The grand cavern of Font-de-Gaume,(27) on the Beune, not far from Les Eyzies, contains the most complete record of Upper Palæolithic art, especially from the close of Aurignacian to the close of Magdalenian times. There are crude Aurignacian drawings, simple outlines painted in black, outlines supplemented by the indication of hair (examples of the early stages in the development of polychrome work as well as of the very highest stages), compositions like the lion and the group of horses, and the murals in the Galerie des Fresques, which show a general composition in the processions of animals, as well as some special compositions such as the reindeer and bison facing each other. The life depicted is largely that of the tundras, mammoths, rhinoceroses, and reindeer, but it also includes the steppe or Celtic type of horse, represented galloping (Fig. 211), and a small group of horses of the Arab or Celtic type. Of the meadow fauna the bison is generally represented in preference to the wild ox or urus.

Throughout the cavern the favorable surfaces of the walls are crowded with engravings, and in the Galerie des Fresques, beyond the narrow passage known as the 'Rubicon' (Fig. 221), we see altogether the finest examples of Upper Palæolithic art. On each side of this gallery is a peculiarly advantageous mural surface, broad, relatively smooth, and gently concave (Pl. VII), probably the best which any cavern afforded, and here we observe great processions of mammals superposed upon each other, like the records of a palimpsest, as if such a surface was so rare that it was visited again and again. The most imposing series is that of the bison, done in the finest polychrome style, mostly headed in one direction. The reindeer form another series and in some instances face each other, although mainly arranged in a long procession facing to the left. This superposition of drawing upon drawing ends with the latest superposition in finely incised lines of a great procession of mammoths upon that of the polychrome bisons. It is somewhat difficult to reconcile a religious or votive interpretation with the multiplication of these drawings upon each other. Moreover, it appears to be inconsistent with the reverent spirit which pervades the work in this and in all other caverns, for what impresses one most is the absence of trivial work or meaningless drawings.

It seems as if at every stage in their artistic development these people were intensely serious about their work, each drawing being executed with the utmost possible care, according to the degree of artistic development and appreciation.

In the great gallery of frescos we find not less than eighty figures, in some cases partly covered by a fine sheen of stalagmitic limestone; these include 49 bison, 4 reindeer, 4 horses, and 15 mammoths. The bison polychromes have suffered somewhat in color and are far less brilliant than those at Altamira. In the polychromes the color is applied either in long lines of red or black surrounding the contours of the animal or in flat tints placed side by side, or again the two colors are mingled and give intermediate tints with striking effect. On one of the finest of these bison is the underlying drawing of a reindeer, a wild boar, and the superposition of an excellent engraving of a mammoth, which is represented on an altogether different scale, so that it falls well within the body lines of the bison (Fig. 224). In each of these mammoths the grotesque but truthful contour is preserved in the drapery of hair which almost completely envelops the limbs; the emphasizing of the sudden depression of the dorsal line behind the head is everywhere the same and undoubtedly conforms very closely to nature.

After passing the Galerie des Fresques we penetrate to the final recess called the Diverticule final, through excessively narrow tubular openings barely admitting the body, and we are again overcome with the mystery as to what impulse carried this art into the dark, deep portions of the caverns. If it were due to a feeling partly religious which, regarded the caverns with special awe, why do we find equally skilful and conscientious work on all the mobile utensils of daily life and of the chase, apart from the caverns? The superposition of one drawing upon another, which is especially characteristic of this cavern, does not seem to strengthen the religious interpretation.

It would appear that the love of art for art's sake, akin in a very rudimentary form to that which inspired the early Greeks, together with the fine spaces which these caverns alone afforded for larger representations, may be an alternative explanation. There is no evidence that numbers of people entered these caverns. If this had been the case there would be many more examples of inartistic work upon the walls. It is possible that the Crô-Magnon artists constituted a recognized class especially gifted by nature, quite distinct from the magician class or the artisan class. The dark recesses of the caverns opening back of the grottos may have been held in awe as mysterious abodes. In line with this theory is the suggestion that the artists may have been invited into the caverns by the priests or medicine-men to decorate the walls with all the animals of the chase.

