I invite you to accompany me in the spirit first of all to the cave of Gargas near Aventiron, under the shadow of the Pic du Midi in the High Pyrenees. Half-way up a hill, in the midst of a wilderness of rocky fragments, the relics of the ice-age, is a smallish hole, down which we clamber into a spacious but low-roofed grotto, stretching back five hundred feet or so into infinite darkness. Hard by the mouth, where the light of day freely enters, are the remains of a hearth, with bone-refuse and discarded implements mingling with the ashes to a considerable depth. A glance at these implements, for instance the small flint scraper with narrow high back and perpendicular chipping along the sides, is enough to show that the men who once warmed their fingers here were of the so-called Aurignacian type (Aurignac in the department of Haute Garonne, in southern France), that is to say, lived somewhere about the dawn of the third stage of the palæolithic epoch. Directly after their disappearance nature would seem to have sealed up the cave again until our time, so that we can study them here all by themselves.
Now let us take our lamps and explore the secrets of the interior. The icy torrents that hollowed it in the limestone have eaten away rounded alcoves along the sides. On the white surface of these, glazed over with a preserving film of stalactite, we at once notice the outlines of many hands. Most of them left hands, showing that the Aurignacians tended to be right-handed, like ourselves, and dusted on the paint, black manganese or red ochre, between the outspread fingers in just way that we, too, would find convenient. Curiously enough, this practice of stencilling hands upon the walls of caves is in vogue amongst the Australian natives; though unfortunately, they keep the reason, if there is any deeper one than mere amusement, strictly to themselves. Like the Australians, again, and other rude peoples, these Aurignacians would appear to have been given to lopping off an occasional finger—from some religious motive, we may guess—to judge from the mutilated look of a good many of the handprints.
The use of paint is here limited to this class of wall-decoration. But a sharp flint makes an excellent graving tool; and the Aurignacian hunter is bent on reproducing by this means the forms of those game-animals about which he doubtless dreams night and day. His efforts in this direction, however, rather remind us of those of our infant-schools. Look at this bison. His snout is drawn sideways, but the horns branch out right and left as if in a full-face view. Again, our friend scamps details such as the legs. Sheer want of skill, we may suspect, leads him to construct what is more like the symbol of something thought than the portrait of something seen. And so we wander farther and farther into the gloomy depths, adding ever new specimens to our pre-historic menagerie, including the rare find of a bird that looks uncommonly like the penguin. Mind, by the way, that you do not fall into that round hole in the floor. It is enormously deep; and more than forty cave-bears have left their skeletons at the bottom, amongst which your skeleton would be a little out of place.
Next day let us move off eastwards to the Little Pyrenees to see another cave, Niaux, high up in a valley scarred nearly up to the top by former glaciers. This cave is about a mile deep; and it will take you half a mile of awkward groping amongst boulders and stalactites, not to mention a choke in one part of the passage such as must puzzle a fat man, before the cavern becomes spacious, and you find yourself in the vast underground cathedral that pre-historic man has chosen for his picture-gallery. This was a later stock, that had in the meantime learnt how to draw to perfection. Consider the bold black and white of that portrait of a wild pony, with flowing mane and tail, glossy barrel, and jolly snub-nosed face. It is four or five feet across, and not an inch of the work is out of scale. The same is true of nearly every one of the other fifty or more figures of game-animals. These artists could paint what they saw.
Yet they could paint up on the walls what they thought, too. There are likewise whole screeds of symbols waiting, perhaps waiting for ever, to be interpreted. The dots and lines and pothooks clearly belong to a system of picture-writing. Can we make out their meaning at all? Once in a way, perhaps. Note these marks looking like two different kinds of throwing-club; at any rate, there are Australian weapons not unlike them. To the left of them are a lot of dots in what look like patterns, amongst which we get twice over the scheme of one dot in the centre of a circle of others. Then, farther still to the left, comes the painted figure of a bison; or, to be more accurate, the front half is painted, the back being a piece of protruding rock that gives the effect of low relief. The bison is rearing back on its haunches, and there is a patch of red paint, like an open wound, just over the region of its heart. Let us try to read the riddle. It may well embody a charm that ran somewhat thus: "With these weapons, and by these encircling tactics, may we slay a fat bison, O ye powers of the dark!" Depend upon it, the men who went half a mile into the bowels of a mountain, to paint things up on the walls, did not do so merely for fun. This is a very eerie place, and I daresay most of us would not like to spend the night there alone; though I know a pre-historian who did. In Australia, as we shall see later on, rock-paintings of game-animals, not so lifelike as these of the old days, but symbolic almost beyond all recognizing, form part of solemn ceremonies whereby good hunting is held to be secured. Something of the sort, then, we may suppose, took place ages ago in the cave of Niaux. So, indeed, it was a cathedral after a fashion; and, having in mind the carven pillars of stalactite, the curving alcoves and side-chapels, the shining white walls, and the dim ceiling that held in scorn our powerful lamps, I venture to question whether man has ever lifted up his heart in a grander one.
