and developed in the following pages. It is now advisable to introduce this

volume to the reader.

During the 'seventies' I began, with a light heart, my Book of the Sword, expecting to finish it within a few months. It has occupied me as many years. Not only study and thought, but travel and inspection, were found indispensable; a monograph on the Sword and its literature involved visiting almost all the great armouries of continental Europe, and a journey to India in 1875-6. The short period of months served only to show that a memoir of the Sword embraces the annals of the world. The long term of years has convinced me that to treat the subject in its totality is impossible within reasonable limits.

It will hardly be said that a monograph of the Sword is not wanted. Students who would learn her origin, genealogy, and history, find no single publication ready to hand. They must ransack catalogues and books on arms and armour' that are numbered by the score. They must hunt up fugitive pamphlets; papers consigned to the literary store-rooms called magazines; and stray notices deep buried in the ponderous tomes of Recueils and general works on Hoplology. They must wade through volume after volume of histories and travels, to pick up a few stray sentences. And they will too often find that the index of an English book which gives copious references to glass or sugar utterly ignores the Sword. At times they must labour in the dark, for men who write seem wholly unconscious of the subject's importance. For instance, much has been said about art in Japan; but our knowledge of her metallurgy especially of her iron and steel works, is elementary, while that of her peculiar and admirable cutlery is strangely superficial. And travellers and collectors treat the Sword much as they do objects of natural history. They regard only the rare, the forms which they ignore, or which strike the eye, and the unique specimens which may have no comparative value. Thus they neglect articles of far more interest and of higher importance to the student, and they bring home, often at great expense, mere lumber for curiosity shops.

The difficulty of treating the Sword is enhanced by the peculiar individuality which characterises it, evidenced by an immense variety of physique, and resulting as much from unconscious selection as from deep design. One of the characteristics of indigenous art is that no two articles, especially no two weapons, are exactly alike; and yet they vary only within narrow and measurable limits. The minute differentiæ of the Sword are endless. Even in the present day, swordsmen will order some shape, size, or weight which they hold often unwisely enough-to be improvements on the general. One man, wishing to strengthen his arm, devises a weapon fit for a Titan and finds it worse than useless. A tale is told of a Sheffield cutler who, having received from Maroccan Mogador a wooden model to be copied in steel, made several hundred blades on the same pattern and failed to find a

single purchaser. Their general resemblance to the prevailing type was marred by peculiarities which unsuited them for general use; they were adapted only to individual requirement, each man priding himself upon his own pattern having some almost imperceptible difference. Such variations are intelligible enough in the Sword, which must be modified for every personality, because it becomes to the swordsman a prolongation of his own person, a lengthening of the arm. The natural results are the protean shapes of the weapon and the difficulty of reducing these shapes to orderly description. I cannot, therefore, agree with a President of the Anthropological Institute ('Journal,' October 1876) when he states: 'Certainly the same forms of Sword might be found in different countries, but not of so peculiar a nature (as the Gaboon weapon) unless the form had been communicated.' Shapes apparently identical start up spontaneously, because types are limited and man's preferences easily traverse the whole range of his invention.

Thus the stumbling-block which met me on the threshold was to introduce sequence, system, and lucid order into a chaos of details. It was necessary to discover some unity, some starting-place for evolution and development, without which all treatment would be vague and inconsequent. But where find the clue which makes straight the labyrinthine paths; the point de mire which enables us to command the whole prospect; the coign of vantage which displays the disposition of details, together with the nexus, the intercommunication, and the progress of the parts and the whole?

