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Our Early Ancestors by M. C. Burkitt Publication date 1929

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Prometheus:

refractory the hard rock is. Sometimes only two legs
are figured, sometimes four, but even in the latter case
there is no attempt at perspective. Often a peculiar
method is employed and the lines representing the legs
are produced till they meet the line of the back. Only
one or two instances of painting are known, which is
not surprising as paint cannot sink into these hard rock
surfaces and is therefore liable to suffer damage from
weathering action, although, on the other hand, it is
saved from the dangers which attend the disintegration
of rock surfaces due to the action of lichens and
other rock-growing plants. A goo d example of paintings
of this group can be seen in a small rock shelter which
is situated almost opposite where the road coming over
from the head of Langford meets the Sundalsfjord.
The paintings are in red and represent reindeer, etc.,
but are not very well drawn. Further north at a site
called Leka some little conventionalised human figures,
also painted in red, have been observed.

Attempts have been made to connect this art with
that of the Laplanders, but though perhaps it is not fair
to compare art techniques when used on such differ-
ent surfaces as rock and bone, it can safely be said that
the Lap technique, as seen in the engravings on pieces
of bone, etc., has little in common with that of the
Norwegian group that we have been describing.

No similar finds elsewhere have been recorded and
it would seem likely that we are dealing with an isolated
manifestation of art made by folk belonging to the
Arctic culture; why and for what purpose they were made
is completely unknown. At a later time Bronze Age
folk inhabited the district, at any rate around Trond-
hjem, and at Bardal the art of these new people is found
superimposed on examples of the older group. Probably
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the Arctic culture people became extinct or were ab-
sorbed by the new comers, unless it should prove that
some distant connection between them and the Laps of
to-day can be clearly determined.

NEOLITHIC AND EARLIEST METAL AGE ART

Two groups can be distinguished in the Neolithic
and Copper Age art: the first comprises decorated
objects, such as pots or tools, etc., and the second
drawings on rocks or in rock shelters which are, how-
ever, of rare occurrence. The first of these groups has
been largely discussed in chapter iv, and it is only
necessary here to remind readers of the extremely fine
and well-drawn patterns on the beautifully made pots
of Early Neolithic date in the Eastern Area, or, again,
of the elaborate decoration on the collar flasks of
Scandinavia, not to speak of the complicated and ex-
tremely decorative motifs found at the end of Neolithic
times for them to realise that Neolithic man was not
in the least devoid of artistic sense. Prehistorians are
rather apt, after studying the wonderful cave art of
Upper Palaeolithic man, to underrate the powers and
the artistic appreciation of his Neolithic successor, but
this is largely due to the fact that the Neolithic decora-
tion of pots consisted exclusively, or almost exclusively,
of finely drawn geometric patterns. Naturalistic draw-
ings of animals were not employed as motifs, as on the
rounded surface of a pot they would not only have been
exceedingly difficult to execute, but also not particularly
adaptable. In the Mediterranean area, at that time
always far in advance of northern Europe in culture,
it was not till Late Minoan (Bronze) times that plants
and other natural objects were employed as motifs for
decoration.
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One or two chipped pieces of rock marked with
rough geometric patterns have been found at the stone
factory site at Penmaenmawr in North Wales. That
Neolithic man was not incapable of drawing a natural-
istic figure of an animal when he wanted, can be seen
in the drawing of a fish on a cork float (a) found by the
Lake of Lucerne, figured in Plate 25, no. 4; and a fish,
though very poorly executed,can be recognised engraved
on a polished piece of greenstone now in the Museum
at Carnac, Brittany (Plate 25, no. 5).

Neolithic man was also capable of painting his pots
before firing so that the paint cannot be removed by
friction or washing. Although this painting decoration,
as far as Europe is concerned, is only found in certain
circumscribed localities at the very end of Neolithic or
rather at the dawn of the Copper Age, it was probably
practised in the very earliest times, for we find painted
pottery in the earliest levels at Anau in Russian Turkes-
tan, and Neolithic painted pottery has been described
from the loess in China. Although the folk who made
the wonderful painted pots found in the bottom layers
at Susa(3), as well as the people of Abu Shahrein
(=Eridu, Mesopotamia) ana other places who have
left us examples of their workmanship, probably of
Pre-Sumerian times (4), knew about the use of metal, it
must be remembered that in these areas by the great
rivers Euphrates and Tigris the use of metal dates back
to extremely early times, far earlier than was the case
in northern Europe; and, on the other hand, little is
known as to an earlier true Neolithic stage of culture
in these regions. In Moravia, at the end of Neolithic
times, a painted pottery was developed, but in this case
the paint was not fired with the pot and can be removed
by friction. The oft mentioned pottery figurines of
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humans and animals are naturally of great importance
(Plates 20, 21 and 29, no. 5). Bronze Age pottery
continued to be decorated with incised geometric
patterns and painting developed to a high degree in the
Aegean area. Even metal tools are sometimes found
decorated with zigzag or lozenge patterns.

ROCK SHELTER ART

An extremely interesting art-group that occurs in
rock shelters belonging to the Late Neolithic and
Copper Age periods has been studied in the Spanish
Peninsula(s). Although it occurs sporadically over a
great part of South Spain where natural rock shelters
in limestone or sandstone occur and conditions are
favourable, it can be more or less grouped into distinct
areas. The first of these areas is in the extreme south-
west of Spain, and is the tract of country bounded by
the sea coast and an artificial line drawn from Malaga
to Seville and Cadiz. The examples are especially
numerous around the Laguna de la Janda where a few
years ago M. Breuil and the writer explored nearly
sixty sites. Another area is in Murcia and Almeria,
South-East Spain, with a focus at Velez Blanco, a little
village some sixty miles or so west of Murcia. Here
examples of this Copper Age art (often called Spanish
Art Group III) come in contact with a naturalistic group
( Spanish Art Group II) probably dating back to Quater-
nary times and contemporary with, though different in
technique from the well-known Upper Palaeolithic cave
paintings of France or Spain. It is interesting to note,
as a proof of the relative ages, that where examples of
these two groups, easily differentiated by their vastly
different techniques, are found in one and the same
rock shelter, if superposition occurs examples of Spanish
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Art Group III are invariably painted over and are there-
fore younger than examples of Spanish Art Group II.
Painted rock shelters have been discovered in the Sierra
Morena, and in the chains of mountains that connect it
with the high land of South-East Portugal. An analogous
art has been found in some rock shelters in the well-
known valley of Las Batuecasm, mentioned by Borrow
in his Bible in Spain as being a mysterious and dreaded
place, though whether this was due to its lonely position
or to legends and traditions dating as far back as Copper
Age times when the paintings were being made, cannot
of course be determined. Las Batuecas lies to the south-
west of Salamanca. In North Spain few examples of
Copper Age paintings have been recognised, with the
exception of an anomalous find at Pena Tti, to be
described later.

