part 2

, pl. 5, fig. 1.]

[Illustration: Fig. 136. GREEK TAPESTRY. Coptos, Egypt. First and second centuries, A. D. Forrer, "Die Gräber- und Textilfunde von Achmin-Panopolis."]

ALGERIA.

[Illustration: Fig. 137. TORUS OF COLUMN WITH SWASTIKAS. Roman ruins, Algeria. Waring, "Ceramic Art in Remote Ages," pl. 43, fig. 2, quoting from Delamare.]

Waring, in his "Ceramic Art in Remote Ages," discoursing upon the Swastika, which he calls fylfot, shows in pl. 43, fig. 2 (quoting from Delamare), the base of a column from a ruined Roman building in Algeria (fig. 137), on the torus of which are engraved two Swastikas, the arms crossing at right angles, all ends bent at right angles to the left. There are other figures (five and six on the same plate) of Swastikas from a Roman mosaic pavement in Algeria. Instead of being square, however, or at right angles, as might ordinarily be expected from mosaic, they are ogee. In one of the specimens the ogee ends finish in a point; in the other they finish in a spiral volute turning upon itself. The Swastika has been found on a tombstone in Algeria.[168]

ASHANTEE.

[Illustration: Fig. 138. BRONZE INGOTS BEARING SWASTIKAS. Coomassee, Ashantee.]

Mr. R. B. Æneas McLeod, of Invergordon Castle, Ross-shire, Scotland, reported[169] that, on looking over some curious bronze ingots captured at Coomassee in 1874, during the late Ashantee war, by Captain Eden, in whose possession they were at Inverness, he had found some marked with the Swastika sign (fig. 138). These specimens were claimed to be aboriginal, but whether the marks were cast or stamped in the ingot is not stated.

CLASSICAL OCCIDENT--MEDITERRANEAN.

GREECE AND THE ISLANDS OF CYPRUS, RHODES, MELOS, AND THERA.

The Swastika has been discovered in Greece and in the islands of the Archipelago on objects of bronze and gold, but the principal vehicle was pottery; and of these the greatest number were the painted vases. It is remarkable that the vases on which the Swastika appears in the largest proportion should be the oldest, those belonging to the Archaic period. Those already shown as having been found at Naukratis, in Egypt, are assigned by Mr. Flinders Petrie to the sixth and fifth centuries B. C., and their presence is accounted for by migrations from Greece.

[Illustration: Fig. 139. VARIATION OF THE GREEK FRET. Continuous lines crossing each other at right angles forming figures resembling the Swastikas.]

[Illustration: Fig. 140. GREEK GEOMETRIC VASE IN THE LEYDEN MUSEUM, WITH FIGURES OF GEESE AND SWASTIKA IN PANEL.[170] Smyrna. Conze, "Anfänge," etc., Vienna, 1870, and Goodyear, "Grammar of the Lotus," pl. 56, fig. 4.]

[Illustration: Fig. 141. GREEK VASE WITH FIGURES OF HORSES, GEOMETRIC ORNAMENTS AND SWASTIKAS IN PANELS. Athens. Dennis, "Etruria," 1, p. cxiii.]

[Illustration: Fig. 142. GREEK VASE WITH SWASTIKAS IN PANELS. Conze, "Anfänge," etc., and Goodyear, "Grammar of the Lotus," pl. 60, fig. 13.]

_The Greek fret and Egyptian meander not the same as the Swastika._--Professor Goodyear says:[171] "There is no proposition in archæology which can be so easily demonstrated as the assertion that the Swastika is originally a fragment of the Egyptian meander, provided Greek geometric vases are called in evidence."

Egyptian meander here means the Greek fret. Despite the ease with which he says it can be demonstrated that the Swastika was originally a fragment of the Egyptian meander, and with all respect for the opinion of so profound a student of classic ornament, doubts must arise as to the existence of the evidence necessary to prove his proposition.

[Illustration: Fig. 143. DETAIL OF ARCHAIC GREEK VASE WITH FIGURE OF SOLAR GOOSE AND SWASTIKAS IN PANELS. British Museum. Waring, "Ceramic Art in Remote Ages," pl. 41, fig. 15.]

[Illustration: Fig. 144. CYPRIAN POTTERY PLAQUE WITH SWASTIKA IN PANEL. Metropolitan Museum of Art, New York City. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," pl. 47, fig. 40.]

[Illustration: Fig. 145. DETAIL OF CYPRIAN VASE WITH SWASTIKAS IN TRIANGLES. Goodyear, "Grammar of the Lotus," pl. 1, fig. 11.]

[Illustration: Fig. 146. DETAIL OF ATTIC VASE WITH FIGURE OF ANTELOPE (?) AND SWASTIKA. British Museum. Böhlau, Jahrbuch, 1885, p. 50, and Goodyear, "Grammar of the Lotus," pl. 37, fig. 9.]

[Illustration: Fig. 147. CYPRIAN VASE WITH SWASTIKAS. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," appendix by Murray, p. 404, fig. 15.]

