heads, and more especially a bone needle, were definitely of the cave class, so well represented in the caves of Dordogne. Again, below the cave-earth was a breccia formed of limestone and sandstone pebbles cemented together by a calcareous paste. In this also were found implements and bones of bears.
The succession of strata indicated above may be taken as typical of the caverns used by palaeolithic man, the breccia and stalagmite flooring being in themselves proof of a very considerable age, while the association in the former, or under the latter, of remains of human handiwork, with bones of extinct animals, may be safely taken to show contemporaneous existence.
Once the mind has fairly grasped the fact that man was living at so remote a time, it is a simple and natural conclusion that he should have provided himself with weapons and tools more or less rudely fashioned from the stones he found ready to his hand. The analogy of the recently extinct Tasmanian is sufficient to show that even the meanest savage is not without such aids. But the caves of France, of the same palaeolithic period, and used by men theoretically in the same stage of culture, bring before us a race of artists of first-rate capacity, who for accuracy of observation, and for skill in indicating the character and peculiarities of the animals around them, have never been surpassed. Such a statement sounds like a contradiction in terms. We are dealing with human beings whose intellect, to judge by their physical characters, should be on a level with that of the Fuegian or the Australian black, and far below that of the Maori or the Sandwich Islander. Yet none of these gentle and relatively cultured brown races produced anything in the nature of art that can in any sense be compared with the masterly drawings or sculptures of the cave-men of France. The best-known of the engravings, that of the mammoth on a piece of ivory, is in the Jardin des Plantes in Paris. It is evidently intended to be nothing more than a sketch, the lines of the finely curved tusks being repeated several times in the desire for accuracy. But the heavy lumbering walk of the ponderous beast, his attitude, and even the character of the hairy hide, are all shown or suggested with a skill and freedom that not only denotes daily familiarity with the thing represented, but a most complete mastery of the art of translating the idea into simple line. This mammoth-drawing is probably the most important and monumental of its class, but there are many others that possess artistic qualities not less remarkable, while they have in addition a grace and beauty of line not less astonishing. One of these, in the British Museum, the head of an ibex-like creature, is outlined with a decision and refinement that can scarcely be surpassed, and many other sketches in horn or stone in the same collection show a keen appreciation of the characteristic features of the different animals as well as a masterly deftness in the handling of the graving-tool. If we are forced to marvel at the graphic skill of the cave-men, their sculptures in the round are on a still higher plane, as may be seen in the figures of reindeer in ivory in the British Museum. While they are not highly finished, they show a complete understanding of the animal’s peculiar forms and contours, which are rendered in a direct, unhesitating way that should betoken a long period of artistic training and an executive power uncommon at any time. These drawings and sculptures have always been appreciated and even regarded as being of a much more advanced style than was to be expected among men who are always classed in the lower grades of culture. But enough stress has not hitherto been laid on the artistic quality of the work, which would be considered fine at any time in the world’s history. This high artistic level was attained by a race of men whom we cannot credit with any great intellectual equipment; men, moreover, who were engaged in a daily struggle for the barest necessaries of life, in a trying climate and surrounded by a fauna whose means of attack and defence were infinitely superior to their own. There are many astonishing problems in archaeology, but none so badly in need of solution. Had the discovery been confined to a single drawing or even to a single site, fraud or a misreading of the conditions might have been alleged, but the case is very different. The drawings and sculptures have been found generally enough in France to demonstrate that such artistic power was fairly common, while the question of the authenticity and period of the discoveries has long since been satisfactorily settled. It is true that the climatic conditions in pleistocene France were more favourable to man than was the case farther north, but even an agreeable climate does not necessarily produce an artistic race; if it were so, the Polynesians would probably be the greatest artists the world has ever seen. The physical remains of palaeolithic man, even when found under unquestionable conditions, are, however, so scanty, that it is unlikely that the important question of the race or races inhabiting central and northern Europe will ever be settled by their means. The evidence at present is in favour of two very different types, one dwarfish and brutal (Canstadt), the other more advanced and noble in physical character (Cro-Magnon). To the latter were due the artistic productions, and until further physical evidence is forthcoming recourse must be had to the most minute examination of the objects themselves and to accurate observation of the conditions under which they are found. So far as our present materials go, these are the only means by which more light may be thrown on the many problems of early man.
In spite of the unquestioned and unquestionable character of palaeolithic discoveries in general, it must not be assumed that there has been an absence of falsification, forgery, and what the French call “mystification”; on the contrary, such attempts to meet the demand have been common enough. Apart from Edward Simpson, who was notorious as “Flint Jack” in the middle of the 19th century, many others, both in England and on the continent of Europe, have devoted themselves to this peculiar industry. Boucher de Perthes tried to conquer the scepticism of some of his friends who doubted the human origin of the Abbeville flints, by unwisely offering his workmen a reward for the discovery of human bones in the same beds. The Moulin Quignon jaw was accordingly produced, and became the subject of much controversy; but the evidence finally showed that it had originally come from elsewhere. The cave drawings also have found their imitators in modern times. One Meillet, a man of education, took a special pleasure in the production of spurious examples, and even published an account of his pretended discoveries. But here, as in all the attempts at imitation of the cave drawings, the modern efforts were betrayed by their poor artistic quality, and a comparison of the new discoveries with the old was generally enough to disclose the forgery. Two drawings on bone of a wolf and a bear, declared to have been found in a cave at Thayingen in Switzerland, were afterwards shown to have been copied from a child’s picture-book. In Switzerland also a brisk trade was carried on some years ago in false antiquities said to come from the Lake-dwellings; and fantastic types of tools and implements were placed on the market. In Italy, too, a lively discussion has taken place of late years over the authenticity of curiously shaped flint implements from the neighbourhood of Verona; while America has provided similar food for discussion in the well-known Lenapé stone and the Calaveras skull. The former bears drawings of the French cave type, while the latter if genuine would carry back the story of man in the American continent before Pliocene times.
An apparent break in the continuity of man’s history in Europe occurs at the end of the palaeolithic period. Attempts have been made to bridge the gap by means of a “mesolithic” period (μέσος, middle); but it would not seem probable that the missing links will occur at Mesolithic.all events so far north as Britain. We leave palaeolithic man in a cold climate, surrounded by a somewhat mixed fauna that formed his prey. We know him as a hunter and artist, but the remains show that he had no knowledge of pottery till towards the close of the period. Among the humbler arts he practised at least sewing, and lived in caves or took shelter at the base of overhanging rocks; but like the Australian, he frequently camped in the open. His successor of the later Stone Age (neolithic) we find to be a very different character and with very
