E. O. Wilson and Simon Conway Morris, although often denied or veiled. The philosopher of biology Michael Ruse wrote that "some of the most significant of today's evolutionists are progressionists, and that because of this we find (absolute) progressionism alive and well in their work." He argued that progressionism has harmed the status of evolutionary biology as a mature, professional science. Presentations of evolution remain characteristically progressionist, with humans at the top of the "Tower of Time" in the Smithsonian Institution in Washington D.C., while Scientific American magazine could illustrate the history of life leading progressively from mammals to dinosaurs to primates and finally man. Ruse noted that at the popular level, progress and evolution are simply synonyms, as they were in the nineteenth century, though confidence in the value of cultural and technological progress has declined. In popular culture In popular culture, progressionist images of evolution are widespread. The historian Jennifer Tucker, writing in The Boston Globe, notes that Thomas Henry Huxley's 1863 illustration comparing the skeletons of apes and humans "has become an iconic and instantly recognizable visual shorthand for evolution." She calls its history extraordinary, saying that it is "one of the most intriguing, and most misleading, drawings in the modern history of science." Nobody, Tucker observes, supposes that the "monkey-to-man" sequence accurately depicts Darwinian evolution. The Origin of Species had only one illustration, a diagram showing that random events create a process of branching evolution, a view that Tucker notes is broadly acceptable to modern biologists. But Huxley's image recalled the great chain of being, implying with the force of a visual image a "logical, evenly paced progression" leading up to Homo sapiens, a view denounced by Stephen Jay Gould in Wonderful Life. Popular perception, however, had seized upon the idea of linear progress. Edward Linley Sambourne's Man is But a Worm, drawn for Punch's Almanack, mocked the idea of any evolutionary link between humans and animals, with a sequence from chaos to earthworm to apes, primitive men, a Victorian beau, and Darwin in a pose that according to Tucker recalls Michelangelo's figure of Adam in his fresco adorning the ceiling of the Sistine Chapel. This was followed by a flood of variations on the evolution-as-progress theme, including The New Yorkers 1925 "The Rise and Fall of Man", the sequence running from a chimpanzee to Neanderthal man, Socrates, and finally the lawyer William Jennings Bryan who