stone monoliths which we find scattered all over the world. Then we come to one sixteen feet in height, which has the corners squared and a series of nine or ten notches running up one side of it, and various other holes cut on its surface. This appears to be the earliest attempt at bringing these monoliths under the influence of decorative art.

Next we have one about the same height, which is divided into stories by four bands, and the beam ends, supposed to support the stories, distinctly cut on the stone. Without the assistance of the more perfect monoliths, one would not have arrived at the meaning of this decoration; but by comparison I think it is quite obvious that the division into stories is here intended to be conveyed. The highly-finished monoliths are nearly all of the same character, namely, representations of a many-storied castle. At the base are the altars, fitting beautifully on to the monoliths, which we will presently describe. Then there is the sham door cut in the granite block, in one case with a lock and bolt, in another with a simple door-handle; above this we are left to imagine a lofty hall with a low story above it like an entresol. Between each of the stories and along the sides the beam. ends are carefully cut, causing one to imagine that the original pattern of these monoliths was constructed of wood. In the case of the one standing monolith of this description there are nine stories, topped with a semi-circular finish, on the front of which has been fastened a metal plaque, and behind there is still to be seen a representation of the solar