The investigation of the underlying chronicles of Europe’s most ancient human history has placed beyond question that its historic period was preceded by an unhistoric one of long duration, marked by a slow progression from arts of the rudest kind to others which involved the germs of all later development. From Europe, and the historic lands of Asia and Africa, we derive our ideas of man; and of the youngest of these continents, on which he has thus advanced from savage artlessness to the highest arts of civilisation, we have history, written or traditional, for at least two thousand years. But in the year 1492 a New World was discovered, peopled with its own millions, for the most part in no degree advanced beyond that primeval starting-point which lies far behind Europe’s oldest traditions. To have found there beings strange as the inhabitants of Swift’s Houyhnhnm’s Land, or the monsters conjured up in the philosophic day-dreams of Sir Humphry Davy for the peopling of other planets,[7] would have seemed less wonderful to the men of that fifteenth century than what they did find: man in a state of savage infancy, with arts altogether rudimentary; language without letters, tradition without history, everything as it were but in its beginning, and yet himself looking back into a past even more vast and vague than their own. The significance of this state of things is worth inquiring into, if it be for nothing else than the light which the analogies of such a living present may throw on the infancy of Europe, and beyond that, on the primal infancy of the human race. Recent discoveries of primitive art in the diluvial formations both of France and England have tended to add a fresh interest to the investigation of that “primeval stone-period” which underlies the most ancient memorials of Europe’s civilisation. The oldest of all written chronicles assigns a period of some duration in the history of the human race, during which man tilled the ground, pursued the chase, and made garments of its spoils, without any knowledge of the working in metals, on which the simplest of all known arts depend. Through such a primitive stage it had already appeared to me probable that all civilised nations had passed,[8] before disclosures of a still older flint-period in the chroniclings of the drift added new significance to the term _primeval_, in its application to the non-metallurgic era of Europe’s arts.