it is easy to form a sufficiently accurate general idea of the art practised by the forefathers of the historic Greeks—by the Pelasgians, to use a conventional term. So long as it was left to its own inspiration, Pelasgic art did not differ, in its general characteristics, from that of the various peoples spread over the continent of Europe, and still practised for centuries after the dawn of Greek civilization in the great plains to the north of the Alps and the Danube. Its guiding spirit and its motives are similar. There is the same richness, or rather the same poverty, the same combinations produced by a small number of never-changing linear elements. One would say that from the shores of the great ocean and the Baltic to those of the Mediterranean, all the workmen laboured for the same masters. Struck by this resemblance, or rather uniformity, one of the most eminent of German archæologists, Herr Conze, has proposed that this kind of ornament shall be called Indo-European; he sees, in the universality of the system, a feature common to all branches of the Aryan race, a special characteristic which may serve to distinguish it from the Semites.
Objections have been brought against this doctrine of which Herr Conze himself has recognized the gravity; by numerous examples taken from the art of nations which do not belong to the Aryan family, it has been shown that, human nature being the same everywhere, all those peoples whose development has been normal, neither interrupted nor accelerated by external causes, have, at some period of their lives, turned to the style in question for the decoration of their weapons, of their earthenware, their furniture, their apparel and their personal ornaments. The less richly endowed among them would have stopped at that point but for the example of their neighbours, who stirred them on to new attempts and further progress; others advanced without impulse from other sources than their own instincts, they reproduced vegetable and animal forms, and finally the human figure in all its beauty and nobility. It was the same with letters. Among the nations which have made a name in history how few there are that possess a true literature, a poetry at once inspired and critical! All however, under one form or another, have a popular poetry which is more or less varied and expressive.
The trace of this earliest spontaneous effort, of this first naïve product of the imagination, never entirely disappears in a literature
