Delphi collected works o.., p.801
Delphi Collected Works of Grant Allen, page 801
The work of the old master is lightly incised on reindeer horn, and represents two horses, of a very early and heavy type, following one another, with heads stretched forward, as if sniffing the air suspiciously in search of enemies. The horses would certainly excite unfavourable comment at Newmarket. Their ‘points’ are undoubtedly coarse and clumsy: their heads are big, thick, stupid, and ungainly; their manes are bushy and ill-defined; their legs are distinctly feeble and spindle-shaped; their tails more closely resemble the tail of the domestic pig than that of the noble animal beloved with a love passing the love of women by the English aristocracy. Nevertheless there is little (if any) reason to doubt that my very old master did, on the whole, accurately represent the ancestral steed of his own exceedingly remote period. There were once horses even as is the horse of the prehistoric Dordonian artist. Such clumsy, big-headed brutes, dun in hue and striped down the back like modern donkeys, did actually once roam over the low plains where Paris now stands, and browse off lush grass and tall water-plants around the quays of Bordeaux and Lyons. Not only do the bones of the contemporary horses, dug up in caves, prove this, but quite recently the Russian traveller Prjevalsky (whose name is so much easier to spell than to pronounce) has discovered a similar living horse, which drags on an obscure existence somewhere in the high table-lands of Central Asia. Prjevalsky’s horse (you see, as I have only to write the word, without uttering it, I don’t mind how often or how intrepidly I use it) is so singularly like the clumsy brutes that sat, or rather stood, for their portraits to my old master that we can’t do better than begin by describing him in propria persona.
The horse family of the present day is divided, like most other families, into two factions, which may be described for variety’s sake as those of the true horses and the donkeys, these latter including also the zebras, quaggas, and various other unfamiliar creatures whose names, in very choice Latin, are only known to the more diligent visitors at the Sunday Zoo. Now everybody must have noticed that the chief broad distinction between these two great groups consists in the feathering of the tail. The domestic donkey, with his near congeners, the zebra and co., have smooth short-haired tails, ending in a single bunch or fly-whisk of long hairs collected together in a tufted bundle at the extreme tip. The horse, on the other hand, besides having horny patches or callosities on both fore and hind legs, while the donkeys have them on the fore legs only, has a hairy tail, in which the long hairs are almost equally distributed from top to bottom, thus giving it its peculiarly bushy and brushy appearance. But Prjevalsky’s horse, as one would naturally expect from an early intermediate form, stands halfway in this respect between the two groups, and acts the thankless part of a family mediator; for it has most of its long tail-hairs collected in a final flourish, like the donkey, but several of them spring from the middle distance, as in the genuine Arab, though never from the very top, thus showing an approach to the true horsey habit without actually attaining that final pinnacle of equine glory. So far as one can make out from the somewhat rude handicraft of my prehistoric Phidias the horse of the quaternary epoch had much the same caudal peculiarity; his tail was bushy, but only in the lower half. He was still in the intermediate stage between horse and donkey, a natural mule still struggling up aspiringly toward perfect horsehood. In all other matters the two creatures — the cave man’s horse and Prjevalsky’s — closely agree. Both display large heads, thick necks, coarse manes, and a general disregard of ‘points’ which would strike disgust and dismay into the stout breasts of Messrs. Tattersall. In fact over a T.Y.C. it may be confidently asserted, in the pure Saxon of the sporting papers, that Prjevalsky’s and the cave man’s lot wouldn’t be in it. Nevertheless a candid critic would be forced to admit that, in spite of clumsiness, they both mean staying.
