Men of the Old Stone Age: Their Environment, Life and Art

by Henry Fairfield Osborn

Fig. 176. Head of the forest or of the steppe horse engraved on a fragment of bone, from the Grotte du Pape, Brassempouy. After Piette.

It is only above the levels where early types of these javelin points occur that the rudimentary harpoons of the typical early Magdalenian are found. The discovery of the bone harpoon as a means of catching fish marks an important addition to the food supply, which was apparently followed by a decline in the chase. Later, to the javelin, lance, and harpoon is added the dart-thrower (propulseur), which gradually spreads all over western Europe, where also the evolution of these bone implements and of the decoration with which they are richly adorned enables the trained archæologist to establish corresponding subdivisions of Magdalenian time.

Fig. 177. Polychrome wall-painting of a wolf from the cavern of Font-de-Gaume. After Breuil.

From the uniform character of Palæolithic art in its highest forms of engraving, painting, and animal sculpture we may infer the probable unity of the Crô-Magnon race, especially throughout western Europe. During Magdalenian times various branches of art reached their highest point and were the culmination of a movement begun in the early Aurignacian. The artist, whose life brought him into close touch with nature and who evidently followed the movements both of the individual animals and of the herds for hours at a time, has rendered his observations in the most realistic manner. Among the animals represented are the bison, mammoth, wild horse, reindeer, wild cattle, deer, and rhinoceros; less frequent are representations of the ibex, wolf, and wild boar, and there are comparatively few representations of fishes or of any form of plant life; the nobler beasts of prey, such as the lion and the bear, are often represented, but there are no figures of the skulking hyæna, which at that time was a rare if not almost extinct animal. While many figures are of real artistic worth and reach a high level, others are more or less crude attempts; the composition of figures or of groups of animals is rarely undertaken.

Fig. 178. Crude sculpture of the ibex, from the Magdalenian deposit at Mas d'Azil on the right bank of the Arize. After Piette. A little less than actual size.

The artistic sense of these people is also manifest in the decoration of their household utensils and weapons of the chase. Here the smaller animals of the chase, the saiga, the ibex, and the chamois, are executed with a sure hand. Sculpture of animal forms in the large, which begins in Solutrean times, is continued and reaches its highest point in the early Magdalenian. At this period the use of sculpture as a means of decoration arises and extends into the middle and late Magdalenian. These latter divisions are also distinguished by the reappearance of human figurines, nude, like the Aurignacian, and occasionally somewhat more slender. Thus it would appear that the artistic spirit, more or less dormant in Solutrean times, was revived.

In the variety of industries we find evidences of a race endowed with closely observant and creative minds, in which the two chief motives of life seem to have been the chase and the pursuit of art. The Magdalenian flints are fashioned in a somewhat different manner from the Solutrean: long, slender flakes or 'blades' with little or no retouch are frequent, and in other implements the work is apparently carried only to a point where the flint will serve its purpose. No attempt is made to attain perfect symmetry. Thus the old technical impulse of the flint industry seems to be far less than that among the makers of the Solutrean flints, while a new technical impulse manifests itself in several branches of art: arms and utensils are carved in ivory, reindeer horn and bone, and sculpture and engraving on bone and ivory are greatly developed. We find that these people are beginning to utilize the walls of dark, mysterious caverns for their drawings and paintings, which show deep appreciation for the perfection of the animal form, depicted by them in most lifelike attitudes.

We may infer that there was a tribal organization, and it has been suggested that certain unexplained implements of reindeer horn, often beautifully carved and known as 'bâtons de commandement,' were insignia of authority borne by the chieftains.