It is not only, however, from the analogies with similar monuments in this country, or from their bearing on their history, that the Scandinavian dolmens are interesting to us. They have forms and peculiarities of their own which are well worth studying. If materials existed for mastering these differences, their aggregate would make up a sum which would enable us to separate the Scandinavian group from the British, as we can our own from the French, and the French from that of Northern Germany. A great deal more must, however, be published, and in a more accurate form, before this can be done; but, whenever it is possible, it promises to afford most satisfactory results to ethnographical science. The problem is similar to that which was known to exist in reference to pointed Gothic architecture. That is now admitted to be a Celtic-French invention, but it was adopted by the Spaniards and Italians on the one hand, and by the Germans and ourselves on the other; although always with a difference. No antiquary would now for an instant hesitate in discriminating between an Italian and a German or between a Spanish and an English example, though the difference is so small that it can hardly be expressed in words, and must be carefully represented in order to be perceived. In like manner, the rude-stone style of art seems to have been invented by some pre-Celtic people, but to have been adopted by Celts, by Scandinavian, by British, and Iberian races--perhaps not always pure in their own countries, but always with considerable differences, which, when perceived and classified, will enable us to distinguish between the works of the several races as clearly as we can between the mediæval styles that superseded them. [Illustration: 109. Diagram from Sjöborg, pl. i. fig. A.]