[Illustration: Fig. 148. TERRA COTTA FIGURINE WITH SWASTIKAS IN PANELS. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," p. 300, and Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 691.]

[Illustration: Fig. 149. TERRA COTTA VASE WITH SWASTIKA AND FIGURE OF HORSE.[172]]

[Illustration: Fig. 150. BRONZE FIBULA WITH SWASTIKA AND REPRESENTATIONS OF A GOOSE AND A FISH. Boeotia, Greece. De Mortillet, "Musée Préhistorique," fig. 1265.]

Professor Goodyear, and possibly others, ascribe the origin of the Swastika to the Greek fret; but this is doubtful and surely has not been proved. It is difficult, if not impossible, to procure direct evidence on the proposition. Comparisons may be made between the two signs; but this is secondary or indirect evidence, and depends largely on argument. No man is so poor in expedients that he may not argue. Goldsmith's schoolmaster "e'en tho' vanquished, he could argue still." The Greek fret, once established, might easily be doubled or crossed in some of its members, thus forming a figure similar to the Swastika (fig. 139), which would serve as an ornament, but is without any of the characteristics of the Swastika as a symbol. The crossed lines in the Greek fret seem to have been altogether fortuitous. They gave it no symbolic character. It was simply a variation of the fret, and at best was rarely used, and like it, was employed only for ornament and not with any signification--not a sign of benediction, blessing, or good luck, as was the Swastika. The foundation principle of the Greek fret, so far as we can see its use, is its adaptability to form an extended ornamental band, consisting of doubled, bent, and sometimes crossed or interlaced lines, always continuous and never ending, and running between two parallel border lines. Two interlacing lines can be used, crossing each other at certain places, both making continuous meanders and together forming the ornamental band (fig. 139). In the Greek fret the two lines meandered between the two borders back and forth, up and down, but always forming a continuous line. This seems to be the foundation principle of the Greek fret. In all this requirement or foundation principle the Swastika fails. A row or band of Swastikas can not be made by continuous lines; each one is and must be separated from its fellows. The Swastika has four arms, each made by a single line which comes to an end in each quarter. This is more imperative with the meander Swastika than with the normal. If the lines be doubled on each other to be carried along to form another Swastika adjoining, in the attempt to make a band, it will be found impossible. The four lines from each of the four arms can be projected, but each will be in a different direction, and no band can be made. It is somewhat difficult to describe this, and possibly not of great need. An attempt to carry out the project of making a band of Swastikas, to be connected with each other, or to make them travel in any given direction with continuous lines, will be found impossible. Professor Goodyear attempts to show how this is done by his figure on page 96, in connection with pl. 10, fig. 9, also figs. 173 and 174 (pp. 353 and 354). These figures are given in this paper and are, respectively, Nos. 21, 25, 26, and 27. Exception is taken to the pretended line of evolution in these figures: (1) There is nothing to show any actual relationship between them. There is no evidence that they agreed either in locality or time, or that there was any unity of thought or design in the minds of their respective artists. (2) Single specimens are no evidence of custom. This is a principle of the common law which has still a good foundation, and was as applicable in those days as it is now. The transition from the spiral to the Greek fret and from the Greek fret to the Swastika can be shown only by the existence of the custom or habit of the artist to make them both in the same or adjoining epochs of time, and this is not proved by showing a single specimen. (3) If a greater number of specimens were produced, the chain of evidence would still be incomplete, for the meander of the Greek fret will, as has just been said, be found impossible of transition into the meander Swastika. It (the Swastika) does not extend itself into a band, but if spread at all, it spreads in each of the four directions (figs. 21 and 25). The transition will be found much easier from the Greek meander fret to the normal Swastika and from that to the meander Swastika than to proceed in the opposite direction. Anyone who doubts this has but to try to make the Swastika in a continuous or extended band or line (fig. 26), similar to the Greek fret.

[Illustration: Fig. 151. DETAIL OF GREEK VASE WITH SWASTIKAS AND FIGURES OF BIRDS. Waring, "Ceramic Art In Remote Ages," pl. 33, fig. 24, and Goodyear, "Grammar of the Lotus," pl. 46, fig. 5.]

[Illustration: Fig. 152. DETAIL OF CYPRIAN VASE. Sunhawk, lotus, solar disk, and Swastikas. Böhlau, Jahrbuch, 1886, pl. 8; Reinach, Revue Archæologique, 1885, II, p. 360; Perrot and Chipiez, "History of Art in Phenicia and Cyprus," II; Goodyear, "Grammar of the Lotus," pl. 45, fig. 3.]

[Illustration: Fig. 153. DETAIL OF GREEK GEOMETRIC VASE WITH SWASTIKAS AND FIGURES OF HORSES. Thera. Leyden Museum. Goodyear, "Grammar of the Lotus," pl. 61, fig. 4.]

[Illustration: Fig. 154. BRONZE FIBULA WITH LARGE SWASTIKA ON SHIELD. Greece. Musée St. Germain. De Mortillet, "Musée Préhistorique," fig. 1264. 1/2 natural size.]

