8 Proceedings of the Royal Irish Academy. 



thus to terminate the series. This analogy may, however, be iUusory : 

 decorations recaUing the La Tene style, but not belonging to it, are found at 

 several stages of European art-history (as, for instance, in the Scandinavian 

 bronze age, and even in the Neolithic and Aeneolithic of the Danubian 

 provinces). ■ Jf we reject this La Tene analogy for the sculptures before us, 

 they will take their place in group D above. It is not superfluous to note 

 that a figure very similar to the device at Knockmany, here in question, 

 exists among the older series at Carnwath. 



A word or two may be added in conclusion as to the relation of Irish 

 bronze-age art to the cognate arts of the Continent. 



1. In Galicia and also in the Canary Islands there are to be found 

 asymmetrical motives not unlike those in the last group, and very closely 

 connected in style with petroglyphs containing concentric circles. We have 

 already noted analogies between Spanish figures and some in the earlier 

 groups. If a connexion between Ireland and Galicia should require stronger 

 support, I would call attention to a remarkable lunula, found in a dolmen 

 near AUariz.^ It seems to be of a more advanced type than those of Ireland. 



In this connexion I may say a word regarding the so-called "ship " devices 

 of New Grange and of Dowth, as well as of Locmariaquer in Brittany. I am 

 by no means convinced that this explanation is correct. There are in the 

 rock-sculptures and paintings of Spain countless " pecteniform " figures of 

 various forms and significations. Many of these symbols are difficult if not 

 impossible to explain, but in no case can they be described as " ships." If 

 the Irish or the Bretons had actually sculptured ships, they would surely 

 have done so in greater numbers, as did their bretliren in Scandinavia. 



2. Attempts have often been made to draw analogies between the 

 petroglyphs of Ireland and those of Scandinavia. In reality the differences 

 far exceed the resemblances. The Irish sculptures are far more closely akin 

 to those of Brittany or of Galicia than to those of Scandinavia. 



8. Ingenious attempts have been made to derive Irish, along with the 

 other North European, bronze-age art from Crete. That analogies have 

 been established is unquestionable, but not a parentage. On this subject I 

 support without reservation the remarks on the mirage cretois, to be found 

 in Proc. E.I.A., vol. xxxiv, sect. C, p. 383 ff. 



All these analogies are due to the fact that the artists of the different 

 centres began with a common European stock of tradition, and on this basis 

 they developed each group on its own lines. I might be tempted to exclude 

 from this generalization tlie special case of the Labyrinth. But it is not a 



' Piomaii Barro Sivelo, Antiyuidadfs de Galicia, 1875. 



