E T T E T T G45 with a considerable variety of colours, red, brown yellow, carnation, blue, green, and black, to indicate flesh, hair, dress, armour, and other adjuncts. The principal localities in which these paintings have been discovered are Yeii, Chiusi, Vulci, Ciere. and Tarquinii. The most important of them will be found engraved in the Monumenti d. List. Arch. Rom., those of Tarquinii in vol. i., pis. 32-3; vi., pi. 79; viii., pi. 36, and ix., pis. 13-loe; from Caere, vi., pi. 30; from Vulci vi., pis. 31-2 ; from Chiusi, v., pis. 16, 17, 33, 34 ; from Veil, Micali, Hon. IneJ., pi. 58, figs. 1-3. For the state of opinion concerning the antiquity of this art in Etruria, see Helbig in the Annali d. Inst. Arch. Horn., 1863, p. 336, and again Annali, 1870, p. 5-74, in reply to Brim 11 who had criticised his theory in the meantime in the Annali, 1866, p. 442. B^th wrote from personal in spection, and from an acquaintance with Etruscan remains such as no other writers possess. If they differ as to whether this or that painting is older than another, they yet appear to be agreed on the main points that, taken alto gether, these paintings represent three successive stages of the art, the oldest stage being characterized as Tuscan and as exhibiting little of Greek influence, the second as strongly marked by the features of Greek painting in the phase in which it was left by Polygnotus, and the third as completely Fig. 5. Scene from Mural Painting at Tarquinii. From the Mon umenti d. Inst. Arch., i., pi. 32. under the domination of Greek art as it existed in the Hellen istic age. It is not meant that this oldest or Tuscan school was an original creation, but only that with perhaps no better models than Greek vases, the Etruscans then developed a system of mural painting which may be called their own, the more so since its spirit of localizing its subjects by giv ing the figures native dress and types of face is seen at times surviving in the later stage. The tomb at Yeii is assigned by Helbig to the first period, aiul in any case it must be ranked as early, since that town was destroyed in 396 B.C. Obviously very early are also the pictures from Ciure (Monumenli, vi., pi. 30), where a female is being brought to an altar to be sacrificed. In the scene is an ancient statue (xoanon), a curious figure of a soul in the air, two warriors and two figures sitting face to face. It is, however, in the paintings of the second period, especially those of Tarquinii (see fig. 5), that the Etruscan show to the best advantage, as having the delicacy and refinement of drawing combined with nobility of figure ascribed by tradition to rolygnotus, and still traceable on the earlier examples of the Greek vases with red figures, wearing thin transparent draperies which do not conceal the forms and movements of the limbs. Here the Etruscan artist has a complete command of skill, and is obviously conscious of it from the precision with which he carries out his finest lines. The types of his figures are of pure Greek beauty, and their movement such as that on the best vases. No doubt these particular paintings are exceptional among those that remain now, but in what relation they had stood to the general run at the time when they were executed is another question. The others sin more or less in the direction already pointed out as characteristic of the Etruscans, a certain gross realism under which there probably lay artistic strength of some kind. As regards the latest stage it has little to distinguish it from Greek work except the occasional presence of peculiarly Etruscan daemons, Etruscan inscriptions explain ing the subjects, and again frequently the native realism carried sometimes to the extent of being nearly grotesque. In the early specimens the subjects consist mo.stly of banquet scenes attended by dances to music apparently in groves, perhaps those of Elysium and games such as ac companied funeral obsequies in Greece and probably also in Etruria. Doubtless these representations in the interiors of tombs were intended to realize the future life of the deceased. (A. s. M.) ETTLINGEN, the chief town of a district in the circle of Carlsruhe, Baden, Germany, is situated at the entrance of the valley of the Alb, on the railway from Manheim to Basel, 4^ miles south of Carlsruhe. Agriculture, the rear ing of cattle, and the cultivation of madder and various kinds of fruits employ a portion of the population ; but they are chiefly engaged in manufactures, paper-making, cotton- spinning, weaving, cloth-dressing, and starch-making. Ettlingen possesses an old castle built on the site of a Roman fortress. This castle was burnt by the French in 1689, but was rebuilt at the beginning of the 18th century. The first notice of Ettlingen dates from the beginning of the 12th century. It was a free town till 1234, when it was presented by the emperor Frederick II. to the margrave of Baden, In 1644 it was conquered by the Weimar troops under Taupadel, and near the town Moreau was defeated by the archduke Charles 9th and 10th July 1796. In and around Ettlingen a large number of Roman antiquities have been found. The population in 1875 was 5286. ETTML Y LLER, ERNST MORIZ LUDWIG (1802-1877), an able and erudite philologist, who has contributed largely to the critical literature of the Germanic tongues. He was born at Gersdorf near Lobau, in Saxony, October 5, 1802, was privately educated by his father, the Protestant pastor of the village, entered the gymnasium at Zittau in 1816, and studied from 1823 to 1826 at the university of Leipsic. After a period of about two years during which he was partly abroad and partly at Gersdorf, he proceeded to Jena, where in 1830 he delivered, under the auspices of the uni versity, a course of lectures on the old Norse poets. Three years later he was called to occupy the mastership of German language and literature at the Zurich gymnasium ; and in 1863 he left the gymnasium for the university, with which he had been partially connected twenty years before. His death took place at Zurich, 1877. To the study of English Ettmuller contributed by an alliterative translation of Beowulf, Zurich, 1840, an Anglo-Saxon chrestomathy entitled Engla and Seaxna scopas and boceras, Quedlin- liurg, 1850, and a well known Lexicon Anylo-Sajconicum, Qued., 1851, in which the explanations and comments are given in Latin, but the words unfortunately are arranged according to their etymological affinity, and the letters ac cording to phonetic relations. He edited a large number of High and Low German texts : Kunech Laurin, Jena, 1829; Wartburykrieij, Jena, 1830; Sant Oswaldes Leben, Zur. 1835; Ortnides mervart wide tot, Zur. 1838; Hadionbes Lieder und Sjwiiche, Zur. 1840; Heinrich s von Meissen des Frauenlubes Leiche, Spriiche, Streitfjedirhte und Lieder, Qued. 1843; Froiven Hclchen Siine, Zur. 1846; Heinrich s von Veldecke Eneide, Leipsic, 1852 ; Theephihis, Qued. 1849 ; Dat Spil van der upstanding, Qued. 1850 ; Wizlau-es IV. Lieder und Sprii>-he, Qued. 1852 ; and to the study of the
Scandinavian literatures he contributed an edition of the