This art-group, as a whole, is highly conventionalised
and especially noteworthy for the large number of
geometric patterns, including in one instance the spiral,
and the variety of conventionalisations of the human
form. Some of these are figured in Plate 30; they are
important as they help to show the connection between
the interesting Copper Age culture of the southern
Spanish Peninsula with that of regions elsewhere.
Besides conventionalised human beings, a number of
still more conventionalised animals can be recognised,
including stag, hind, ibex and carnivorous animals
whose species it is difficult to determine. At Las Figuras
near the Laguna de la Janda a large number of birds
are also figured, but, with the exception of one example
in a rock shelter in the Sierra Morena, they do not
appear in the drawings elsewhere. At the same site
is portrayed the figure of a man having in his hand what
seems from its shape to be a metal axe, but on the other
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hand at Los Molinos, a site near Velez Blanco, there is
another example portraying equally clearly a stone axe,
and examples of this can be duplicated from Bacinete,
a site not far from Los Barrios in the region of Gibraltar.
At the rock shelter of Los Letreros (Velez Blanco)
a man is figured carrying a sickle in each hand. Judging
by their size, relative to the human figure, they would
seem to be wooden sickles hafted with flints, and not
metal sickles, which, owing to the value of the metal,
were always relatively very small in the Early Metal
Ages. That the folk who made these paintings practised
the domestication of animals is shown by a very charm-
ing example found at Las Canforras de Penarrubia in
the Sierra Morena of an animal being led by a halter.
In the district to the west of the Sierra Morena, lying
between it and Portugal, can be seen some very inter-
esting paintings of wheeled vehicles<7). The paintings
consist of two more or less converging lines with cross-
bars between them, and these converging lines, after
joining, are continued as one line indicating the central
shaft of the vehicle. Two or sometimes four wheels
are indicated by round circles placed just outside these
lines. It is as if the vehicle had been laid out flat, with
the wheels spread on the ground, and was viewed from
above. Exactly the same type of farm cart can be seen
used by the peasants in parts of Spain to-day. The
wheels depicted usually show four spokes, forming
two diameters of the circle at right angles; but in one
instance they are formed by one diameter to the wheel
and two chords at right angles to this diameter, thus
dividing the wheel into three sections (Plate 27, no. 3).
A somewhat similar type of spoking is still used to-day.
At Las Batuecas (Estramadurajw the art is not quite
analogous to that further south, and more than one
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series of different ages can be determined by a study of
their superposition. The lowest is considerably more
naturalistic and it may be that this is earlier in date
than the art we have been discussing, being possibly
true Neolithic or even Azilian. Drawings of comb-
shaped figures can be matched with similar finds in
the south-west of Spain and are common in the latest
examples of art at La Pileta cave near Rhonda(s). The
anomalous example of Pena Tu already mentioned is
extremely important^). If the student alights at the
little station of Vidiago on the narrow gauge railway
from Santander to Llanes (Asturias), he will find, on
looking westward, that the sea shore is close by on his
right hand, while on his left the ground rises rapidly
forminga firstfoot-hill of the PicosdeEuropa massif. On
the top of this first ridge is a large and very visible
block of rock standing up rather like a small Dartmoor
tor. On one side it is heavily undercut by natural action,
and it is here that the paintings have been preserved.
They consist of innumerable red dots, a few very
poorly made animal figures, some simple conventional-
ised human forms, and a sword, evidently metal, deeply
engraved, with five rivet holes near the handle shown
in red; there is also a large coffin-shaped idol, partly
painted, partly also deeply engraved, this is best de-
scribed by reference to Plate 27, no. 1. Pena Tti is the
only site in this group where engraving has been em-
ployed in conjunction with painting, and it forms a link
with the punctuations, the poorly drawn animals and
the conventionalised human beings of the regular
Spanish Art Group III art on the one hand, and with the
carved and painted schist idols in the funeral furniture
of the megalithic tombs on the other. The presence of
the long triangular sword or dagger indicates an Early
 3

Plate 27. 1* Rock shelter art at Pena Tu (Spain). 2. Rock carving at Clonfinlough (Ireland),
3. Fainting of a wheeled cart from the Spanish Art Group III. 4, Rock carvings similar to 2
but from Galicia (Spain).

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Metal Age. In North-West Spain Dr Obermaier has
studied in the province of Galicia a series of rock
carvings(io). These are deeply cut on hard rocks and
can be divided into an older and newer series. Although
Dr Obermaier suggests a Bronze Age for both series
it may be possible to date the earlier as belonging to the
Copper Age culture. Figures of the human form con-
ventionalised as well as other geometric figures occur
and though not exactly similar would appear to have
relationships with Spanish Art Group III. The art
of the older series closely recalls that on the stone at
Clonfinlough (Athlone), Ireland. The newer series in
Galicia is far more developed than the older; it must
probably be referred to the full Bronze Age. Some
semi-naturalistic figures of animals are occasionally
found.

But Pena Til is not alone in supplying us with a clue
to the age of this art-group. Engravings on pots, with
figures of stag and human beings in exactly the same
technique as those painted on the rock shelters in South
Spain, have been found at Las Millares, at Velez
Blanco itself and at Ciempozuelos near Madrid (Plate
25, nos. 1, 2, 3) (ix), where these pots can be definitely
assigned to the full Copper Age of the Spanish Penin-
sula.

Why the Copper Age folk took such trouble in
decorating certain natural rock shelters, is difficult to
determine. That they were not “homes” is proved by
the fact that examples occur in rock shelters and situa-
tions where nobody could possibly have lived. Broadly
speaking, though not invariably, the more important
sites command a very extensive view and are often found
near springs of fresh water. In one case at Gabal near
Velez Blanco, where a rock shelter probably was used
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2 23

as a home, the paintings are not in the rock shelter
itself, but in a niche above the doorway extremely
difficult to get at, and a somewhat similar state of
affairs is also known elsewhere. Possibly they were
not all drawn for the same purpose, and in some cases
they may have been a magic protection for the home, in
others the decoration of some very visible spot that for
various reasons had become a sacred sanctuary and
where perhaps religious observances took place.

Another very interesting group of rock drawings
occurs in the Maritime Alps not far from San Dalmazo («)
on the modern frontier between Italy and France. They
are found on the slopes of and near by Monte Bego,
which mountain and the Grand Capulet form two very
striking peaks visible from the railway between Nice and
Antibes. Col di Tenda, at the head of the Roja valley,
was probably used from the very earliest times by
people passing from the sea coast area of the district
around Ventimiglia to the plains of Piedmont behind.
Between Monte Bego and Grand Capulet lie the lakes
of “wonders,” and it is near these that many of the
engravings in question occur. The figures drawn in-
clude bulls with very exaggerated horns, other horned
animals, men, possibly villages, spirals, geometric
patterns, and weapons, such as small triangular daggers
with tongues, etc. (Plate 28, Fig. 1). Ploughing
scenes are also depicted, there being two, more rarely
four, oxen yoked, and sometimes one, sometimes two
men hold the other end of the plough. Their date
would seem to be some time at the beginning of the
Metal period; whether Bronze was known and in use
for tool-making is uncertain. The technique is a shallow
pecking out of the surface of the figure, probably with
a sharp stone chisel or pointed tool. But the peculiarity
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of this so-called Fontanalba art-group is that all the
drawings are made as if seen from above; they are, as
it were, aeroplane pictures of what is going on down
below. Thus in the case of what seem to be drawings
of villages we just find the plan of a house with the open
court yard and the surrounding wall, but no elevation.
The makers of these drawings apparently watched what
was going on far below them and then just engraved
what they had seen. Why they should have done so is
a complete mystery. The plough scenes are of particular
interest, the only engravings at all analogous being a
plough scene, also with oxen, from the Bronze Age
Scandinavian group in Bohuslain (13), a district lying to
the north of Gothenburg (Sweden), where drawings of
ships, men, weapons and signs occur in the greatest
profusion and a ploughing scene and a cavalry battle
are also depicted. More than 500 sites, where these
drawings occur, have been discovered. They date to
the Bronze Age and, although the motive for their
creation is unknown, it is obvious when the hard nature
of the glacier-worn rock surfaces on which they are
carved is taken into account that a very considerable
amount of work was expended in their production. This
art-group had a fairly wide distribution in Scandinavia
and an “outlier” of it has been found in North Russia
on the eastern shore of Lake Onega(i4).

ART ON AND IN TOMBS
Not infrequently we find very rough drawings on
menhirs and other upright stones. These are mostly
geometric though sometimes what are probably meant
to be human beings, conventionalised into sort of cross-
shaped figures, and rough figures of animals, have
been noted. A good example is a small kist tomb near
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Plate 28. Fig. 1. Rock carvings from the Maritime Alps of Early Metal Age.
9, Fig. 2. Rock carvings from Norway belonging probably to the
“Arctic” culture.

