Germany, Bohemia, Moravia, Silesia and Posen. The Hallstatt period ends, roughly, at 500 B.C., and the Later Iron Age takes its name from the settlement of _La Tene_, in a bay of the Lake of Neuchatel in Switzerland. This culture, while owing much to that of Hallstatt, and much also to foreign sources, possesses a distinct individuality, and though soon overpowered on the Continent by Roman influence, attained a remarkable brilliance in the Late Celtic period in the British Isles. That the peoples of the Metal Ages were physically well developed, and in a great part of Europe and Asia already of Aryan speech, there can be no reasonable doubt. A skull of the early Hallstatt period, from a grave near Wildenroth, Upper Bavaria, is described by Virchow as long-headed, with a cranial capacity of no less than 1585 c.c., strongly developed occiput, very high and narrow face and nose, and in every respect a superb specimen of the regular-featured, long-headed North European[105]. But owing to the prevalence of cremation the evidence of race is inadequate. The Hallstatt population was undoubtedly mixed, and at Glasinatz in Bosnia, another site of Hallstatt civilisation, about a quarter of the skulls examined were brachycephalic[106]. Their works, found in great abundance in the graves, especially of the Bronze and Iron periods, but a detailed account of which belongs to the province of archaeology, interest us in many ways. The painted earthenware vases and incised metal-ware of all kinds enable the student to follow the progress of the arts of design and ornamentation in their upward development from the first tentative efforts of the prehistoric artist at pleasing effects. Human and animal figures, though rarely depicted, occasionally afford a curious insight into the customs and fashions of the times. On a clay vessel, found in 1896 at Lahse in Posen, is figured a regular hunting scene, where we see men mounted on horseback, or else on foot, armed with bow and arrow, pursuing the quarry (nobly-antlered stags), and returning to the penthouse after the chase[107]. The drawing is extremely primitive, but on that account all the more instructive, showing in connection with analogous representations on contemporary objects, how in prehistoric art such figures tend to become conventionalised and purely ornamental, as in similar designs on the vases and textiles from the Ancon Necropolis, Peru. "Most ornaments of primitive peoples, although to our eye they may seem merely geometrical and freely-invented designs, are in reality nothing more than degraded animal and human figures[108]." This may perhaps be the reason why so many of the drawings of the metal period appear so inferior to those of the cave-dwellers and of the present Bushmen. They are often mere conventionalised reductions of pictorial prototypes, comparable, for instance, to the characters of our alphabets, which are known to be degraded forms of earlier pictographs.