So much for the two sitters; now let us turn to the artist who sketched them. Who was he, and when did he live? Well, his name, like that of many other old masters, is quite unknown to us; but what does that matter so long as his work itself lives and survives? Like the Comtists he has managed to obtain objective immortality. The work, after all, is for the most part all we ever have to go upon. ‘I have my own theory about the authorship of the Iliad and Odyssey,’ said Lewis Carroll (of ‘Alice in Wonderland’) once in Christ Church common room: ‘it is that they weren’t really written by Homer, but by another person of the same name.’ There you have the Iliad in a nutshell as regards the authenticity of great works. All we know about the supposed Homer (if anything) is that he was the reputed author of the two unapproachable Greek epics; and all we know directly about my old master, viewed personally, is that he once carved with a rude flint flake on a fragment of reindeer horn these two clumsy prehistoric horses. Yet by putting two and two together we can make, not four, as might be naturally expected, but a fairly connected history of the old master himself and what Mr. Herbert Spencer would no doubt playfully term ‘his environment.’
The work of art was dug up from under the firm concreted floor of a cave in the Dordogne. That cave was once inhabited by the nameless artist himself, his wife, and family. It had been previously tenanted by various other early families, as well as by bears, who seem to have lived there in the intervals between the different human occupiers. Probably the bears ejected the men, and the men in turn ejected the bears, by the summary process of eating one another up. In any case the freehold of the cave was at last settled upon our early French artist. But the date of his occupancy is by no means recent; for since he lived there the long cold spell known as the Great Ice Age, or Glacial Epoch, has swept over the whole of Northern Europe, and swept before it the shivering descendants of my poor prehistoric old master. Now, how long ago was the Great Ice Age? As a rule, if you ask a geologist for a definite date, you will find him very chary of giving you a distinct answer. He knows that the chalk is older than the London clay, and the oolite than the chalk, and the red marl than the oolite; and he knows also that each of them took a very long time indeed to lay down, but exactly how long he has no notion. If you say to him, ‘Is it a million years since the chalk was deposited?’ he will answer, like the old lady of Prague, whose ideas were excessively vague, ‘Perhaps.’ If you suggest five millions, he will answer oracularly once more, ‘Perhaps’; and if you go on to twenty millions, ‘Perhaps,’ with a broad smile, is still the only confession of faith that torture will wring out of him. But in the matter of the Glacial Epoch, a comparatively late and almost historical event, geologists have broken through their usual reserve on this chronological question and condescended to give us a numerical determination. And here is how Dr. Croll gets at it.
Every now and again, geological evidence goes to show us, a long cold spell occurs in the northern or southern hemisphere. During these long cold spells the ice cap at the poles increases largely, till it spreads over a great part of what are now the temperate regions of the globe, and makes ice a mere drug in the market as far south as Covent Garden or the Halles at Paris. During the greatest extension of this ice sheet in the last glacial epoch, in fact, all England except a small south-western corner (about Torquay and Bournemouth) was completely covered by one enormous mass of glaciers, as is still the case with almost the whole of Greenland. The ice sheet, grinding slowly over the hills and rocks, smoothed and polished and striated their surfaces in many places till they resembled the roches moutonnées similarly ground down in our own day by the moving ice rivers of Chamouni and Grindelwald. Now, since these great glaciations have occurred at various intervals in the world’s past history, they must depend upon some frequently recurring cause. Such a cause, therefore, Dr. Croll began ingeniously to hunt about for.