B'

*5
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Prometheus:

Gohlitsch (Saxony) (is) where the representation of an
axe as well as a complicated zigzag pattern is engraved
on each stone. Other engravings on dolmens have
been found in France and elsewhere. Some of the most
elaborate examples of this style of art are found near
Carnac in Brittany<i6) and comprise complicated figures
whose exact significance has not been determined, with
any certainty, although waving corn in some instances,
and the octopus in others, have been suggested. Repre-
sentations of serpents have been noted, and these have
been found in conjunction with polished stone axes.
But in one instance at any rate, at Gavr’inis, in Brittany,
the walls of a little passage grave have been covered
with concentric circles and spiral decoration (Plate 29,
no. 1), evidently showing connection with a different
art-group, probably of Early Metal Age, that had its
focus in Ireland.

The Irish examples, some apparently Late Neolithic,
others as late as the Bronze Age, are restricted to an
area bounded by imaginary lines drawn from Dublin,
through Monaghan to Sligo, and thence to Athlone
and back to Dublin (7). The most important stations
are the great tumulus at Dowth, that of New Grange
and a number of small tumuli on the Loughcrew hills
(Co. Meath). Another example of extreme interest, as
the decoration is very similar to that at Gavr’inis (Plate
29, no. 1) is found in a partially destroyed tumulus at
Sess Kilgreen (Co. Tyrone) (Plate 29, no. 2), as well as
on a single small standing stone near by. Again, the
chamber under a now destroyed tumulus occupying a
commanding position at the top of a hill, Knockmany
(Co. Tyrone) was decorated in a similar manner. Of
perhaps rather earlier date than the above monu-
ments and possibly of true, though very late, Irish
 Plate 29. Carvings on the side wall of a megalithic tomb at Gavr’inis (Brittany). 2. Carvings on the side
wall of a small tumulus at Sess Kilgreen (Ireland). 3. Conventionalised engravings on the Folk ton
chalk drum (reproduced by permission of the Trustees of the British Museum). 4. Pottery model
of a house of Neolithic Age, now in the Museum at Brno. 5. Pottery figure from Anau,

6-8. “Schist** and “Menhir” idols.

to

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228

Neolithic times—in all probability contemporary with
the Copper Age of the Spanish Peninsula—are the
engravings on the lid of a small dolmen, at Rathkenny
(Co. Meath), and others on the surface of a natural
slope of rock in the field behind the church at Clonfin-
lough (Kings Co.) (Plate 27, no. 2) not far from Athlone.
The engravings at this latter site, with their peculiarities
and conventionalisation, recall strongly similar conven-
tionalisations in the Spanish Art Group III already
described, and the stone at Clonfinlough is not at all
unlike the earlier series of rock engravings in Galicia
which have already been mentioned. The connection
with Spain is not to be wondered at, for right through
Early Metal Age times Ireland was of very great im-
portance on account of the gold found there. At a
rather later date the tumulus engravings developed,
and, as has been seen, spread as far as Brittany.

These are not all of the same age, and four distinct
methods of manufacture or technique have been noted:
first and earliest, plain incised lines; secondly, pocked
lines; thirdly, broad deep lines made by first pocking
and then polishing and smoothing; fourth and lastly,
figures pocked over the whole surface and not simply
outlined. Superposition has been observed; and (1)
and (2) are clearly older than the construction of the
great tumuli themselves: the engravings disappear into
the wall itself. In other words, the builders of the
tumuli utilised stones that had already, in some in-
stances, been engraved. It may also be observed that
in some cases figures are contracted so as to fit into
spaces where other and earlier techniques occur. This
shows (a) that the engravings of the other technique
are earlier, and (b) that the later people recognised and
respected them. The significance of the art, of course,
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229

Plate 30. Examples of the paintings of the Spanish Art Group III. Note
the various conventionalisations of the human form.
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230

is -unknown. The figures consist of spirals, lozenges,
zigzags, star-shaped, figures, circles, the famous boat-
shaped figure (New Grange), and possibly convention-
alised human faces (Knockmany). In one instance,
at Loughcrew, on a surface painted red a narrow zigzag
is left unpainted.

The connections of this group with those elsewhere
are not easy to determine, it is difficult to trace any
connection with the Bronze Age art of Bohuslain in
Scandinavia with its rock carvings of ships, men using
a plough drawn by bulls, and a cavalry battle scene.
Turning southward to Spain we may note cruciform
human figures on the left hand wall of the great passage
grave of Cueva Menga which may have been a later
addition, although the patina of the engravings is the
same as that of the rock around. There are some poor
paintings in red (18) in dolmens in the provinces of Beira
and Tras-os-Montes, the north of Portugal, as well as a
head stone in a little dolmen under the disused church
of Cangas d’Onis (19). In this latter the painting consists
of wavy bands of reddish colour.

One of the most interesting art manifestations in the
Spanish Peninsula is seen in the so-called schist idols
(Plate 29, nos. 6 and 8) that represent the human form
in a very conventionalised manner, and are roughly
triangular in shape and covered with engravings (Plate
29, no. 6). These are found buried in dolmens both in
Spain and Portugal; they are very common, for example,
in the great tumulus field near Pavia, to the south-east
of Portugal(20). They, together with “idols” made
from phalange bones, etc., form a very interesting
series of objects which are doubtless of ritual significance,
and should in all probability be considered in connec-
tion with the terra-cotta human figures that occur at
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23I

the end of Neolithic times, especially in the Eastern
Area, and appear to be connected with the general
worship of the great Earth Mother in the Near East.
In this connection may be mentioned the so-called
Menhir Idol (Plate 29, no. 7) of which several examples
have been found in France. The most characteristic
are those of Saint-Sernin, Arribats, and Pousthomy.
They represent a conventionalised human form, the
nose and eyes as well as the legs and arms being carved
in relief. A close relationship doubtless exists between
these carved grave stones and the small schist idols of
the dolmen funeral furniture and M. Pottier has also
discussed their relationship with Ethiopian megalith
monoliths (ai). It would seem probable that we are
dealing with influences from the eastern Mediter-
ranean. A find of three small solid chalk drums engraved
all over with geometrical designs and the human face
conventionalised (see Plate 29, no. 3) found in a barrow
at Folkton Wold (Yorkshire) is of especial interest^).
The barrow, which is 54 feet in diameter, covered a
chamber containing two adult skeletons and a beaker.
The drums were not found actually in the chamber
itself, but in a trench 22 feet away eastwards. They
date presumably to the Copper Age or perhaps Bronze
Age and should be compared with the Menhir Idols
just described.

BIBLIOGRAPHY and REFERENCES

(1)   G. HallstrSm. “Nordskandinaviska Hallristningar.” Fornvannen%

1907 and 1908.

---- “Hallristningar i norra Skandinavien.” Ymtr, 1907.

(2)   F. Sarasin. “Note sur une gravure pr&iistorique provenant des

tourbi&res de l’ancien lac de Wauwil (Lucerne).” Archiv.
Suisses d’Anti, ginirale, tome n, no. 3 (1917).
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232

(3)   See bibliography (10) at end of chapter v.

(4.) See bibliography (3) at end of chapter vm.

(5)   M. C. Burkitt. Prehistory. 2nd ed. (1925), p. 290.

------“Spanish rock-shelter paintings of* Aeneolithic Age (Spanish

Group III).” Antiq. Journ. vol. iv, no. 2, 1924,

(6)   H. Breuil. “La vallde peinte des Batuecas.” UAnthropologic,

tome xxix, 19x8-19.

(7)   H. Breuil. “Le char et le trafneau dans Fart rupestre d’Estrd-

madure.” Terra Portuguese, nos. 15 and 16 (1917).

(8)   H. Breuil and H. Obermaier. La Pileta. Monaco, 1915.

(9)   E. H. Pacheco. “Las Pinturas prehistoricas de PeiSa Tii.” Mem.

comm, de invest. pal.y prehist. num. 2,1914.

(10)   H. Obermaier. “Die Bronzezeitlichen Felsgravierungen von

Nordwest-Spanien (Galicien).” I.P.E.K. Leipzig, 192;.
(n) H. Obermaier. “Yacimiento prehistorico de las Carolinas
(Madrid).” Mem. comm. de invest. pal. y prehist. num. 16,1917.

