tion or craft, of care or of grief, with furrows in which the passions have passed with iron ploughshare. These were the countenances of men who had lived in struggle and conflict before the discovery of the latent forces of vril had changed the character of society—men who had fought with each other for power or fame as we in the upper world fight.
The type of face began to evince a marked change about a thousand years after the vril revolution, becoming then, with each generation, more serene, and in that serenity more terribly distinct from the faces of labouring and sinful men; while in proportion as the beauty and the grandeur of the countenance itself became more fully developed, the art of the painter became more tame and monotonous.
But the greatest curiosity in the collection was that of three portraits belonging to the pre-historical age, and, according to mythical tradition, taken by the orders of a philosopher, whose origin and attributes were as much mixed up with symbolical fable as those of an Indian Budh or a Greek Prometheus.
