920 REPORT—1896. 
if so we may call them, of the Mycenzans also break away from the tradition of 
the marble Aigean forms. We recognise the coming to the fore again of primitive 
Huropean clay types in a more advanced technique. Here, too, the range of 
comparison takes us to the same Northern and Western area. Here, too, in Sicily 
and Liguria, we see the primitive art of ceramic painting already applied to these 
at the close of the Stone Age. A rude female clay figure found in the Arene 
Candide cave near Finalmarina, the upper part of the body of which, armless 
and rounded, is painted with brown stripes on a pale rose ground, seems to me to 
stand in a closer relation to the prototype of a well-known Mycenzan class than 
any known example, A small painted image, with punctuated cross-bands over 
the breast, from a sepulchral grotto at Villafrati, near Palermo, belongs to the same 
early family as the bucchero types of Butmir, in Bosnia. Unquestionable parallels 
to the Mycenzean class have been found in early graves in Servia, of which an 
example copied by me some years since in the museum at Belgrade was found near 
the site of that later emporium of the Balkan trade, Viminacium, together with 
a cup attesting the survival of the primitive %gean spirals. These extensive 
Italian and Illyrian comparisons, which find, perhaps, their converging point in the 
North-Western corner of the Balkan peninsula, show, at least approximately, the 
direction from which this new European impulse reached the AJgean shores. 
It is an alluring supposition that this North-Western infusion may connect itself 
with the spread of the Greek race in the Avgean islands and the Southern part of 
the Balkan peninsula. There seems, at least, to be a reasonable presumption in 
favour of this view. The Mycenzean tradition, which underlies so much of the 
classical Greek art, is alone sufficient to show that a Greek element was at least 
included in the Mycenzean area of culture. Recent criticism has found in the 
Mycenzean remains the best parallel to much of the early arts and industries 
recorded by the Homeric poems. The megaron of the palaces at Tiryns and 
Mycenz is the hall of Odysseus; the inlaid metal work of the shield of Achilles 
recalls the Egypto-Mycenzan intarsia of the dagger blades ; the cup of Nestor with 
the feeding doves, the subjects of the ornamental design—the siege-piece, the lion- 
hunt, the hound with its quivering quarry—all find their parallels in the works of 
the Mycenzan goldsmiths. The brilliant researches of Dr. Reichel may be said to 
have resulted in the definite identification of the Homeric body-shield with the 
most typical Mycenzan form, and have found in the same source the true expla- 
nation of the greaves and other arms and accoutrements of the epic heroes. 
That a Greek population shared in the civilisation of Mycenz cannot reasonably 
be denied, but that is far from saying that this was necessarily the only element, 
or even the dominant element. Archeological comparisons, the evidence of geo- 
graphical names and consistent tradition, tend to show that a kindred race, repre- 
sented later by the Phrygians on the Anatolian side, the race of Pelops and 
Tantalos, the special votaries of Kybelé, played a leading part. In Crete a non- 
Hellenic element, the Eteocretes, or ‘true Cretans,’ the race of Minés, whose name 
is bound up with the earliest sea~empire of the Aigean and perhaps identical with 
that of the Minyans of continental Greece, preserved their own language and 
nationality to the borders of the classical period. The Labyrinth itself, the double- 
headed axe as a symbol of the divinity called Zeus by the Greek settlers, the 
common forms in the characters of the indigenous script, local names and historical 
traditions, further connect these Mycenzan aborigines of Crete with the primitive 
population, it, too, of European extraction, in Caria and Pisidia, and with the older 
elements in Lycia. 
It is difficult to exaggerate the part played in this widely ramifying Mycenzan 
culture on later European arts from prehistoric times onwards. Beyond the limits 
of its original seats, primitive Greece and its islands, and the colonial plantations 
thrown out by it to the west coast of Asia Minor to Cyprus, and in all probability 
to Egypt and the Syrian coast, we can trace the direct diffusion of Mycenz#an 
products, notably the ceramic wares, across the Danube to Transylvania and 
Moldavia. In the early cemeteries of the Caucasus the fibulas and other objects 
indicate a late Mycenzean source, though they are here blended with allied elements 
of a more Danubian character. The Mycenzan impress is very strong in Southern 
