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The idea, formerly prevalent among classical scholars, that, before the introduction of the Phoenician alphabet, there was no developed system of written communication in Ancient Greece, has now fairly broken down. In itself such an assumption shows not only a curious lack of imagination, but a deliberate shutting of the eyes on the evidence supplied by primitive races all over the world.

Was it possible, in view of these analogies, to believe that a form of early culture which reached the stage revealed to us by Schliemann’s discoveries at Mycenae was, from the point of view of written communication, below that of the Red Indians? To myself, at least, it was clear that the apparent lacuna in our knowledge must eventually be supplied. It was with this instinctive assurance that I approached the field of Cretan investigation, and the results of the discoveries in the source and seminary of the Mycenaean culture of Greece have now placed the matter beyond the range of controversy. The clay archives found in the Palace of Knossos and elsewhere have proved that the prehistoric Cretan had already, a thousand years before the appearance of the first written record of Classical Greece, passed through every stage in the evolution of a highly developed system of script.

There is evidence of a simple pictographic stage, and a conventionalized hieroglyphic system growing out of it. And there is evidence in them of the evolution out of these earlier elements of a singularly advanced type of linear script of which two inter-related forms are known.

A detailed account of these fully equipped forms of writing that thus arose in the Minoan world will be given elsewhere.[1] For the moment I would rather have you regard these first-fruits of literary produce in European soil in their relation to the tree of very ancient growth and of spreading roots and branches that thus, in the fullness of time, put them forth. I refer to the primitive picture- and sign-writing that was diffused throughout the European area and the bordering Mediterranean region from immemorial antiquity.

In attempting a general survey of the various provinces—if we may use the word—in which the remains of this ancient pictography are distributed, it is necessary in the first instance to direct attention to one so remote in time and circumstances that it may almost be legitimately regarded as belonging to an older world.

I refer to the remarkable evidence of the employment of pictographic figures and signs, and even of some so worn by use that they can only be described as ‘alphabetiform’, among the wall-paintings and engravings of the ‘Reindeer Period’—to use the term in its widest general signification.

Fig. 1. Stalking Aurochs.

The whole cycle of designs by the cave-dwellers of the late Palaeolithic periods may, to a very large extent, be described as ‘picture-writing’ in the more general sense of the word. The drawings and carvings of reindeer and bisons, or more dangerous animals, such as the mammoth, the cave bear, and lion, doubtless commemorated personal experiences. In one case, at any rate, the naked man stalking an aurochs, engraved on a reindeer horn, we have an actual record of the chase.

But over and above this more elaborate kind of picture story, the mass of new materials—due in a principal degree to the patient researches of Messieurs Cartailhac, Capitan, the Abbé Breuil, and the late M. Piette—have thrown quite a new light on the development of pictography among the late Palaeolithic peoples. Such a series of polychrome wall-paintings as have been discovered in the great Cave of Altamira near Santander, in Spain—paralleled by those found in the Grotte de Marsoulas and elsewhere on the French side of the Pyrenees, with their brilliant colouring and chiaroscuro, present this primaeval art under quite new aspects. Moreover the superposition of one painting or engraving over another on the walls of the caverns has supplied fresh and valuable evidence as to the succession of the various phases of this ‘parietal’ art. We have to deal with almost inexhaustible palimpsests.

What is of special interest, however, in the present connexion, is that, side by side with the larger or more complete representations, there appear, in the lowest layer of these rock palimpsests, abbreviated figures and linear signs which already at times present a truly alphabetiform character.

Here we have the evidence of a gradual advance from simpler to more elaborate forms. On the other hand, the converse process, the gradual degeneration of more pictorial forms into their shorthand, linearized equivalents, can often be traced in the series of these representations. The Abbé Breuil, for instance, has recently published a series of tables showing the progressive degeneration and stylization of the heads of horses, goats, deer and oxen.[2] Without subscribing to his views in all their details, it is evident that this derivative series, as a whole, can be clearly made out. The abbreviation of the oxheads in Fig. 2 is fairly clear up to No. 12, though whether the further procession is to be traced in the spiraliform signs that follow may be more open to doubt. It is worth noting that a curious parallel to these very ancient examples of the degeneration of the ox’s head is to be found among the Cretan and Cypriote signs of the Minoan and Mycenaean Age.

