Once more we may contemplate this dominant idea of likeness as exhibited in art. All art, civilized as well as savage, consists almost wholly in the making of objects _like_ other objects; either as found in Nature, or as produced by previous art. If we trace back the varied art-products now existing, we find that at each stage the divergence from previous patterns is but small when compared with the agreement; and in the earliest art the persistency of imitation is yet more conspicuous. The old forms and ornaments and symbols were held sacred, and perpetually copied. Indeed, the strong imitative tendency notoriously displayed by the lowest human races, ensures among them a constant reproducing of likenesses of things, forms, signs, sounds, actions, and whatever else is imitable; and we may even suspect that this aboriginal peculiarity is in some way connected with the culture and development of this general conception, which we have found so deep and widespread in its applications. And now let us go on to consider how, by a further unfolding of this same fundamental notion, there is a gradual formation of the first germs of science. This idea of likeness which underlies classification, nomenclature, language spoken and written, reasoning, and art; and which plays so important a part because all acts of intelligence are made possible only by distinguishing among surrounding things, or grouping them into like and unlike;--this idea we shall find to be the one of which science is the especial product. Already during the stage we have been describing, there has existed _qualitative_ prevision in respect to the commoner phenomena with which savage life is familiar; and we have now to inquire how the elements of _quantitative_ prevision are evolved. We shall find that they originate by the perfecting of this same idea of likeness; that they have their rise in that conception of _complete likeness_ which, as we have seen, necessarily results from the continued process of classification.