Fig. 90.
SPINDLE-WHORL.
Central dot with ogee
arms radiating therefrom
in different directions, but
in the form of a Swastika.
Third City. Depth, 29
feet. Schliemann, “Ilios,”
fig. 1830.		 Fig. 91.
SPINDLE-WHORL
WITH CENTRAL
HOLE AND
RADIATING ARMS.
Third city. Depth,
23 feet.
Schliemann,
“Ilios,” fig. 1842.

Specimens of other crosses are presented because the Swastika is considered to be a form of the cross. There may have been no evolution or relationship between them; but no person is competent to decide from a mere inspection or by reason of dissimilarity that there was not. We have to plead ignoramus as to the growth and evolution of both cross and Swastika, because the origin of both is lost in antiquity. But all are fair subjects for discussion. There certainly is nothing improbable in the relationship and evolution between the Swastika and the cross. It may be almost assumed.

Fig. 92.
SPINDLE-WHORL WITH CENTRAL CIRCLE AND MANY ARMS.
Fourth city. Depth, 19.8 feet. Schliemann, “Ilios,” fig. 1837.		 Fig. 93.
SPINDLE-WHORL WITH
CENTRAL HOLE, LARGE
CIRCLE, AND MANY
CURVED ARMS.
Third city. Depth,
29 feet. Schliemann,
“Ilios,” fig. 1833.

Evidence leading to conviction may be found in associated contemporaneous specimens. M. Montelius, an archæologist of repute in the National Museum at Stockholm, discovered eight stages of culture in the bronze age of that country, which discovery was based solely upon the foregoing principle applied to the fibulæ found in prehistoric graves. In assorting his stock of fibulæ, he was enabled to lay out a series of eight styles, each different, but with many presentations. He arranged them seriatim, according to certain differences in size, style, elegance of workmanship, etc., No. 1 being the smallest, and No. 8 the largest and most elaborate. They were then classified according to locality and association, and he discovered that Nos. 1 and 2 belonged together, on the same body or in the same grave, and the same with Nos. 2 and 3, 3 and 4, and so on to No. 8, but that there was no general or indefinite intermixture; Nos. 1 and 3 or 2 and 4 were not found together and were not associated, and so on. Nos. 7 and 8 were associated, but not 6 and 8, nor 5 and 7, nor was there any association beyond adjoining numbers in the series. Thus Montelius was able to determine that each one or each two of the series formed a stage in the culture of these peoples. While the numbers of the series separated from each other, as 1, 5, 8, were never found associated, yet it was conclusively shown that they were related, were the same object, all served a similar purpose, and together formed an evolutionary series showing their common origin, derivative growth and continuous improvement in art, always by communication between their makers or owners.

Fig. 94.
LARGE BICONICAL SPINDLE-WHORL.
Four crosses with bifurcated arms. Third city. Depth, 23 feet.
Schliemann, “Ilios,” fig. 1855.