"Between c. 900-400 BC the Etruscans were the innovative, powerful, wealthy, and sophisticated elite of Italy. Their archaeological record is both substantial and fascinating, including tomb paintings, sculpture, jewellery, and art."

The Italian spoken in most of Tuscany is characterized by a number of peculiar pronunciations which for over half a century Romance scholars have explained by a theory of linguistic substratum influence. This theory postulates that present-day Tuscan pronunciation is a survival of the 'foreign accent' with which the ancient Etruscans must have spoken Latin when Rome first began to extend its power and language over the rest of Italy. Professor Izzo has undertaken a new and thorough investigation of modern Tuscan pronunciation, disproving this hypothesis and providing a definitive conclusion to the debate. He delineates clearly the errors in reasoning of those who trace the Tuscan pronunciation to an Etruscan influence, and presents his conclusions objectively. This study will interest Romance linguists, especially historians of the Italian language; but it will also interest historical linguists in general, for by disproving one of the most plausible and best-documented cases of alleged substratum influence, it casts doubt on many other cases where such influence has been claimed with little evidence.

"This book documents the influence of other contemporary civilizations on the Etruscans, and especially the role of the Romans, who absorbed many aspects of Etruscan culture but were ultimately responsible for its end. This is a book about the people of Etruria, their society, craft, art and beliefs."--Jacket.

From the author of The Rainbow, a travelogue of his journey through central Italy during the reign of Mussolini. Written in 1927 after visiting several Etruscan cities in central Italy, six of the seven essays contained in Sketches of Etruscan Places were posthumously published in 1932. The seventh, “The Florence Museum” is published here for the first time, along with forty-five illustrations reproduced with D. H. Lawrence’s own captions. The second part of this volume contains eight additional essays about Florence and the Tuscan countryside.

Professor Izzo has undertaken a new and thorough investigation of modern Tuscan pronunciation, disproving this hypothesis and providing a definitive conclusion to the debate. He delineates clearly the errors in reasoning of those who trace the Tuscan pronunciation to an Etruscan influence, and presents his conclusions objectively

Searching for the elusive criminals who left her famous father comatose after a bomb blast, cultural arts historian and quasi-archeologist, Amanda Oliver stumbles into a world of thugs, tomb robbers, obsessed archeologists and greedy collectors seeking a priceless Etruscan sarcophagus. Putty Face's footsteps crunched on the gravel behind me. His erratic breathing, panting like a thirsty animal, paralyzed me. I opened my mouth to protest but no sound came. In a split second, the pressure of his hands on my back told his intentions. He shoved hard. I pitched forward and the ground under my feet disappeared. My arms flailed clumsily when I grabbed out for something to stop my fall but met only air. His fierce thrust sped my descent and I tumbled uncontrollably, bouncing off bare rock outcroppings, each slam increasing my dizziness, bruising and weakening me. Mercifully, I blacked out.

Every society builds, and many, if not all, utilize architectural structures as markers to define place, patron, or experience. Often we consider these architectural markers as “monuments” or “monumental” buildings. Ancient Rome, in particular, is a society recognized for the monumentality of its buildings. While few would deny that the term “monumental” is appropriate for ancient Roman architecture, the nature of this characterization and its development in pre-Roman Italy is rarely considered carefully. What is “monumental” about Etruscan and early Roman architecture? Delving into the crucial period before the zenith of Imperial Roman building, Monumentality in Etruscan and Early Roman Architecture addresses such questions as, “What factors drove the emergence of scale as a defining element of ancient Italian architecture?” and “How did monumentality arise as a key feature of Roman architecture?” Contributors Elizabeth Colantoni, Anthony Tuck, Nancy A. Winter, P. Gregory Warden, John N. Hopkins, Penelope J. E. Davies, and Ingrid Edlund-Berry reflect on the ways in which ancient Etruscans and Romans utilized the concepts of commemoration, durability, and visibility to achieve monumentality. The editors’ preface and introduction underscore the notion of architectural evolution toward monumentality as being connected to the changing social and political strategies of the ruling elites. By also considering technical components, this collection emphasizes the development and the ideological significance of Etruscan and early Roman monumentality from a variety of viewpoints and disciplines. The result is a broad range of interpretations celebrating both ancient and modern perspectives.

Tuscany is everyone’s dream--a land of picturesque landscapes, fabulous food, and above all, extraordinary masterpieces of art of every kind. Focusing on a series of Tuscan centers, from the Etruscan capitals of Cerveteri and Tarquinia to the great medieval and Renaissance city-states of Lucca, Pisa, Siena, and Florence down to the present day, Marina Belozerskaya leads the reader on a journey through the arts of this astonishing part of Italy. Unlike other books on Tuscany, this one spans time, geography, and a wide variety of art forms--from Etruscan bronzes to Ferragamo shoes--and shows how the arts of this fertile region have sprung from their native soil over the centuries, each era providing the foundation for the next. Lavishly illustrated, and rich with the fascinating stories of Tuscan arts and their creators, The Arts of Tuscany offers an enchanting new look into the opulent culture of a beloved part of the world.

At the peak of Rome's might a dragon is born among eagles, an heir to a line both blessed and cursed by the Gods for ages. In A.D. 197, Emperor Septimius Severus led one of the largest invasion forces in Rome’s history against the Parthian Empire. Among the men of thirty-three legions is Lucius Metellus Anguis, a young man from an ancient Equestrian family. Against the wishes of his conservative father, Lucius is determined to pursue a career in the military and resurrect the glory of his family name on the battlefield rather than the marble of the Senate. However, as in all conflicts, Lucius’ ideals and his faith are challenged as he witnesses the worst in humanity. As the imperial legions fight their way through Mesopotamia to the Parthian capital of Ctesiphon, Lucius discovers the inner strength that may well ensure that this young dragon rises from the ranks of Rome’s eagles. Can a man survive the trials of war unscathed? Do the Gods indeed favour the bold? March to war with Rome’s legions and find out! A Dragon among the Eagles is the first novel in Adam Alexander Haviaras’ ground-breaking Eagles and Dragons historical fantasy series. If you like books by Douglas Jackson, Manda Scott, and David Gemmell, or movies like Gladiator and Pompeii, then you will love this historical series that combines adventure, romance, and the supernatural. Download this book now to set off on a thrilling adventure in the Roman Empire! To read more about the history and places in this book, be sure to check out our blog series The World of A Dragon among the Eagles at www.eaglesanddragonspublishing.com