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Campanari in 1835, contained the skeleton of a warrior, with helm on his head, ring on his finger, and a confused mass of broken and rusted weapons at his feet. The "Grotta del Sole e della Luna," opened in 1830, consists of eight chambers, with walls and ceilings carved in regular patterns.
Beyond that part of the Necropolis known as La Polledrara, the little river Timone flows under a natural arch called the Ponte Sodo, a miniature of that at Veii.
"On the painted pottery, found at Volci, it were needless to expatiate. Every museum in Europe proclaims its beauty, and, through it, the name of Volci, never much noised in classic times, and well-nigh •forgotten for two thousand years, has become immortal, and acquired a wider renown than it ever possessed during the period of the cities' existence. Volci has none of the tall black ware with figures in relief, which is peculiar to Chiusi and its neighbourhood; but of painted vases there is every variety—from the earliest, quaintest efforts, through every grade in excellence, to the highest triumphs of Hellenic ceramographic art. Of the early, so-called Doric, pottery, little is found at Volci; nor of the Perfect style, which is predominant at Nola, is there so great an abundance here; the great mass of Volcian vases being of the Attic style—of that severe and archaic design, which is always connected with black figures on a yellow ground. The best vases of Volci, in the chaste simplicity of their style, closely resemble those of Nola and Sicily; yet there are characteristic shades of diiference, in form and design, which can be detected by a practised eye. On this site, more than on any in Etruria, have been found those singular vases painted with eyes, so common also in Sicily, the meaning of which continues to perplex antiquaries.
"Although thousands on thousands of painted vases have been redeemed from oblivion, this cemetery still yields a richer harvest than any other in Etruria. No site has been so well worked by the excavator— none has so well repaid him; yet it seems far from exhausted. Nor is it rich in vases alone. Bronzes of various descriptions, mirrors with beautiful designs, vessels, tripods, candelabra, weapons—are proportionally abundant, and maintain the same relative excellence to the pottery. That exquisite cista, or casket, now in the Gregorian Museum, and which yields not in beauty to any one of those very rare relics of ancient taste and genius, was found at Volci. No site yields more superb and delicate articles in gold and jewellery—as the Cabinets of the Vatican and of Cavaliere Campana (now in the Louvre) can testify; none mors numerous relics in bone—spoons, needles, dice, to wit—or more beautiful specimens of variegated glass."—Dennis.
A visit to Volci finds its natural sequel at the Palace ef Musignano, five miles distant, the property of Prince TorIonia, who bought it in 1854 from the Roman Bonapartes, with whom it was a favourite residence. It is an ordinary villa built on the site of the Franciscan Abbey (" Abbadia") which gave a name to the bridge at Volci The gate and court-yard are adorned with griffins and lions from La Cucumella, but the collections of antiquities within, formed by Lucien Bonaparte and his widow, has been long since dispersed. The gardens and shrubberies, which are of great extent, are now overgrown and neglected. There is a lake with an island planted with willows from the grave at S. Helena.
The little town of Canino, which gives a princely title to the descendants of Lucien Bonaparte, is about two miles from the villa, at the foot of the hill called Monte di Canino. In the church is a monument by Pampaloni to Prince Lucien, who died at Viterbo and is buried here, with his second wife. The Monte de Canino is 1380 feet in height, and, in its lonely position and lime-stone formation, greatly resembles Soracte. It is possible to proceed in. a carriage from Canino to Toscanella, about nine miles distant, but as it is difficult to sleep there, and impossible to pass the night in the wretched locanda of Canino, it will be better to return to the inn at Civita Vecchia, or to a lodging at Corneto, and make the excursion from the latter place. I
TOSCANELLA AND CENTRAL ETRURIA
(Toscanella is most easily reached, either from Viterbo, 18 miles by a good road; or from Corneto, 17 miles distant. There is a very humble inn, but if possible the visitor should take an introduction to some private family in the town. The Etruscan sites beyond Toscanella are seldom visited, and can only in some instances be approached on horseback or on foot. The accommodation is of the humblest description.)