Two different systems of that classification, which defines the margin of our ignorance,' are adopted by museums; and, consequently, by the catalogues describing them. I shall here quote only English collections, leaving to the Continental reader the task of applying the two main principles locally and generally. These are, first, the Topical or Geographical (e.g. Christy collection), which, as the words denote, examines the article itself mainly with reference to its media, nature and culture, place and date; and which considers man and his works as the expression of the soil that bears him. The second is the Material and purely Formal (General A. Pitt-Rivers' collection), which regards only the objects or specimens themselves, without respect to their makers or their media; and which, by investigating the rival laws of continuity and of incessant variation, aims at extending our knowledge of mankind. Both plans have their merits and their demerits. The Topical is the more strictly anthropologico-ethnological, because it makes the general racial culture its prominent feature; but it fails to illustrate, by juxtaposition, the origin, the life, and the death of a special article. The Formal proposes to itself the study of specific ideas; it describes their transmissions and their migrations; and it displays their connection and sequence, their development and degradation. It exemplifies the law of unconscious selection, as opposed to premeditation and

design. Thus it claims superior sociological interest, while it somewhat separates and isolates the article from its surroundings-mankind.

Again, it would be unadvisable to neglect the chronological and synchronological order (Demmin's). This assists us in tracing with a surer hand the origin and derivation; the annals, the adventures, and the accidents of an almost universal weapon, whose marvellously chequered career excels in dignity, in poetry, and in romance, anything and everything the world has yet seen. And here I have not been unmindful of Dr. Arthur Mitchell's sensible warning that 'the rude form of an implement may follow as well as precede the more finished forms.' Due regard to dates enables us to avoid the scandalous confusion of the vulgar museum. Demmin found a large number of swords catalogued as dating with the time of Charles the Bold, when the shapes proved that they belonged to the late sixteenth and even to the early seventeenth centuries. I was shown, in the museum of Aquileja, a Roman sword' which was a basket-hilted Venetian, hardly two hundred years old. It is only an exact chronology, made to frame the Geographical and the Formal pictures of the weapon, that can secure scientific distribution.

In dealing with a subject which, like the Sword, ranges through the worldhistory, and which concerns the human race in general, it would, I venture to opine, be unwise to adopt a single system. As clearness can be obtained only by methodical distribution of matter, all the several processes must be combined with what art the artificer may. The Formal, which includes the Material, as well as the shape of the weapon, affords one fair basis for classification. The substance, for instance, ranges from wood to steel, and the profile from the straight line to the segment of a circle. The Topical, beginning (as far as we know) in the Nile Valley, and thence in ancient days overspreading Africa, Asia, Europe, and America, determines the distribution and shows the general continuity of the noble arm. It also readily associates itself with the chronologico-historical order, which begins ab initio, furnishes a proof of general progress, interrupted only by fitful stages of retrogression, and, finally, dwells upon the epochs of the highest interest.

After not a little study I resolved to distribute the 'Book of the Sword' into three parts.

Part I. treats of the birth, parentage, and early career of the Sword. It begins with the very beginning, in pre-historic times and amongst proto-historic peoples; and it ends with the full growth of the Sword at the epoch of the early Roman Empire.

Part II. treats of the Sword fully grown. It opens with the rising civilisation

The Past in the Present, &c. (Edinburgh: Douglas, 1880).

of the Northern Barbarians and with the decline of Rome under Constantine (A.D. 313-324), who combined Christianity with Mithraism; when the worldcapital was transferred to Byzantium, and when an imitation of Orientalism, specially of Persic apparatus,' led to the art decay which we denote by the term 'Lower Empire.' It proceeds to the rise of El-Islam; the origin of ordered chivalry and knighthood; the succession of the Crusades and the wars of arms and armour before the gunpowder age, when the general use of ballistics by means of explosives became the marking feature of battle. This was the palmy period of the Sword. It became a beautiful work of art; and the highest genius did not disdain to chase and gem the handle and sheath. And its career culminates with the early sixteenth century, when the weapon of offence assumed its defensive phase and rose to a height of splendour that prognosticated downfall, as surely as the bursting of a rocket precedes its extinction.

Part III. continues the memoirs of the Sword, which, after long declining, revives once more in our day. This portion embraces descriptions of the modern blade, notices of collections, public and private, notes on manufactures; and, lastly, the bibliography and the literature connected with the Heroic Weapon.

