Progress toward a true representation of animal form in drawing begins very early; even in middle Aurignacian times primitive drawing and engraving commences to replace sculpture. Both the flint 'burins' and the engravings on the walls of the grottos show that the beginnings of drawing may be traced back to early Aurignacian times. While the Palæolithic artists early in the Aurignacian had obtained a certain facility in plastic work, their drawings, which are solely contours--somewhat imperfect and deeply engraved lines--show a gradual development. The degree of skill attained in late Aurignacian times we know from the engraving of a horse on a stone fragment from Gargas, and from a sketch of the hinder quarter of a horse found in the cave of Hornos de la Peña, which is engraved on the frontal bone of one of the wild horses; the latter is strikingly similar to one of the engravings found at the entrance to the same grotto. The engravings on a slab of slate of the heads of two woolly rhinoceroses(37) (Fig. 161) probably belong to the late Aurignacian. Similar attempts are found in the Abri Lacoste. Ornamentation develops in the middle Aurignacian, but retains a simple geometric character. [Illustration: FIG. 158. Female figurine carved in crystalline talc, discovered at the _Grottes de Grimaldi_, near Mentone. This figurine, possibly modelled after one of the Grimaldi negroids, represents the _enceinte_ condition common to many of these figures. It is peculiar in showing that abnormal development behind the hips known as steatopygy. After Reinach.] The parietal art on the walls of the caverns, mostly deep engravings, consists of stiff profiles in single lines and in red or black coloring. The animals represented are the ibex, the horse, the bison, and rarely the mammoth. The caves where these are found are Pair-non-Pair, La Grèze, La Mouthe, Bernifal, Font-de-Gaume, Altamira, and Marsoulas. Crucibles for grinding the color are found in the grotto of Marsoulas, the color being made by grinding up the red and yellow oxides of iron. The development of art during the whole Aurignacian is continuous and is undoubtedly the work of one race; Breuil considers it the work certainly either of the tall Crô-Magnons or of the small Grimaldis; there is, however, no evidence of the survival of the Grimaldi race, and we may safely attribute this entire art development to the Crô-Magnons. The creative spirit manifested itself along many different lines. In the fashioning of bone in early Aurignacian times there begins a new industry capable of great possibilities; out of combinations of lines there develop geometric figures; in animal figures there is an attempt at simple symmetric relations, but a full, free composition is not attained. With further experience in working with bone and ivory, we find in the middle Aurignacian the first plastic representations of the human figure in the round.