It does not appear to us that the use of iron as an epithet bespeaks an age when iron was a mysterious thing, known mainly by reputation, "a costly possession." The epithets "iron strength," and so on, may as readily be used in our own age or any other. If iron were at first a "precious" metal, it is odd that Homeric men first used it, as Cauer sees that they did, to make points to ploughshares and "tools of agriculture and handiwork." "Then people took to working iron for weapons." Just so, but we cannot divide the _Iliad_ into earlier and later portions in proportion to the various mentions of iron in various Books. These statistics are of no value for separatist purposes. It is impossible to believe that men when they spoke of "iron strength," "iron hearts," "grey iron," "iron hard to smithy," did so because iron was, first, an almost unknown legendary mineral, next, "a precious metal," then the metal of drudgery, and finally the metal of weapons. The real point of interest is, as Cauer sees, that domestic preceded military uses of iron among the Achaeans. He seems, however, to think that the confinement of the use of bronze to weapons is a matter of traditional style. [Footnote: "Nur die Sprache der Dichter hielt an dem Gebrauch der Bronze fest, die in den Jahrhunderten, waehrend deren der Epische Stil erwachsen war, allein geherrscht hatte."] But, in the early days of the waxing epics, tools as well as weapons were, as in Homer they occasionally are, of bronze. Why, then, do the supposed late continuators represent tools, not weapons, as of iron? Why do they not cleave to the traditional term--bronze--in the case of tools, as the same men do in the case of weapons? Helbig offers an apparently untenable explanation of this fact. He has proposed an interpretation of the uses of bronze and iron in the poems entirely different from that which I offer. [Footnote: _Sur la Question Mycenienne_. 1896.] Unfortunately, one can scarcely criticise his theory without entering again into the whole question of the construction of the Epics. He thinks that the origin of the poems dates from "the Mycenaean period," and that the later continuators of the poems retained the traditions of that remote age. Thus they thrice call Mycenae "golden," though, in the changed economic conditions of their own period, Mycenae could no longer be "golden"; and I presume that, if possible, the city would have issued a papyrus currency without a metallic basis. However this may be, "in the description of customs the epic poets did their best to avoid everything modern." Here we have again that unprecedented phenomenon--early poets who are archaeologically precise.