However cursorily we have touched upon art as it developed in the Western hemisphere, the reader must be impressed by two facts. (1) That there are analogies between East and West which are too striking to be attributed to mere chance; and (2) that those who built the edifices of Uxmal, Palenque, Copan, Chichen, Itza, and Cuzco must have been far beyond a mere nomadic state. They had palaces, temples, and therefore a kind of social organisation and religion. Their religion must have been of a low and cruel character, judging from the representations of their divinities, and from their using detached limbs of the human body as arabesques; though we can trace in their calendar, as in their conceptions of the personified powers of nature, Eastern influences, connecting the pre-historic West with the historic East. Whilst the Eastern world used incense at its religious ceremonies, the West used tobacco smoke. In both hemispheres some mysterious power was attributed to animals. The helmets of all nations took their origin in this common belief. Eagles, vultures, wolves, tigers, lions, dragons and serpents are used to adorn the fighter or to charm his weapons. The custom of wearing masks and helmets or head-dresses of some terrifying form, exaggerating the size of the head, is of purely barbarous origin. In the remains of ancient Mexico, Peru, and the South Sea Islands we find a variety of carved masks; some resembling human faces, adorned with false hair, beards and eyebrows; others representing the heads of birds. They are generally painted, often ornamented with pieces of foliaceous mica to make them glitter, or with turquoises and other precious stones. That the pre-historic man, whether of the East or the farthest West, had some sort of civilisation may be best studied in his keramic products. Earthenware vessels, pots, jugs, vases, urns, and amphoræ are as interesting to the art-historian as fossil plants and animals to the paleontologist, or the different strata of the earth’s crust to the geologist.