the same relation to one another that Callernish does to New Grange; but when so widely separated geographically as the former two are, and belonging to two different races, it is difficult to say which may be the older. All we can feel sure of is that both belong to the same system, and that they are not far removed from each other in date. We must, however, know more than we do of the local history of Spanish dolmens before we can feel sure that Antequera may not be even considerably more modern than Stonehenge.

An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|Rude Stone Monuments.djvu/411}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images.

157. Dolmen del Tio Cogolleros. From Gongora.

None of the other dolmens in Andalusia approach Antequera in magnificence, though they all seem to bear a similar character, and in appearance belong to the same age. The supporting stones seem to be all more or less shaped by art, and fitted to some extent to one another. The cap-stone is generally left in its natural state, largeness being the feature that the builders always aimed at. These peculiarities are well exhibited in the dolmen called de la Cruz del Tio Cogolleros, in the parish of Fonelas, near Guadix. Here the cap-stone measures nearly 12 feet each way, and covers what was intended to be a nearly square chamber; one side, as at Kit's Cotty House, being left open; consequently it could hardly ever have been intended to be covered with a mound. Indeed, so far as we can gather from Don Gongora's drawings, none of those which he illustrates were ever so buried, nor does it appear that it was originally the intention ever to cover them with earth. Another monument, called only Sepultura Grande, in the parish of Gor, in the same neighbourhood, is interesting from its resemblance to the Swedish sepulchre illustrated in woodcut No. 108, and to the Countless Stones at