Thus Breuil, always predisposed to believe in an invasion of culture rather than in an autochthonous development, favors the theory of eastern origin for the Magdalenian industry, because this is not wanting either in Austria or in Poland; two sites of ancient Magdalenian industry have been found by Obermaier in the 'loess' stations of Austria, while in Russian Poland the grotto of Mas̆zycka, near Ojcow, exhibits workings in bone resembling those found at the grotto of Placard, Charente, in the layers directly succeeding the base of the Magdalenian. The fact that near the Ural Mountains there has also been found a peculiar Magdalenian culture, the origin of which is not western, inclines us to believe that the Magdalenian culture extended from the east toward the west, and then, later, toward the Baltic. [Illustration: FIG. 174. One of the large bison drawings in the cavern of Niaux, on the Ariège, showing the supposed spear or arrow heads with shafts on its side. The artist's technique consists of an outline incised with flint followed by a painted outline in black manganese giving high relief. After Cartailhac and Breuil. Greatly reduced.] This theory of the eastern origin of the Magdalenian industry has, however, to face, first, the very strong counter-evidence of the close affinity between Aurignacian and Magdalenian art, which Breuil himself has done the most to demonstrate; second, the physical, mental, and especially the artistic unity of the Crô-Magnon race in Aurignacian and Magdalenian times. The recent discovery of two Crô-Magnon skeletons together with two carved bone implements of Magdalenian type, at Obercassel, on the Rhine, links the art with this race and with no other, because, as we remarked above, an artistic instinct and ability cannot be passed from one race to another like the technique of a handicraft. Breuil(2) himself has positively stated that the whole Upper Palæolithic art development of Europe was the work of one race: if so, this race can be no other than the Crô-Magnon. We must, therefore, revert to the explanation offered in a preceding chapter, that the Solutrean technique was an intrusion or an invasion either brought in by another race or acquired from the craftsmen of some easterly race, perhaps that of Brünn, Brüx, and Předmost. Why the art of fashioning these perfect Solutrean spear, dart, and arrow heads was lost is very difficult to explain, because they appear to be the most effective implements of war and of the chase which were ever developed by Palæolithic workmen. [Illustration: FIG. 175. Decorated _sagaies_, or javelin points, of bone; pointed at one end and bevelled at the other for the attachment of a shaft. After Breuil.]