The spear-heads of this period are also marked by national distinctive features; the exceedingly common British form, for example, with loops to secure it to the shaft, being unknown in Denmark, and a variety of pierced heads common in Scotland and Ireland being rarely or never found in England. So it is with other varieties of weapons, implements, and personal ornaments: some which are common in Denmark are unknown here, or assume different forms; others with which we are familiar are unknown to the Danish archæologist; while both are in like manner distinguished from those of Germany, France, and the south of Europe. The distinctive peculiarities may indeed be most aptly compared to those which mark the various national developments of medieval art, and give to each an individuality of character without impairing the essential characteristics of the style. The extent of international communication was only so much greater and more direct in the twelfth and thirteenth centuries, than in those older centuries before the Christian era, as to produce a more rapid interchange of thought and experience. This national individuality, accompanying such remarkable correspondence to a common type, may therefore be assumed as justifying the conclusion that some considerable intercourse must have prevailed among the different races of Europe during that remote period to which we refer; and hence we are led to assume an additional evidence of early civilisation, while at the same time no sufficient proof appears to point to such a sudden transition as necessarily to lead to the conclusion that the bronze relics belong entirely to a new people. On the contrary, the evidence of slow transition is abundantly manifest. The metallurgic arts, and the models by which their earliest application was guided, were in all probability introduced by a new race, who followed in the wake of the older wanderers from the same Eastern cradle-land of the human race. But the rude stone moulds, the sand-cast celts and palstaves, and the relics of the primitive forges in which they were wrought, all point to aboriginal learners slowly acquiring the new art, while perhaps its originators were introducing those works of beautiful form and great finish and delicacy of workmanship, which the antiquary of the eighteenth century could ascribe to none but the Roman masters of the world.