[48] The different Celtic nationalities are always
recognizable. There was found in a grave-mound at Hof,
in Norway, a brooch, showing at a glance that it was
Christian and Celtic, though taken from the grave of a
pagan Viking. Another at Berdal, in Norway, was at once
recognized by M. Lorange as being undoubtedly Irish.
There are many other instances of evident Celtic
Christian art found on the west coast of Norway under
similar conditions--probably spoil from the British
Islands, which were subject to the descents of the pagan
Vikings for centuries after the time of St. Columba's
preaching of Christianity in Scotland. For information
on the subject, see G. Stephen's "Monuments of Runic
Art," and F. Anderson's "Pagan Art in Scotland."

[49] "Scotland in Pagan Times," by J. Anderson, pp. 3-7.

[50] On a vase in the British Museum, Minerva appears
with her aegis on her breast, and clothed in a petticoat
and upper tunic worked in sprays, and a border of
kneeling lions. On another Panathenaic vase she has a
gown bordered with fighting men, evidently the sacred
peplos. (Fig. 4.)

[51] See the account of the veil of Here in the Iliad,
and that of the mantle of Ulysses in the Odyssey.

[52] See Butcher and Lang's Odyssey.

[53] "Der Stil."

[54] The Greeks collected into one focus all that they
found of beauty in art from many distant
sources--Egyptian, Indian, Assyrian--and thus fired
their inborn genius, which thenceforth radiated its
splendour over the whole civilized world.

[55] Homer's Iliad, xviii. 480-617 (Butcher and Lang).

[56] See "Woltmann and Woermann." Trans. Sidney Colvin,
p. 64.

[57] Except, perhaps, the keystone arch.

[58] Virg. AEneid iii. Trans. G.L.G.

[59] The Indian Cush.

[60] Except in the art of the Celts, whose Indo-Chinese
style shows evidence of Mongolian importation, and later
we find traces of a similar influence: for instance,
"Yarkand rugs are semi-Chinese, semi-Tartar, resembling
also the works of India and Persia. It is easy to
distinguish from what source each comes, as one
perceives the influence of the neighbouring native art"
("On Japan," by Dresser, p. 322).

[61] See a paper by M. Terrien de la Couperie in the
Journal of the Society of Arts, 1881.

[62] "Rome had to be overthrown