Space would fail me if I now sought to carry you off to the cave of Altamira, near Santander, in the north-west of Spain. Here you might see at its best a still later style of rock-painting, which deserts mere black and white for colour-shading of the most free description. Indeed, it is almost too free, in my judgment; for, though the control of the artist over his rude material is complete, he is inclined to turn his back on real life, forcing the animal forms into attitudes more striking than natural, and endowing their faces sometimes, as it seems to me, with almost human expressions. Whatever may be thought of the likelihood of these beasts being portrayed to look like men, certain it is that in the painted caves of this period the men almost invariably have animal heads, as if they were mythological beings, half animal and half human; or else—as perhaps is more probable—masked dancers. At one place, however—namely, in the rock shelter of Cogul near Lerida, on the Spanish side of the Pyrenees, we have a picture of a group of women dancers who are not masked, but attired in the style of the hour. They wear high hats or chignons, tight waists, and bell-shaped skirts. Really, considering that we thus have a contemporary fashion-plate, so to say, whilst there are likewise the numerous stencilled hands elsewhere on view, and even, as I have seen with my own eyes at Niaux in the sandy floor, hardened over with stalagmite, the actual print of a foot, we are brought very near to our palæolithic forerunners; though indefinite ages part them from us if we reckon by sheer time.
Before ending this chapter, I have still to make good a promise to say something about the neolithic men of western Europe. These people often, though not always, polished their stone; the palæolithic folk did not. That is the distinguishing mark by which the world is pleased to go. It would be fatal to forget, however, that, with this trifling difference, go many others which testify more clearly to the contrast between the older and newer types of culture. Thus it has still to be proved that the palæolithic races ever used pottery, or that they domesticated animals—for instance, the fat ponies which they were so fond of eating; or that they planted crops. All these things did the neolithic peoples sooner or later; so that it would not be strange if palæolithic man withdrew in their favour, because he could not compete. Pre-history is at present almost silent concerning the manner of his passing. In a damp and draughty tunnel, however, called Mas d'Azil, in the south of France, where the river Arize still bores its way through a mountain, some palæolithic folk seem to have lingered on in a sad state of decay. The old sureness of touch in the matter of carving bone had left them. Again, their painting was confined to the adorning of certain pebbles with spots and lines, curious objects, that perhaps are not without analogy in Australia, whilst something like them crops up again in the north of Scotland in what seems to be the early iron-age. Had the rest of the palæolithic men already followed the reindeer and other arctic animals towards the north-east? Or did the neolithic invasion, which came from the south, wipe out the lot? Or was there a commingling of stocks, and may some of us have a little dose of palæolithic blood, as we certainly have a large dose of neolithic? To all these questions it can only be replied that we do not yet know.
No more do we know half as much as we should like about fifty things relating to the small, dark, long-headed neolithic folk, with a language that has possibly left traces in the modern Basque, who spread over the west till they reached Great Britain—it probably was an island by this time—and erected the well-known long barrows and other monuments of a megalithic (great-stone) type; though not the round barrows, which are the work of a subsequent round-headed race of the bronze-age. Every day, however, the spade is adding to our knowledge. Besides, most of the ruder peoples of the modern world were at the neolithic stage of culture at the time of their discovery by Europeans. Hence the weapons, the household utensils, the pottery, the pile-dwellings, and so on, can be compared closely; and we have a fresh instance of the way in which one branch of anthropology can aid another.
In pursuance of my plan, however, of merely pitching here and there on an illustrative point, I shall conclude by an excursion to Brandon, just on the Suffolk side of the border between that county and Norfolk. Here we can stand, as it were, with one foot in neolithic times and the other in the life of to-day. When Canon Greenwell, in 1870, explored in this neighbourhood one of the neolithic flint-mines known as Grime's Graves, he had to dig out the rubbish from a former funnel-shaped pit some forty feet deep. Down at this level, it appeared, the neolithic worker had found the layer of the best flint. This he quarried by means of narrow galleries in all directions. For a pick he used a red-deer's antler. In the British Museum is to be seen one of these with the miner's thumb-mark stamped on a piece of clay sticking to the handle. His lamp was a cup of chalk. His ladder was probably a series of rough steps cut in the sides of the pit. As regards the use to which the material was put, a neolithic workshop was found just to the south of Grime's Graves. Here, scattered about on all sides, were the cores, the hammer-stones that broke them up, and knives, scrapers, borers, spear-heads and arrow-heads galore, in all stages of manufacture.
Well, now let us hie to Lingheath, not far off, and what do we find? A family of the name of Dyer carry on to-day exactly the same old method of mining. Their pits are of squarer shape than the neolithic ones, but otherwise similar. Their one-pronged pick retains the shape of the deer's antler. Their light is a candle stuck in a cup of chalk. And the ladder is just a series of ledges or, as they call them, "toes" in the wall, five feet apart and connected by foot-holes. The miner simply jerks his load, several hundredweight of flints, from ledge to ledge by the aid of his head, which he protects with something that neolithic man was probably without, namely, an old bowler hat. He even talks a language of his own. "Bubber-hutching on the sosh" is the term for sinking a pit on the slant, and, for all we can tell, may have a very ancient pedigree. And what becomes of the miner's output? It is sold by the "jag"—a jag being a pile just so high that when you stand on any side you can see the bottom flint on the other—to the knappers of Brandon. Any one of these—for instance, my friend Mr. Fred Snare—will, while you wait, break up a lump with a short round hammer into manageable pieces. Then, placing a "quarter" with his left hand the leather pad that covers his knee, he will, with an oblong hammer, strike off flake after flake, perhaps 1,500 in a morning; and finally will work these up into sharp-edged squares to serve as gun-flints for the trade with native Africa. Alas! the palmy days of knapping gun-flints for the British Army will never return to Brandon. Still, there must have been trade depression in those parts at any time from the bronze-age up to the times of Brown Bess; for the strike-a-lights, still to be got at a penny each, can have barely kept the wolf from the door. And Mr. Snare is not merely an artisan but an artist. He has chipped out a flint ring, a feat which taxed the powers of the clever neolithic knappers of pre-dynastic Egypt; whilst with one of his own flint fishhooks he has taken a fine trout from the Little Ouse that runs by the town.