Page:History of Art in Sardinia, Judæa, Syria and Asia Minor Vol 1.djvu/124

 ioô A History of Art in Sardinia and Jud.ea. island, to which we ascribed a votive destination (Fig. 85), have been excavated at Karalis and Tharros as well. 1 Thus it is seen that many points of contact, multitudinous resemblances, are to be traced between Sardinian and Punic industry, which it were unwise as it is impossible to deny or ignore. But although endless examples might be arrayed, those we have brought forward will suffice to point out the close relation- ship which exists in the general character as well as in many of the details of both. The architecture of these aborigines, whether in their towers or tombs, is the only element which shows some degree of originality ; witnessed nowhere else save in the talayots of the Baléares and the megalithic monuments of North Africa and Western Europe. Notwithstanding their rough and archaic character, both classes of structures bear a stamp of individuality which places them above any suspicion of being imitated ; this too is visible through- out in their metal and clay objects. Had the Phoenicians never visited Sardinia, the use of tin would have been unknown to its inhabitants, and bronze would have been equally unfamiliar to them ; they would have been unable to fabricate weapons which rendered them formidable foes and desirable auxiliaries, and animal, more especially human forms, would never have been pro- duced. These, however barbarous in make, testify nevertheless to a civilization far removed from that which megalithic, palafitte (log- cabins) and terra-mare monuments represent. Their starting-point was about the same ; the difference is seen in their progress, favoured in the case of Sardinia by contact with Carthage. Hence it may be assumed that if left to themselves these tribes would have stopped short of the standard they ultimately attained. We may be thought to have lingered too long on Sardinian ground, and that this was scarcely justified by its art productions, which it must be confessed are not of the nature to attract and please dilettanti. The monotonous plan and heavy proportions of their buildings are not compensated by delicate or beautiful ornamentation, of which there is little or nothing, whilst the Statuettes, by their crude execution, verge on ugliness and deformity. The interest which attaches to this fragment or short episode in art-history, was the moving spring in our decision for making it the subject of our study ; for in spite of its limitations it enables 1 Pais, Boll., p. 145.