It seems antecedently improbable that the domestication of the crop plants and animals could have been effected at all except among peoples leading a passably peaceable, and presently a sedentary life. And the length of time required for what was achieved in remote antiquity in this respect speaks for the prevalence of (passably) peaceable conditions over intervals of time and space that overpass all convenient bounds of chronology and localisation. Evidence of maternal descent, maternal religious practices and maternal discretion in the disposal of goods meet the inquiry in ever increasing force as soon as it begins to penetrate back of the conventionally accepted dawn of history; and survivals and reminiscences of such institutions appear here and there within the historical period with increasing frequency the more painstaking the inquiry becomes. And that institutions of this character require a peaceable situation for their genesis as well as for their survival is not only antecedently probable on grounds of congruity, but it is evidenced by the way in which they incontinently decay and presently disappear wherever the cultural situation takes on a predatory character or develops a large-scale civilisation, with a coercive government, differentiation of classes--especially in the pecuniary respect--warlike ideals and ambitions, and a considerable accumulation of wealth. Some further discussion of this early peaceable situation will necessarily come up in connection with the technological grounds of its disappearance at the transition to that predatory culture which has displaced it in all cases where an appreciably advanced phase of civilisation has been reached. CHAPTER III THE SAVAGE STATE OF THE INDUSTRIAL ARTS Technological knowledge is of the nature of a common stock, held and carried forward collectively by the community, which is in this relation to be conceived as a going concern. The state of the industrial arts is a fact of group life, not of individual or private initiative or innovation. It is an affair of the collectivity, not a creative achievement of individuals working self-sufficiently in severalty or in isolation. In the main, the state of the industrial arts is always a heritage out of the past; it is always in process of change, perhaps, but the substantial body of it is knowledge that has come down from earlier generations. New elements of insight and proficiency are continually being added and worked into this common stock by the experience and initiative of the current generation, but such novel elements are always and everywhere slight and inconsequential in comparison with the body of technology that has been carried over from the past.