The polychromes of the ceiling of Altamira in northern Spain, which rank in the crude art of Palæolithic times much as the ceiling of the Sistine Chapel does in modern art, are somewhat more conventional in technique than those of Font-de-Gaume, but they are manifestly the work of the same school, and prove that the technique of art spread like that of engraving, of sculpture, and of the preparation of flint and bone implements all over southwestern Europe. One could not have more striking proof of the unity of race, of a community of life, and of an interchange of ideas among these nomadic people than the close resemblance which is observed in the art of Altamira, Spain, and that of Font-de-Gaume, 290 miles distant, in Dordogne.

Very picturesque is the account of the discovery of this wonderful ceiling, made not by the Spanish archæologist Sautuola himself, but by his little daughter, who, while he was searching for flints on the floor of the cavern, was the first to perceive the paintings on the ceiling and to insist upon his raising his lamp aloft. This was in 1879, long before the discovery of parietal art in France. The ceiling is broad and low, within easy reach of the hand, and the oval bosses of limestone (Fig. 227), from 4 to 5 feet in length and from 3 to 4 in width, led to the development here of one of the most striking characteristics of all Palæolithic art, namely, the artist's adaptation of the subject to his medium and to the character of the surface upon which he was working. It seems to show a high order of creative genius that each of these projecting bosses was chosen for the representation of a bison lying down, with the limbs drawn up in different positions beneath the body (Fig. 228) and very carefully designed, and with the tail or the horns alone projecting beyond the convex surface to the surrounding plane surface. This is the only instance known where the bison are represented as lying down, in most lifelike attitudes, showing the soles of the hoof, observed with the greatest care and represented by a few strong and significant lines. Thus while the Altamira coloring inclines to conventionality, the pose of these animals indicates the greatest freedom of style and mastery of perspective anywhere observed. In this wonderful group there is also a bison bellowing, with his back arched and his limbs drawn under him as if to expel the air. One striking feature in all these paintings is the vivid representation of the eye, which in every case is given a fierce and defiant character, so distinctive of the bison bull when enraged. We also observe a wild boar in a running attitude and several spirited representations of the horse and of the female deer. The cavern of Altamira, besides this chef-d'œuvre, contains work of a very advanced character, as indicated in the imposing engraving of the royal stag (Fig. 229), which is altogether the finest representation of this animal which has thus far been discovered in any cavern.

Altamira, like Font-de-Gaume, presents many phases of the development of art in Magdalenian times. There is a Solutrean layer in the foyer of this great cavern, but Breuil is not inclined to attribute any of the art to this period. The first entrance of Altamira by the Crô-Magnon artists is dated by the discovery of engravings on bone of the female red deer, which are identical with those on the walls and which belong to very ancient Magdalenian times, the period at which the caverns of Castillo and La Pasiega were also entered.(28)

Sculpture

Animal sculpture in the round, which is indicated by the few statuettes found with the burial at Brünn, Moravia, and by the ivory mammoth statuette found at Předmost, continued into early Magdalenian times and certainly constitutes one of the most distinctive features of the art of that period, because in the later Magdalenian it took a different trend in the direction of decorative sculpture. Only two fine examples of early Magdalenian animal sculpture have been found, but these are of such a remarkable character as to indicate that modelling in the round was widely pursued at this time. These are the bisons discovered in 1912 in the cavern of Tuc d'Audoubert near Montesquieu, in the Pyrenees, and the fine bas-reliefs of horses at the shelter of Cap-Blanc, on the Beune, in Dordogne.

In company with Professor Cartailhac the writer had the good fortune to enter the cavern of Tuc d'Audoubert a few days after its discovery by the Comte de Bégouen and his sons; it is still in the making, for out from the entrance flows a stream of water large enough to float a small boat, by which the first of a series of superbly crystallized galleries is reached. After passing through a labyrinth of passageways and chambers a favorable surface was found where the Bégouen party showed us a whole wall covered with low-engraving reliefs, very simply done, fine in execution, with sure and firm outlines of the bison, the favorite subject as in all other caverns; horses fairly well executed and of the same steppe type as those in the near-by cavern of Niaux; one superbly engraved contour of the reindeer, with its long, curved horns; the head of a stag with its horns still in the velvet; and a mammoth. All this work is engraved; there are no drawn outlines, but here and there are splashes of red and black color. Shortly afterward a great discovery was made in this cavern; it is described as follows by the Comte de Bégouen:[BA] "To-day I am happy to give you excellent news from the cavern Tuc d'Audoubert. As you were the first to visit this cavern, you will also be the first to learn that in an upper gallery, very difficult of access, at the summit of a very narrow ascending passage, and after having been obliged to break a number of stalactites which completely closed the entrance, my son and myself have found two superb statuettes in clay, about 60 cm. in length, absolutely unbroken, and representing bison. Cartailhac and Breuil, who have come to see them, were filled with enthusiasm. The ground of these chambers was covered with imprints of the claws of the bear, skeletons of which were buried here and there. The Magdalenians have passed through this ossuary and have drawn out all the canine teeth to make ornaments of them. Their steps left their fine impressions on the humid and soft clay, and we still see the outlines of several bare human feet. They had also lost several flakes of flint and the tooth of an ox pierced at the neck; we have collected them, and it seems as if they had only dropped yesterday; the Magdalenians also left an incomplete model of a bison and some lumps of kneaded clay which still carry the impression of their fingers. We produce the proof that in this period all branches of art were cultivated." This model of the male and female bison in clay has been described by Cartailhac as of perfect workmanship and of ideal art.

The procession of six horses cut in limestone under the sheltering cliff of Cap-Blanc is by far the most imposing work of Magdalenian art that has been discovered. The sculptures are in high relief and of large size and are in excellent proportion; they appear to represent the high-bred type of desert or Celtic horse, related to the Arabian, so far as we can judge from the long, straight face, the slender nose, the small nostrils, and the massive angle of the lower jaw; the ears are rather long and pointed, and the tail is represented as thin and without hair; they were found partly buried by layers containing implements of middle Magdalenian industry, and they are therefore assigned to an early Magdalenian date in which animal sculpture in the round reached its climax.

From the early to the middle Magdalenian period animal sculpture in bone, horn, and ivory was followed as decorative art in a bold and highly naturalistic manner. Adaptation of the animal figure to the surface and to the material employed is nowhere shown in a more remarkable way than in the bâtons, the dart-throwers, and the poniards. Of all the work of the Upper Palæolithic, these decorative heads and bodies are, perhaps, the most highly artistic creations in the modern sense. The famous horse found in the late Magdalenian levels of Mas d'Azil (Fig. 235) and the small horses from the grotto of Espelugues, of the middle Magdalenian, are full of movement and life and show such certainty and breadth of treatment that they must be regarded as the masterpieces of Upper Palæolithic glyptic art. The ibex carved on the dart-thrower from the grotto of Mas d'Azil (Fig. 178) indicates observation and a striking power of expression; while all the details are noted, the treatment is very broad.

The continuation of animal sculpture in the round is seen in the well-known horse statuette from the grotto of Lourdes; the partly decorative striping is a step in the direction of conventional treatment. The sculptured reindeer discovered by Bégouen in the grotto of Enlène is treated in a somewhat similar style.

Small human figurines again appear in the form of statuettes in bone or ivory, representing the renaissance of the spirit of human sculpture. Some of this work is apparently in search of beauty and with altogether different motives from the repellent feminine statuettes of middle and late Aurignacian times, for the subjects are slender and the limbs are modelled with relative skill. As in the earlier works, there is a partial failure to portray the features, which is in striking contrast to the lifelike treatment of animal heads. Very few examples of this work have been found, and most of them have been broken. To this period belong the Venus statuette of Laugerie Basse and the head of a girl carved in ivory found at Brassempouy (Fig. 237) with the features fairly suggested and an elaborate head-dress.