(12)   C. Bicknell. A Guide to the Prehistoric Rock Engravings in the

Italian Maritime Alps. Bordighera, 19x3.

(13)   L. Baltzer. Glyphes des Rochers du Bohnslan. Goteborg, 1881.

(14)   M. C. Burkitt. Prehistory. 2nd ed. Plates XLIII-XLVII.

(15)   A photograph of the engraved stones is reproduced on p. 115 m

vol. 11 of Human Origins, by G. G. MacCurdy, 1924.

(16)   Z. le Rouzic. Carnac, Menhirs-statues avec signes figuratifs et

amulettes on Holes des Dolmens du Morhihan. Nantes, 1913.
----Locmariaquer, la Table des Marchands. Nancy, 1910.

(17)   H. Breuil. “Les Pdtroglyphes dTrlande.” Rev. Arch, tome xm,

pp- 75-78 (1921)-

R. A. S. Macalister (with H. Breuil). “A study of the Chrono-
logy of Bronze-Age Sculptures in Ireland,” Pm. Roy. Irish
Acad. vol. xxxvi, sect, c (1921).

(r 8) J. L. de Vasconcfxlos. “ Peintures dans des Dolmens de Portugal.”
UHomme prihistorique, February 1907.

(19)   Conde de la Vega del Sella. “El Dolmen de la capilla de

Santa Cruz (Asturias).” Mem. comm, de invest, pal. y prehist.
num. 22 (1919).

(20)   See bibliography (1) at end of chapter vi.

(21)   See VIllustration, 30 May, 1925.

(22)   See British Museum Guide to the Antiquities of the Bronze Age.

2nd ed. p. 80*
 INDEX

Abbott, G. W., 173, 184
Abbott, W. J. L., 23, 183
Abercromby, J., 126,128,181,184
A berg, N., 154, 162, 200
Aberystwyth, pigmy industry at,
167

Aegean, see Mediterranean
Africa, Mesolithic industries in, 16,
18; sickle from, x 18; megaliths in,
151-2, 231; Neolithic industries
in, 185-7

Agriculture, Pre-Neolithic, 2, 4, 43 j
Neolithic, 50-6,118; in the Eastern
Area, 1315 in England, 179, 180
Aichbtthl, pottery from, 126, PL 18.

7-9j culture, 137
Alpera, rock shelter near, 18 n,
Alpine race, the, 99, 100
Alsace, and Danubian culture, 133
Amber, Baltic, r; figurines, 38,
Pl. 35 trade in, 84, 2075 in Spain,
196, 197

Amorgos lance, the, 205
Anau, domestication of animals at,
58, $3«.j excavations at, 84-65
pottery at, 85, 142, 143, 2165
population of, 99
Ancylus Lake, the, 29
Apples, Neolithic, 54
Archers, wrist-guards for, 137
Arctic culture, 154,1705 in Norway,
213, 215, PL 28. 2
Argali, ancestor of domesticated
sheep, 61, PI. 6
Armstrong, L., 183, 184
Arne, T. J., xoi
Arribats, “menhir idol** at, 231
Arrow heads, 195 transverse-edged,
40,42, 44,46,108, PL 5. b and PL
11. 125 at Anau, 86; Neolithic,
113-16, 120, 158, 159, 172, Pl.
14. 3, 1765 from Scotland, 182;
African, 1865 Spanish, 192, 195,
196; Bronze Age, 205-6

Art, and magic, 2, 6, 655 in Azilian
culture, 11-13, Z1Z > absent in
Tardenoisean culture, 20, 2125
in Maglemosean culture, 38, 212;
in Kitchen midden culture, 43;
and pottery, 64-5; at Anau, 86;
Neolithic, 95-6, 215-175 in Danu-
bian culture, 134,   143-4; at

Grimes Graves, 170, 174; of the
Spanish dolmens, 1965 in Brit-
tany, 199; in Crete, 208-95 Meso-
lithic, in Norway, 212-15, PL 28.
2; of Spanish rock shelters, 217,
PL 30; and tombs, 224-31, PI. 29
Asia, Central, and Neolithic civilisa-
tion, 58-62, 78-86, 131, 2io;
N orthern, 155; Minor, 18 9,190,21 o
Asturian culture, 10, 24-6; pick, 24,
Pl. 1. 2

“Atlantic” period, the, 76
Aunjetitz culture, 206, 208
Aurignacian culture, at Mentone,
19-20, 163; in Moravia, 39, 163;
in England, 163

Australia, pigmy flints in, 16, Pl. 2.2
Avebury, long barrow near, 175;

stone circle at, 177
Awls, Neolithic, 116, Pl. 10. 6
Axe, Campigny, 32, 40, 46, 47?
PL 5. c; shell mound, 44 n.$
Neolithic, 69, 70, 103, 190, 1925
hammer, 116, PL 13. 1, 132, 136,
143; battle, 118-19; PL 9. 5, 136,
138,   155-7, 180, 200; boat-

shaped, 118-19, Pl. 9. 6, PL 145
in art, 218-19, 226
Axpea, Tardenoisean burial at, 22.
Azilian culture, 10-14, 160; in
Britain, *64

Azilio-Tardenoisean man, 20
Azda, P. R. de, 49

Bacinete, axe figured at, 219
Badari, industry at, 186
 INDEX

234

Baden, and Danubian culture, 133
Ballymena, Antrim, implement from,
120, PL 14. 2

Baltic, the, and Maglemosean cul-
ture, 27-39, 154; celts from, 1045
culture of, 97, 124; amber, 207
Baltzer, L., 232

Bann, River, implements from, 172
Bardal, Norway, rock-engravings,
213, 214

Barley, Neolithic, 53,545 at Anau, 8$
Barrows, Long, see Passage Graves;

Round, see Kists, stone
Barton Mills, barrow, 182
Battle Axe Folk, 136, 138, 156-7;
in England, 180

Bavaria, Mesolithic culture in, 20;
Neolithic pottery in, 124; and
Danubian culture, 133, 134
Beads, shell, 22; cornelian, 85;
Egyptian, 187; Spanish, 196, 197.
See also Necklaces and Ornaments
Beaker Folk, the, habitations of, 89;
tools of, 112; culture of, 137-8,
200; in England, 180-35 in
Spain, 197

Beaker, pottery, 84, 126, PI. 19,
137; in England, 180-3; in
Spain, 195, 196, 197
Belgium, Azilian culture in, 13, 164;
Tardenoisean culture in, 14-15,
18-19, 21, 168; Neolithic sites in,
87-8; Neolithic implements from,
113, 1x4, PL 12. 3 and 125 and
Danubian culture, 134
Belloy-sur-Somme, industry at,
163 n.

Biarritz, Asturian culture at, 26
Bicknell, €., 232
Bienne, Lake, dug-out from, 94
Birds, in Spanish art, 218
Birseck, Azilian station at, 160
Bishop, A. H., 48

Blangy-sur-Bresle, Campignian site
at, 46-7

Blegen, C. W., 211
Bohemia, 197; tin from, 200;
Aunjetitz culture in, 206, 208

Bohuslain, rock-engravings at, 213,
224, 230

“Boreal” period, the, 76
Boulogne, Maglemosean culture
near, 27

Brandon, Suffolk, implements from,
116, PL 11. 8, 119, Pl. 10. 1,
Pl. 24. A

Breasted, J. H., 211
Brenner Pass, the, 84, 138, 197, 207
Breuil, H., 48, 217, 232
Brighton, pigmy industry near, 167
Britain, Azilian culture in, 10, 13;
Tardenoisean ^culture in, 18, 19,
23; Maglemosean finds in, 275
climatic changes in, 28, 77-8;
Campignian culture in, 47; Neo-
lithic culture in, 97, 173-83;
Beaker pottery in, 126, Pl. 19,
180-3. $ee ak° England
Brittany, culture of, 197-9; pre-
historic art in, 199, 228. See also
Carnac

