Plenty of skill he had in his fingers, too; for to chip a flint-pebble
along both faces, till it takes a more or less symmetrical and standard
shape, is not so easy as it sounds. Hammer away yourself at such a
pebble, and see what a mess you make of it. To go back for one moment
to the subject of eoliths, we may fairly argue that experimental forms
still ruder than the much-trimmed palaeoliths of the early river-drift
must exist somewhere, whether Mr. Harrison's eoliths are to be classed
amongst them or not. Indeed, the Tasmanians of modern days carved their
simple tools so roughly, that any one ignorant of their history might
easily mistake the greater number for common pieces of stone. On the
other hand, as we move on from the earlier to the later types of
river-drift implements, we note how by degrees practice makes perfect.
The forms grow ever more regular and refined, up to the point of time
which has been chosen as the limit for the first of the three main
stages into which the vast palaeolithic epoch has to be broken up.
The man of the late St. Acheul period, as it is termed, was truly a
great artist in his way. If you stare vacantly at his handiwork in
a museum, you are likely to remain cold to its charm. But probe about
in a gravel-bed till you have the good fortune to light on a
masterpiece; tenderly smooth away with your fingers the dirt sticking
to its surface, and bring to view the tapering or oval outline, the
straight edge, the even and delicate chipping over both faces; then,
wrapping it carefully in your handkerchief, take it home to wash, and
feast till bedtime on the clean feel and shining mellow colour of what
is hardly more an implement than a gem. They took a pride in their
work, did the men of old; and, until you can learn to sympathize, you
are no anthropologist.

During the succeeding main stage of the palaeolithic epoch there was
a decided set-back in the culture, as judged by the quality of the