Chapters in this book

1. Frontmatter i
2. The A. W. Mellon Lectures in the Fine Arts iv
3. ACKNOWLEDGMENTS viii
4. TABLE OF CONTENTS xi
5. INTRODUCTION xviii
6. PART I ART A FUNDAMENTAL EXPERIENCE
7. Introduction 1
8. The framework 3
9. The symbol 4
10. The animal 5
11. The human figure 5
12. Space conception 6
13. Constancy and change 7
14. PART II THE MEANS OF EXPRESSION IN PRIMEVAL ART
15. ABSTRACTION 10
16. TRANSPARENCY, SIMULTANEITY, MOVEMENT 46
17. PART III SYMBOLIZATION
18. THE SYMBOL IN PRIMEVAL ART 78
19. HANDS AS MAGIC SYMBOLS 93
20. MANIFOLD MEANINGS OF CIRCULAR FORMS 125
21. FERTILITY SYMBOLS 173
22. THE GREAT SYMBOLS 241
23. PART IV THE SACRED ANIMAL
24. Introduction 272
25. Animal cult and high civilizations 273
26. THE ANIMAL AND THE RELIGIOUS IMPULSE 275
27. THE ANIMAL AND TOTEMISM 280
28. THE ANIMAL AND THE EVOLUTION OF PRIMEVAL ART
29. THE EARLIEST BEGINNINGS OF ART 293
30. THE MAGDALENIAN ERA 336
31. THE AGE OF SCULPTURE 371
32. THE GREAT COMPOSITIONS 397
33. PART V THE HUMAN FIGURE
34. Introduction 434
35. Sculpture in relief and in the round 435
36. VENUS FIGURINES 437
37. FIGURES WITHOUT HEADS 455
38. FEMALE AND MALE RELIEFS 469
39. MASKS AND HYBRID CREATURES 485
40. PART VI THE SPACE CONCEPTION OF PREHISTORY
41. Introduction 514
42. Was there a space conception in prehistory? 516
43. On the structure of caverns and architecture 525
44. Freedom of approach to all surfaces 529
45. The coming change 532
46. Prehistoric space conception and contemporary art 536
47. The eternal present 538
48. LIST OF ILLUSTRATIONS 540
49. LIST OF WORKS CITED 552
50. INDEX 563