In this, as in other respects, the recovery of evidences of a well-developed æsthetic faculty among the men of Europe’s Mammoth and Reindeer period, furnishes materials for many suggestive inferences; for we shall very imperfectly estimate the significance of the primitive drawings so unexpectedly discovered, if we regard them as no more than the pastimes of those ancient cave-men, whose artistic ability they so unmistakably reveal. They are rather to be classed with the picture-writing of the American aborigines—including its most advanced Mexican stage abundantly illustrated in Lord Kingsborough’s folios,—as one of the primitive supplements of language among uncultured races. As such it is a form of visible speech, and an important step in advance of the stage of gesture-language. The historical value of the palæolithic drawings is indisputable. They furnish a record, more trustworthy than any written chronicle, of the strange conditions of life in a region familiar to us throughout the whole historic period for its genial climate and social civilisation. It is in this aspect, as a contemporary chronicling of current events, that palæolithic art has its chief value. It furnishes a graphic picturing of the habits of life, and of many of the attendant circumstances of that remote period, recorded with such vivid truthfulness, that we realise very definitely the character of its long-extinct fauna, and, to some considerable extent, the occupations and modes of life of the cave-men by whom they were hunted, and in leisure hours were reproduced graven or carved, on bone, horn, or ivory, or traced in free outline on slabs of schist or other soft stone.