[Illustration: Fig. 155. GREEK VASE, OINOCHOË, WITH TWO PAINTED SWASTIKAS. De Mortillet, "Musée Préhistorique," fig. 1244. 1/4 natural size.]

[Illustration: Fig. 156. CYPRIAN VASE WITH SWASTIKAS AND FIGURE OF ANIMAL.[173] Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," pl. 45, fig. 36.]

[Illustration: Fig. 157. ARCHAIC GREEK POTTERY FRAGMENT. Santorin, Ancient Thera. Waring, "Ceramic Art in Remote Ages," pl. 42 fig. 2.]

Figs. 133 and 134, from Naukratis, afford palpable evidence of the different origin of the Swastika and the Greek fret. Evidently Grecian vases, though found in Egypt, these specimens bear side by side examples of the fret and the Swastika, used contemporaneously, and both of them complete and perfect. If one had been parent of the other, they would have belonged to different generations and would not have appeared simultaneously on the same specimen. Another illustration of simultaneous use is in fig. 194, which represents an Etruscan vase[174] ornamented with bronze nail heads in the form of Swastikas, but associated with it is the design of the Greek fret, showing them to be of contemporaneous use, and therefore not, as Professor Goodyear believes, an evolution of one from the other. The specimen is in the Museum at Este, Italy.

[Illustration: Fig. 158. CYPRIAN VASE WITH LOTUS AND SWASTIKAS AND FIGURE OF BIRD. Metropolitan Museum of Art, New York City. Goodyear, "Grammar of the Lotus," pl. 60, fig. 15.]

[Illustration: Fig. 159. CYPRIAN VASE WITH TWO SWASTIKAS. Cesnola Collection, Metropolitan Museum of Art, New York City. Goodyear, "Grammar of the Lotus," fig. 151.]

The Greek fret has been in common use in all ages and all countries adopting the Grecian civilization. Equally in all ages and countries has appeared the crossed lines which have been employed by every architect and decorator, most or many of whom had no knowledge of the Swastika, either as an ornament or as a symbol.[175]

[Illustration: Fig. 160. FRAGMENT OF TERRA COTTA VASE WITH SWASTIKAS, FROM RUINS OF TEMPLE AT PALEO-PAPHOS. Depth, 40 feet. Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," p. 210.]

[Illustration: Fig. 161. WOODEN BUTTON, CLASP, OR FIBULA COVERED WITH PLATES OF GOLD. Ogee Swastika, tetraskelion in center. Schliemann, "Mycenæ," fig. 385.]

[Illustration: Fig. 162. DETAIL OF GREEK VASE WITH FIGURE OF GOOSE, HONEYSUCKLE (ANTHEMION), AND SPIRAL SWASTIKA. Thera. "Monumenti Inedite," LXV, p. 2, and Goodyear, "Grammar of the Lotus," pl. 46, fig. 7.]

_Swastika in panels._--Professor Goodyear, in another place,[176] argues in a manner which tacitly admits the foregoing proposition, where, in his endeavor to establish the true home of the Swastika to be in the Greek geometric style, he says we should seek it where it appears in "the largest dimension" and in "the most prominent way." In verification of this declaration, he says that in this style the Swastika systematically appears in panels exclusively assigned to it. But he gives only two illustrations of the Swastika in panels. These have been copied, and are shown in figs. 140 and 142. The author has added other specimens, figs. 141 to 148, from Dennis's "Etruria," from Waring's "Ceramic Art," and from Cesnola and Ohnefalsch-Richter. It might be too much to say that these are the only Swastikas in Greece appearing in panels, but it is certain that the great majority of them do not thus appear. Therefore, Professor Goodyear's theory is not sustained, for no one will pretend that four specimens found in panels will form a rule for the great number which did not thus appear. This argument of Professor Goodyear is destructive of his other proposition that the Swastika sign originated by evolution from the meander or Greek fret, for we have seen that the latter was always used in a band and never in panels. Although the Swastika and the Greek fret have a certain similarity of appearance in that they consist of straight lines bent at right angles, and this continued many times, yet the similarity is more apparent than real; for an analysis of the motifs of both show them to have been essentially different in their use, and so in their foundation and origin.

[Illustration: Fig. 163. DETAIL OF GREEK VASE. Sphinx with spiral scrolls, and two meander Swastikas (right). Melos. Böhlau, Jahrbuch, 1887, XII, and Goodyear, "Grammar of the Lotus," pl. 34, fig. 8.]

[Illustration: Fig. 164. DETAIL OF GREEK VASE. Ibex, scroll, and meander Swastika (right). Melos. Böhlau, Jahrbuch, 1887, XII, p. 121, and Goodyear, "Grammar of the Lotus," pl. 39, fig. 2.]

[Illustration: Fig. 165. DETAIL OF A GREEK VASE IN THE BRITISH MUSEUM. Ram, meander Swastika (left), circles, dots, and crosses. Salzmann, "Necropole de Camire," LI, and Goodyear, "Grammar of the Lotus," pl. 28, fig. 7.]