Bronze, occurrence of, in Egypt,
187; at Troy, 1905 in Spain, 197;
composition of, 201
Bronze Age, influence of, in Thes-
saly, 140; in Egypt, 187; in the
Greek islands, 1895 in Malta, 191;
in Spain, 196-7; cultures, ch. IX;
art, 213, 224, 226, 231
Brooks, C. E. P., 101
Buckley, F., 48, 49, 168, 183
Budge, E. A. W., 200
Bukowina, painted pottery in the, 138
Bulgaria, earth-houses in, 90; and
the Greek islands, 188
Bullen, R. A., 183
Burials, 6; Azilio-Tardenoisean, 20-
3, 39; Kitchen midden, 43-4; at
Anau, 85; Neolithic, 96, 132-3,
136, 137, 145-53, i^ga~
lithic, i45~53?   i75”9?   *98-95

Battle Axe Folk, 181; Beaker
Folk, 182, 197; Egyptian, 186-7;
Italian, 191; Spanish, 194-75 2065
Bronze Age, 206, 207-8
Burin, Tardenoisean, 15, 19, 168
 INDEX

Burkitt, M. C., 7, 48, 232
Burnt Fen, Neolithic implements
from, 104, 113, 116, PL 8. 6,
Pl. 11. 7, 9

Burwell Fen, implements from, 104,
106, Pl. 8. 1, 3, Pl. 10. 7
Bushell, W. D., 184
Butmir, Bosnia, wheat from, 54;
figurines from, 86, 143; indus-
tries, 143-4, Pl* 21

Cabego d*Arruda, see Mughem
Caisteal-nan-Gillean, see Oronsay
Caithness, “painted pebbles”in, 12n.
Calkin, J. B., 183

Callais, from Brittany, 158, 1985
beads of, in Spain, 195, 196
Cambridge, implements from, 120,
200

Camel, at Anau, 86
Camp de Chassey, pottery from,
124; Neolithic village at, 159
Campignian culture, 10, 32, 45-75
axe, 32, 40, 46, PL 5. c
Cangas d’Onis, painting at, 230
Capitan, L., 40, 49
Capsian culture, 185
Carnac, megaliths at, 146, 148, 158;
pottery at, 1975 culture of, 197-85
designs at, 199, 226
Cartailhac, E., 49
Castillo, human figures at, 13
Catalonia, Asturian culture in, 26
Cattle, occurrence of, 25, 475 Neo-
lithic, 62-3; at Anau, 85-6. See
also Ox

Prometheus:

Cawdor, Earl, 184
Celts, Neolithic, 102-6, 173; from
Scotland, 1835 from Troy, 190;
from Italy, 1915 in Spain, 194,
195, 196; from Brittany, 199;
Copper and Bronze Age, 202-4,
PL 26. 1-9

Chalcolithic culture, 3
Chamblandes, burials at, 159
Childe, V. G., 134 n,, 144, 157 n.
China, painted pottery from, 79,
143, 216

ns

Chisels, Neolithic, 106-8, PL 10.

7, 8, Pl. 11. 2. See also Shoe last
Ciempozuelos pottery, 196, 222,
Pl. 25

Cissbury, chisels from, 108 j flint
mines at, 174, 175

Cleveland Hills, pigmy flints from,
167

Climate, Palaeolithic, 55 Mesolithic,
10, 28, 755 Neolithic, 74-9, 97,
X3X> x33> 135

Clonfinlough, design at, 222, 228,
Pl. 27. 2
Coffey, G., 184
Colne Valley, industry, 164
Combs, occurrence of, 43
Constantine Bay, Padstow, pigmy
industry at, 167

Copper, in Spain, 50, 150, 152, 185,
192, 195-6; in eastern Europe,
138; at Carnac, 158; in the Swiss
Lake Dwellings, 161; at Stone-
henge, 178; in Egypt, 187; in
the Greek islands, 189; at Troy,
190; in Sardinia, 192; in Hun-
gary, 2005 and tin, 201
Corded pottery, 126, 135-6, 156
Cornwall, Mesolithic industry in,
19, 167

Correia, V., 162
Coton, celt from, 104, Pl. 8. 4
Crannogs, in Ireland, 93
Crawford, O. G. S., 184
Cremation, occurrence of, 133, 136,
137, 183, 207-8

Creswell Crags, industry at, 163,
164, 168

Crete, Neolithic culture in, 1875
Copper and Bronze Ages in,
188-9, 190, 208-95 influence of,
197-8

Crimea, Tardenoisean culture in
the, 18

Cromlech (stone circle), description
of, 146, Pl. 225 at Carnac, 148,
x99

Cucuteni, Moldavia, painted pot-
tery at, 138, 140
 INDEX

236

Cueva Menga, passage grave at, x 50;

human figures at, 230
Cypriote daggers, 205
Cyprus, tools from, 200, 205

Daggers, Neolithic, 113, PI. 12. 3,
155; Spanish, 195, 196, 197,
220; Copper and Bronze, 204-5,
PL 26

Danube, the, and migrations, 97,
100, 146; pottery, 122, 124, 190,
Pl. 15. 10-12, 14, 15; civilisation
of, ch. V passim, 154, 160; trade
with Troy, 191
D6chelette, J., 162, 211
Deer Park, Sligo, megaliths, 177
Denmark, pigmy industries in, 165
and Maglcmosean culture, 27 fF.;
and Kitchen midden culture, 44,
56; Neolithic implements from,
104, 105, 108, 118, 120, Pl. 14. 4;
Bronze Age garment from, 210
Dimini, Thessaly, painted pottery
at, 140, 142
Discs, Neolithic, 120
Dorpfeld, W., 200
Dog, Azilian, 10, 56; Tardenoisean,
23 j Kitchen midden, 40, 43;
Neolithic, 635 at Anau, 86
Dolmens, description of, 148-9, Pl.
22. 1, ia; Spanish, 194-65 at
Carnac, 198; designs on, 224-31
Domestic animals, 2, 4, 9, 23, 25,
26, 40, 46, 47, 50-2, 56-64; at
Anau, 85-6; of Troy, 190; in
Italy, 191; in Spain, 219. See also
Cattle, Dog, Goat, Horse, Pig,
Sheep

Dowth, tumulus at, 226
Drumvaig, see Oban
Dupont, E., 21
Dzungarian Gate, the, 82, 83

East Anglia, tools of, 102-22;
microliths in, 167, 170, PL 24;
Neolithic culture in, 170, 172,
173, 174, 179, 1825 Beaker Folk
in, 182; Bronze Age in, 201

Eastbourne, scraper from, no, PL

10. 5

Eastern Area, described, 97; pottery
of the, 122, Pl. 15, 126; culture
of the, 131-43

Egypt, sickle from, 55; plough
from, 55 n.$ domestic animals of,
64; painted pottery in, 143; and
megaliths, 151-2; Neolithic in-
dustries of, 185-75 Copper and
Bronze Ages in, 187, 210; and
Crete, 209 n.

