[15] Boyd Dawkins’ “Early Man in Britain,” p. 285. See also chapter on [stitches] (post), p. [195].
[16] Some of these styles survive; some are still perceptible as traditions or echoes; some have totally disappeared in our modern art, such as the Primitive or the Egyptian.
[17] See Semper, “Der Stil.”
[18] The history of Gaul begins in the 7th, and that of Britain in the 1st century B.C., while the civilization of Egypt dates back to more than 4000 B.C.; therefore the historical overlap is very great. It is probable that a large portion of Europe was in its neolithic age, while the scribes were composing their records of war and commerce in the great cities on the Nile, and that the neolithic civilization lingered in remote regions while the voice of Pericles was heard in Athens, and the name of Hannibal was a terror in Italy.—See Boyd Dawkins’ “Early Man in Britain,” p. 481.
[19] See chapter on [patterns].
[20] In the Troad.
[21] Some of the Egyptian arts we know are pre-Homeric (if Homer really sang 800 B.C.), and Asiatic art was then in its highest development.
[22] See chapter on [stitches], [cut work] (post). This funeral tent is a monumental work, inasmuch as the inscription inwrought on it gives us the name and title of her in whose honour it was made, and whose remains it covered. See Villiers Stewart’s “Funeral Tent of an Egyptian Queen.”
[23] Herodotus, book ii. c. 182; book iii. c. 47 (Rawlinson’s Trans.). See Rock’s Introduction, p. xiv.
[24] Homer mentions “Sidonian stuffs and Phœnician skill” (Iliad, v. 170); also “Sidonian Embroidery.” Ibid. vi. 287-295.