132 EVIDENCE OF DESIGN.: 
their harmony they could not be effective; but nothing 
except design can operate to make them harmonious. 
They are intended to work together; and we cannot re- 
sist the conviction of this intention when the facts first 
come before us.” 
We cannot stop to pass in review the structural mar- 
vels of the human eye and ear, of the digestive organs, 
and circulatory system of animals, of adaptations of fishes 
to the watery element. But we must mention an out- 
standing feature of all animal life, the evident likeness 
of plan upon which the entire kingdom of sentient life is 
constructed. From amoeba and other infusorial animals 
of simplest structure, through coral and oyster, bird, 
reptile, to mammals, there is an evident gradation, many 
structures being represented in entire great groups of 
living beings, such as the air-breathing lung. Here is a 
grand plan of animal life, which permits us to classify 
all living things into a system. There are classes and 
subclasses, orders or families, suborders, tribes, sub- 
tribes, genera, species, and varieties, just as in the world 
of plants and even, according to their atomic weight, 
among the elements. We see in all this, Creative Design. 
The evolutionist believes that he can perceive stages of 
progress. Similarity of plan is interpreted as proof that 
there is a common origin.. Are we to admit, in the face of 
all that has been said about the fixity of species (to men- 
tion only this), the reasonableness of such an assumption ? 
Does orderliness and plan argue for development? The 
steam-engine is a machine of remarkable structure. It 
has had, in one sense of the term, a wonderful “evolution.” 
It is based on certain principles, the foundation one of 
which is the expansibility of steam, and its ability, when 
confined in a cylinder, to give motion to a piston. The 
steam-engine was first used for pumping, then for turning 
machinery, then for propelling boats, and now its crown- 
