Here let us pause to say that the apparent absence of other indications of man's presence, showing passage from lower to higher stages of culture, led to the assumption that vast gaps have occurred in his occupancy of north-western and other parts of Europe. The theory of absolute disconnection between the Old Stone Age and the Newer Stone Age long held the field, but it has disappeared before the evidence against tenantless intervals of areas in prehistoric times. And so with succeeding periods. There is no warrant for assuming entire effacement of one race, with resulting clear field for the immigration of another race; and modern archæological research is producing the links which connect the rude art of Northern with that of Southern Europe, and, what will be shown to be of great moment, with that of the Eastern Mediterranean. The examples of this must remain rare, since only pictographs on some durable material, or specimens of the fictile art, would survive the action of time. But, happily, if they are infrequent, they are widely distributed. For to those yielded by the bone-caverns already referred to are to be added rock-carvings in Denmark, and figures on limestone cliffs of the Maritime Alps; there are curious graphic signs, suggestive to some eyes of a primitive script, in the Marz d'Azil cave; while still more interesting are the animal and fylfot or swastika-like figures (the swastika is a solar symbol) "painted probably by early Slavonic hands on the face of a rock overhanging a sacred grotto in a fiord of the Bocche di Cattaro." To this last-named example, given by Mr. Arthur Evans in his paper on "Primitive Pictographs" (_Journal of Hellenic Studies_, xiv. ii. 1894) may be added some pregnant remarks by the same authority. "When we recall the spontaneous artistic qualities of the ancient race which has left its records in the carvings on bone and ivory in the caves of the 'Reindeer Period,' this evidence of at least partial continuity on the northern shores of the Mediterranean suggests speculations of the deepest interest. Overlaid with new elements, swamped in the dull, though materially higher, Neolithic civilisation, may not the old æsthetic faculties which made Europe the earliest-known home of anything that can be called human art, as opposed to mere tools and mechanical contrivances, have finally emancipated themselves once more in the Southern regions, where the old stock most survived? In the extraordinary manifestations of artistic genius to which, at widely remote periods and under the most diverse political conditions, the later populations of Greece and Italy have given birth, may we not be allowed to trace the re-emergence, as it were, after long underground meanderings, of streams whose upper waters had seen the daylight of that earlier world?" (Presidential Address to the Anthropological Section, British Association. _Nature_, 1st Oct. 1896.)