With their exploration a remoter vista has opened out in recent years; a wholly new standpoint has been gained from which to review the early history of the human race. A brilliant band of prehistoric archæologists has brought together such a mass of striking materials as to place the evolution of human art and appliances in the Quaternary Period on a level far higher than had been previously ever suspected. The investigations of Lartet, Cartailhac, Piette, Breuil, Obermaier, etc., have revolutionised our knowledge of a phase of human culture which goes so far back beyond the limits of any continuous story that it may well be said to belong to an older world. These sentences of Sir Arthur Evans[11] gain further emphasis from Professor Boyd-Dawkins: “It is not too much to state that the frescoed caves in Southern France and Northern Spain throw as much light on the life of those times as the Egyptian tombs do on the daily life of Egypt, or the walls of the Minoan palace on the luxury of Crete, before the Achæan conquest.” The picture of Palæolithic life revealed by these dwelling places attracts from every point of view. But as our last is fish and fishing, to fish and fishing we must stick. I shall therefore limit myself to the caves which furnish specimens or representations of ichthyic interest, with the one exception of “marvellous Altamira,” which, though it unfortunately yields us no portrayals of fishing, from every other aspect compels mention. So astonishing was the discovery of this cave with its whole galleries of _painted_ designs on the walls and ceilings that it required a quarter of a century and the corroboration of repeated finds on the French side of the Pyrenees for general recognition that these rock paintings were of the Palæolithic age, and that features, which had been hitherto reckoned as exclusively belonging to the New Stone Man, can now be classed as the original property of the Man of the Old Stone Age in the final production of his evolution. These primeval frescoes in their most developed state (Evans, _ibid._, tells us) show not only a consummate mastery of natural design, but also an extraordinary technical resource. Apart from the charcoal used in certain outlines, the chief colouring matter was red and yellow ochre, mortars and palettes for the preparation of which have come to light. In single animals the tints are varied from black to dark and ruddy brown or brilliant orange, and so by fine gradations to paler _nuances_, obtained by scraping and washing.