An introduction to the study of prehistoric art . lar Disks, falling into line withwhat is said hereafter on Sun worship. The boat itself isalso a solar symbol. These designs have been cited as evi-dence of the existence in the Bronze Age of the myth of theSun traversing the ocean when at night the world is left in ^ Les Temps Prchistoiiques eft Siiede, par O. Montelius, transl. byS. Reinach, chap. 11., p. 125, Fig. 176. 222 PREHISTORIC ART darkness, a myth naturally appealing to a people livingon coasts facintj the settino sun.^ Similar boat designs are to be seen incised on rocksurfaces in s
An introduction to the study of prehistoric art . lar Disks, falling into line withwhat is said hereafter on Sun worship. The boat itself isalso a solar symbol. These designs have been cited as evi-dence of the existence in the Bronze Age of the myth of theSun traversing the ocean when at night the world is left in ^ Les Temps Prchistoiiques eft Siiede, par O. Montelius, transl. byS. Reinach, chap. 11., p. 125, Fig. 176. 222 PREHISTORIC ART darkness, a myth naturally appealing to a people livingon coasts facintj the settino sun.^ Similar boat designs are to be seen incised on rocksurfaces in several places in Sweden. Associated withthem are representations of men, animals, arms, and solardisks. They were first observed as long ago as have been attributed to the Vikings of the sixth tothe eighth century ; others have regarded them as ofNeolithic age (Fig. 246). Montelius for many reasons—thecharacter of the figures, mode of execution, shape of thecelts and swords, the absence of runes, and the presence of vJii^uuttc**.
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Keywords: ., bookcentury1900, bookdecade1910, bookidintroduction, bookyear1915
