fish, it leaves its native streams at night, and sets out on a foraging expedition after vegetable food in the neighbouring woodlands. There it browses on myrtle leaves and grasses, and otherwise behaves itself in a manner wholly unbecoming its piscine antecedents and aquatic education. To fit it for this strange amphibious life, the barramunda has both lungs and gills; it can breathe either air or water at will, or, if it chooses, the two together. Though covered with scales, and most fish-like in outline, it presents points of anatomical resemblance both to salamanders and lizards; and, as a connecting bond between the North American mud-fish on the one hand and the wonderful lepidosiren on the other, it forms a true member of the long series by which the higher animals generally trace their descent from a remote race of marine ancestors. It is very interesting, therefore, to find that this living fossil link between fish and reptiles should have survived only in the fossil continent, Australia. Everywhere else it has long since been beaten out of the field by its own more developed amphibian descendants; in Australia alone it still drags on a lonely existence as the last relic of an otherwise long-forgotten and extinct family. A VERY OLD MASTER The work of art which lies before me is old, unquestionably old; a good deal older, in fact, than Archbishop Ussher (who invented all out of his own archiepiscopal head the date commonly assigned for the creation of the world) would by any means have been ready to admit. It is a bas-relief by an old master, considerably more antique in origin than the most archaic gem or intaglio in the Museo Borbonico at Naples, the mildly decorous Louvre in Paris, or the eminently respectable British Museum, which is the glory of our own smoky London in the spectacled eyes of German professors, all put together. When Assyrian sculptors carved in fresh white alabaster the flowing curls of Sennacherib's hair, just like a modern coachman's wig, this work of primaeval art was already hoary with the rime of ages. When Memphian artists were busy in the morning twilight of time with the towering coiffure of Ramses or Sesostris, this far more ancient relic of plastic handicraft was lying, already fossil and forgotten, beneath the concreted floor of a cave in the Dordogne. If we were to divide the period for which we possess authentic records of man's abode upon this oblate spheroid into ten epochs--an epoch being a good high-sounding word which doesn't commit one to any definite chronology in particular--then it is probable that all known art, from the Egyptian onward, would fall into the tenth of the epochs thus loosely demarcated, while my old French bas-relief would fall into the first. To put the date quite succinctly, I should say it was most likely about 244,000 years before the creation of Adam according to Ussher.