604 THE METHODS OF ARCHAEOLOGICAL RESEARCH. 



sliieltls, lielmets, mirrors, etc., all continued to be made of bronze. The 

 iutroduction of iron merely displaced the kind of metal, and did not 

 affect the art. 



To revert for a sentence or two, the people who developed and used 

 this later Celtic art also used coins. These coins have been traced 

 partially to the coinage of Philip of Macedon, large quantities of whose 

 gold staters were probably taken back by the Gauls after their inva- 

 sion of Greece. Tlie gradual sophistication of these Greek models has 

 been traced and followed out by Sir John Evans with his usnal inge- 

 nuity and acumen. On another side we seem to have evidence that 

 Druidism, which differed from the old polytheistic religion of the Gauls 

 and Germans, which was related to the religions of Rome and Greece, 

 was imported from the far East, and, having ap])arently reached 

 Thrace, was carried back with them by the Gauls who had invaded 

 Greece, and who thus ac(iuired the notions of metempsychosis, etc., 

 and I am not at all sure that the old notion of Godfrey Higgins, which 

 has not had many adherents lately, is not true that Druidism was 

 largely the outcome of the teaching of the Buddhist monks, who, we 

 know, penetrated into Persia and Syria, as they spread their ideas and 

 the artistic instincts of India all the farther east from Japan to Java. 

 But to return to Europe. The art I have been describing, which has 

 been styled Keo Celtic by Sir A. Wollaston Franks, who has done so 

 much to illustrate it, was imported by a new wave of population, to 

 which the name Belgic has been given, and whose original home was 

 apparently in Switzerland and South Germany. This race is now best 

 represented by the Welsh, but we must not forget that it also had 

 large colonies in Ireland, where Neo-Celtic art became predominant 

 and where it outlived the Roman domination elsewhere. In Great 

 Britain, as oJi the Continent, this art was displaced, as so nuich of the 

 art of the w^orld was, by the Romans, itself a daughter of Greece. It 

 is not my purpose to discuss such a well-known subject as Roman art. 

 I would only i)oint out to you how the newer school of archie()h)gy 

 has shown that Roman art was very largely the art of the Roman 

 provinces, and not so much Italian. Alexandria was a great center of 

 the silversmiths' and other artistic metal ^ork; Treves and Cologne 

 and Lyons and Clermont of pottery, of glass, and also of metal work; 

 and there can be no doubt that Greece, both continental and insular, 

 continued to be under the Roman domination a fertile mother of 

 sculpture, arcdiitecture, (?tc. 



Rome was the great assimilator and distributor of these various pro- 

 vincial wares, as her language became the lingua franca of half the 

 known world; her laws embodied and displaced other forms of juris- 

 prudence; her generous Pantheon welcomed the foreign gods, and her 

 military system mixed and mingled the natives of very different coun- 

 tries and climates. I would like to say, by the way, how necessary it is 

 that we should have a complete survey of Roman Britain such as has 



