What was it that enriched the Egyptian tomb and other tombs of the past in which man was buried? It was religion, and specifically it was belief in the immortality of the soul. The latest opened tomb repeats the truth that was manifest in the pyramids of Egypt, which were temples as well as tombs. The beehive tombs of Mycenæ from which Schliemann actually shoveled gold ornaments of various kinds were also temples as well as tombs. The altar-stones in Catholic churches with their tiny _loculi_ for the relic of a saint keep still the memory of the days when persecuted Christians found the Catacombs of the dead places of worship as well as of escape from the persecutor. The caves of Cro-Magnon and Aurignac and other ancient deposits in France and Spain have disclosed the earliest evidence of man’s art. The man was no mean artist, and the coloring and skillful drawing have astonished every one. Why dark caverns, inaccessible to light, should have been so decorated has puzzled observers. Reinach calls the pictures early “magic,” painting of animals to capture them. But there are paintings of men as well as of bisons and reindeer. Professor Osborne is quoted as saying that it seems to be art for art’s sake, namely, that the sheer pleasure of the drawing is its reason. An admission, it would seem, that the professor has no real explanation to offer. Sir Bertram Windle has recently asserted the religious origin of these pictures. They would seem to be the earliest appearance of stained-glass windows. The caves were temples, and the explanation is confirmed by a comparison with the beehive tombs of Mycenæ and with the Egyptian tombs. The altar, the sacrifice, the victims, the food, clothing and other accompaniments of life, are all evidences of religious feelings and a belief in a continued existence. The absence of the bodies in these caves may easily be accounted for. Fleeting time with prowling animals has destroyed them while it left the pictures on the wall. Art is even longer than Longfellow imagined.