Fig. 2.

But the course followed by evolution of figured representations during the ‘Reindeer Period’ leads to another result, which also has parallels in the history of later art, but which does not seem to be so generally recognized. The degeneration, illustrated by Fig. 2, of more or less complete figures into mere linear reminiscences, is very familiar to us. It is well illustrated, for instance, in the relation of the demotic and hieratic Egyptian signs to the hieroglyphic. But what is sometimes forgotten is that the simple linear forms are sometimes the older, and that, even as, I think, can be shown in the case of some of the Egyptian hieroglyphs, the linearization of the pictorial form was merely a going back to what had really been the original form of the figure. I have also been struck with the same phenomenon in tracing the genesis of some of the hieroglyphic characters of Minoan Crete. We have only to look at the rude attempts of children to depict objects to see that simple linear forms of what may perhaps be called the ‘slate pencil’ style precedes the more elaborate stage of drawing. Art begins with skeletons, and it is only a gradual proficiency that clothes them with flesh and blood.

Fig. 3.

So it seems to have been with the Reindeer men. It has already been noticed that the stratigraphy of the paintings and engravings on the Cairoan walls, as investigated by the Abbé Breuil, shows that those of the earliest phase were line sketches of the simplest kind.[3] They are just such as a child might draw. They seem often to have been left incomplete from mere laziness, just so much of the figure being given as to enable its identification. No. 9, for instance, in the table given in Fig. 3, is a mere outline of the front of a mammoth’s head, even the tusks and eye being omitted. No. 2 shows only a little more of a bison’s head. The eye at the beginning of the table seems to be human, and may be the ideograph of the individual who drew it. Besides these recognizable sketches there are other linear representations of the slightest kind, but which, there can be little doubt, conveyed a definite meaning to those who drew them. Of these a certain number, moreover, are purely alphabetiform in character. There is an X, an L, a T upside down, and they have learned to dot their i’s.

It is strange, indeed, that in the very infancy of its art mankind should have produced the elemental figures which the most perfected alphabetic systems have simply repeated. The elements of advanced writing were indeed there, but the time had not yet come when their real value could be recognized. It has only been after the lapse of whole aeons of time, through the gradual decay and conventionalization of a much more elaborate pictography, that civilized mankind reverted to these ‘beggarly elements’, and literature was born. Yet it is well to remember that the pre-existence of this old family of linear figures, and their survival or re-birth, the world over, as simple signs and marks, were always thus at hand to exercise a formative influence. There may well have been a tendency for the decayed elements of pictographic or hieroglyphic writing to assimilate themselves with such standard linear types.

It is certain that groups of singularly alphabetiform figures appear at times associated with the handiwork of the ‘Reindeer Period’. A good example of such a group is seen on the flank of a bison, painted in red and black on a wall of the Marsoulas Cave[4] (Fig. 4). Another curious group shows examples of the constantly recurring pectiform or comb-shaped figure. Others have been taken to represent the roof of some kind of hut. The only human sign is an open hand, which may be regarded as identical with the prototype of the Phoenician ‘kaph’, the ‘palus’ sign—our k. In its pictographic form it is found among the Cretan hieroglyphs, and a linearized version identical with ‘kaph’ recurs among the Minoan linear characters.

In Fig. 5[5] are collected some specimens of signs or symbolic figures from the Cave of Castillo, on the Spanish side of the Pyrenees, showing amongst others the ‘hand’ and some figures which may represent hats. A remarkable group of three alphabetiform signs occurs on a fragment of reindeer-horn discovered by M. Piette in the Cave of Gourdan.[6] One of these shows a great resemblance to an A or Aleph. A harpoon of reindeer-horn, again, from La Madeleine,[7] shows a group of eight linear signs, among which we may detect, however, several repetitions.

In the face of these and similar examples, are we to conclude with the late M. Piette[8] that there was a regular alphabetic script during the Pleistocene period, which in turn had been preceded by a hieroglyphic system?

Fig. 4.

Fig. 5.

The artistic achievements of the men of the Reindeer Period attained such a high level that even such a conclusion could hardly excite surprise. In their portrayal of animal forms—in their power of seizing the characteristic attitude of the creature represented—they show themselves on a level with those later ‘Minoan’ artists of prehistoric Crete and Greece who produced such masterpieces as the wild goat and kids or the bull-hunt on the Vaphio Cups. We now know that the Minoan race had also a highly developed form of linear script. Might not their remote predecessors on European soil have evolved the same?