El Argar culture, 197
Eneolithic culture, 3
England, megaliths in, 151, 153;
Mesolithic times in, 163-70; post-
Mesolithic times in, 170-2; Neo-
lithic times in, 173-83. See also
Britain

Eolithic period, 3
Eridu, painted pottery at, 189
Eriswell, Neolithic implements from,
108, 114, Pl. 10. 9 and Pl. n.
10

Erosd, Transylvania, painted pot-
tery at, 138

Essex, post-Mesolithic industries in,
170, 172

Evans, Sir A., 209
Ewart, J. C., 72, 73

Fabricator, Neolithic, 108-9,

10. XI

Fayum, the, Neolithic industry in,
185

Federsee, Wiirttemberg, and the
“Boreal” period, 75, 765 pottery
from, 126, Pl. 18. 7-9
Figurines, human, 86,134,143,188,
191, 216-17, Pis. 20. 3, 5, 21. 3
and 29. 5

Finland, Maglemosean culture in,
27, 30 “comb” decoration in,
*54

Fish, hooks, 36; engravings of, 213,
216, PL 25. 4, 5
Fishing, at Troy, 190
Flax, in Neolithic civilisation, 54
 INDEX

Flint, flaking, 15, 16, 67, 68, 69;
quarrying of, 70-2; in Neolithic
huts, 88; in England, 173
Flint implements, see Tools
Folkton Wold, chalk drums from,
231, PI. 29. 3
Fontanalba, art of, 224
Fontanella, Bronze Age culture at,
208

Fordham, arrow-head from, 114,
Pl. 11. 5

Forests, and Neolithic culture, 97,
167, 179, 180

Fox, Dr Cyril, 94, 182, 184, 211
France, Azilian culture in, 12, 13,
14; 23; Asturian culture in, 26;
Maglemosean finds in, 27
Fry, Dr, 176

Furfooz, Mesolithic industries at, 21

Gabal, rock shelter at, 222
Galicia, painted pottery in, 138; rock
carvings in, 222, 228, PI. 27.4
Gams, H., 101

Gavr’inis, designs at, 199, 226, PI.
29. 1

Germany, Azilio-Tardenoisean cul-
ture in, 20-1; climate of, 75-7,
97; Neolithic houses in, 88-9;
migrations into, 97, 156
Gimpera, P. Bosch, 162
Glastonbury Lake village, 93
Goat, found in Swiss Lake dwellings,
62

Gobi Desert, and Neolithic civilisa-
tion, 79, 82, 83

Gohlitsch, Saxony, kist tomb near,
226

Goessler, 89

Gold, in prehistoric times, 1, 2; in
Egypt, 187; at Troy, 190; in Spain,
192, 196, 197; in Ireland, 228
Gouge, Neolithic, 108, PL 9. 3
Gozo, culture of, 191
Granaries, in Egypt, 186
Grand Pressigny, flint from, 19,122,
159, 161, 199
Grapes, Neolithic, $4

m

Greece, Neolithic houses in, 905
pottery in, 118, 188; Bronze Age
in, 209-10

Grenelle, human remains at, 23
Grimes Graves, flint from, 71; im-
plement from, no, PL 10. 4;
industry at, 170, 174-5
Grossgartach, Neolithic house at, 89
Grotte des Enfants, 18, 19-20
Guden River, pigmy tools from, 45,
PL 5

Habitations, Palaeolithic, 5; Neo-
lithic, 86-95; pottery models of,
90; of the Eastern Area, 132,

136-7; at Troy, 190; Bronze Age,
207

Haddon, A. C., 101
Haldorf, Hesse Cassel, Neolithic
house at, 89
Hall, H. R., 200, 211
Hallstatt culture, 3, 207
Hallstrom, G., 231
Harpoons, 6, 10; Azilian, 13, 18,
164, 165, Pl. 1. 1 a, 166, 167;
Maglemosean, 36, Pl. 3, 38, 43,
44, 1705 Neolithic, 119, PL 13. 3
Hastings, pigmy industry near, 19,
167

Havelse Ros, Kildefjord, harpoons
from, 36

Helladic culture, 210
Hesbayt,fonds de cabanes at, 87, 132
Hesse, and Danubian culture, 133
Hinkelstein pottery, 122, Pl. 15.6.8,
133

Hoernes, M., 72
Holland, in Neolithic times, 158
Holmegaards Mose, shoulder point
from, 32

Horse, occurrence of, 23, 25, 47, 565
Neolithic, 63-4; at Anau, 85
Hungary, pottery in, 124; knife
blades from, 132; trade with, 200

Icklingham, Neolithic implements
from, 106, no, 114, Pl. 10. 3. 8,
Pl. 11.1
 INDEX

238

India, pigmy industries in, 16; and
Sumerian culture, 189, 21072.
Ireland, implements from, 120,
Pl. 14. 2. 3, 172; beakers from,
182; connexion of, with Brittany,
199, 226; prehistoric art in, 226-
30, PI. 29. 2

Italy, Mesolithic culture in, 18, 19,
2oj pile-dwellings in, 915 Neo-
lithic burial in, 96} Beaker Folk
in, 138; Copper Age culture in,
191 j Bronze Age culture in, 197

Javelins, Neolithic, 120, 155, 176
Johansen, K. F., 49
Jutland, animal figures from, 38;
shell mounds in, 44} pigmy tools
in, 45} 118; Battle Axe Folk in,
*55> *57

Kasemose, pigmy tools from, 37
Keller, F., 91
Kempchik Bom, the, 83
Kentford, Neolithic fabricator from,
108, PL 10. 11

Kirkcudbright, Azilian culture near,
*3> 164

Kists, stone, burial in, 136} de-
scription of, 149, PI. 22. 6} in
Scandinavia, 150} in England,
151, 177} in Spain, 196
Kitchen middens, 4, 10, 40-5 j Folk
of the, 43, 45, 154
Knockmany, tumulus, 226, 230
Knossos, Neolithic industries at,
187-8} Bronze Age at, 209
Knowles, W. J., 184

La Franca, cave of, 25
Laguna de la Janda, rock shelters at
the, 217

Laibach, see Loubliana
Lake-dwellings, 91-4, 106 j culture
of the, 100, 137, 145, 160-1;
pottery of the, 124, PL 16. 3, 8,10,
126, 135} *n the Bronze Age, 207
Lakenheath, Neolithic implements
from, 103, 108, Pl. 8. 2, PL 11. 2

Lamp, from Cissbury, 175
Lances, Bronze Age, 205, PL 26
Land’s End, pigmy flints from, 167
La Pileta, rock paintings, 220
Lapis lazuli at Anau, 85
Las Batuecas, rock shelters at, 218,
219

Las Carolinas, pottery from, 194,
PL 25. 3

Las Figuras, paintings at, 218

La Tkne culture, 3

La Tourasse (Pyrenees), dog at, 10,56

Layard, N., 73

Leeds, E. T., 184

Leka, Norway, paintings at, 214

Lengyel, Hungary, barley from, 54;

pottery from, 134
Lequeux, L., 48

Lincolnshire, pigmy flints in, 167,
170

Littorina Utorea, evidence from, 26,29
Los Letreros, wall-painting at, 55,
219

Los Millares, pottery from, 194, 222
Los Molinos, painting at, 219
Los Murci61agos, cave of, 192
Loubliana (Laibach), lake-dwellings
near, 91, 925 pottery, 137, PL 20,
159, 161

Loughcrew, tumuli, 226, 230
Lydekker, R., 72, 73

Macalister, R. A. S., 232
McArthur’s Cave, see Oban
MacCurdy, G. G., 232
Magdalenian culture, influence of,
in England, 164
Magic, and art, 2, 6, 65, 223
Maglemosean culture, 10, 27-39,
554> 213, Pl* 3 5 name of, 31 w.j
in Yorkshire, 170
Malta, culture of, 191-2
Man, Isle of, beaker from, 182}
“scribed stones” from, 182 n.
Manea, Honey Hill, industry at, 182
Marschwitz culture, 200
Marsden, see Warcock Hill
Mas d’Azil, cave of, 8
 INDEX

239

Mayen, “post-houses” near, 88-9
Mediterranean area, 98, ch. vin;
race, 99; Bronze Age culture in
the, 201, 208-10, 217; and the
Earth Mother, 231
Megalithic constructions, 31, 145,
146-9, 151-2, 154; in England,
173, 175-95 in Spain, 194-6; art
and, 224-31

Melos, obsidian from, 188, 189
“Menhir Idol” the, 231, PL 29. 7
Menhirs, description of, 1465 at
Carnac, 148,198-9; drawings on,
224; carvings on, 231
Mentone, Grotte des Enfants, 18,
19-20; 163, 168
Merejkowsky, C. de, 49
Merseburg, and the Rossen culture,
136^

Mesolithic period, 3, ch. I passim;
influence of, 1455 in England,
164-70, 173

Mesopotamia, the battle axe and,
157 pottery from, 189; Bronze
Age culture of, 210-11, 216
Metals, use of, 50, 56, 216; at Anau,
85-6; and megaliths, 151, 158,
176, 197, 198, 199. See also
Copper, Bronze, etc.

