1. Appian of Alexandria, mentions in the "La Storia romana(The Roman History), Volume I" that the Rutuli are Etruscan tribe of Etruscan origin.

2. Dionysius of Halicarnassus spells the name of Turnus as "Tyrrhenus". His name clearly shows his Etruscan origin. Turnus was the king of the Rutulians in Ardea.

3. The name "Rutuli" occurs in the Corpus Inscriptionum Etruscorum, linguistic proof showing that the word is of Etruscan origin.

4. There is an Etruscan inscription at the archaeological site of Colle della Noce, dating at the 5th century BCE. In the inscription the name of a noble man "Vel Uthras" was written, this name was also found in Caere. This is a proof of the close relationship between Ardea(Turnus) and Caere(Mezentius), and the Etruscan origin of the Rutuli.

5. Below the height of the acropolis in Ardea, in the “Civitavecchia” plateau, in the Casarinaccio area, Etruscan cocciame were extracted.

6. At the archaeological site of Fosso dell Incastro in Ardea, the head of a satyr ascribable to a type of Etruscan-Italic tradition was found. The Dumézil (2001, 393) states that Venus "... in Ardea was called Frutis, a word in which numerous authors recognize an Etruscan alteration of the name of Aphrodite, and that his cult, as it was said, had been founded directly by Aeneas just arrived in Lazio Veneri matri, quae Frutis dicitur ”.

7. Within the architectural terracottas of Temple A at the archaeological site of Fosso dell Incastro in Ardea, this style was found: "of the covering slabs with a single crossed meander, interspersed with rosettes and birds, very common in the Etruscan-Lazio area in the last decades of the 6th century BC". The decoration of temple B in its first phase is composite: on one side there are Etruscan-Ionian influences and on the other those bells, as in other Lazio contexts (Cristofani 1987, 102).

8. There is another Etruscan Inscription in Ardea, dated around 475 – 425 BCE, mentioned in the book "Etruskische Texte, Editio minor, Helmut Rix".

9. Virgil, depicts an alliance between the Etruscans of Mezentius and the Rutuli, he wrote that Mezentius was seeking refuge with Turnus.

10. Livy, calls the Latins(Italics) the "Aborigines", but calls the Rutuli and Etrusci by name. None of the ancient sources show the Rutuli as a nation, they are clearly an Etruscan tribe.

11. Livy mentions that Ardea was held by the Rutulians, a race that, for both that time and place, was extremely wealthy. Archaeology corroborates that they were wealthy in the time of Tarquin, because of the princely rich burials that were found in the Early Iron Age Ardea necropolis.

12. At the site of Fosso dell’Incastro on the coastline of Ardea, Temple B (which is of Etruscan origin), the site of Inuus’ worship, was constructed in the Etrusco-Italic style during the first quarter of the fifth century BCE. Castrum Inui was dedicated to the Etruscan god.

13. Pliny the Younger in 107 AD mentions Centum Cellai, the discovery of small rustic buildings in the area of Civitavecchia(a region attached to Ardea) attest the presence of populations of Etruscan origins. There is the Etruscan Necropolis of Marangone in Civitavecchia.

14. The discovery of the Etruscan necropolis of Pozzuolo, referable to the contemporary town of Isola Farnese. Fifty graves have been highlighted. Strict are the comparisons between the ceramics of Pozzuolo eg. with the kits (at least 13) of the forensic area of Lavinio, an affinity that had already been highlighted between the tombs of Ardea, Campo del Fico and those of the Ceretan area (Sasso di Furbara), which recalled the relative tradition to Mezenzio. As a consequence, the "Tombe a Pozzo" which represent burial by cremation are said to belong to the early Etruscan civilization, in the same way as the "Tombe a Camera" with their buried bodies represent a later stage of the same culture.

15. The material finds dating to the fifth-century BCE phases clearly show interaction between Ardea and Etruscan, Magna Graecian, and Campanian cultures.

16. One detail of the so-called Tuscan temple is the Etruscan round moulding, known from Etruria and monuments in Rome. The earliest preserved example (sixth century B.C.E.) comes from S. Omobono in Rome, followed by Satricum, Pyrgi, Ardea, and Tarquinia through the fourth century B.C.E. The chronologically earliest such temple podium, following the temple from S. Omobono, comes from Ardea, a town to the south of Rome known for its city wall and several temples. One of these temples, known as Casalinaccio or Civitavecchia, shows a podium with massive Etruscan round mouldings on the preserved short and long sides (fig.4). It is commonly dated to the sixth century B.C.E., but a later date of 480 B.C.E. has also been suggestedby Colonna. As suggested by these examples, the so-called Tuscan temple with the accompanying Etruscan round podium mouldings spread chronologically from the sixth to the early fourth century B.C.E. in locations ranging from Ardea and Satricum in Latium to Rome at the border between Latium and Etruria and to Pyrgi and Tarquinia in southern Etruria (fig. 6). Although the earliest form of worship and presence of temple buildings on the arx are subject to debate, it was not until the second century B.C.E., at least 100 years after the foundation of the colony, that a Capitolium proper was erected (although the identification has been doubted by Bispham), decorated with masses of architectural terracottas, andadorned with an easily recognizable Etruscan round base moulding (fig. 9). As pointed out by Meritt, its closest parallel is the temple at Ardea, and the question we have to ask is whether the Roman architect intentionally used an archaizing form of moulding for this "Tuscan" temple in Roman clothing.

17. Unfortunately, nothing has survived of possible wall paintings (some on clay or wood plaques) in Etruscan temples, sacred structures, public buildings, or aristrocratic houses, simply because their materials (wood, clay bricks, opus craticium) were vulnerable to decay. We do, however, read of them in Pliny (Nat. Hist. 35.17-18) as mainly in Caere and in Ardea and Lanuvium in Latium. This again shows that the population of Ardea and Caere are of the same Etruscan origin.

18. The elaborate chambered tombs of the Etruscans were found in the Iron Age period of Ardea. The crowds frequented Ardea at this same time to worship at the temple of Venus(Etruscan God).

19. Two known chambers from Ardea (QUILICI, QUILICI GIGLI 1977; MORSELLI, TORTRICI 1982, 110–111) show connection to southern Etruria. At La Rustica many Archaic tombs comprised of an entrance trench and a side niche (loculus); structurally, they are very similar to the Archaic fossa tombs with steps at Veii in southern Etruria. This particular example together with the chambers at Ardea suggests that interregional contacts affected burialc customs at the local level. In addition, the chambers at Ardea showed Etruscan connection.

20. In the first half of the 19th century, the editions appeared of the influential historical map by William Gell and Antonio Nibby "Latium Vetus et Regiones Conterminae". In these maps the area east of Ardea was ascribed to the territory of the Volsci. The area around Ardea on the coast is reserved for the people of the Rutuli. Whereas the territory of the Latini is situated to the east of the Tiber. This is clearly showing that the Rutuli are not of Italic origin.

21. G. Colonna (478-483) comments on the growing evidence for the alphabet in Italy early in the 8th century. This includes the man's name "Aie" in the San Francesco hoard at Bologna, sigmas and the Etruscan numeral 50 on axes in the Ardea hoard, and the beginning of an abecedarium on a Veientine amphoretta.

22. Bucchero is a class of ceramics produced in central Italy by the region's pre-Roman Etruscan population. Regarded as the "national" pottery of ancient Etruria, bucchero ware is distinguished by its black fabric as well as glossy, black surface achieved through the unique "reduction" method in which it was fired.

A lot of archaeological findings(pottery) from Iron Age Ardea(which are of Etruscan origin) are displayed in the Collection of the Penn Museum.
Here is a list of some: