Archaeology for All
Going into the Past. By Gordon Copley. (Phcenix House, 8s. 6d.) THE present widespread interest / in archaeology—particularly prehistoric archeology—has caused an unparalleled demand for popular introductions to the subject. These can most easily be introductions to the historical story which is induced from the archaeological record, the techniques and methods used by the archaeologist many of them in themselves so fascinating, or to the actual sites which have yielded historical facts by the applica- tions of these techniques of excavation and analysis,
In On the Track of Prehistoric Man Heibert Kan takes us to the most important sites of Franco-Cantabrian Upper Palaeo- lithic art and a few of the rock-shelter art sites of Levantine or East Spanish art. Ktffin is now Professor of Pre- and Proto- History at Mainz and has made a life study of early art. Indeed this book is less a formal guide to the caves than semi-autobio- graphical recollections of visits he made to the caves between his first visit to the Dordogne in 1923 and his recent post-war trips to Niaux and Bedeilhac with his own students, Much of it is couched in imaginary conversations, which I find an unhappy and embarrassing way of imparting information about the date and purpose of Paleolithic cave art. A formal guide book would have been more useful, with information about roads, trains, guides and hotels; and there is no obvious reason in the arrange- ment of the twelve chapters which move to and fro from France to Spain in a manner that must be confusing to the newcomer.
Kuhn repeats what he has said often before about the evolution of art styles in prehistoric Europe: he sees three styles, the Impressionism of the Ice Age, the Expressionism of the rnesolithic Levantine paintings, and, then, 'the wholly stylised, Cubist forms of the Bronze Age and later.' This is far too simplified a statement of prehistoric art, although we must agree with Ktihn's advocacy in the late dating of the Levantine paintings. Some of his facts are erroneous. Pena Tu, described (p. 31) as 'not far
from Barcelona' is near Oviedo, over 350 miles away; and the famous stag with head turned from Laugerie Basse is not at St. Germain but in the private collection of Miles Burkitt in Grantchester; plate 11 is the photograph of a cast. The book has been well translated by A. H. Brodrick, himself an archaeologist, who has written much on Palaeolithic art. He has been constrained to add a few footnotes; I agree with Brodrick that the curious, perhaps composite, animal at Lascaux, while it may be a shaman or wizard, is not obviously a dancing wizard like the famous sorcerer of Trois Freres. The book is very well illustrated. No comparable medium-priced guide to the Palaeolithic caves exists.
Going into the Past is one of a series of Excursions books for young people. Mr. Copley has written it to introduce them to the pleasure and excitement .of being 'detectives of ancient things.' It is extremely well done; admirably—indeed lavishly—illustrated, and is wonderful value for the price. I am always being asked to recommend a book to be given as a present to a young school- boy or schoolgirl who wants to be an archaeologist. Now I know what book to recommend; it is Mr. Copley's Going itT the Past. This book might have saved Howard Jones, and others like him, from hitch-hiking to Poitiers. On the other hand, it might confirm
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