He found it at last in the eccentricity of the earth’s orbit. This world of ours, though usually steady enough in its movements, is at times decidedly eccentric. Not that I mean to impute to our old and exceedingly respectable planet any occasional aberrations of intellect, or still less of morals (such as might be expected from Mars and Venus); the word is here to be accepted strictly in its scientific or Pickwickian sense as implying merely an irregularity of movement, a slight wobbling out of the established path, a deviation from exact circularity. Owing to a combination of astronomical revolutions, the precession of the equinoxes and the motion of the aphelion (I am not going to explain them here; the names alone will be quite sufficient for most people; they will take the rest on trust) — owing to the combination of these profoundly interesting causes, I say, there occur certain periods in the world’s life when for a very long time together (10,500 years, to be quite precise) the northern hemisphere is warmer than the southern, or vice versa. Now, Dr. Croll has calculated that about 250,000 years ago this eccentricity of the earth’s orbit was at its highest, so that a cycle of recurring cold and warm epochs in either hemisphere alternately then set in; and such cold spells it was that produced the Great Ice Age in Northern Europe. They went on till about 80,000 years ago, when they stopped short for the present, leaving the climate of Britain and the neighbouring continent with its existing inconvenient Laodicean temperature. And, as there are good reasons for believing that my old master and his contemporaries lived just before the greatest cold of the Glacial Epoch, and that his immediate descendants, with the animals on which they feasted, were driven out of Europe, or out of existence, by the slow approach of the enormous ice sheet, we may, I think, fairly conclude that his date was somewhere about B.C. 248,000. In any case we must at least admit, with Mr. Andrew Lang, the laureate of the twenty-five thousandth century, that
He lived in the long long agoes; ’Twas the manner of primitive man.
The old master, then, carved his bas-relief in pre-Glacial Europe, just at the moment before the temporary extinction of his race in France by the coming on of the Great Ice Age. We can infer this fact from the character of the fauna by which he was surrounded, a fauna in which species of cold and warm climates are at times quite capriciously intermingled. We get the reindeer and the mammoth side by side with the hippopotamus and the hyena; we find the chilly cave bear and the Norway lemming, the musk sheep and the Arctic fox in the same deposits with the lion and the lynx, the leopard and the rhinoceros. The fact is, as Mr. Alfred Russel Wallace has pointed out, we live to-day in a zoologically impoverished world, from which all the largest, fiercest, and most remarkable animals have lately been weeded out. And it was in all probability the coming on of the Ice Age that did the weeding. Our Zoo can boast no mammoth and no mastodon. The sabre-toothed lion has gone the way of all flesh; the deinotherium and the colossal ruminants of the Pliocene Age no longer browse beside the banks of Seine. But our old master saw the last of some at least among those gigantic quadrupeds; it was his hand or that of one among his fellows that scratched the famous mammoth etching on the ivory of La Madelaine and carved the figure of the extinct cave bear on the reindeer-horn ornaments of Laugerie Basse. Probably, therefore, he lived in the period immediately preceding the Great Ice Age, or else perhaps in one of the warm interglacial spells with which the long secular winter of the northern hemisphere was then from time to time agreeably diversified.
And what did the old master himself look like? Well, painters have always been fond of reproducing their own lineaments. Have we not the familiar young Raffael, painted by himself, and the Rembrandt, and the Titian, and the Rubens, and a hundred other self-drawn portraits, all flattering and all famous? Even so primitive man has drawn himself many times over, not indeed on this particular piece of reindeer horn, but on several other media to be seen elsewhere, in the original or in good copies. One of the best portraits is that discovered in the old cave at Laugerie Basse by M. Elie Massénat, where a very early pre-Glacial man is represented in the act of hunting an aurochs, at which he is casting a flint-tipped javelin. In this, as in all other pictures of the same epoch, I regret to say that the ancient hunter is represented in the costume of Adam before the fall. Our old master’s studies, in fact, are all in the nude. Primitive man was evidently unacquainted as yet with the use of clothing, though primitive woman, while still unclad, had already learnt how to heighten her natural charms by the simple addition of a necklace and bracelets. Indeed, though dresses were still wholly unknown, rouge was even then extremely fashionable among French ladies, and lumps of the ruddle with which primitive woman made herself beautiful for ever are now to be discovered in the corner of the cave where she had her little prehistoric boudoir. To return to our hunter, however, who for aught we know to the contrary may be our old master himself in person, he is a rather crouching and semi-erect savage, with an arched back, recalling somewhat that of the gorilla, a round head, long neck, pointed beard, and weak, shambling, ill-developed legs. I fear we must admit that pre-Glacial man cut, on the whole, a very sorry and awkward figure.
