It seems in any case fairly certain that the artist who engraved our picture of the three deer on to the stag's antler must have worked from and copied a completed flat drawing, and probably printed it in some way on to the prepared antler before engraving its lines thereon and also checked the work, as he proceeded, by successive trial printings or "proofs" on to a flat surface. It is possible though it does not seem very probable, that the drawing was thus committed to perpetual invisibility on a cylindrical rod–for the purpose of exercising "magic" with that rod. It seems to me that the Cromagnard owner of the rod would have wished to see "what the picture really looked like," and so would have on some occasion and more than once have "printed it off" or as we say "unrolled it." Leaving that question aside I have a few words to say as to the present attempted "completion" of the picture. My difficulty has been in realizing the suggestion of a free, graceful "bounding" action given by the pair of small hind legs which form all that remains of the smallest of the three deer. I have tried various poses of the calf indicated by these legs–bucking and jumping, and with fore legs closely bent to the horizontal or in a more open position. The fact is there is very little in existing drawings or photographs which can help us to a decision of the problem, "How did the prehistoric artist complete that exquisite little pair of hanging legs?" The problem is more obscure even than that of the pose of the arms of the Venus of Melos. One feels sure that the man who made this carving was an artist who must keep a certain rhythm and flow in the action and form of the three successive animals, and it is clear that he was a wonderful observer of the phases of the limbs in movement. It is, perhaps, a presumptuous thing to attempt on such a basis to recall the thought of a man who died twenty thousand years ago, but I set out to do so with the belief that there is a necessary figure determined by those hind legs.