_Swastikas with four arms, crossing at right angles, with ends bent to the right._--The author has called this the normal Swastika. He has been at some trouble to gather such Swastikas from Greek vases as was possible, and has divided them according to forms and peculiarities. The first group (figs. 140, 143, 146, 147, 148, and 150) shows the normal Swastika with four arms, all bent at right angles and to the right. In the aforesaid division no distinction has been made between specimens from different parts of Greece and the islands of the Grecian Archipelago, and these, with such specimens as have been found in Smyrna, have for this purpose all been treated as Greek.

[Illustration: Fig. 166. CYPRIAN VASE WITH SWASTIKAS AND FIGURES OF BIRDS. Perrot and Chipiez, "History of Art in Phenicia and Cyprus," II, p. 300, fig. 237; Goodyear, "Grammar of the Lotus," pl. 48, figs. 6, 12; Cesnola, "Cyprus, its Ancient Cities, Tombs, and Temples," Appendix by Murray, p. 412, pl. 44, fig. 34.]

[Illustration: Fig. 167. CYPRIAN VASE WITH LOTUS, BOSSES, BUDS, SEPALS, AND DIFFERENT SWASTIKAS. Cesnola Collection, Metropolitan Museum of Art, New York City. Goodyear, "Grammar of the Lotus," pl. 48, fig. 3.]

_Swastikas with four arms crossing at right angles, ends bent to the left._--Figs. 141, 142, 144, 149, 151, 152, 153, 154, 156, and 157 represent the normal Swastika with four arms, all bending at right angles, but to the left. The vases on which they have been found are not described as to color or form. It would be difficult to do so correctly; besides, these descriptions are not important in our study of the Swastika. Fig. 155 represents a vase or pitcher (oinochoë, Greek--[Greek: oinos], wine, and [Greek: cheô], to pour) with painted Swastika, ends turned to the left. It is in the Museum of St. Germain, and is figured by M. De Mortillet in "Musée Préhistorique." Fig. 156 represents a Cyprian vase from Ormidia, in the New York Museum. It is described by Cesnola[177] and by Perrot and Chipiez.[178] Fig. 157 is taken from a fragment of archaic Greek pottery found in Santorin (Ancient Thera), an island in the Greek Archipelago. This island was first inhabited by the Phenicians, afterwards by the Greeks, a colony of whom founded Cyrene in Africa. This specimen is cited by Rochette and figured by Waring.[179]

[Illustration: Fig. 168. CYPRIAN VASE WITH BOSSES, LOTUS BUDS, AND DIFFERENT SWASTIKAS. Cesnola Collection, Metropolitan Museum of Art, New York City. Goodyear, "Grammar of the Lotus," pl. 48, fig. 15.]

_Swastikas with four arms crossing at other than right angles, the ends ogee and to the left._--Figs. 158, 159, and 160 show Swastikas with four arms crossing at other than right angles, many of them ogee, but turned to the left. Fig. 161 is a representation of a wooden button or clasp, much resembling the later gold brooch of Sweden, classified by Montelius (p. 867), covered with plates of gold, from Sepulcher IV, Mycenæ (Schliemann, Mycenæ, fig. 385, p. 259). The ornament in its center is one of the ogee Swastikas with four arms (tetraskelion) curved to the left. It shows a dot in each of the four angles of the cross similar to the Suavastika of Max Müller and the _Croix swasticale_ of Zmigrodzki, which Burnouf attributed to the four nails which fastened the cross _Arani_ (the female principle), while the _Pramantha_ (the male), produced, by rotation, the holy fire from the sacred cross. An almost exact reproduction of this Swastika will be found on the shield of the Pima Indians of New Mexico (fig. 258).

Dr. Schliemann reports that the Swastika in its spiral form is represented innumerable times in the sculptured ceiling of the Thalamos in the treasury at Orchomenos. (See figs. 21 and 25.)

[Illustration: Fig. 169. DETAIL OF EARLY BOEOTIAN VASE. Figure of horse, solar diagram, Artemis with geese, and Swastikas (normal and meander, right and left). Goodyear, "Grammar of the Lotus," pl. 61, fig. 12.]

He also reports[180] that Swastikas (turned both ways) may be seen in the Royal Museum at Berlin incised on a balustrade relief of the hall which surrounded the temple of Athene at Pergamos. Fig. 162 represents a spiral Swastika with four arms crossing at right angles, the ends all turned to the left and each one forming a spiral.

Waring[181] figures and describes a Grecian oinochoë from Camirus, Rhodes, dating, as he says, from 700 to 500 B. C., on which is a band of decoration similar to fig. 130. It is about 10 inches high, of cream color, with ornamentation of dark brown. Two ibexes follow each other with an ogee spiral Swastika between the forelegs of one.

_Meander pattern, with ends bent to right and left._--Figs. 163, 164, and 165 show the Swastika in meander pattern. Fig. 163 shows two Swastikas, the arms of both bent to the right, one six, the other nine times. The Swastika shown in fig. 164 is bent to the right eight times. That shown in fig. 165 bends to the left eight times.

