The "printed-off," or "unrolled," or "developed" picture given in Fig. 3 is an exact reproduction of a copy of the cast made and preserved in the Museum of National Antiquities at St. Germain, for which I am indebted to my friend M. Salomon Reinach, the distinguished archæologist who is the director of that museum. It is reproduced here, a little larger than half the size of the original, as are the representations of the carved cylinder itself (Figs. 1 and 2). In Fig. 4 we have my attempt to restore the damaged portions of the design and to present it as it was when the Palæolithic man completed it some 20,000 years ago. I will return to the question of the correctness of this restoration, but before doing so I wish to mention some extremely interesting points as to the probable use of the cylinder of stag's antler and the purpose of the carving around its axis. In the first place, this and a few other of the pieces of carving of the post-Glacial period were certainly the work of highly gifted and practised artists. It is obvious that this work is far superior both in conception and execution to the more or less clever, often grotesque, carvings and paintings made by modern savages or simple pastoral folk. There is no reason to suppose that the Cromagnards, or men of the post-Glacial or Reindeer period of West Europe, differed from modern races in being universally gifted with artistic capacity. This engraving of three stags is almost certainly the work of a man who belonged to a family or guild of picture-makers who had cultivated such work for centuries and handed it on from master to apprentice. This design is probably one which had been perfected by many succeeding observers and draughtsmen. Its sureness of line and vivacity of movement are not the outcome of the sudden inspiration of an untutored savage, but are the result of the growth, cultivation, and development of artistic perception and the power of artistic execution in successive generations.