Such primitive acts of knowledge constitute to-day the solidest foundation of scientific thought. Our instinctive knowledge, as we shall briefly call it, by virtue of the conviction that we have consciously and intentionally contributed nothing to its formation, confronts us with an authority and logical power which consciously acquired knowledge even from familiar sources and of easily tested fallibility can never possess. All so-called axioms are such instinctive knowledge. Not consciously gained knowledge alone, but powerful intellectual instinct, joined with vast conceptive powers, constitute the great inquirer. The greatest advances of science have always consisted in some successful formulation, in clear, abstract, and communicable terms, of what was instinctively known long before, and of thus making it the permanent property of humanity. By Newton's principle of the equality of pressure and counterpressure, whose truth all before him had felt, but which no predecessor had abstractly formulated, mechanics was placed by a single stroke on a higher level. Our statement might also be historically justified by examples from the scientific labors of Stevinus, S. Carnot, Faraday, J. R. Mayer, and others. All this, however, is merely the soil from which science starts. The first real beginnings of science appear in society, particularly in the manual arts, where the necessity for the communication of experience arises. Here, where some new discovery is to be described and related, the compulsion is first felt of clearly defining in consciousness the important and essential features of that discovery, as many writers can testify. The aim of instruction is simply the saving of experience; the labor of one man is made to take the place of that of another. The most wonderful economy of communication is found in language. Words are comparable to type, which spare the repetition of written signs and thus serve a multitude of purposes; or to the few sounds of which our numberless different words are composed. Language, with its helpmate, conceptual thought, by fixing the essential and rejecting the unessential, constructs its rigid pictures of the fluid world on the plan of a mosaic, at a sacrifice of exactness and fidelity but with a saving of tools and labor. Like a piano-player with previously prepared sounds, a speaker excites in his listener thoughts previously prepared, but fitting many cases, which respond to the speaker's summons with alacrity and little effort.