded with alkali, or broken wilfully. Fragments of people at banquets, limbs that dance without dancers, birds that fly in nowhere, lions whose devouring heads are devoured away! Once it was all bright and dancing: the delight of the underworld; honouring the dead with wine, and flutes playing for a dance, and limbs whirling and pressing. And it was deep and sincere honour rendered to the dead and to the mysteries. It is contrary to our ideas; but the ancients had their own philosophy for it. As the pagan old writer says: ‘For no part of us nor of our bodies shall be, which doth not feel religion: and let there be no lack of singing for the soul, no lack of leaping and of dancing for the knees and heart; for all these know the gods.’

  Which is very evident in the Etruscan dancers. They know the gods in their very finger-tips. The wonderful fragments of limbs and bodies that dance on in a field of obliteration still know the gods, and made it evident to us.

  But we can hardly see any more tombs. The upper air seems pallid and bodiless, as we emerge once more, white with the light of the sea and the coming evening. And spent and slow the old dog rises once moe to follow after.

  We decide that the Tomba delle Iserizioni, the Tomb of the Inscriptions, shall be our last for today. It is dim but fascinating, as the lamp flares up, and we see in front of us the end wall, painted with a false door studded with pale studs, as if it led to another chamber beyond; and riding from the left, a trail of shadowy tall horsemen; and running in from the right, a train of wild shadowy dancers wild as demons.

  The horsemen are naked on the four naked horses, and they make gestures as they come towards the painted door. The horses are alternately red and black, the red having blue manes and hoofs, the black, red ones, or white. They are tall archaic horses on slim legs, with necks arched like a curved knife. And they come pinking daintily and superbly along, with their long tails, towards the dark red death-door.

  From the left, the stream of dancers leaps wildly, playing music, carrying garlands or wine-jugs, lifting their arms like revellers, lifting their live knees, and signalling with their long hands. Some have little inscriptions written near them: their names.

  And above the false door in the angle of the gable is a fine design: two black, wide-mouthed, pale-maned lions seated back to back, their tails rising like curved stems, between them, as they each one lift a black paw against the cringing head of a cowering spotted deer, that winces to the deathblow. Behind each deer is a smaller dark lion, in the acute angle of the roof, coming up to bite the shrinking deer in the haunch, and so give the second death-wound. For the wounds of death are in the neck and in the flank.

  At the other end of the tomb are wrestlers and gamesters; but so shadowy now! We cannot see any more, nor look any further in the shadows for the unconquerable life of the Etruscans, whom the Romans called vicious, but whose life, in these tombs, is certainly fresh and cleanly vivid.

  The upper air is wide and pale, and somehow void. We cannot see either world any more, the Etruscan underworld nor the common day. Silently, tired, we walk back in the wind to the town, the old dog padding stoically behind. And the guide promises to take us to the other tombs tomorrow.

  * * *

  There is a haunting quality in the Etruscan representations. Those leopards with their long tongues hanging out: those flowing hippocampi; those cringing spotted deer, struck in flank and neck; they get into the imagination, and will not go out, And we see the wavy edge of the sea, the dolphins curving over, the diver going down clean, the little man climbing up the rock after him so eagerly. Then the men with beards who recline on the banqueting beds: how they hold up the mysterious egg! And the women with the conical head-dress, how strangely they lean forward, with caresses we no longer know! The naked slaves joyfully stoop to the wine-jars. Their nakedness is its own clothing, more easy than drapery. The curves of their limbs show pure pleasure in life, a pleasure that goes deeper still in the limbs of the dancers, in the big, long hands thrown out and dancing to the very ends of the fingers, a dance that surges from within, like a current in the sea. It is as if the current of some strong different life swept through them, different from our shallow current today: as if they drew their vitality from different depths that we are denied.

  Yet in a few centuries they lost their vitality. The Romans took the life out of them. It seems as if the power of resistance to life, self-assertion, and overbearing, such as the Romans knew: a power which must needs be moral, or carry morality with it, as a cloak for its inner ugliness: would always succeed in destroying the natural flowering of life. And yet there still are a few wild flowers and creatures.

  The natural flowering of life! It is not so easy for human beings as it sounds. Behind all the Etruscan liveliness was a religion of life, which the chief men were seriously responsible for. Behind all the dancing was a vision, and even a science of life, a conception of the universe and man’s place in the universe which made men live to the depth of their capacity.

  To the Etruscan all was alive; the whole universe lived; and the business of man was himself to live amid it all. He had to draw life into himself, out of the wandering huge vitalities of the world. The cosmos was alive, like a vast creature. The whole thing breathed and stirred. Evaporation went up like breath from the nostrils of a whale, steaming up. The sky received it in its blue bosom, breathed it in and pondered on it and transmuted it, before breathing it out again. Inside the earth were fires like the heat in the hot red liver of a beast. Out of the fissures of the earth came breaths of other breathing, vapours direct from the living physical underearth, exhalations carrying inspiration. The whole thing was alive, and had a great soul, or anima: and in spite of one great soul, there were myriad roving, lesser souls: every man, every creature and tee and lake and mountain and stream, was animate, had its own peculiar consciousness. And has it today.

  The cosmos was one, and its anima was one; but it was made up of creatures. And the greatest creature was earth, with its soul of inner fire. The sun was only a reflection, or off-throw, or brilliant handful, of the great inner fire. But in juxtaposition to earth lay the sea, the waters that moved and pondered and held a deep soul of their own. Earth and waters lay side by side, together, and utterly different.

  So it was. The universe, which was a single aliveness with a single soul, instantly changed, the moment you thought of it, and became a dual creature with two souls, fiery and watery, for ever mingling and rushing apart, and held by the great aliveness of the universe in an ultimate equilibrium. But they rushed together and they rushed apart, and immediately they became myriad: volcanoes and seas, then streams and mountains, trees, creatures, men. And everything was dual, or contained its own duality, for ever mingling and rushing apart.