In 1525, when Pizarro invaded Peru, he found a magnificent Incan civilization flourishing in the almost impenetrable fastness of the Andes. Here, indeed, was isolation from the currents of European thought! No maritime access here! Yet the Incas had built temples and labyrinths and massive palaces of stone. The palace at Cuzco offered fountains, heated pools, intricate goldwork, and polished stones. There were public granaries, a three-hundred-mile road, a decimal system, an advanced astronomy. European explorers who sought trade in Africa found nothing there to compare with this. As Nathaniel Weyl has written, the decisive fact is that centuries of intermittent contact with the growing culture and technology of the West “did not serve to stir the Negroes from their millennial torpor, to quicken their minds and prod their curiosity, to induce them at least to borrow if not to invent.” Franz Boas has sought earnestly to explain all this away. So has Basil Davidson in _Lost Cities of Africa_. So has W. E. B. DuBois in _The World and Africa_. So has Johnson in _African Glory_. But when it comes down to evidence acceptable to rational appraisal, their romantic conjectures fall pitifully short of the minimum requirements of objective scholarship. It is possible to accept Boas’ judgment that some African wood carvers and potters have produced work “original in form, and executed with great care.” Coon’s slightly more enthusiastic appraisal is that Africa’s Negro tribes “developed social systems of considerable complexity and a high art, the quality of which the white world is just beginning to appreciate.” There is merit in a thoughtful appraisal by the Oxford anthropologist, E. E. Evans-Pritchard, of the complex system of witchcraft, oracles, and magic that he found among the Azande tribe of Central Africa. _Granted certain postulates_, he says, inferences and actions based upon a system of witchcraft are sound. But is Western civilization really prepared to “grant the certain postulates” of witchcraft in order to find a rationale for praising African culture? No. Let it be conceded that certain African arts and crafts reached a tolerably interesting stage of development. Modern dance and contemporary jazz doubtless owe much to the instinctive rhythms of ancient tribal rites. But south of the Sahara there was no literate civilization, no intellects at work to comprehend and solve the abstract problems; and Western Europe was not built by basket-weaving.