The Arts, industrial and æsthetic, furnish illustrations perhaps still more striking. Flint implements of the kind recently found in certain of the later geologic deposits—implements so rude that some have held them to be of natural rather than of artificial origin—show the extreme want of precision in men’s first handyworks. Though a great advance on these is seen in the tools and weapons of existing savage tribes, yet an inexactness in forms and fittings, more than anything else distinguishes such tools and weapons from those of civilized races. In a less degree, the productions of semi-barbarous nations are characterized by like defects. A Chinese junk with all its contained furniture and appliances, nowhere presents a perfectly straight line, a uniform curve, or a true surface. Nor do the utensils and machines of our ancestors fail to exhibit a similar inferiority to our own. An antique chair, an old fireplace, a lock of the last century, or almost any article of household use that has been preserved for a few generations, will prove by contrast how greatly the industrial products of our time excel those of the past in their accuracy. Since planing machines have been invented, it has become possible to produce absolutely straight lines, and surfaces so truly level as to be air-tight when applied to each other. While in the dividing-engine of Troughton, in the micrometer of Whitworth, and in microscopes that show fifty thousand divisions to the inch, we have an exactness as far exceeding that reached in the works of our great-grandfathers, as theirs exceeded that of the aboriginal celt-makers. In the Fine Arts there has been a parallel process. From the rudely carved and painted idols of savages, through the early sculptures characterized by limbs having no muscular detail, wooden-looking drapery, and faces devoid of individuality, up to the later statues of the Greeks or some of those now produced, the increased accuracy of representation is conspicuous. Compare the mural paintings of the Egyptians with the paintings of medieval Europe, or these with modern paintings, and the more precise rendering of the appearances of objects is manifest. So too is it with the delineations of fiction and the drama. In the marvellous tales current among Eastern nations, in the romantic legends of feudal Europe, as well as in the mystery-plays and those immediately succeeding them, we see great want of correspondence to the realities of life; not only in the predominance of supernatural events and extremely improbable coincidences, but also in the vaguely-indicated personages, who are nothing more than embodiments of virtue and vice in general, or at best of particular virtues and vices. Through transitions that need not be specified, there has been a progressive diminution, in both fiction and the drama, of whatever is unnatural—whatever does not answer to real life. And now, novels and