Part I., contained in this volume, numbers thirteen chapters, of which a bird'seye view is given by the List of Contents. The first seven are formally and chronologically arranged. Thus we have the Origin of Weapons (Chapter I.) showing that while the arm is common to man and beast, the weapon, as a rule, belongs to our kind. Chapter II. treats of the first weapon proper, the Stone, which gave rise to ballistics as well as to implements of percussion. Follows (Chapter III.) the blade of base materials, wood, stone and bone, materials still used by races which can procure nothing better. From this point a step leads to the metal blade, in its origin evidently a copy of preceding types. The first, (Chapter IV.) is of pure copper, in our translations generally rendered by 'brass' or 'bronze.' The intermediate substances (Chapter V.) are represented by alloys, a variety of mixed metals; and they naturally end with the so-called 'age' of early iron, which prevailed throughout Europe at a time when the valleys of the Nile and the Tigris-Euphrates wrought blades of the finest steel. This division concludes with a formal and technical Chapter (VII.) on the shape of the Sword and a description of its several parts. Here the subject does not readily lend itself to lively description; but, if I have been compelled to be dull, I have done my best to avoid being tedious.

The arrangement then becomes geographical and chronological. My next five chapters are devoted to the Sword in its topical distribution and connection. The first (No. VIII.) begins with the various blade-forms in ancient Egypt, which extended throughout the then civilised world; it ends with showing that the Nile

valley gave their present shapes to the 'white arm' of the Dark Continent even in its modern day, and applied to the Sword the name which it still bears in Europe. The second (No. IX.) passes to Palestine, Syria, and Asia Minor, lands which manifestly borrowed the weapon from the Egyptians, and handed it on to Assyria, Persia, and India. The arms and armour of the 'great Interamnian Plain' afford material for a third (Chapter X.). Thence, retracing our steps and passing further westwards, we find manifest derivation and immense improvement of the Egyptian weapon in Greece (Chapter XI.), from which Mycena has lately supplied bronze rapiers perfectly formed as the steels of Bilboa and Toledo. The fifth Chapter (No. XII.) continues the ancient history of the Sword by describing the various blades of progressive Rome, whose wise choice and change of arms enabled her to gain the greatest battles with the least amount of loss. To this I have appended, for geographical and chronological symmetry, in a sixth and last chapter (No. XIII.), a sketch of the Sword among the contemporary Barbarians of the Roman Empire, Dacians, Italians, Iberians, Gauls, Germans, and the British Islands. This portion of the Sword history, however, especially the Scandinavian and the Irish, will be treated at full length in Part II.

Here, then, ends the First Part, which Messrs. Chatto and Windus have kindly consented to publish, whilst my large collection of notes, the labour of years, is being ordered and digested for the other two. I may fairly hope, if all go well, to see both in print before the end of 1884.

In the following pages I have confined myself, as much as was possible, to the Sword; a theme which, indeed, offers an embarras de richesses. But weapons cannot be wholly isolated, especially when discussing origins: one naturally derives from and connects with the other; and these relations may hardly be passed over without notice. I have, therefore, indulged in an occasional divagation, especially concerning the axe and the spear; but the main line has never been deserted.

Nor need I offer an excuse for the amount of philological discussion which the nomenclature of the Sword has rendered necessary. If I have opposed the Past Masters of the art, my opposition has been honest, and I am ever open to refutation. Travellers refuse to believe that' Aryanism' was born on the bald, bleak highlands of Central Asia, or that 'Semitism' derives from the dreary, fiery deserts of Arabia. We do not believe India to be 'the country which even more than Greece or Rome was the cradle of grammar and philology.' I cannot but hold that England has, of late years, been greatly misled by the 'Aryan heresy'; and I look forward to the study being set upon a sounder base.

The illustrations, numbering 293, have been entrusted to the artistic hands of Mr. Joseph Grego, who has taken a friendly interest in the work. But too much. must not be expected from them in a book which intends to be popular, and