Geographic Distribution of the Magdalenian Culture

In Magdalenian times the Crô-Magnon race undoubtedly reached its highest development and its widest geographic distribution, but it would be a mistake to infer that the boundaries of the Magdalenian culture also mark the extreme migration points of this nomadic people, because the industries and inventions may well have spread far beyond the areas actually inhabited by the race itself.

Absence of Magdalenian influence around the northerly coasts of the Mediterranean is certainly one of the most surprising facts. Breuil has suggested that Italy remained in an Aurignacian stage of development throughout Magdalenian times and indicates that there is much evidence that Magdalenian culture never penetrated into this peninsula, for in Italy the Aurignacian industrial stage is succeeded by traces of the Azilian. This geographic gap, however, may be filled at any time by a fresh discovery. In Spain, also, the Magdalenian culture is known only in the Cantabrian Mountains, but never farther south, one of the earliest sites found in this region being the grotto of Peña la Miel, visited by Lartet in 1865, and one of the most famous the cavern of Altamira, discovered by Sautuola in 1875; to the northeast is the station of Banyolas. So far the eastern provinces of Spain have not yielded any implements of engraved or sculptured bone.

In contrast to this failure to reach southward, the Magdalenian culture is widely extended through France, Belgium, England, Germany, Switzerland, Austria, and as far east as Russia. It would appear either that the men of Magdalenian times wandered far and wide or that there was an extensive system of barter, because the discovery of shells brought for personal adornment from the Mediterranean seashores to various Magdalenian sites in France and in central Europe seems to indicate a wide-spread intercourse among these nomadic hunters and a system of trade reaching from the coasts of the Mediterranean and the Atlantic to the valley of the Neckar in Germany and along the Danube in Lower Austria. Another proof of this intercourse is the wide distribution not only of similar forms of implements but of very similar decorations; as an instance, Breuil notes the likeness of schematic engravings on reindeer horn in the two primitive Magdalenian layers of Placard, Charente, to those found in the Polish cavern of Mas̆zycka, near Ojcow, and to others in the corresponding layers of Castillo, near Santander, of Solutré on the Saône, and of various sites in Dordogne. A very distinctive geometric decoration on bone is that of broken zigzag lines with little intercalated transverse lines, which we notice at Altamira, in northern Spain, and which also occurs here and there in Dordogne and in Charente and extends to the grottos of d'Arlay in the Jura. Another style of ornament, with deep pectinate and punctuate lines, found in the very ancient Magdalenian of Placard, also occurs in the most ancient layers of Kesslerloch, Switzerland. Spiral ornaments like those on the bone weapons of Dordogne, of Arudy, and of Lourdes are found at Hornos de la Peña, in the Cantabrian Mountains. The spread of analogous decoration is still more striking when we find it occurring in the details of sculpture or in a certain type of dart-thrower (propulseur), which extended from the Pyrenees eastward to the Lake of Constance. Inventions like that of the harpoon and fashions like those of the decorative motifs were carried from point to point.

This influence does not lead to identity. Some of the phases of art and of decoration are confined to certain localities; for example, the engravings of deer on the bone shoulder-blades in the caverns near Santander, Spain, are not duplicated in France; also there are numerous local styles witnessed in the forms and decorations of the javelin, the lance, and the harpoon; these variations, however, do not conceal the element of community of culture and of similar fluctuations of industry and art between widely distant stations.

Many Magdalenian stations were crowded around the sheltered cliffs of Dordogne (Fig. 238). Besides these, we observe the Magdalenian sites of Champs, Ressaulier, and the grotto of Combo-Negro in Corrèze; south of Dordogne and Corrèze are other stations along the Garonne and the Adour. Some of the finest examples of Magdalenian art have come from Bruniquel, on the Aveyron, near the boundary between Tarn-et-Garonne and Tarn, where no less than four important sites have been excavated.