OSCANELLA is visible from a great distance, on a height above^the valley of the Marta.
"Vedemo Toscanela tanto anticha
Fazio degli Uberti.
Toscanella was the Etruscan Tascania, mentioned by Pliny as amongst the municipal communities of Etruria, but otherwise unknown to history. Its early importance has probably been much exaggerated, owing to the discovery of a single tomb of great magnificence, which ought rather to be considered to attest the wealth and importance of an individual family. There are scarcely any traces of the Etruscan city, and only small vestiges of reticulated walling to mark the Roman settlement which followed it. The mediaeval remains of Toscanella are far more important. The hill of San Pietro, which is outside the later town, was probably the arx of the Etruscan city. It is surrounded by a band of square mediaeval towers, which are double,—" a tall, slender tower being encased, with no intervening space, in an outer shell of masonry." On this height also is the Cathedral (S. Pietro), a most interesting building, partly of the seventh, partly of the eleventh century. The wonderfully rich central division of the facade is covered in its upper story with figures of men, devils, and beasts, possible and impossible, in high relief. Within, the church is a museum of pagan relics, the columns which divide the nave from the aisles are evidently Roman, the font rests on a pagan altar, and the crypt beneath the high-altar, said to have been a Roman bath, has twentyeight ancient pillars.
"The date of the interior is known. It forms part of a church which was built, about the middle of the seventh century, when the bodies of the saints Secundiano, Marcellino, and Veriano, were discovered (at Celli in 628) and brought to Toscanella. A splendid crypt was, as usual, prepared for their reception beneath the sanctuary.
"The front must have been rebuilt at much later times. The style is very peculiar. In the works of the Lombards we find an abundance of dragons and serpents, but we do not find them coursing down the front, from the eaves to the portal, as in the present instance. At Viterbo, however, which is at the distance of only a few miles from Toscanella, traces of the same peculiarity exist. The same extraordinary animals, though injured by time, and half-concealed by whitewash, may still be perceived on the front of the Church of San Giovanni in Zoccoli in that city. That church is known to have been complete in 1037. It may therefore be safely assumed that the existing front of San Pietro of Toscanella was built in the first half of the eleventh century.
"The ruined building, which adjoins the church, is the remains of the episcopal palace. The bishop's chair, which had been removed from Santa Maria to San Pietro in the seventh century, was again removed to the church of S. James in the sixteenth century, when Toscanella had shrunk to its present limits."—//. Gaily Knight.
Very near S. Pietro is the still older and exceedingly
curious church of Sta. Maria,whose front of the tenth century is also decorated with monsters. The church ends in an apse which has a fresco of the Last Judgment, and over the high-altar is a baldacchino. The richly-decorated pulpit is a beautiful work of the 13th century. Ughelli (Italia Sacra) mentions that the episcopal chair was removed from Sta. Maria to S. Pietro in the middle of the seventh century, which proves that at least in the early part of the seventh century this church must have been in existence, and it is almost certain to have been in existence in the sixth century also, as the signature of a bishop of Toscanella occurs in 595. The church was reconsecrated in 1206.
"We may conclude that Santa Maria was a finished building at the close of the sixth century: and the style of the interior of the church corresponds with that time. It is a studious, and not an unsuccessful, imitation of the Roman. All the pillars have foliage capitals, with no admixture of imagery; but, in the cornice, are seen a few of the symbolical figures which, at that period, began to make their appearance in churches."—Golly Knight.
After the churches, the chief attraction at Toscanella is the Etruscan museum and garden of the brothers Carlo and Secondiano Campanari, to whom the excavations of Tuscania are due, and who have largely contributed by the sale of their antiquities to all the important Etruscan collections of Europe. In the garden is a facsimile of an Etruscan tomb, opened by the Campanari, and inscribed "Ecasuthinesl" over the entrance. It contains the ten sarcophagi found in the original tomb. On each lies the owner, half reclining as if at a banquet, and each seems to be pledging his neighbour with the goblet in his hand. The flower-beds are fringed by sarcophagi, with Etruscans, male and female, reclining on the voi. 11. 22