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many of the rubbing stones that had been actually used in the 
process. 
The lintels have also either vertical projections or grooves on 
their ends forming rude toggle joints by which they were connected 
with one another. These, too, could be fashioned with the hammer- 
stones, and with rubbing stones and sand, without any difficulty. 
It may be further remarked, that in all such considerations of 
primitive art it must be remembered that time, which forms 
such an important element in modern work, hardly comes into 
account in that of early man. 
The finished surfaces of all the stones exhibit very careful 
tooling, except where it has been destroyed by exposure. This 
was particularly well seen on the base of No. 56, where it extends 
below the ground, and had thus been protected from the action of 
the weather, and on the lower side of No. 55a. On the under side 
of the fallen lintel, No. 122, it is also very distinct. 
A thin slab that became detached from stone No. 56 near its 
lower extremity, whilst it was being raised, a part of which is 
shown in Fig. 13, affords a characteristic example of this tooling in 
a very perfect condition, in fact almost as distinct as when it was ~ 
originally done. 
This tooling was apparently executed with the small quartzite 
hammers. In order to demonstrate this a piece of sarsen was 
tooled in a similar manner by Mr. Stallybrass with a quartzite 
On comparing it with the blocks tooled by the builders 
of Stonehenge they were seen to be almost perfectly identical. I 
‘may say in this connection that Mr. Stallybrass failed to produce 
anything at all like it with any of his mason’s tools. 
_ We next come to the “bluestones” and the altar stone, which, 
as we have seen, consist of various kinds of rock, the two hardest 
of which are diabase and porphyrite. On the stones of these latter 
D 2 
