[Illustration: FIG. 199. Charging mammoth engraved on a piece of ivory tusk, from the station of La Madeleine. After E. Lartet. For the sake of showing this figure clearly, other outlines in this drawing, which were probably designed to indicate a herd of charging mammoths, are omitted or represented by dotted lines. This classic engraving, described on pages 384 and 385, is one of the most lifelike Palæolithic representations known of an animal in action.] The engravings in the grotto of La Mouthe were discovered by Rivière, in 1895, and were the means of directing attention afresh to the long-forgotten parietal art found in Altamira by Sautuola in 1880. The drawings at La Mouthe begin about 270 feet from the entrance and may be traced for a distance of 100 feet, scattered in various groups; they manifestly belong to a very primitive stage, probably early Magdalenian, the point of chief interest being that, while the greater part of the engravings are in simple incised lines, here and there the contour is enforced by a line of red or black paint; this is the beginning of a method pursued throughout the Magdalenian parietal art, in which the artist carefully sketches his contours with sharp-pointed flints before he applies any color. This treatment, at first limited to the simple outlines, led to tracing in many of the details with engraved lines, the eyes, the ears, the hair; thus Breuil has shown that in its final development a carefully worked-out engraving underlies the painting. In the La Mouthe drawings the proportions are very bad; they represent the reindeer, bison, mammoth, horse, ibex, and urus; spots of red are sometimes splashed on the sides of the animals; here and there is a bit of superior work, such as the reindeer in motion. [Illustration: FIG. 200. Engraved outlines believed to represent human grotesques or masked figures found on the cavern walls of Marsoulas, Altamira, and Combarelles. After Obermaier.]