_Swastikas of different kinds on the same object._--The next group (figs. 167 to 176) is of importance in that it represents objects which, bearing the normal Swastika, also show on the same object other styles of Swastika, those turned to the left at right angles, those at other than right angles, and those which are spiral or meander. The presence on a single object of different forms of Swastika is considered as evidence of their chronologic identity and their consequent relation to each other, showing them to be all the same sign--that is, they were all Swastikas, whether the arms were bent to the right or to the left, ogee or in curves, at right angles or at other than right angles, in spirals or meanders.

[Illustration: Fig. 170. DETAIL OF RHODIAN VASE. Figures of geese, circles and dots, and Swastikas (right and left). British Museum. Waring, "Ceramic Art in Remote Ages," pl. 27, fig. 9.]

[Illustration: Fig. 171. DETAIL OF RHODIAN VASE. Geese, lotus circles, and two Swastikas (right and left). Goodyear, "Grammar of the Lotus," p. 271, fig. 145.]

Many examples of vases similar to fig. 172 are shown in the London, Paris, and New York museums, and in other collections. (See figs. 149, 159.) Fig. 174 shows an Attic painted vase (_Lebes_) of the Archaic period, from Athens. It is a pale yellowish ground, probably the natural color, with figures in maroon. It belongs to the British Museum. It bears on the front side five Swastikas, all of different styles; three turn to the right, two to the left. The main arms cross at right angles, but the ends of four are bent at right angles, while one is curved (ogee). Three have the ends bent (at right angles) four times, making a meander form, while two make only one bend. They seem not to be placed with any reference to each other, or to any other object, and are scattered over the field as chance or luck might determine. A specimen of Swastika interesting to prehistoric archæologists is that on a vase from Cyprus (Musée St. Germain, No. 21537), on which is represented an arrowhead, stemmed, barbed, and suspended by its points between the Swastika.[182]

[Illustration: Fig. 172. GREEK VASE OF TYPICAL RHODIAN STYLE. Ibex, lotus, geese, and six Swastikas (normal, meander, and ogee, all left). Goodyear, "Grammar of the Lotus," p. 251, pl. 39.[183]]

[Illustration: Fig. 173. DETAIL OF GREEK VASE. Deer, solar diagrams, and three Swastikas (single, double, and meander, right). Melos. Conze, "Meliosche Thongefässe," and Goodyear, "Grammar of the Lotus," pl. 60, fig. 8.]

Dr. Max Ohnefalsch-Richter presented a paper before the Société d'Anthropologie in Paris, December 6, 1888, reported in the Bulletin of that year (pp. 668-681). It was entitled "La Croix gammée et la Croix cantonnée en Chypre." (The _Croix gammée_ is the Swastika, while the _Croix cantonnée_ is the cross with dots, the _Croix swasticale_ of Zmigrodzki.) In this paper the author describes his finding the Swastika during his excavations into prehistoric Cyprus. On the first page of his paper the following statement appears:

The Swastika comes from India as an ornament in form of a cone (_conique_) of metal, gold, silver, or bronze gilt, worn on the ears (see G. Perrot: "Histoire de l'Art," III, p. 562 et fig. 384), and nose-rings (see S. Reinach: "Chronique d'Orient," 3{e} série, t. IV, 1886). I was the first to make known the nose-ring worn by the goddess Aphrodite-Astarte, even at Cyprus. In the Indies the women still wear these ornaments in their nostrils and ears. The fellahin of Egypt also wear similar jewelry; but as Egyptian art gives us no example of the usage of these ornaments in antiquity, it is only from the Indies that the Phenicians could have borrowed them. The nose-ring is unknown in the antiquity of all countries which surrounded the island of Cyprus.

[Illustration: Fig. 174. ARCHAIC GREEK VASE WITH FIVE SWASTIKAS OF FOUR DIFFERENT FORMS. Athens. Birch, "History of Ancient Pottery," quoted by Waring in "Ceramic Art in Remote Ages," pl. 41, fig. 15; Dennis, "The Cities and Cemeteries of Etruria," I, p. 91.]

[Illustration: Fig. 175. DETAIL OF ARCHAIC BOEOTIAN VASE. Serpents, crosses, and Swastikas (normal, right, left, and meander). Goodyear, "Grammar of the Lotus," pl. 60, fig. 9.]

The first pages of his memoir are employed in demonstrating that the specimens of the Swastika found in Cyprus, the most of which are set forth in this paper (figs. 177-182), show a Phenician influence; and according to his theory demonstrate their migration or importation. He does not specify the evidence on which he bases his assertion of Phenician influence in Cyprus, except in one or two particulars. Speaking of the specimen shown in fig. 177 of the present paper, he says:

It represents the sacred palm under which Apollo, the god of light, was born. * * * At Cyprus the palm did not appear only with the Phenicians; it was not known prior to that time (p. 674).

[Illustration: Fig. 176. ATTIC VASE FOR PERFUME, WITH CROIX SWASTICALE AND TWO FORMS OF SWASTIKAS. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 673, fig. 4.]