The culture map of France in Magdalenian times is covered from north to south with these ancient camp sites, either clustered along the river borders, where erosion has created shelters, or in the great outcrops of limestone along the northern slopes of the Pyrenees, where the exposure of the limestone has led to the formation of grottos and caverns, or on the plateaus where game abounded or flint could be found for the rapidly declining flint industry. Near the Gulf of Lyons are the stations of Bise, Tournal, Narbonne, and Crouzade; extending westward toward the headwaters of the Ariège are La Vache, Massat, and the great tunnel station of Mas d'Azil, formed by the River Arize; here the Magdalenian levels discovered by Piette have yielded some of the most notable Magdalenian works of art, including animal statuettes, bas-reliefs, and engravings with incised contours.

Farther west, on the headwaters of the Garonne, is Gourdan, where Piette began his remarkable excavations in 1871 and discovered two of the ancient Magdalenian phases of sculpture; then comes the more westerly group of Aurensan, Lorthet, and Lourdes, the latter a grotto which has yielded one of the finest examples of the horse sculptured in ivory, and which has since become famous as the site of a miracle and of modern pilgrimage. Between the Garonne and the Bay of Biscay lie the stations of Duruthy and the Grotte du Pape of Brassempouy, the latter occupied in Magdalenian times, but best known as a centre of late Aurignacian sculpture of statuettes.

To the northeast, in the very heart of the mountainous region of Auvergne, is the station of Neschers, where a flow of lava from Mount Tartaret descended over the slopes of Mont-Doré and covered a Mousterian industrial deposit with its mammoth fauna and then, after a lapse of time, became the site of a Magdalenian industrial camp, so that Boule has been able to determine the geologic age of the most recent volcanic eruptions in France, those of the Monts d'Auvergne, as having occurred between the periods of Mousterian and Magdalenian industry.

In view of the frequent occurrence of Aurignacian and Solutrean camps as well as of Neolithic stations in southeastern France, we are surprised at the extreme rarity there of Magdalenian flint implements. However, Capitan has recognized a Magdalenian station at Solutré, near the headwaters of the Saône, and not far from this site is the station of Goulaine, which has yielded an enormous flint scraper or anvil, the largest Upper Palæolithic implement ever found; it is carefully chipped around the entire curved edge and weighs over 4¼ pounds. To the north of the Dordogne is the celebrated grotto of Placard, in Charente, where the dawn of the Magdalenian industry has been discovered, and again directly north of this is the grotto of Chaffaud, at Savigné, where the first engraved bone of the 'Reindeer Age' was discovered in 1834; not far from this is the shelter of Garenne, near St. Marcel (Indre), which has afforded a fine figure of a galloping reindeer.

These geographic and artistic records are of intense interest as carrying the Périgord or Dordogne culture northward. Somewhat to the east, on the headwaters of the Cure, a tributary of the Yonne, there is an important group including over sixty open shelters formed in the Jurassic limestone, in which characteristic Magdalenian bone implements have been found. Of these the most famous are the Grotte des Fées, and the Grotte du Trilobite, both of which were first entered by the Neanderthals in Mousterian times and were again sought by the Crô-Magnons in Magdalenian times. Passing still farther north, the Crô-Magnons visited the borders of the Somme and sought the historic flint station of St. Acheul, which had been frequented by races of men for thousands of years previous, back to Pre-Chellean times.

To the northeast are the stations of Belgium, chiefly made known through the labors of Dupont, distributed along the valleys of the Lesse and of the Meuse and yielding characteristic Magdalenian flints as well as a number of engravings on bone. We may be sure that this region was under Crô-Magnon rule and that their control extended over into Britain, where, it will be recalled, a Crô-Magnon skeleton was found at Paviland, in western Wales. Here, again, in Magdalenian times the Crô-Magnon race was probably wide-spread over southern Britain. At Bacon's Hole, near Swansea, Wales, there is a wall decoration consisting of ten red bands, which, according to Breuil and Sollas, may possibly be of Palæolithic age. More definite is the Magdalenian industry observed at the Cresswell Crags, in Derbyshire; while near Torquay, Devonshire, is the famous station of Kent's Hole, discovered in 1824, in which a bone needle has been found and several harpoons with double rows of barbs belonging to the late Magdalenian industry.

