Page:Popular Science Monthly Volume 27.djvu/117

Rh can make out from the somewhat rude handicraft of my prehistoric Phidias, the horse of the quaternary epoch had much the same caudal peculiarity; his tail was bushy, but only in the lower half. He was still in the intermediate stage between horse and donkey, a natural mule still struggling up aspiringly toward perfect horsehood. In all other matters the two creatures—the cave-man's horse and Prjevalski's—closely agree. Both display large heads, thick necks, coarse manes, and a general disregard of "points" which would strike disgust and dismay into the stout breasts of Messrs. Tattersall. In fact, over a T. Y. C. it may be confidently asserted, in the pure Saxon of the sporting papers, that Prjevalski's and the cave-man's lot wouldn't be in it. Nevertheless, a candid critic would be forced to admit that, in spite of clumsiness, they both mean staying.

So much for the two sitters; now let us turn to the artist who sketched them. Who was he, and when did he live? Well, his name, like that of many other old masters, is quite unknown to us; but what does that matter, so long as his work itself lives and survives? Like the Comtists he has managed to obtain objective immortality. The work, after all, is for the most part all we ever have to go upon. "I have my own theory about the authorship of the Iliad and Odyssey," said Lewis Carroll (of "Alice in Wonderland") once in Christ Church common-room; "it is that they weren't really written by Homer, but by another person of the same name." There you have the Iliad in a nutshell as regards the authenticity of great works. All we know about the supposed Homer (if anything) is that he was the reputed author of the two unapproachable Greek epics; and all we know directly about my old master, viewed personally, is that he once carved with a rude flint flake on a fragment of reindeer-horn these two clumsy prehistoric horses. Yet by putting two and two together we can make, not four, as might be naturally expected, but a fairly connected history of the old master himself and what Mr. Herbert Spencer would no doubt playfully term his "environment."

The work of art was dug up from under the firm concreted floor of a cave in the Dordogne. That cave was once inhabited by the nameless artist himself, his wife, and family. It had been previously tenanted by various other early families, as well as by bears who seem to lived there in the intervals between the different human occupiers. Probably the bears ejected the men, and the men in turn ejected the bears, by the summary process of eating one another up. In any case the freehold of the cave was at last settled upon our early French artist. But the date of his occupancy is by no means recent; for since he lived there the long cold spell known as the Great Ice Age, or Glacial Epoch, has swept over the whole of Northern Europe, and swept before it the shivering descendants of my poor prehistoric old master. Now, how long ago was the Great Ice Age? As a rule, if you ask a geologist for a definite date, you will find him very chary of