Last Phase: Assimilation by the Romans.
With the Roman annexation of Etruscan society, the civilisation virtually comes to an end. Rome “with a capital R” in the words of D.H. Lawrence assimilated Etruscan art into its own systems of representation with the result that the art became vitiated and deprived of its pure spirit. In fact Roman ascendancy had been established over the Etruscans in 300, at least two centuries before their extermination, or assimilation depending on how one looks at it. However, despite the destruction of Etruscan cities Like Veii, others like Tarquinia, Chiusi, and Volterra continued to thrive. Upper-class tombs in these cities continue to display wealth and the trappings of power, though the combined lord and lady on a single couch disappears to be replaced by single figures occupying their own tombs. There are good examples of both types in the Guarnacci Museum in Volterra. At Perugia we have the splendid tomb of the Volumni with their elaborate banqueting couches; there were also good examples at Chiusi like the sarcophagus of a Hellenistic lady, possibly based on the iconography of the goddess Hera, now re-located to the British Museum. To represent free-standing sculpture we have the statue of an orator (above ) found at Lake Trasimene, now in Florence. Though this originated in the Etruscan-Hellenistic era, this statue unmistakeably has a “Roman face.” And though the toga is Roman and he wears the boots of a Roman magistrate, there are Etruscan letters on the hem of the garment. As the roman art scholar Diana E. E. Kleiner says, the arm takes on a life of its own, which has invited the term “the appendage aesthetic.” And in the words of Brendel, the Arringatore shows that “Roman verism” had reached Etruria when this bronze was cast. Finally, painting is well-served in the Etruscan-Hellenistic period with such sites as the murals from the François Tomb, excavated at Vulci in 1857, and now installed in the Villa Albani, Rome.
 Kleiner, Roman Sculpture, 1992, (Yale 1992), 34.