had such a genius for imitation that they
counterfeited sponges, which they saw used by the
Macedonians, and produced perfect imitations of the real
object. See Sir G. Birdwood's "Industrial Arts of
India," ii. p. 133 (ed. 1884).

[41] Ibid., ii. p. 131 (ed. 1884).

[42] See Sir G. Birdwood, p. 129 (ed. 1884). If
Fergusson is right in suggesting that the art of Central
America was planted there in the third or fourth century
of our era, it would, perhaps, appear to have taken
refuge in America when it was driven out of India by the
Sassanians, and was really Dravidian. He gives to the
Turanian races all the mound buildings, as well as the
fylfot or mystic cross, and he looks in Central India
for the discovery of some remains that will give us the
secret of the origin of the Indo-Aryan style. He thinks
the Archaic Dravidian is allied with the Chinese. See
Fergusson's "Architecture."

[43] Etruscan and Indian golden ornaments, including the
"Bolla" and the "Trichinopoly" chains and coral, are to
be found throughout Scandinavia and in Ireland. See
"Atlas de l'Archeologie du Nord," par la Societe Royale
des Antiquaires du Nord. Copenhagen, 1857.

[44] Arrian tells us of the Celts, "a people near the
Great Ionian Bay," who sent an embassy to Alexander
before the battle of the Granicus--"a people strong and
of a haughty spirit." Alexander asked them if they
feared anything. They answered that they feared the "sky
might fall upon their heads." He dismissed them,
observing that the Celts were an arrogant nation
(Arrian, i. 4, 10).

[45] According to Yates, the merchandise of Eastern Asia
passed through Slavonia to the north of Europe in the
Middle Ages, without the intervention of Greece or
Italy. This may account for certain terms of
nomenclature which evidently came with goods transported
straight to the north. Yates' "Textrinum Antiquorum,"
vol. i. p. 225-246.

[46] These northern ideas, spreading over Germany,
England, and France, flourished especially on German
soil; and Oriental-patterned embroideries for hangings
and dress were worked in every stitch, on every
material, as may be seen in the museums and printed
catalogues of Vienna, Berlin, Munich, &c.

[47] Except, perhaps, the Serpent and Tree cope in
Bock's Kleinodien.