[Illustration: Fig. 177. DETAIL OF CYPRIAN VASE. Swastikas with palm tree, sacred to Apollo. Citium, Cyprus. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 673, fig. 3.]

The design shown in fig. 178 he describes as representing two birds in the attitude of adoration before a Swastika, all being figured on a Greek cup of the style Dipylon.[184]

Dr. Ohnefalsch-Richter adds:

On the vases of Dipylon the Swastikas are generally transformed into other ornaments, mostly meanders. But this is not the rule in Cyprus. The Swastika disappeared from there as it came, in its sacred form, with the Phenician influence, with the Phenician inscriptions on the vases, with the concentric circles without central points or tangents.

He says[185] that the Swastika as well as the "Croix cantonnée" (with points or dots), while possibly not always the equivalent of the solar disk, zigzag lightning, or the double hatchet, yet are employed together and are given the same signification, and frequently replace each other. It is his opinion[186] that the Swastika in Cyprus had nearly always a signification more or less religious, although it may have been used as an ornament to fill empty spaces. His interpretation of the Swastika in Cyprus is that it will signify _tour à tour_ the storm, the lightning, the sun, the light, the seasons--sometimes one, sometimes another of these significations--and that its form lends itself easily (_facilement_) to the solar disk, to the fire wheel, and to the sun chariot. In support of this, he cites a figure (fig. 179) taken from Cesnola,[187] in which the wheels of the chariot are decorated with four Swastikas displayed in each of the four quarters. The chief personage on the car he identifies as the god of Apollo-Resef, and the decoration on his shield represents the solar disk. He is at once the god of war and also the god of light, which identifies him with Helios. The other personage is Herakles-Mecquars, the right hand of Apollo, both of them heroes of the sun.

[Illustration: Fig. 178. CYPRIAN VASE WITH FIGURES OF BIRDS AND SWASTIKA IN PANEL. Musée St. Germain. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 674, fig. 6.]

[Illustration: Fig. 179. CHARIOT OF APOLLO-RESEF. Sun symbol(?) on shield and four Swastikas (two right and two left) on quadrants of chariot wheels. Cesnola, "Salaminia," p. 240, fig. 226, and Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 675, fig. 7.]

The supreme goddess of the Isle of Cyprus was Aphrodite-Astarte,[188] whose presence with a preponderating Phenician influence can be traced back to the period of the age of iron, her images bearing signs of the Swastika, being, according to Dr. Ohnefalsch-Richter, found in Cyprus. In fig. 180 the statue of this goddess is shown, which he says was found by himself in 1884 at Curium. It bears four Swastikas, two on the shoulders and two on the forearms. Fig. 181 represents a centaur found by him at the same time, on the right arm of which is a Swastika painted in black, as in the foregoing statue.

[Illustration: Fig. 180. TERRA-COTTA STATUE OF THE GODDESS APHRODITE-ASTARTE WITH FOUR SWASTIKAS.[189] Curium, Cyprus. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 676, fig. 8.]

[Illustration: Fig. 181. CYPRIAN CENTAUR WITH ONE SWASTIKA. Cesnola, "Salaminia," p. 243, fig. 230; Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 676, fig. 9.]

We have found, in the course of this paper, many statues of human figures bearing the mark of the Swastika on some portion of their garments. M. Ohnefalsch-Richter, on page 677, gives the following explanation thereof:

It appears to me that the priests and priestesses, also the boys who performed the services in the sacred places, were in the habit of burning or tattooing Swastikas upon their arms. * * * In 1885, among the votive offerings found in one of the sacred places dedicated to Aphrodite-Astoret, near Idalium, was a stone statuette, representing the young Adonis Kinyras in a squatting posture, with the Swastika tattooed or painted in red color upon his naked arm.

[Illustration: Fig. 182. GREEK STATUE OF APHRODITE-ARIADNE. Six Swastikas (four right and two left). Polistis Chrysokon. Ohnefalsch-Richter, Bull. Soc. d'Anthrop., Paris, 1888, p. 677, fig. 10.]

And, says Richter, when, later on, the custom of tattooing had disappeared, they placed the Swastika on the sacerdotal garments. He has found in a Greek tomb in 1885, near Polistis Chrysokon, two statuettes representing female dancers in the service of Aphrodite-Ariadne, one of which (fig. 182) bore six or more Swastikas. In other cases, says he (p. 678), the _Croix cantonnée_ (the _Croix swasticale_ of Zmigrodzki) replaced the Swastika on the garments, and he cites the statue of Hercules strangling the lion in the presence of Athena, whose robe is ornamented with the _Croix cantonnée_. He repeats that the two signs of the cross represent the idea of light, sun, sacrifice, rain, storm, and the seasons.

EUROPE.

BRONZE AGE.