In Germany, whereas only three Solutrean stations have been discovered,(29) there are no less than fourteen Magdalenian stations to attest the wide spread of that culture. Thus the favorite grotto of Sirgenstein, near the centre of the Magdalenian stations on the upper waters of the Danube, although abandoned in Solutrean times, was again entered by man during the early Magdalenian culture stage. Coincident with the return of man to this great grotto was the arrival of the banded lemming (Myodes torquatus), the herald of the cold tundra wave of life in the far north. At the very same time man with the banded lemming arrived at Schweizersbild, near the Lake of Constance; at a slightly earlier period, with the dawn of Magdalenian culture, man entered the sister station of Kesslerloch. It certainly appears that a cold moist climate accompanying the Bühl advance influenced all the Crô-Magnon peoples of this region just north of the Alpine glaciers and compelled them to seek the grottos and shelters. There are, however, some open stations in this general region, for example, at Schussenried, Württemberg; the Magdalenian culture layer is not found in a grotto, but lies under a deposit of peat mingled with the remains of the reindeer, horse, brown bear, and wolf. Again, among the best-known sites along the middle Rhine is the open-air station of Andernach. Demonstrating the eastward distribution of the art of engraving on ivory and bone is the presence in Andernach and in the grotto of Wildscheuer, near Steeten, on the Lahn, of engravings of this character. Thus far these are the only German stations in which such engravings have been found.

Of especial interest also is the open Magdalenian 'loess' station of Munzingen, on the upper Rhine, because it proves that the highest layers of the 'upper loess,' corresponding with the dry or steppe period of climate, were contemporaneous with the advanced or late Magdalenian industry, also because this final 'upper loess' stage about corresponds with the period when the last of the arctic tundra mammals began to abandon central Europe. It was at this critical geologic time that the late Magdalenian culture began to draw to a close. Kesslerloch, Switzerland, has yielded a considerable number of engravings on bone, including one of the finest examples of a browsing reindeer (Fig. 241), and Schweizersbild also has yielded a considerable number of rather crude engravings.

Frequented in Magdalenian times was that part of the Swabian Jura lying between the headwaters of the Neckar and of the Danube; along the course of the Danube, from Propstfels, near Beuron, in the southwest, to Ofnet, in the northeast, extend the other stations of Höhlefels bei Hütten, Schmiechenfels, and Bocksteinhöhle.

West of the Danube the industry was carried into the present region of Bavaria, as indicated by the recent discovery of Kastlhäng.(30) Here, beginning with the early Magdalenian (Gourdanien inférieur of the French school) and extending to the middle or high Magdalenian (Gourdanien supérieur), we find a complete series of Magdalenian stations; the middle Magdalenian layer is of exactly the same type as that found in the Abri Mège of Dordogne and in the lower levels of the Grotte de la Mairie; the same culture stage is again observed in southern Germany in the stations of Schussenquelle and of Höhlefels, and it extends eastward into Austria in the station of Gudenushöhle as well as into several Moravian stations, for example, that of Kostelík.

These facts are of extraordinary interest, for they show that the civilization, such as it was, of the Upper Palæolithic was very widely extended. This marks an important social characteristic, namely, the readiness and willingness to take advantage of every step in human progress, wherever it may have originated. At this point, therefore, it is interesting to compare the Magdalenian industry of Germany with that of France.(31) Germany shows the same technical and stylistic tendencies and the same evolutionary direction as France. The mammalian life was, of course, the same in both countries, for in each region the giant types of mammals still survived, and the banded lemming of the arctic appears in the sheltered valleys of the Dordogne as well as in Belgium and in Germany. The vicissitudes of climate were undoubtedly the same; we observe the alternation of cold moist climate in the early Magdalenian along the upper Danube as well as in the early Magdalenian of the type station of La Madeleine, Dordogne. Again, we observe the transition into the dry cold climate in the steppe character of the fauna both along the upper Rhine, at Munzingen, and also beneath the shelter station of La Madeleine, as recorded by Peyrony.

