Remembering the fervid praises of the treasures by those who had not seen them, a sense of disappointment when they came to be examined was inevitable. They are not to be classed in any standard beyond that displayed on early school-slates; but imperfect as they are, they possess a certain symmetry and proportion, and the facts that they are where they are, and that the artist--dead and forgotten--had no light or leading, and was in other respects probably one of the most rude, most uncouth of human beings, are sufficient to lend to the drawings an interest as absorbing (though of a nature quite apart) as that with which the average individual contemplates the stiff works of masters of Continental fame. One able critic of aboriginal art refers to similar rock paintings as frescoes, for lack of a significant title. Apparently the rock surface was slightly smoothed where inequalities existed--in one case the design follows the ridges and hollows--the subjects being worked in, in dry earth of a chalky nature, dull red in colour. Animated nature and still life have been studied and reproduced. The turtle is true, and the most conspicuous and sharply-defined study the least convincing. It resembles those fantastic interwoven shapes that some men in fits of abstraction or idleness sketch on their own blotting-pads, and which signify nothing. Comparing the works of the two studios, there is little doubt that there were at least two artists native of Dunk Island in times past, and in that respect the island was infinitely superior to its present state. Each appears to have effected a different kind of work--one devoting himself to realistic reptiles and the human form debased, and the other almost solely to the creation of conventional designs, and the representation of the animals and of weapons of his age. One illustrated man, and even gave to one of his reptiles a semi-human shape; the other exercised an exuberant fancy for ornamentation. Each bequeathed to the present day and generation works that are at least free from the subtleties of art. Most of us have had moments of rapture before the glowing embodiment of the inspiration of some great artist, whose gifts have been developed to maturity by enthusiastic and patient striving for perfection. Do not these clumsy drawings, too, reveal that which, considering their environment, is talent--original and unacademic. Here is the sheer beginning, the spontaneous germ of art, the labouring of a savage soul controlled by wilful aesthetic emotions. For these pictures are not figurative, not mere signs and symbols capable of elucidation, but the earliest and only efforts of an illiterate race, a race in intellectual infancy, towards the ideal--a forlorn but none the less sincere attempt to reach the "light that quickens dreams to deeds!"