Prehistoric archæologists claim that bronze was introduced into Europe in prehistoric times from the extreme Orient. The tin mines of the peninsula of Burma and Siam, with their extension into China on the north, Malacca and the islands of the archipelago on the south, are known to have been worked in extremely ancient times and are believed to have furnished the tin for the first making of bronze. The latter may not be susceptible of proof, but everything is consistent therewith. After it became known that copper and tin would make bronze, the discovery of tin would be greatly extended, and in the course of time the tin mines of Spain, Britain, and Germany might be opened. A hundred and more prehistoric bronze foundries have been discovered in western Europe and tens of thousands of prehistoric bronze implements. If bronze came originally from the extreme Orient, and the Swastika belonged there also, and as objects of bronze belonging to prehistoric times and showing connection with the Orient, like the tintinnabulum (fig. 29) have been found in the Swiss lake dwellings of prehistoric times, it is a fair inference that the Swastika mark found on the same objects came also from the Orient. This inference is strengthened by the manufacture and continuous use of the Swastika on both bronze and pottery, until it practically covered, and is to be found over, all Europe wherever the culture of bronze prevailed. Nearly all varieties of the Swastika came into use during the Bronze Age. The objects on which it was placed may have been different in different localities, and so also another variety of form may have prevailed in a given locality; but, subject to these exceptions, the Swastika came into general use throughout the countries wherein the Bronze Age prevailed. As we have seen, on the hill of Hissarlik the Swastika is found principally on the spindle-whorl; in Greece and Cyprus, on the pottery vases; in Germany, on the ceintures of bronze; in Scandinavia, on weapons and on toilet and dress ornaments. In Scotland and Ireland it was mostly on sculptured stones, which are many times themselves ancient Celtic crosses. In England, France, and Etruria, the Swastika appears on small bronze ornaments, principally fibulæ. Different forms of the Swastika, i. e., those to the right, left, square, ogee, curved, spiral and meander, triskelion and tetraskelion, have been found on the same object, thereby showing their inter-relationship. No distinction is apparent between the arms bent to the right or to the left. This difference, noted by Prof. Max Müller, seems to fail altogether.

Greg says:[190]

About 500 to 600 B. C., the fylfot, (Swastika) curiously enough begins to disappear as a favorite device of early Greek art, and is rarely, if ever, seen on the regular Etruscan vase.

This indicates that the period of the use of the Swastika during the Bronze Age in Europe lay back of the period of its disappearance in the time of early Greek art, and that it was of higher antiquity than would otherwise be suspected.

Dr. Max Ohnefalsch-Richter says:[191]

The Swastika makes absolute default in Cyprus during all the age of bronze and in all its separate divisions according as the vases were decorated with intaglio or relief, or were painted.

_Etruria and Italy._--The Etruscans were a prehistoric people. The country was occupied during the two ages of stone, Paleolithic and Neolithic, and during the Bronze Age. The Etruscans were probably the descendants of the Bronze Age people. The longest continued geographical discussion the world has heard was as to _who were_ the Etruscans, and _whence_ or _by what_ route did they come to their country? It was opened by Herodotus and Dionysius Halicarnassus in the fourth century B. C.; while Dr. Brinton and the late President Welling have made the latest contributions thereto. The culture of the Etruscans was somewhat similar to that of the Bronze Age peoples, and many of the implements had great resemblance, but with sufficient divergence to mark the difference between them. There were different stages of culture among the Etruscans, as can be easily and certainly determined from their tombs, modes of burial, pottery, etc.

The Swastika appears to have been employed in all these epochs or stages. It was undoubtedly used during the Bronze Age, and in Italy it continued throughout the Etruscan and into the Roman and Christian periods.

[Illustration: Fig. 183. HUT URN IN THE VATICAN MUSEUM. "Burning altar" mark associated with Swastikas. Etruria (Bronze Age).]

While it may be doubtful if any specimen of Swastika can be identified as having belonged to the Neolithic Age in Europe, there can be no doubt that it was in common use during the Bronze Age. Professor Goodyear gives it as his opinion, and in this he may be correct, that the earliest specimens of Swastika of which identification can be made are on the hut urns of central Italy. These have been considered as belonging definitely to the Bronze Age in that country. Fig. 183 is a representation of one of these hut urns. It shows upon its roof several specimens of Swastika, as will be apparent from examination. There are other figures, incised and in relief. One of them is the celebrated "burning altar" mark of Dr. Schliemann. This specimen was found in the Via Appia near Rome, and is exhibited in the Vatican Museum. Similar specimens have been found in other parts of Etruria. The author saw in the Municipal Museum at Corneto many of them, which had been excavated from the neighboring cemetery of the prehistoric city of Corneto-Tarquinii. They were of pottery, but made as if to represent rude huts of skin, stretched on cross poles, in general appearance not unlike the cane and rush conical cabins used to this day by the peasants around Rome. They belonged to the Bronze Age, and antedated the Etruscan civilization. This was demonstrated by the finds at Corneto-Tarquinii. Tombs to the number of about 300, containing them, were found, mostly in 1880-81, at a lower level than, and were superseded by, the Etruscan tombs. They contained the weapons, tools, and ornaments peculiar to the Bronze Age--swords, hatchets, pins, fibulæ, bronze and pottery vases, etc., the characteristics of which were different from Etruscan objects of similar purpose, so they could be satisfactorily identified and segregated. The hut urns were receptacles for the ashes of the cremated dead, which, undisturbed, are to be seen in the museum. The vases forming part of this grave furniture bore the Swastika mark; three have two Swastikas, one three, one four, and another no less than eight.