Michelberg, pottery from, 126,
PL 17. 1-2

Mill for grinding grain, 54, 56
Millet, Neolithic, 53
Minoan cultures, 209-10, 215
Minyan pottery, 210
Mondsee, pile dwellings in the, 137,
161

Montmorency, Neolithic site at, 55,
159

Moravia, and Danubian culture,
133, 134; Beaker Folk burials in,
137; and Thessaly, 140, 142; 163;
painted pottery in, 216
Morgan, J. de, 46 n.

Mordake, pot from, 124, 173,
Pl. 16. 9

Mouflon, ancestor of domesticated
sheep, 58-60

Muller, M. H., 48
Muller, S., 49, 162
Mughem, tumuli at, 23, 100
Muller up, great bog of, 31, 32. See
also Maglemosean
Munro, R., 48
Murray, M. A., 200
Mycenean culture, 142, 209-10
Myres, J. L., 155

Mytilus edulisy evidence from, 25, 26

Nakadah, burials at, 187
Narvik, rock engravings, 212
Navarro, J. M. de, 211
Naxos, emery from, 189
Necklaces, 6, 21, 22
Needles, 6, 36, 119, Pl. 13. 4, 196
Neoanthropic Man, 99
Neolithic civilisation, 3, 50-101;
races, 98-101; typology, ch. IV;
culture in Eastern Area, ch. V;
culture in Northern and Western
Areas, ch. vi; culture in England,
170-83; in Africa, 186
New Grange, tumulus, 226, 230
Nostvet, Mesolithic industry at, 45
Nordhagen, H., 101
Nordic race, the, 99, 100-1
North Cray, industry at, 163 n.
Northern Area, the, described, 97;
celts of, 1045 pottery of, 124,
Pl. 17, 126; influence of, on
Eastern Area, 135, 136; culture
of, ch. VI

Norway, Mesolithic industry in, 45;
art in, 212-15

Notenschrifty pottery decoration, 122,
132

Oban, Azilian culture at, 10, 13, 56,
164, 165-6, 167

Obermaier, Dr H., 7, 12, 48, 194,
200, 222, 232

Obsidian, occurrence of, 16, 188,
191, 192

Ochre, use of, 12, 21, 22

Ofnet, Bavaria, burials at, 20-1, 100

Oltingen, Neolithic house at, 89
 INDEX

24O

Omalian industry, 124, 134, PI. 15.
it. 12, 159

Ornaments, 21, 22, 43, 136} in
Spanish dolmens, 195
Oronsay Island, Azilian culture on,
13, 164, 166-7
Osborn, H. F., 7

Ox, occurrence of, 22, 62-3, PL 6. 1,
199; in rock drawings, 223, 224,
230. See also Domestic animals

Pacheco, E. H., 232
Painted Pottery Folk, 142-3
Palaeolithic period, 3, 4, 5-7, 8,
51, 755 in the Baltic Area, 27-85
in Moravia, 39; domestic animals
in the, 56-7, 645 pottery in the,
65; tool-making in the, 67-8;
in China, 79; in England, 163-4,
174; art of the, 212, 215
Palliardi, J., 144

Palmella culture, in Spain, 193-4,
Pl. 25. 1-3

Palstaves, 202, Pl. 26. 5
Pamirs, the, 81; pass in, 82, 83
Paros, marble from, 188, 189
Parry, T. W., 101
Passage Graves, culture of, 89; pot-
tery of, 124; description of, 149,
Pl. 22. 2-4, 150; English, 151,
153; Spanish, 195, 1965 in Brit-
tany, 199
Patiri, G., 48
Peake, H., 211
Pears, Neolithic, 54
Pebbles, painted, 12-13, PI* 1
Peet, T. E., 211

Pena Tti, paintings and engravings
at, 218, 220, Pl. 27. 1
Penmaenmawr, quarry at, 70;

scratched lines at, 174, 216
Pennines, the, pigmy Bints from,
167-70

Peterborough, finds de cabanes near,
173

Petreny, Bessarabia, painted pottery
at, 138

Petrie, Sir Flinders, 84.fi., 186 n.

Picks, Asturian, 24, PL 1. 2; Neo-
lithic, 42, Pl. 5. <2,108-10, Pl. 10,9
Piette, E., 8, 48

Pig, occurrence of, 23, 255 “Tur-
bary,” 63; at Anau, 85
Pigmy flints, 15-20, 22, 23, 32,
36-7; in England, 38, 167-70; in
Kitchen middens, 45; in Jutland,
ib*\ in Africa, 185; in Spain, 194.
See also Tardenoisean
Pile-dwellings, see Lake dwellings
Pins, Bronze Age, 206, Pl. 26
Plough, Neolithic, 54-5, 118, PL
13. 2; in rock drawings, 223, 224,
230, PL 28. 1

Poland, pigmy industries in, 16;
Tardenoisean culture in, 18;
Maglemosean culture in, 27, 39
Pole’s Wood South, barrow at, 176
Poppy, Neolithic, 54
Portugal, Mesolithic industries in,
13 n., 18; megaliths in, 151,
194-6; rock shelters in, 217, 218
Potter’s wheel, evidence of, 86, 188,
190

Pottery, criterion of, 2, 3, 9, 22, 23,
26; “comb,” 31, 124, 154-5; in
kitchen middens, 40, 43; Cam-
pignian, 46, 47; Neolithic, 50,
64-7, 88, 122-8,^ 173, 185-95,
2x5-17; Palaeolithic, 65; painted,
79? 9°> 95? 138-43? 189, 216;
from Anau, 85-6; of the Eastern
Area, 122, Pl. 15, 126, 131-435
of the Northern Area, 124, PL 17,
126, 154; of the Western Area,
124, Pl. 16, 126, 153-4; corded
ware, 126, 135; Butmir, 143,
PL 215 Camp de Chassey, 159,
Pl. 16. 4-7, 11, 12; Egyptian,
186-7; Cretan, 188; from Greece,
/&.; Mesopotamian, 189; in Asia
Minor, 190; in Italy, 191; in
Malta and Gozo, 191; in Sar-
dinia, 192; in Spain, 192-4; PL
25.1-3, 222; Copper Age, 195-6,
200; Bronze Age, 197, 206, Pl. 265
Aegean, 209-10
 INDEX

24I

Pottier, E., 144, 231
Pousthomy, “menhir idol” at, 231
Prescelly, blue stone from, 178
Pullenhofen, climatic changes at, 76
Pumpelly, R., 72, 85, 86
Puydt, M. de, 73, 101

Quine, J., 184

Quy, implement from, 116, PI. 11.

11

Races, Neolithic, 98-101
Rahir, E., 48

Rakhmani, Thessaly, pottery at,
142

Rapiers, Bronze Age, 205, Pl. 26
Rathkenny, engravings at, 228
Ravensburg, climatic changes at, 76
Reach Fen, celt from, 103, PI. 8. 5
Reindeer, occurrence of, 10, 19, 30,
39, 75j painting of, 214
Reinerth, H., 144

Religion, Sumerian, 210-115 and
art, 223; and idols, 230-1
Remedello, Bronze Age culture at,
208

Remouchamps, Belgium, Tardenoi-
sean site, 15, 19
Ridgeway, Sir W., 101
Ripple ware, 188

RSssen pottery, 122, Pl. 15. 5, 7, 13,
I33>   i56

Romanelli (Otranto), cave at, 18
Rouzic, Z. le, 232
Rushford, implement from, 120
Russia, pigmy industries in, 165 and
painted pottery, 1385 Battle Axe
Folk in, 156, 157; 188; rock
drawings in, 224

St Gertrude, Maestricht, flints from,
71-2, 174

St Nicholas (Cardiff), chambered
tomb at, 89

Saint-Sernin, “menhir idol” at, 231
San Dalmazo, rock drawings near,
223, Pl. 28. 1
Sarasin, F., 48, 231

Sarauw, G., 49
Sardinia, culture of, 192
Scandinavia, and Maglemosean cul-
ture, 27, 39; and Shell Mound
culture, 45; Neolithic implements
from, 104, 108, 113; megaliths in,
150, 151; rock drawings in, 212-
15, 224. See also Sweden, Nor-
way

Schipenitz, Bukowina, painted pot-
tery at, 138, 140, 142
Schist idols, in Spain, 195, 196, 220,
230-1, Pl. 29, 6. 8
Schmidt, R. R., 49
Schr&nil, J., 211

Scodand, implements from, 182.

