I venture to suggest that the elaborately carved cylinder which we are considering and others bearing similar carvings, which only show up when a printing of them is taken, were used by the men who made them for this very same "printing" as an end in itself. The picture could be thus impressed on skins, birch bark, and other material. This race was thoroughly familiar with the use of paint formed by mixing grease with charcoal (to produce black), red ochre (to produce red), yellow ochre (to produce yellow), and some preparation of limestone or chalk (to produce white). Coloured pictures representing animals of the chase, coloured with red, yellow, white, and black and outlined by engraving, have been discovered on the rock walls of the caves used by them. Such pictures are found of relatively early as well as of late date within the post-Glacial Palæolithic period (see Chapter III). The rock picture of a single animal is usually from two to five feet long. People who could make those coloured designs and who could draw and compose so admirably as the author of the "Three Red Deer" would have desired to "roll off" and to possess printings of their favourite representations of animal life, whilst we must admit that their skill and ingenuity was assuredly equal to the task of so printing them. If this carving of the "Three Red Deer" were never printed it could not have been executed in the first place, nor seen and admired when completed. If even only half a dozen or a dozen impressions were taken from it for ornamenting the skins or other material used by a chief, or a wizard, or a woman, its production becomes intelligible. It is true that there is nothing known as to the use of such printing from a cylinder among existing primitive people, but it is known in very early times (4500 B.C.), since cylindrical seals were used by the Babylonians. Elaborately grooved blocks used for printing on cloth are known from Fiji and Samoa, and the mere practice of printing on to a flat surface is common enough among savage races in regard to the human hand, impressions or prints of which obtained by the use of a greasy pigment are found upon rocks or stones. Sometimes prints of the hand or fingers are taken in clay. We must not, however, forget that the primary purpose of savage and primitive mankind in making images or engravings of animals is that of influencing the animals by witchcraft or magic, as has been urged by Reinach. From such magic-working drawings the art of savages has gradually developed just as religious figures and designs have been the initial motive of historic European art.