Fig. 6.

That they had sufficient intellectual capacity to evolve a system of writing, can hardly be doubted. There were, no doubt, some inferior elements among the population of the Reindeer Period. It is possible that certain low cranial types of the Neanderthal class may have survived till late Pleistocene times; and the stratified remains, for instance, of the Grotte des Enfants at Grimaldi, near Mentone, show that its occupation by scions of a fine proto-European race—akin to the ‘men of Cro-Magnon’—alternated during a certain time with occupation by a race of negroid intruders presenting characteristics as low as those of the Australian black men.[9] But the prevailing type of skull associated with the interments in the Mentone Caves—those of men with upright jaw and finely cut nose—struck no less competent an observer than Sir E. Ray Lankester as exhibiting a perfection of development and a cranial capacity worthy to be compared with those of civilized Europeans of the present day.

We must, however, still remember that, whatever the intellectual capacity of these archaic people, they did not possess that heirloom of the Ages, the accumulated experience of the later races of mankind. Art, indeed, seems to have come to them by nature, and they had other germs of civilization—an incipient cult of the dead, some taste for personal ornament. They were possessed of a variety of arms and implements of stone and bone and other materials. They could kindle fire and even mitigate the darkness of their subterranean vaults with primitive stone lamps. They seem to have been skilful trappers, and had even learned to bridle the horse. Yet many of the most simple acquirements of primitive culture were still unknown to them. They knew neither the potter’s nor the weaver’s, nor the husbandman’s craft. They went mother-naked, and their principal dwellings were the caves and dens of the earth.

This is emphatically not a people to be credited with an advanced form of script. It seems more probable that the groups of linear signs that occur should rather be regarded as mnemonic symbols, and the mere isolated characters perhaps as individual marks. Some, it may be, had acquired a magical value. A mnemonic series may be paralleled by the well-known example of a mnemonic song of an Ojibway medicine-man, in which every sign suggests a whole order of ideas.

It is noteworthy that among the more abbreviated representations from the hands of the men of the Reindeer Period the human figure is little brought into play, though the eye and hand do occur. In general, moreover, we see little of the reaction of gesture language on their pictorial records. In a scene from the walls of the Cave of Les Combarelles,[10] however, a male figure is depicted with a hand raised, and the other held straight out—evidently representing some expressive utterance of gesture language (Fig. 7).

Another good instance of a gesture occurs among the strange anthropoid figures with animal profiles, which, nevertheless, Messieurs Cartailhac and Breuil consider to represent human subjects masked or travestied.[11] On the roof of the hall of the Altamira Cave is one of these quasi-human subjects, with the arms raised, with open palms in front of its head, an attitude on which its discoverers justly remark: ‘It is impossible to overlook the analogy of this gesture with that which throughout all antiquity and amongst nearly all peoples indicates supplication or prayer.’[12] As a sign of adoration it has given rise to the Egyptian hieroglyphic Ka.

Fig. 7.

Had the men of the Reindeer Period a fully developed speech in addition to this gesture language? That they had the elements of such, of course, stands to reason. Mere animal cries and what may be called ‘voice signs’ might have carried them far, nor would it be possible to say at what point the transition from such primitive methods of oral communication to what might legitimately be called articulate speech was overpassed.

But there are at least some weighty reasons for doubting whether this higher stage was really attained by Palaeolithic man. In North America, which, like other parts of that continent, seems to have received its first human settlers at a comparatively late geological date, a considerable amount of physical conformity is perceptible among the Red Indian tribes. But we are confronted by the significant fact that this racial unity is nevertheless compatible with the existence of a multiplicity of native tongues. It has been observed that the number of known stocks or families of Indian languages in the United States amounts to over three score, differing among themselves ‘as radically as each differs from Hebrew, Chinese, or English’.[13] In each of these linguistic families, again, there are several—sometimes as many as twenty—separate languages, which differ again from each other as much as do the various divisions of the ‘Aryan’ group.

