What is still more interesting than all these discoveries, we here find the rudiments of art. Some of the bone implements, as well as some stones, are engraved, or even rudely sculptured, generally with the representation of an animal. These drawings are singularly faithful, and really give us a picture of the animals which were man’s contemporaries upon the earth; so that we have the most positive proof that man lived the contemporary of animals long since extinct. The cave of La Madeleine, in the Dordogne, for instance, contained a piece of a mammoth’s tusk engraved with an outline of that animal; and as the mammoth was probably not contemporaneous with man during the latter part even of the old-stone age, this gives an immense antiquity to the first dawnings of art. How little could the scratcher of this rough sketch--for it is not equal in skill to drawings which have been found in other caves--dream of the interest which his performance would excite thousands of years after his death! Not the greatest painter of subsequent times, and scarcely the greatest sculptor, can hope for so near an approach to immortality for their works. Had man’s bones been only found in juxtaposition with those of the mammoth and his contemporary animals, this might possibly have been attributed to chance disturbances of the soil, to the accumulation of river deposits, or to many other accidental occurrences; or had the mammoth’s bone only been found worked by man, there was nothing positive to show that the animal had not been long since extinct, and this a chance bone which had come into the hands of a later inhabitant of the earth, just as it has since come into our hands; but the actual drawing of this old-world, and as it sometimes seems to us almost fabulous, animal, by one who actually saw him in real life, gives a strange picture of the antiquity of our race, and withal a strange feeling of fellowship with this stone-age man who drew so much in the same way as a clever child among us might have drawn to-day.[4]