Was he black? That we don’t certainly know, but all analogy would lead one to answer positively, Yes. White men seem, on the whole, to be a very recent and novel improvement on the original evolutionary pattern. At any rate he was distinctly hairy, like the Ainos, or aborigines of Japan, in our own day, of whom Miss Isabella Bird has drawn so startling and sensational a picture. Several of the pre-Glacial sketches show us lank and gawky savages with the body covered with long scratches, answering exactly to the scratches which represent the hanging hair of the mammoth, and suggesting that man then still retained his old original hairy covering. The few skulls and other fragments of skeletons now preserved to us also indicate that our old master and his contemporaries much resembled in shape and build the Australian black fellows, though their foreheads were lower and more receding, while their front teeth still projected in huge fangs, faintly recalling the immense canines of the male gorilla. Quite apart from any theoretical considerations as to our probable descent (or ascent) from Mr. Darwin’s hypothetical ‘hairy arboreal quadrumanous ancestor,’ whose existence may or may not be really true, there can be no doubt that the actual historical remains set before us pre-Glacial man as evidently approaching in several important respects the higher monkeys.
It is interesting to note too that while the Men of the Time still retained (to be frankly evolutionary) many traces of the old monkey-like progenitor, the horses which our old master has so cleverly delineated for us on his scrap of horn similarly retained many traces of the earlier united horse-and-donkey ancestor. Professor Huxley has admirably reconstructed for us the pedigree of the horse, beginning with a little creature from the Eocene beds of New Mexico, with five toes to each hind foot, and ending with the modern horse, whose hoof is now practically reduced to a single and solid-nailed toe. Intermediate stages show us an Upper Eocene animal as big as a fox, with four toes on his front feet and three behind; a Miocene kind as big as a sheep, with only three toes on the front foot, the two outer of which are smaller than the big middle one; and finally a Pliocene form, as big as a donkey, with one stout middle toe, the real hoof, flanked by two smaller ones, too short by far to reach the ground. In our own horse these lateral toes have become reduced to what are known by veterinaries as splint bones, combined with the canon in a single solidly morticed piece. But in the pre-Glacial horses the splint bones still generally remained quite distinct, thus pointing back to the still earlier period when they existed as two separate and independent side toes in the ancestral quadruped. In a few cave specimens, however, the splints are found united with the canons in a single piece, while conversely horses are sometimes, though very rarely, born at the present day with three-toed feet, exactly resembling those of their half-forgotten ancestor, the Pliocene hipparion.
The reason why we know so much about the horses of the cave period is, I am bound to admit, simply and solely because the man of the period ate them. Hippophagy has always been popular in France; it was practised by pre-Glacial man in the caves of Périgord, and revived with immense enthusiasm by the gourmets of the Boulevards after the siege of Paris and the hunger of the Commune. The cave men hunted and killed the wild horse of their own times, and one of the best of their remaining works of art represents a naked hunter attacking two horses, while a huge snake winds itself unperceived behind close to his heel. In this rough prehistoric sketch one seems to catch some faint antique foreshadowing of the rude humour of the ‘Petit Journal pour Rire.’ Some archæologists even believe that the horse was domesticated by the cave men as a source of food, and argue that the familiarity with its form shown in the drawings could only have been acquired by people who knew the animal in its domesticated state; they declare that the cave man was obviously horsey. But all the indications seem to me to show that tame animals were quite unknown in the age of the cave men. The mammoth certainly was never domesticated; yet there is a famous sketch of the huge beast upon a piece of his own ivory, discovered in the cave of La Madelaine by Messrs. Lartet and Christy, and engraved a hundred times in works on archæology, which forms one of the finest existing relics of pre-Glacial art. In another sketch, less well known, but not unworthy of admiration, the early artist has given us with a few rapid but 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 favourable attention of Mr. J.M. Whistler.
