But the most remarkable indication of progress in the "cave-man" is his artistic skill. Exaggerated conclusions are sometimes drawn from the statuettes, carvings, and drawings which we find among the remains of Magdalenian life. Most of them are crude, and have the limitations of a rustic or a child artist. There is no perspective, no grouping. Animals are jumbled together, and often left unfinished because the available space was not measured. There are, however, some drawings--cut on bone or horn or stone with a flint implement--which evince great skill in line-drawing and, in a few cases, in composition. Some of the caves also are more or less frescoed; the outlines of animals, sometimes of life-size and in great numbers, are cut in the wall, and often filled in with pigment. This skill does not imply any greater general intelligence than the rest of the culture exhibits. It implies persistent and traditional concentration upon the new artistic life. The men who drew the "reindeer of Thayngen" and carved the remarkable statuettes of women in ivory or stone, were ignorant of the simplest rudiments of pottery or agriculture, which many savage tribes possess. Some writers compare them with the Eskimo of to-day, and even suggest that the Eskimo are the survivors of the race, retreating northward with the last ice-sheet, and possibly egged onward by a superior race from the south. It is, perhaps, not a very extravagant claim that some hundreds of thousands of years of development--we are now only a few tens of thousands of years from the dawn of civilisation--had lifted man to the level of the Eskimo, yet one must hesitate to admit the comparison. Lord Avebury reproduces an Eskimo drawing, or picture-message, in his "Prehistoric Times," to which it would be difficult to find a parallel in Magdalenian remains. I do not mean that the art is superior, but the complex life represented on the picture-message, and the intelligence with which it is represented, are beyond anything that we know of Palaeolithic man. I may add that nearly all the drawings and statues of men and women which the Palaeolithic artist has left us are marked by the intense sexual exaggeration--the "obscenity," in modern phraseology--which we are apt to find in coarse savages.