But if the original forefathers of these tribes had brought with them a fully developed articulate speech, is it conceivable that the languages of their descendants should be so radically different? This phenomenon, moreover, is thrown into further relief by the fact that when we turn to the signs and gestures current among the Red Indian tribes we find a large common element.

It may be that the very deficiencies in articulate speech which we may justly assume to have existed during the Reindeer Period gave a spur to other means of personal intercommunication. Not only would the infancy of speech promote the use of gestures, but it may have powerfully contributed towards diffusing the practice of making pictorial records.[14] The possibility, therefore, does not seem to be excluded that men drew before they talked.

Nothing in itself is more baseless than the idea that oral language is necessary for the expression of abstract ideas. The case of deaf-mutes, who without the aid of speech can give expression to the most complicated ideas, affords an example of this in the midst of a civilized society. The study of gesture-language enables us to see how easy and natural is the process by which the expression of abstract ideas grows out of the imitation of concrete objects. Take the very word to ‘grow’. An Indian expresses the notion of a tree by holding the right hand before his body, back forwards, with the fingers spread out—the fingers, as it were, representing branches, and his wrist the trunk; to show that it is high he pushes it slightly upwards. For grass he holds his hand with the fingers upwards in the sense of blades, near the ground. In order to express the general idea ‘to grow’ he begins as in the sign for grass, but instead of keeping his hand near the ground, pushes it upward in an uninterrupted manner.[15] So, too, to express falsehood he places his index and second fingers so that they separate in front of his mouth, in order to indicate a double tongue. For truth he places his index finger only in front, to show, if we may use the expression, that he is ‘single-tongued’.

Root elements of gesture language, which as a means of communication preceded the development of articulate language as opposed to mere emotional cries, seem themselves to be almost universal. And picture-writing—the sister mode of expression—has also, as we see from the example of the American Continent, even in some of its more conventional developments, an immeasurably wider currency than the comparatively recent growths of oral communication. In China, amongst a great variety of mutually unintelligible languages and dialects, the ideographic characters, which are really conventionalized pictures, and independent of oral equivalents, supply to a great extent the place both of gesture and spoken language. The Red Indian world, as we have seen, is a Babel of disconnected languages, but the old sign-language is the same, and the picture-language of one tribe is generally intelligible to another.

The great uniformity of simple gestures in all countries of the world is thus a cause predisposing to a considerable amount of uniformity among the pictorial signs into which this element enters. If we take, for instance, that pathetic monument of picture writing, the well-known rock-painting of the Tule River in California, we see a series of human figures with outstretched hands, signifying, in the American gesture-language, ‘Nothing here.’ Two outstretched arms, by themselves, appear in the sense of negation among the conventionalized Maya pictographs of Yucatan,[16] and the sign reappears in the same abbreviated form, and with the same meaning, among Egyptian hieroglyphs. So, too, the ideograph of a child or son—an infant sucking its thumb—is found alike in ancient Egypt, China, and North America.

Gesture language, in fact, is constantly reacting on the pictographic method of expression, and may be said to supply it with moods and tenses even without the aid of words.

It must, nevertheless, be borne in mind that simple pictography, whether or not aided by gesture language, is one thing. The evolution of a regular script is quite another matter.

Fig. 8.

A conventionalized system of writing can only be thought of in connexion with a highly developed articulate speech. And this was certainly the achievement of a later world than that of these old Palaeolithic hunters. The physical condition now changes. The characteristic fauna of the Reindeer Period disappears, and with it the remarkable race to whom were due the first known products of high art. The close of the Pleistocene Age and the beginning of the New Era is marked in France by a curious deposit in the Cave of Mas d’Azil, on the left bank of the Arize, in which its explorer, M. Piette, found a number of flat oblong pebbles marked with red stripes and simple figures by means of peroxide of iron.[17] M. Piette has endeavoured to trace in some of these a definite system of numeration by means of lines and circles, and even particular signs for a thousand, ten thousand, and a million. That some of these represent simple numerical markings is possible, but beyond this point it is impossible to follow M. Piette. Among the other markings are several, sometimes repeated on the same pebble, of curiously alphabetiform aspect. Among these are signs resembling our E, F, and L, a Gothic M, the Greek Theta, Gamma, Epsilon, Xi and Sigma, the Phoenician Cheth, and some terms that occur in the Minoan and Cypriote series.