See also Oban and Oronsay
Scrapers, Neolithic, 110-12, PL 10.

3? 4? $> 10

Scunthorpe (Lines.), pigmy tools at,
170, Pl. 24. D

Seistan, 835 and the Sumerians, 210
Serpents, on megalithic monuments,
199, 226

Sess Kilgreen, design on tumulus at,
199, 226, PL 29. 2
Settle, see Victoria Cave
Sevenoaks, pigmy industry near,

Prometheus:

23

Sheep, occurrence of, 23; domesti-
cated, 58-62, Pl. 6; at Anau,
85-6

Ships, rock engravings of, 224, 230
Shoe last tool, 116,118, Pl. 13. 2 and
21. 15, 132, 136, 140, 143
Sickle, criterion of, 43; Neolithic
54-6, PL 12. 5 and PL 30, 112;
at Anau, 85; from the Camp de
Chassey, 1595 180; Egyptian,
186; Bronze Age, 206, PL 26. 265
in Spanish art, 219
Sierra Morena, rock shelters in, 218,
219

Silver, occurrence of, 187, 190, 192,
196, 197
Siret, L., 194

Siwa oasis, sickle from, 112, Pl. 12.6
185
 INDEX

242

Slate palettes, Egyptian, 187
Slugs, Neolithic implements, 112
Smith, R., 183, 184
Snail shells, evidence from, 10, 25,
26, 78

Sollas, W. J., 7

Spain, Azilian culture in, 12,13, 14;
Tardenoisean culture in, 16, 18,
22, 23; Asturian culture in, 24-65
and the Beaker folk, 137, 180,
197; megaliths in, 150-2; 163;
copper in, 185, 192-4; Bronze
Age in, 197; rock shelter art in,
217-24; and Ireland, 228; art in
prehistoric tombs in, 230-1, PI. 29
Sphagnum peat, 76
Spiennes, flint mine at, 72
Spiral, the, in Egypt, 187; in Malta,
191; in Spain, 195, 218; near San
Dalmazo, 2235 at Gavr’inis, 226,
PL 29. 1; in Ireland, 226, 230,
PL 29. 2

Spiral-Meander pottery, 122, Pl. 15.
x-4> 133

Stein, Sir Aurel, 82
Stickband9 pottery decoration, 122,
PL 15. 9, 133
Stone, E. H., 184

Stonehenge, interpretation of, 177-9
Studer, T., 73
Sumerians, the, 189, 210-11
Susa, painted pottery from, 142,143,

2t6

Sussex, pigmy flints from, 19, 167
Svaerdborg, Maglemosean culture
at, 31, 32, PL 4

Sweden, Mesolithic industry in, 45;
celts from, 104; ‘‘comb” decora-
tion in, 154; conquests by, 156-7;
rock engraving in, 213, 224
Switzerland, Azilian culture in, 13;
Neolithic husbandry in, 53, 93;
Neolithic stock-raising in, 60-25
pile-dwellings,9r, 106,154, r6o-i;
migrations into, 100; harpoons in,
119; and Danubian culture, 134
Swords, Bronze Age, 205, PL 26
Syria, Mesolithic industries in, 18

Tardenoisean culture, 10, 14-23,
132, Pl. 2; human origins, 20, 99;
in England, 167-70, Pl. 23; in
Africa, 185; in Spain, 192
Termini Imerese, Sicily, industries
at, 18

Terremare settlements, 207
Textiles, Neolithic, 54, 935 Bronze
Age, 210

Thessaly, painted pottery in, 138,
140

Thomas, H., 178
Thompson, M. S., 144
Thuringia, corded pottery in, 135,
156

Tin, occurrence of, at Anau, 86;
at Troy, 190; in Brittany, 198;
in Bohemia, 200; and bronze, 201
Tools, antler and bone, 6 5 Azilian, 10;
Tardenoisean, 19, 235 Asturian,
24; Maglemosean, 30, 32, 36-9;
Kitchen midden, 40, 42, 44,
PL 5. d, e; at Anau, 85, ch. IV
passim; from the Camp de Chassey,
159; Egyptian, 186; see also Har-
poons

Tools, flint and stone, 6; Azilian, 10;
Tardenoisean, 15-2 3; Asturian,
245 Maglemosean, 30,   32-65

Kitchen midden, 40-25 Cam-
pignian, 46-7; Neolithic, 50,
67-72, ch. IV; from Central Asia,
82, 85; typology, ch. iv passim;
of the Eastern Area, 132, 136;
Butmir, 143; of the Northern and
Western Areas, 153, 155, 158,
159; of the Swiss Lake Dwellings,
160, 1615 from Colne Valley, 164;
from the River Bann, 172, Pl.
14. 3; of Long Barrows, 1735
Egyptian, 186-7; Cretan, 1885
Italian, 191; Spanish, 192, 194-6
Tools, metal, 202-6, Pl. 26, 217
Trade, prehistoric, 158, 161, 188,
191,192,198,199-200,201,206-7
Transport, 1; by water, 14,31,93~4>
224,230; by wheeled vehicles, 219,
Pl. 27 3
 243

index

Transylvania, painted pottery in,

Tras-os-Montes, paintings at, 230
Trephining, prehistoric, 10 r, 196
Tripolje culture, 89, 138
Trochus lineatus, evidence from, 25,
26

Troy (Hissarlik), discoveries at, 190-
1; trade with, 200; daggers at,
205 n,

“Turbary” sheep, 61, 85, 86
Typology, 99 j Neolithic, ch. rv$
Bronze Age, 202-6

Uley, “Hetty Peglers Tump,”
176

Undley, arrow-head from, 114, Pl.
11. 4

Urial, ancestor of domesticated
sheep, 60-1, Pl. 6

Valle, cave of, 16
Vasconcellos, J. L. de, 232
Vassits, M. M., 144
Vega del Sella, Conde de la, 24, 49,
232

Velez Blanco, rock shelters at, 217,
219, 222

Victoria Cave, Settle, Azilian culture
in, 13, 164-5, 166
Vinca, Danubian site, 134
Viollier, D., 72
Vouga, P., 160, 162

Wace, A. J. B., 144
Warcock Hill, Marsden (Yorks.),
pigmy industries at, 168, Pl.
23

Warren, S. H., 73, 167, 170, 172,
184

Weber, on Sphagnum peat, 76
West Kennet, long barrow, 175
Western Area, described, 98; celts
of the, 1035 pottery of the, 124,
Pl. 16, 1265 culture of the, ch. Vi
Wheat, Neolithic, 53, 54; at Anau,

85

Whitepark Bay, Neolithic tools at,
172

Whorl, stone, 119, Pl. 13. 5; at
Anau, 855 terra-cotta, 1445 Scot-
tish, 182

Wilburton hoard, the, 202 n.
Wiltshire, long barrows in, 1755
beakers in, 182
Wosinski Mor, 144
Writing, invention of, 187, 189,
210

Yoldia Sea, the, 28
Yorkshire, microlithic industry in,
19, 167-705 Maglemosean culture
in, 38

Zammit, T., 200

Zemljanka, the, in South Russia, 89
Zonhoven, Tardenoisean site, 14, 19
 CAMBRIDGE: PRINTED BY
W. LEWIS, M.A.

AT THE UNIVERSITY PRESS
 
 
 
 

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