PREHISTORIC PETTICOATS

After the last great extension of glaciers in Europe, during which nearly all of Great Britain and the North of France and Germany were buried with Scandinavia under one great ice-sheet—and when this ice-sheet had receded, and the climate was like that of the Russian "steppes," cold and dry—there were men inhabiting the caverns on both sides of the Pyrenees. The tract of land which we call "Great Britain" was a part of the Continent of Europe. There was no "English Channel." The Thames and the Rhine opened by a common mouth into the North Sea. The mammoth and the hairy rhinoceros still lingered on in France and the more central regions of Europe. Wild horses, the great ox (Aurochs), the bison, ibex, chamois, were abundant, and the thick-nosed Saiga antelope, now confined to the Russian and Asiatic steppes, was present. The most abundant and important animal immediately north of the Pyrenees was the reindeer. The cave-men of France and Central Europe were a fine race—living by the chase, and fabricating flint knives and scrapers, fine bone spearheads and harpoons, as well as occupying themselves in carving ivory and reindeer antlers, so as to produce highly artistic representations of the animals around them.

They rarely attempted the human face or figure, and when they did were not so successful as in their animal work. They also painted on the walls of some of their caverns, with red and yellow ochre, carbon, and white chalk representations—usually about one-third the size of nature—of some of the most important animals of the chase. They must have used lamps, fed with animal fat, to illuminate the walls, both when they were at work on the pictures and also afterwards, when they exhibited the finished pictures to the less gifted members of the tribe, as wonderful, even magical appearances. It is uncertain to what extent races of men succeeded one another or were cotemporaries in this period in Europe, but there is good reason for attributing the cave pictures to an early occupation of the caves by men who also carved, in ivory and stone, small figures of women resembling the Hottentot Venus—whilst the later occupants made no such statuettes, but carved in relief on bone or engraved it.

This was probably not less than 50,000 years ago, and may well have been much more. Earlier than the date of these Reindeer men (the Magdalenians, Solutrians and the Aurignacians[9]), in the preceding cold, humid period of the glacial extension (probably from 80,000 to 150,000 years ago) these and other caves were occupied by an inferior race—the Neandermen. They could not carve beasts on ivory nor paint, but could make very good and well "dressed" flint weapons, and could make large fires in and about the caves, both to cook their meat and to keep off the wild beasts (lions, bears, and hyenas), who contended with the strange, low-browed Neandermen for the use of the caves as habitations.

On this side of the Pyrenees the Reindeer men have left some wall-pictures, and new discoveries of great importance in the form of rock carvings of human figures as well as pictures and huge figures of horses, etc., are being made in France as I write these lines. But the best preserved and most numerous wall pictures are those of the cave of Altamira near Santander. These comprise some partially preserved representations in yellow, red, white, and black of the great bison, the wild boar, the horse, and other animals. A group representing some twenty-five or more animals (each about one third the size of nature), irregularly arranged, exists on a part of the roof, and others are found in other parts of the cavern. Among the wall-pictures made by ancient cave-men are numerous drawings of human beings in masks representing animals' heads—probably indicating the "dressing-up" in animal masks of priests or medicine men in the way in which we know to-day is the custom among many savage tribes. Twenty-seven of these "decorated" caverns were known in 1910—eleven in Spain, one in Italy, and fifteen in South and Central France—and others are continually being discovered. The most careful and critical examination by scientific men leaves no doubt as to the vast antiquity of these paintings, and as to their dating from a time when the animals painted (including in some cases mammoth and rhinoceros, as well as bison, reindeer, wild boar, ibex, red deer, bear, and felines) were existing in the locality. The covering up of some of the drawings (which are partly engraved and partly painted) by earthy deposits and by encrustations of lime, and the presence in the cave deposits of the worked flints and bones characteristic of the Reindeer men, leave no doubt that these pictures are of that immense antiquity which we express by the words "Quaternary period," "Upper Pleistocene" or "Reindeer epoch."

