But the scheme does not end with the repetition of a European state of affairs. Our gravel archeologists have not been content to adopt that feature of the foreign scheme which utterly destroys the paleolithic race before a higher culture is brought upon the scene. It was thought to improve upon the borrowed plan by allowing for a gradual development upward from the paleolithic stage, represented exclusively by a class of meaningless bits of flaked stone, through a period less rude, characterized by productions so far advanced as to be assigned to a definite use. These latter productions consist mainly of rather large and often rude blades, sometimes plain, but generally notched or modified at the broader end as if to be set in a handle, or attached to a spear or arrow shaft. These were assigned to post-glacial times in such a way as to bridge or partly bridge the great space between the glacial epoch and the present. They were separated arbitrarily from the body of the collections of the region, and referred to as probably the work of an Eskimo race. This arrangement produced a pleasing symmetry and completeness, and brought the history of man down to the beginning of the Indian epoch, which is represented by all of those forms of art with which the red man is historically associated. Three principal periods are thus thought to be represented by the finds at Trenton; and in the arrangement of the collections these grand divisions are illustrated by three great groups of relics, which are looked upon by the founders of the scheme as an epitome of native American art and culture. By others this grouping is looked upon as purely empirical, as an arbitrary separation of the normal art remains of the historic Indian, not suggested by anything in the nature or condition of the objects, nor in the manner of their discovery.