

I tl 
10 HALL OF THE 
from any modern human type, it must 
be studied from models of its own. 
The group is very carefully arranged 
to show the physical characters of this 
man: the knees shghtly bent in the 
peculiar standing posture, the broad 
heavy shoulders slightly stooped, and 
the massive neck and the head set well 
forward. In the background is the 
famous cavern of Le Moustier which 
gives its name to the Mousterian period 
of flint industry pursued by the Ne- 
anderthals. 
The Cré-Magnon Race of High Type 
The highly evolved Cré6-Magnon 
race entered Europe from the east and 
drove out the Neanderthals. This was 
- a race of warriors, of hunters, of paint- . 
ers and sculptors far superior to any of 
their predecessors. The original type 
of the Cré-Magnon head belonged to 
an aged individual. We are now en- 
deavoring to secure from France repli- 
cas of the Cré-Magnon skeletons buried 
in the grottoes of Grimaldi near Men- 
tone, which are by far the most perfect 
known. The contrast between the Cré- 
Magnon heads and those of the Nean- 
derthals which precede them is as wide 
as it possibly could be. The Cré- 
Magnons were people like ourselves in 
point of evolution, and the characters 
of the head and cranium reflect their 
moral and spiritual potentiality. 
Cré-Magnon Artists Painting the 
Mammoth (Mural IT) 
One of the great murals in the hall 
of the Age of Man (over the doorway 
opposite the Cré-Magnon exhibit) rep- 
resents four of the Cré-Magnon artists 
actually painting the great fresco in 
the cave of Font-de-Gaume, Dordogne, 
France. The writer has been studying 
the composition of this group for years, 
with Mr. Charles R. Knight, artist, 
aided by advice of the Abbé Henri 
Breuil of the Institut de Paléontologie 
Humaine, Paris, as well as of Mr. 
AGE OF MAN 
N.C. Nelson, archeologist at the Amer- 
ican Museum of Natural History. 
There are six figures in the group; 
four are depicted partly nude to show 
their anatomy in contrast with that of 
the Neanderthals. The two half-kneel- 
ing figures are holding up small lamps 
to illuminate the smooth surface of the 
limestone wall on which the procession 
of mammoths is being depicted. The 
half-erect figure represents an artist 
with pointed flint incising the out- 
lines of a mammoth on the wall. The 
fully erect central figure represents an 
artist laying on the colors. A kneeling 
figure is preparing the colors on a 
rock. ‘The artists and their assistants 
have laid off part of their fur clothing 
in order to work more freely. This 
design enables the painter to show the 
tall, slender proportions of the men of 
this Cré-Magnon race. The standing 
figure to the left is that of a chieftain 
clothed in well-made fur garments, 
who carries on top of his staff his baton 
de commandement as the insignia of 
his rank. ‘The only illumination is 
that of the flickering wicks in the 
small oil Jamps. 
Men of the New Stone Age 
Men of the Neolithic, or New Stone 
age (see remains shown in Case V, the 
arrangement of which, however, is.only 
in progress so that a photograph can- 
not be presented) used stone imple- 
ments, partly chipped, partly polished. 
They hunted with the wolf dog. They 
brought in pottery. In central and 
southern France and in Switzerland 
they cultivated the ground and intro- 
duced cereals. Forerunners of these 
Neolithic men scattered over the Baltic 
shores and reached northern France. 
The Neolithic Stag Hunters 
(Mural ITT) 
This mural group also is in_ its 
place in the hall (at the west end), 
having been completed in. 1919. It 
represents men of a northern race, 

