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SOME EARLY FORMS OF ART. 94 
uprights are ranged in a circle, such as Avebury, Arbor Lowe, the 
Borderstones, and lastly—Stonehenge, where a lintel is raised and 
placed in position on two posts and fitted with tenon and mortice. 
How were such stones quarried, transported twenty miles, and then 
imposed on their supports. Modern professors tell us that Stone- 
henge is not sepulchral, and not of the bronze age, but of the stone 
age, and connected with sun worship or sun observation, Some of 
the rudest flint implements ever found in Britain are those dis- 
covered in 1901 in the foundations of Stonehenge, evidently used for 
dressing the great stones. In 1766 the temple consisted of six 
upright freestones, 6 ft. broad, of various heights, in a semi-circle. 
There are traces of a complete circle. There are two tapering 
stones, and an artificial kist with side-stones 18 ft. long. No doubt 
this was covered with flat roof stones. Arbor Lowe is a perfect 
specimen of earthworks— trench and mound and circle of stones, 
loose unhewn limestones. Art did not spring full-fledged and perfect, 
like Minerva from the head of her parent, but was developed, like 
everything in the world. 
Man has been mounting an endless ladder, straining upwards 
and onwards, and kicking away behind him the rungs by which he 
mounted. These discarded rungs our explorers are picking up as 
they track out the trail of human. progress and the vestiges of 
former struggles and triumphs. 
BRC RC Tia Tham 
