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42 that at Sanchi, erected between 250 B.C. and 1 A.D., so evidently derived from carpentry that we feel it was copied directly, like all the Buddhist architecture of that age, from wooden originals. Whether it was from the fashion of erecting stone circles round tumuli, or from what other cause, it is impossible now to say; but as time went on the form of the rail became more and more essentially lithic, and throughout the middle ages the Buddhist tope, with its circle or circles of stones, bore much more analogy to the megalithic monuments of our own country than did the tombs just alluded to; and we are often startled by similarities which, however, seem to have no other cause than their having a common parent, being, in fact, derived from one primæval original. There is nothing in all this, at all events, that would lead us to the conclusion that the polished stone monuments of India were either older or more modern than the rude stone structures of the West. Each, in fact, must be judged by its own standard, and by that alone.

For the proper understanding of what is to follow the distinctions just pointed out should always be borne in mind, as none are more important. Half indeed of the confusion that exists on the subject arises from their having been hitherto neglected. There is no doubt that occasional similarities can be detected between these various styles, but they amount to nothing more than should be expected from family likenesses consequent upon their having a common origin and analogous purposes. But, except to this extent, these styles seem absolutely distinct throughout their whole course, though running parallel to one another during the whole period in which they are practised. If this is so, any hypothesis based on the idea that the microlithic architecture either preceded or succeeded to the megalithic at once falls to the ground. Nor, if these distinctions are maintained, will it any longer be possible to determine any dates in succession in megalithic art from analogies drawn from what may have happened at any period or place among the builders of microlithic structures. The fact which we have got to deal with seems to be that the megalithic rude stone art of our forefathers is a thing by itself—a peculiar form of art arising either from its being adopted by a peculiar race or peculiar