More vital still for this community of industrial culture was the community of race, for at Obercassel we find the same Crô-Magnon type as that discovered beneath the sheltering cliffs of Dordogne. It appears probable that the inventions of the central region of Dordogne travelled eastward when we note the fact that none of the prototypes of early forms of the harpoon which were common in southern France occur in any of the stations of central Europe, but the single-rowed harpoon is characteristic of the middle Magdalenian all over Germany. Other primitive Magdalenian bone implements, such as the bone spear point with the cleft base, the bâtons, and the needles, are also of rare occurrence in the German stations. In late Magdalenian times, however, a complete community of culture is established, for the industry of both countries in flint and bone appears to be very similar: flint microliths appear in increasing number and variety; beside the small flint flakes with blunted backs, numerous feather-shaped flakes of Pre-Tardenoisian type are found, as well as the types of graving flints. Some specialties of French Magdalenian culture did not find their way into Germany; for example, the graver of the 'parrot-beak' type has been found in France but has not been traced far eastward. In both countries, however, are found upper Magdalenian chisels of reindeer horn and perfected bone needles, bâtons, and harpoons with double rows of barbs. On the other hand, works of art and decorative designs in horn and bone are almost entirely wanting in German localities, with the exception of the stations of Andernach and Wildscheuer previously mentioned. In late Magdalenian times, both in Germany and France, we find the Eurasiatic forest fauna becoming more abundant.

The two famous Swiss stations of Kesslerloch and Schweizersbild, near Lake Constance, appear throughout Magdalenian times to have been in very close touch with the cultural advances of Dordogne. Kesslerloch(32) has yielded 12,000 flints of small dimensions, resembling in their succession those of the type station of La Madeleine; also needles, single and double harpoons, dart-throwers, bâtons, as well as the fine engravings mentioned above; bone sculpture is represented here in the unique head of a musk-ox (Ovibos moschatus), in carvings of the reindeer and of other animals on the batons and weapons of the chase. Kesslerloch lies on the edge of a moderately wide valley, traversed by a brook; in this sheltered, well-watered, hilly region, the trees flourished and harbored the forest animals, while the glaciers, retreating and leaving damp and stony areas, were closely followed by the tundra fauna; the woolly rhinoceros and mammoth persisted here longer than in other parts of Europe; the horse of Kesslerloch is said to show resemblances to the Przewalski horse of the desert of Gobi, in central Asia, and is consequently referred to the steppe type. The development of the flints takes place step by step with that of the sister cavern of Schweizersbild, and in early Magdalenian times these flints are found associated with the arrival of the great migration of the arctic tundra rodents, the banded lemmings (Myodes torquatus). A hearth with ashes and coals and many charred bones of old and young mammals, including the woolly rhinoceros, has been found here; the animal life altogether includes twenty-five species of mammals, among them the woolly mammoth, woolly rhinoceros, reindeer, and lion.

Less than four miles distant from Kesslerloch, in a small valley about two miles north of Schaffhausen, is the other famous Swiss station of Schweizersbild. The Crô-Magnons were attracted to this spot by the protecting cliff of isolated limestone rock rising sheer from the meadow-land, at the base of which is a shelter facing southwest, with an entrance of about 30 feet in height, commanding a wide view of the distant valley. In the accumulations at the base of this shelter we find a complete prehistory of the human, industrial, faunal, and climatic changes of this region of Switzerland from early Magdalenian into Neolithic times. It was not until the true early Magdalenian, after both the Aurignacian and Solutrean stages had closed, that man first found his way here during the Bühl advance, the period of the deposition of the Upper Rodent Layer with its cold arctic and steppe fauna;(33) but from this time the grotto was occupied at intervals until full Neolithic times. The beginning of these industrial deposits is estimated by Nüesch as having occurred between 24,000 and 29,000 years ago, but we have adopted a somewhat lower and more conservative estimate. In descending order the various layers of this shelter, as studied by Nüesch, are as follows:

Section of the Schweizersbild Deposits