THE foregoing inquiry has brought out two clear facts. First, Mycenaean art stands in close relations with the art of primitive Troy and with that of the Cyclades. Secondly, it betrays the influence of the farther East -- namely, of Egypt, Syria and Mesopotamia. But it is specially in the Cyclades that we meet with correspondences so close and frequent that in many of its features the art of those islands presents itself to us as an elder sister of the Mycenaean. The column and the wall-painting of Thera attest something more than intimate relations, and the product of her more advanced ceramic art so closely resembles the unglazed polychromes of Mycenae that we can hardly draw the line between them. In general, the Island civilization in its full bloom can hardly be distinguished from the Mycenaean, nor can the latter be fully understood without reference to the former. It seems desirable, therefore, to define more exactly the character of the Island culture and its relation to that of the mainland.
In certain of the Cyclades, as Paros and Antiparos, Naxos, Ios, Amorgos, Thera and Therasia, we find small rude graves,1 furnished with bronze weapons idols (spear-heads, daggers, wedge-shaped axes) and