Indeed, the Tasmanians of modern days carved their simple tools so roughly, that any one ignorant of their history might easily mistake the greater number for common pieces of stone.

On the other hand, as we move on from the earlier to the later types of river-drift implements, we note how by degrees practice makes perfect.
The forms grow ever more regular and refined, up to the point of time which has been chosen as the limit for the first of the three main stages into which the vast palaeolithic epoch has to be broken up.
The man of the late St.Acheul period, as it is termed, was truly a great artist in his way.

If you stare vacantly at his handiwork in a museum, you are likely to remain cold to its charm.

But probe about in a gravel-bed till you have the good fortune to light on a masterpiece; tenderly smooth away with your fingers the dirt sticking to its surface, and bring to view the tapering or oval outline, the straight edge, the even and delicate chipping over both faces; then, wrapping it carefully in your handkerchief, take it home to wash, and feast till bedtime on the clean feel and shining mellow colour of what is hardly more an implement than a gem.

They took a pride in their work, did the men of old; and, until you can learn to sympathize, you are no anthropologist.
During the succeeding main stage of the palaeolithic epoch there was a decided set-back in the culture, as judged by the quality of the workmanship in flint.