It is, of course, only in accordance with what one would expect that these pictures are of very varying degrees of artistic merit. But some (a considerable number) are quite remarkable for their true artistic quality. In this respect they differ from the rock paintings of modern savage races—the Bushmen of South Africa, the Australians, and the Californian Indians—with which, however, it is instructive to compare them. Many of them agree in their essential artistic character with the carving and engraving of animals on bone and ivory so abundantly produced by the later Reindeer men. It is also the fact that these Franco-Spanish wall paintings were executed at different periods in the Reindeer epoch. Some are more primitive than others; some are very badly preserved, mere scratched outlines with all the paint washed away by the moisture of ages; but others are bright and sharp in their colouring to a degree which is surprising when their age and long exposure are considered. The French prehistorians, M.M. Cartailac and the AbbÉ Breuil, have produced a sumptuous volume containing an account, with large coloured plates, of the best preserved of the Altamira paintings—a copy of which I owe to the kindness of H.S.H. the Prince of Monaco, who has ordered the publication of the work at his own charges. This has been followed by an equally fine work under the same auspices, illustrating the wall-pictures of the Cavern of the Font-de-Gaume in the Dordogne, for which we have to thank the AbbÉ Breuil. A further volume on Spanish Caves has also appeared from the same source in the present year. It is not surprising that the country folk, who, in some of the Spanish localities, have known the existence of these paintings from time immemorial, should regard them as the work of the ancient Moors, all ancient work in Spain being popularly attributed to the Moors, as a sort of starting-point in history. It is, however, very remarkable that little damage appears to have been done by the population to the paintings, even when they exist in shallow caves or on overhanging rocks. No doubt weathering, and the oozing of moisture, and the flaking caused by it, has destroyed most of the Pleistocene paintings which once existed, and it is an ascertained fact that some—for instance, those of Altamira—are breaking to pieces owing to the opening-up and frequentation of the caverns.

It has been remarked that, although these paintings belong to what is called the "reindeer epoch," yet in the cave of Altamira there are no representations of reindeer, but chiefly of bison and wild boar. It is also remarkable that in the case of the painted rock shelters of Calapata (Lower Aragon) and of Cogul (near Lerida, in Catalonia), no reindeer are represented; but on the former there are very admirable drawings of the red deer, and on the latter silhouettes of the bull, of the red deer, and the ibex. In fact, no representations of reindeer have been observed on cave walls or rock-shelters south of the Pyrenees. It is possible that this may be due to the date of the Spanish paintings being a good deal later than that of those French cave-paintings which show reindeer, mammoth, and rhinoceros. And we have to bear in mind that in the North of Africa (Oran) engraved drawings on exposed rocks are known, which are for good reasons attributed to the Neolithic period; that is to say, they are later than the Reindeer epoch of the PalÆolithic period, whilst some are even much later.

In any case we have to remember that there are two very different and possible explanations of the presence or absence either of certain animals' bones or of representations of certain animals in one "decorated" cave and not in another. The one explanation is that animals have succeeded one another in time in Western Europe—changing as the climatic conditions have changed—and that when, in two cave-decorations or cave-deposits compared, the animals are different, the cause may be that the one deposit or cave-decoration is more recent than the other. The other explanation is that (as we well know) at one and the same moment very different animals occupy tracts of land which are only a hundred miles or so apart, but differ in climate and general conditions. At this moment there are wild bears and also wolves in France, but none in England; the elk occurs in Sweden and Russia, but not in the West of Europe; the porcupine in Italy and in Spain, but not in France. As late as the historic period the African elephant flourished on the African shore of the Mediterranean, but not in Spain; now it is not found north of the Sahara at all. So we have various possibilities to consider in comparing the animal pictures on the cave walls of Spain with those found in France, and may well suspend judgment till we have knowledge of a greatly extended area.

I am anxious to draw attention in this chapter to the painted group of ten human figures lately discovered on a rock shelter at Cogul, near Lerida, in Catalonia, and figured and described in the admirable French journal called "L'Anthropologie." These figures are those of young women dressed in short skirts and curious sleeves, the hair done up in a conical mass rising from the sides to the top of the head. Each figure is about ten inches high. The great interest about these drawings is that they are probably tens of thousands of years old, and present to us the women of the reindeer or late Pleistocene epoch. No other such painting of the women of this period is known, and the astonishing thing is that, though these are by no means fine specimens of prehistoric art, yet there is a definitely modern look about the figures and a freedom of touch about the drawing which makes one think at first that the picture is some modern, hasty but clever sketch in silhouette of a number of short skirted school girls at play. The waist is extremely small and elongated, the skirt, or petticoat, bell shaped, and the whole figure "sinuous." One of the figures appears to have a cloak or jacket, but the breasts and legs are bare.