The occurrence of this series of geometrical marks must be regarded as another proof of how early such alphabetic prototypes originated. The Mas d’Azil series has no particular connexion with the linear signs associated with the handiwork of the Reindeer Period. Their meaning is obscure. Some may be degraded pictographs, often perhaps of animals or their parts, with a traditional meaning attached to them. Some may be of purely individual and arbitrary invention. The numbers on the pebbles have suggested the view that they may have served for games. On the other hand, it is by no means improbable that the figures had a magic value, and Mr. A. B. Cook[18] has called attention to the parallel presented by the Australian deposits of pebbles called Churingas, connected with the departed spirits of a tribe, and having designs of a totemic character. It is certain that the people who produced these coloured pebbles were in a rude state of barbarism far below the gifted race who had preceded them in the same sheltering cavern. Few will probably be able to follow M. Piette in discerning in these rudely executed marks actual letters—at any rate with a syllabic value—and the true ancestors of the Greek and Phoenician alphabets, or in regarding the Cave of Mas d’Azil ‘as one vast school where the scholars learnt to read, to reckon, to write, and to know the religious symbols of the solar god’.

The deposit of Mas d’Azil containing the coloured pebbles belongs already to the modern world, the fauna associated with it all belonging to existing species inhabiting the temperate regions. The rude culture then exhibited heralds the beginning of the Neolithic Period. This later Stone Age is not characterized by any of the artistic genius displayed by the men of the Reindeer Period. Figured representations are now rare. The caves, moreover, which preserved the earlier records, were now used more for sepulture than habitation. Yet the analogy of all primitive races at the present day shows that it would be a mistake to suppose that, though the act may have been rude, the practice of picture-writing was not still universally in vogue throughout the European area. We have to bear in mind how many of such records are consigned to perishable materials—such as bark or hides, or in the case of tattooing the human body itself.

During the later prehistoric times, and notably during the Early Metal Age, many abiding records, in the shape of rock-sculptures, paintings, and engravings, and at times graffiti on pottery, are found diffused throughout the whole of our Continent and the adjoining Mediterranean area; and in outlying regions, such as Lapland, the practice of picture-writing can be traced down to modern times.

Fig. 9.

Though a large amount of isolated materials exists on this subject, the evidence, so far as I am aware, has never been put together in a systematic manner. Yet it seems possible that, by means of a due co-ordination of the materials and the application of the comparative method, the European area may eventually be divided into distinct zones or provinces, each characterized by its certain typical pictographic feature. Primitive lines of intercommunication may with great probability be made out, and evidences of early racial extension come to light by this method of investigation.

It is interesting to observe that it is in the extreme north of Europe, where the conditions most approach those of the Reindeer Period, that purely pictographic methods have remained the longest. The Lapp troll drums, used as a means of divination by the native shamans, show a variety of linear figures and symbols which had a traditional interpretation. Thus in the simple example given in Fig. 9, taken from Scheffer’s Lapponia,[19] we see, in the upper compartment, according to the interpretation preserved by Scheffer, four Lapp gods, with rayed heads, one of them identified with the Norsk Thor, above which are the crescent moon, twelve stars, indicated by crossed lines, and seven flying birds—resembling the simplification of the same figures seen in the Cretan linear script.

On another base are three more sacred figures with rayed heads, signifying Christ and two apostles, taken into the Lapp Pantheon at a somewhat lower level. The centre of this compartment is occupied by the sun, and about the field are depicted a reindeer, wolf, bear, ox, fox, squirrel, and snake. To the right are three wavy lines representing a lake and exactly reproducing the Egyptian hieroglyph of ‘water’.

Fig. 10 shows a more elaborate example,[20] of which the interpretation has not been supplied. The variation of gesture displayed, somewhat rudely it is true, by the various figures on this drum illustrates the intimate and ever-recurring connexion between pictography and gesture-language.

These Lapp troll drums must have been generally in use till the end of the seventeenth century. It was not, indeed, till the middle of the succeeding century that Christianity took a real hold on the population. That there has been a considerable survival of surreptitious heathenism among the Lapps, I myself was able to ascertain during two journeys undertaken with that object through Finnish and Russian Lapland in 1874, and again in 1876. It was specially interesting to observe that some of the traditional figures seen on the old troll drums are still engraved on the reindeer-horn spoons of that region.