epoch on its artistic side. It will be readily understood that our
knowledge of the long period in question is still very
fragmentary, and that, in the absence of written records, our
interpretation of the facts is hardly better than a groping in the
dark. Fortunately we can afford, so far as the purposes of this
book are concerned, to be content with a slight review. For it
seems clear that the "Mycenaean" civilization developed little
which can be called artistic in the highest sense of that term.
The real history of Greek art--that is to say, of Greek
architecture, sculpture, and painting--begins much later.
Nevertheless it will repay us to get some notion, however slight,
of such prehistoric Greek remains as can be included under the
broadest acceptation of the word "art."

In such a survey it is usual to give a place to early walls of
fortification, although these, to be sure, were almost purely
utilitarian in their character. The classic example of these
constructions is the citadel wall of Tiryns in Argolis. Fig. 22
shows a portion of this fortification on the east side, with the
principal approach. Huge blocks of roughly dressed limestone--some
of those in the lower courses estimated to weigh thirteen or
fourteen tons apiece--are piled one upon another, the interstices
having been filled with clay and smaller stones. This wall is of
varying thickness, averaging at the bottom about twenty-five feet.
At two places, viz., at the south end and on the east side near
the southeast corner, the thickness is increased, in order to give
room in the wall for a row of store chambers with communicating
gallery. Fig. 23 shows one of these galleries in its present
condition. It will be seen that the roof has been formed by
pushing the successive courses of stones further and further