Some three years ago Sir Arthur Evans discovered in the palace of the ancient Kings of Crete coloured frescoes some 3,500 years old representing in great detail elegant young women with greatly compressed waists, strongly-pronounced bustles, and elaborately ornamented skirts. These Cretan paintings of prehistoric young women, both in costume and pose, are like nothing so much as the portraits of distinguished ladies of the fashionable world of Paris exhibited by the painter, Boldini, in the "Salon." It is remarkable that explorers should have found contemporary paintings of young ladies who lived nearly as long before Cleopatra as she lived before us. And it is still more remarkable that those young ladies were "got up" in the same style, and apparently aimed at much the same effects of line and movement, as those which have become the latest fashion in Paris, and may be described as sinuous and serpentine. Not only is that the case, but it is evident that the painter of Knossos, the Minotaur city, and M. Boldini have experienced the same artistic impression, and have presented in their pictures the same significance of pose and the same form, from the tip of the nose to the ends of the fingers and the points of the toes—thus revealing a sympathy reaching across many ages. It seems to me that the same artistic impression is to be detected in the still earlier paintings of the wasp-waisted little ladies of the Cogul rock-shelter in Catalonia. We find here the same sinuous figure with exaggeratedly compressed waist, prominent bosom, and emphasised haunches. But it is many, perhaps forty, thousands years earlier! One is led to wonder whether this type of human female—to-day expressed with such masterly skill by Boldini—may not be at the back of the mind of a portion of the human race—that which populated what are now the shores of the Mediterranean, and probably came there travelling northwards from the centre of Africa. Possibly they brought with them that tendency to, and admiration for, megalopygy which is evidenced by the makers of the earliest known palÆolithic cave sculptures (the Aurignacians), and has persisted in some degree ever since in Europe—a tendency and a taste which are on the one hand totally absent in the East and Far East (Japan), and on the other hand have a strong development in the modern Bushmen (and the related Hottentots), an African race, and like the Spanish cave-men, rock painters.

I am able to reproduce here (Plates VIII and IX), through the kindness of Sir Arthur Evans and Dr. Hogarth, the keeper of the Ashmolean Museum at Oxford, two very interesting drawings—showing certain features in the dress of women in the prehistoric race which inhabited the island of Crete for some three thousand years previous to the date of these representations, which is about 1600 b.c. They are interesting to compare both with the much more ancient figures from the Spanish cave and with modern female costume. The first (Plate VIII) is a figure in coloured pottery (faÏence), representing either a votary or priestess of a goddess to whom snakes were sacred. The petticoat of this lady is very modern, being long, decorated with flounces (a series of five) and bell-shaped. The dress is further remarkable for a tight ring-like girdle which greatly compresses the waist and emphasises the broad hips. The little statue is about ten inches high, and was found by Sir Arthur Evans at Knossos, the ancient buried city the capital of Crete, in the Later Palace. Its date is that of the close of the Minoan period, namely 1600 b.c. The two figures in Plate IX are copied from frescoes representing acrobatic women from the bull-ring, also from the Later Palace at Knossos, and are a couple of centuries later in date. Religious ceremonies in connection with the worship of the bull (whence the fable of the minotaur) were practised in Knossos, and possibly there was a kind of baiting of bulls and jumping over and away from the infuriated animals such as may be seen at this day in the South of France and in Portugal. Possibly the employment of girls in this sport gave rise to the story of the maiden tribute from Athens to be sacrificed to the Cretan minotaur. The drawings are remarkable for the pose—that of the left-hand resembling an attitude assumed in boxing, whilst the dress—a kind of maillot or "tights"—is gripped round the waist by a firm ring (like a table-napkin ring), the compression of which is no doubt exaggerated. This fresco and many others of extraordinary interest, as well as much beautiful pottery and the whole of the plan of the city, its public buildings, granaries, library and sewers at several successive ages (the remains lying in layers one over the other), were discovered and described by Sir Arthur Evans, who is still at work on the wonderful history and art of these prehistoric Cretans, from whom the MycenÆans of the mainland of Greece were an offshoot.

The point to which I chiefly desire to call attention is that this Cretan people practised compression of the waist, and so have a certain point of agreement with the prehistoric race of Lerida represented in Figs. 24 and 25 and with Boldini's modern ladies. We know from carvings and pottery that the men as well as the women of the MycenÆan people wore a tightly-compressing girdle. The form of figure thus produced—viz. relatively small, flexible waist, and large hips with protruding buttocks—seems to be a less pronounced variety of that of the small ivory figures of Aurignacian age (late PalÆolithic) found in cave deposits of France and of that of the Bushmen women. It seems as though the "ideal" female figure or that admired and pictured by these races and by the modern Latin races is the same in its main features, and differs altogether from that admired in the Far East. Such deeply seated tastes may possibly (indeed, not improbably) be due to a common origin of the Mediterranean and African peoples distinct from that of the Mongoloid Asiatic races.