Arts.
The true glory of the Celt in Europe is his artistic eminence. It is perhaps not too much to assert that without his intervention we should not have possessed in modern times a church worthy of admiration, or a picture or a statue we could look at without shame.
In their arts, too,—either from their higher status, or from their admixture with Aryans,—we escape the instinctive fixity which makes the arts of the pure Turanian as unprogressive as the works of birds or of beavers. Restless intellectual progress characterises everything they perform; and had their arts not been nipped in the bud by circumstances over which they had no control, we might have seen something that would have shamed even Greece and wholly eclipsed the arts of Rome.
They have not, it is true, that instinctive knowledge of colour which distinguishes the Turanian, nor have they been able to give to music that intellectual culture which has been elaborated by the Aryans: but in the middle path between the two they excel both. They are far better musicians than the former, and far better colourists than the last-named races; but in modern Europe Architecture is practically their own. Where their influence was strongest, there Architecture was most perfect; as they decayed, or as the Aryan influence prevailed, the art first languished, and then died.
Their quasi-Turanian theology required Temples almost as grand as those of the Copts or Tamuls; and, like them, they sought to honour those who had been mortals by splendour which mortals are assumed to be pleased with; and the pomp of their worship always surpassed that with which they honoured their Kings. Even more remarkable than this is the fact that they could and did build Tombs such as a Turanian might have envied, not for their size but for their art, and even now can adorn their cemeteries with monuments which are not ridiculous.
When a people are so mixed up with other races as the Celts are in Europe,—frequently so fused as to be undistinguishable,—it is almost impossible to speak with precision with regard either to their arts or influence. It must in consequence be safer to assert that where no Celtic blood existed there no real art is found; though it is perhaps equally true to assert that not only Architecture, but Painting and Sculpture, have been patronised, and have flourished in the exact ratio in which Celtic blood is found prevailing in any people in Europe; and has died out as Aryan influence prevails, in spite of their methodical efforts to indoctrinate themselves with what must be the spontaneous impulse of genius, if it is to be of any value.