Glacial art. In another sketch, less well known, but not unworthy of admiration, the early artist has given us with a few rapid hut admirable strokes his own reminiscence of the effect produced upon him by the sudden onslaught of the hairy brute, tusks erect and mouth wide open, a perfect glimpse of elephantine fury. It forms a capital example of early impressionism, respectfully recommended to the favorable attention of Mr. J. M. Whistler.
The reindeer, however, formed the favorite food and favorite model of the pre-Glacial artists. Perhaps it was a better sitter than the mammoth; certainly it is much more frequently represented on these early prehistoric bas-reliefs. The high-water mark of palæolithic art is undoubtedly to be found in the reindeer of the cave of Thayngen, in Switzerland, a capital and spirited representation of a buck grazing, in which the perspective of the two horns is better managed than a Chinese artist would manage it at the present day. Another drawing of two reindeer fighting, scratched on a fragment of schistose rock and unearthed in one of the caves of Périgord, though far inferior to the Swiss specimen in spirit and execution, is yet not without real merit. The perspective, however, displays one marked infantile trait, for the head and legs of one deer are seen distinctly through the body of another. Cave-bears, fish, musk-sheep, foxes, and many other extinct or existing animals, are also found among the archaic sculptures. Probably all these creatures were used as food; and it is even doubtful whether the artistic troglodytes were not also confirmed cannibals. To quote Mr. Andrew Lang once more on primitive man, "he lived in a cave by the seas; he lived upon oysters and foes." The oysters are quite undoubted, and the foes may be inferred with considerable certainty.
I have spoken of our old master more than once under this rather question-begging style and title of primitive man. In reality, however, the very facts which I have here been detailing serve themselves to show how extremely far our hero was from being truly primitive? You can't speak of a distinguished artist, who draws the portraits of extinct animals with grace and accuracy, as in any proper sense primordial. Grant that our good troglodytes were indeed light-hearted cannibals; nevertheless, they could design far better than the modern Esquimaux or Polynesians, and carve far better than the civilized being who is now calmly discoursing about their personal peculiarities in his own study. Between the cave-men of the pre-Glacial age and the hypothetical hairy quadrumanous ancestor aforesaid there must have intervened innumerable generations of gradually improving intermediate forms. The old master, when he first makes his bow to us, naked and not ashamed, in his Swiss or French grotto, flint scalpel in hand and necklet of bear's teeth dropping loosely on his hairy bosom, is nevertheless in all essentials a completely evolved human being, with a whole past of slowly acquired culture lying dimly and mysteriously
