No satisfactory explanation of this omission has as yet seen the light. The design of The Shield, say some, came from an inland country, such as Assyria. Others that Homer described some foreign work of art fabricated by people who knew not the sea, but Helbig points out that the omission consists with the references to ships and sea-faring elsewhere in Homer. No commerce or occupation, which could be placed side by side with farming in a picture of Greek life, then existed. If Mr. Lang’s view—which possesses the pleasant property of incapacity of either proof or disproof—that The Shield was simply an _ideal_ work of art had been more generally borne in mind, we should have been spared endless comment. In his ascription of The Shield to Assyrian or Phœnician influence Monro finds himself at variance with Sir Arthur Evans. Even if his statement, “the recent progress of archæology has thrown so much light on the condition of Homeric art,” be accurate and the deductions from such recent progress be justifiable, the still more recent progress in the same science (according to Evans) ousts the Assyrian or Phœnician in favour of a Cretan parentage. “It is clear that some vanguard of the Aryan Greek immigrants came into contact with this Minoan culture at a time when it was still in its flourishing condition. The evidence of Homer is conclusive. Arms and armour described in the poems are those of the Minoan prime; the fabled Shield of Achilles, like that of Herakles described by Hesiod, with its elaborate scenes and variegated metal work, reflects the masterpieces of the Minoan craftsmen in the full vigour of their art. Even the lyre to which the minstrel sang was a Minoan invention.”[149] The suggestion that both authorities are really in agreement and that the influence at work may be traced back ultimately to the early Assyrian, _i.e._ _Sumerian_, culture, even if Evans holds “that the first quickening impulse came to Crete from Egypt and not from the Oriental side,” seems, on present data, untenable. Till twenty years ago it was generally accepted that no character of Homer ever sailed for recreation, or fished for sport. They were far too near the primitive life to find any joy in such pursuits. Men scarcely ever hunted or fished for mere pleasure. These occupations were not pastimes; they were counted as hard labour. Hunting, fishing, and laying snares for birds in Homer and even in the classical periods had but one aim, food.[150] The Poet expressly mentions the hardships (ἂλγεα, _Od._, IX. 121) of hunters in traversing forest and mountains. Nowhere does he give any indication of _sport_ in hunting or fishing, except perhaps in the case of the wild boar and in the delight of Artemis “taking her pastime in the chase of boars and swift deer,”[151] where the word, παίζουσιν, would seem surely to indicate pleasure in sport. [Illustration: “IN AT THE DEATH.” See n. 1, p. 73.]