In the variety of industries we find evidences of a race endowed with closely observant and creative minds, in which the two chief motives of life seem to have been the chase and the pursuit of art. The Magdalenian flints are fashioned in a somewhat different manner from the Solutrean: long, slender flakes or 'blades' with little or no retouch are frequent, and in other implements the work is apparently carried only to a point where the flint will serve its purpose. No attempt is made to attain perfect symmetry. Thus the old technical impulse of the flint industry seems to be far less than that among the makers of the Solutrean flints, while a new technical impulse manifests itself in several branches of art: arms and utensils are carved in ivory, reindeer horn and bone, and sculpture and engraving on bone and ivory are greatly developed. We find that these people are beginning to utilize the walls of dark, mysterious caverns for their drawings and paintings, which show deep appreciation for the perfection of the animal form, depicted by them in most lifelike attitudes. We may infer that there was a tribal organization, and it has been suggested that certain unexplained implements of reindeer horn, often beautifully carved and known as 'bâtons de commandement,' were insignia of authority borne by the chieftains. There can be little doubt that such diversities of temperament, of talent, and of predisposition as obtain to-day also prevailed then, and that they tended to differentiate society into chieftains, priests, and medicine-men, hunters of large game and fishermen, fashioners of flints and dressers of hides, makers of clothing and footwear, makers of ornaments, engravers, sculptors in wood, bone, ivory, and stone, and artists with color and brush. In their artistic work, at least, these people were animated with a compelling sense of truth, and we cannot deny them a strong appreciation of beauty. [Illustration: PL. VII. Crô-Magnon man in the cavern of Font-de-Gaume, Dordogne, restored in the act of drawing the outlines of one of the bisons on the wall of the _Galerie des Fresques_. Drawn under the direction of the author by Charles R. Knight.] It is probable that a sense of wonder in the face of the powers of nature was connected with the development of a religious sentiment. How far their artistic work in the caverns was an expression of such sentiment and how far it was the outcome of a purely artistic impulse are matters for very careful study. Undoubtedly the inquisitive sense which led them into the deep and dangerous recesses of the caverns was accompanied by an increased sense of awe and possibly by a sentiment which we may regard as more or less religious. We may dwell for a moment on this very interesting problem of the origin of religion during the Old Stone Age, so that the reader may judge for himself in connection with the ensuing accounts of Magdalenian art.