204 THE ANTIQUITY OF MAN 



skull. Briefly, it may be said of him that as far as 

 cranial capacity goes he was on an equality with 

 and even at times in advance of man of the 

 present day.* Further, he had the hands of a 

 man, as his wonderful craftmanship in flint un- 

 doubtedly proves. And, finally, he believed in a 

 future life, as is shown by the offerings which he 

 buried with his dead. We can thus reconstruct 

 the Mousterian physically and to some extent 

 psychologically, when he appears before us a 

 man and in every sense of the word. Passing next 

 to the Younger Palaeolithic time, we find four 

 generally recognized zones of culture (or races, if 

 that term pleases better), which in order from 

 below are : 



Aurignacian, which interests us because of the 

 sudden appearance of a most remarkable outburst 

 of art, both decorative, as in the caves, and ap- 

 plied, in connection with implements. t 



Solutrian, sometimes regarded as a part of the 

 last, during which time the working of stone 



* Cranial capacity though not an infallible indication is the best 

 we possess as to size of brain, and consequently intellectual 

 capacity. Yet there are tremendous pitfalls here. The average 

 European capacity is 1,550 cc. Mousterian man averages 1,600. 

 Bismarck's capacity was 1,965, that of Leibnitz was 1,422, Gam- 

 betta's brain weighed only 2^ Ibs., the average weight of a British 

 brain being 3lbs. Gambetta's brain was inferior in size to that of 

 the ordinary savage, and one wonders what would have been said 

 about his skull had it turned up as a prehistoric object ! It is clear 

 that only in a very general way can cranial capacity be relied 

 upon as evidence in relation to intellectual position. As far as it 

 goes it is all on the side of the Mousterians. 



t Apart from the account of this art which is to be found in 

 Sollas, readers may be referred to a number of papers in L'Anthro- 

 pologie, and, for a fairly full description with numerous reproduc- 

 tions, coloured and otherwise, to Spearing, The Childhood of Art > 

 Kegan Paul, 1912. 



