It is not unworthy of note, in the exhibition of a more advanced stage of the same development of features pertaining to the human mind in its progressive civilisation, that there seems also to have been an epoch in the early history of man, when what may be styled the monolithic era of art has been developed under the utmost variety of circumstances. In Egypt it was carried out, with peculiar refinement, by a people whose knowledge of sculpture and the decorative arts proves that it had its origin in a far deeper source than the mere barbarous love of vast and imposing masses. In Assyria, India, Persia, and throughout the Asiatic continent, this monolithic taste appears to have manifested itself among many independent and widely severed races. In Mexico and the central portions of the American continent, a people parted apparently by impassable oceans from the old world, have left enduring evidences of this psychological phenomenon; and in the north of Europe, under circumstances no less widely different from all these nations, numerous monolithic columns and groups attest the same pervading idea. In our own island, more especially, where now we are content to build a monumental obelisk, just as we do a cotton-mill chimney, with successive tiers of stone, we possess some of the most remarkable remains of this peculiar class. The destructive encroachments of civilisation, and the ruthless assaults of the quarrier and the builder, have done much to obliterate these singularly interesting memorials of primitive antiquity. Already the vast temple of Avebury has all but disappeared, like an old ripple-mark of the tide of time. But there still remain, in the huge cromlechs, circles, and standing stones scattered throughout the land, abundant evidence of the influence of the same peculiar taste on the early races of the British Isles, originating, as I conceive, in an unconscious aim at the expression of abstract power.