Dennis figures a hut urn from Alba Longa,[192] and another from the Alban Mount.[193] He says (note 1):

These remarkable urns were first found in 1817 at Montecucco, near Marino, and at Monte Crescenzio, near the Lago de Castello, beneath a stratum of _peperino_ (tufa) 18 inches thick. They were embedded in a yellowish volcanic ash and rested on a lower and earlier stratum of _peperino_.[194]

Curiously enough, the three or four pronged mark, called "burning altar" by Dr. Schliemann, is on both hut urns in Dennis's "Cities and Cemeteries of Etruria." Dr. Schliemann argues strongly in favor of the relationship between Swastika and the "burning altar" sign, but assigns no other reason than the similarity of the marks on the two objects. He appears unable, in "Ilios," to cite any instance of the Swastika being found on the hut urns in connection with the "burning altar" sign, but he mentions the Swastika five times repeated on one of the hut urns in the Etruscan collection in the museum of the Vatican at Rome.[195] The photograph of the hut urn from the Vatican (fig. 183) supplies the missing link in Schliemann's evidence. The roof of the hut urn bears the "burning altar" mark (if it be a burning altar, as claimed), which is in high relief (as it is in the Dennis specimens), and was wrought in the clay by the molder when the hut was made. Such of the other portions of the roof as are in sight show sundry incised lines which, being deciphered, are found to be Swastikas or parts of them. The parallelogram in the front contains a cross and has the appearance of a labyrinth, but it is not. The other signs or marks, however, represent Swastikas, either in whole or in part. This specimen completes the proof cited by Schliemann, and associates the Swastika with the "burning altar" sign in the Etruscan country, as well as on the hill of Hissarlik and in other localities.

Dennis supposes the earliest Etruscan vases, called by many different names, to date from the twelfth century B. C. to 540 B. C.,[196] the latter being the epoch of Theodoros of Samos, whose improvements marked an epoch in the culture of the country. He says:

These vases were adorned with annular bands, zigzag, waves, meanders, concentric circles, hatched lines, Swastikas, and other geometric patterns.

A fragment of Archaic Greek pottery is reported by Rochette from the necropolis of Cumæ, in the campagna of Italy, and is shown in fig. 184. Rochette reports it as an example of a very early period, believed by him to have been Phenician. When we consider the rarity of Phenician pottery in Italy compared with the great amount of Greek pottery found there, and that the Phenicians are not known to have employed the Swastika, this, combined with the difficulty of determining the place of origin of such a fragment, renders it more likely to have been Greek than Phenician. A reason apparently moving Rochette to this decision was the zigzag ornamentation, which he translated to be a Phenician sign for water; but this pattern was used many times and in many places without having any such meaning, and is no proof of his proposition.

[Illustration: Fig. 184. FRAGMENT OF ARCHAIC GREEK POTTERY WITH THREE SWASTIKAS. Cumæ, Italy. Waring, "Ceramic Art in Remote Ages," pl. 42, fig. 1.]

[Illustration: Fig. 185. CINERARY URN WITH SWASTIKAS IN PANELS. San Marino, near Albano, Italy. Vatican Museum.]

[Illustration: Fig. 186. CINERARY URN WITH SWASTIKAS INCLOSED BY INCISED LINES IN INTAGLIO. Cervetri, Italy. "Conestabile due Dischi in Bronzo," pl. 5, fig. 2. 1/6 natural size.]

Figs. 185 and 186 represent the one-handled cinerary urns peculiar to the Bronze Age in Italy. They are believed to have been contemporaneous with or immediately succeeding the hut urns just shown. The cinerary urn shown in fig. 185 was found at Marino, near Albano, in the same locality and under the same condition as the hut urns. The original is in the Vatican Museum and was figured by Pigorini in "Archæologia," 1869. Fig. 186 shows a one-handled urn of pottery with Swastika (left) in intaglio, placed in a band of incised squares around the body of the vessel below the shoulder. A small though good example of Etruscan work is shown in the gold fibula (fig. 187). It is ornamented on the outside with the fine gold filigree work peculiar to the best Etruscan art. On the inside are two Swastikas. It is in the Vatican Museum of Etruscan antiquities. Fig. 188 represents another specimen of Etruscan gold filigree work with a circle and Swastika. It is a "bulla," an ornament said to indicate the rank of the wearer among the Etruscan people. It is decorated with a circle and Swastika inside. The figure is taken from "L'Art pour Tous," and is reproduced by Waring.

[Illustration: Fig. 187. GOLD FIBULA WITH SWASTIKAS (LEFT). Etruscan Museum, Vatican. Catalogue of the Etruscan Museum,