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These Pages Print Best In Landscape Mode 
Ever notice how hard it is to find a real nice cave man picture these days? Take it from me--it's not as easy as it used to be. Those classic artist renderings from a single tooth, from small bone fragments or from skull pieces -and on occasion, entire skulls permitted artists to let their imaginations run wild and silmultaneously to support the idea that our ancestors were primitive.
Click and drag photo to resize.
This of course supported evolutionary theory and caused many who believed in the Biblical view of creation to perplexedly wonder where cave men fit in.
As time goes by, the truth of what our ancestors actually looked like became more and more evident--like us, pretty much. That's why it's becoming more difficult to find those old cave man characterizations, even most "knowledgeable" evolutionists have to admit that "Cro-Magnon" and "Neanderthal man" are fully human. (Photo:top left; recent computer and/or forensic recreations of "Neanderthal", right and "Cro-Magnon", left who is scowling, of course. Far right: Cro-Magnon steps out.)
So while, in the past evolutionists have been drawing them as ape-like and brutish to drive home the notion that we have "evolved"--we now both (Christians & evolutionists) know that they look like what a Christian or Bible believer would expect--us. Not only that, when " "they" drew themselves from life, (15,000 years ago according to evolutionary time) they tended to look more like this 
(Photo: Below, left "caveman" self portrait) (more on these self portraits on page 2).
(Photo: Below, left "caveman" self portrait) (more on these self portraits on page 2).
Obviously, this kind of look is more like what Christians might have expected. When's the last time you saw a representation of our supposed evolutionary ancestors with a Supercuts like trim and hat at a jaunty angle?
In Genesis, Adam and Eve are created without dragging knuckles--they raise children and carry on conversations just like "normal" people. They tilled the soil. They spoke to God. Evolutionists, however are tied to the idea of very primitive beginnings--where for long periods, our ancestors were not even fully men.
We've even come to accept the idea that larger brows or thicker bodies necessarily suggests less sophistication--less advancement. I laughed when I read this morning that this particular evolutionist had to admit that "Neanderthal" looked a lot like us but--probably was short and had sloping shoulders.
(See Also the cosmetic surgery performed on Neanderthal,in Buried Alive, by Jack Cuozzo--See page 8 of this section)That's still supposed to suggest that he was less advanced than modern man--but when you really think about it, --even if it were true about the shortness and sloping shoulders--all that would really mean is that there was little chance he could make it as a runway model.
Shortness and sloping shoulders--even a prominent brow have nothing whatsoever to do with intelligence, survival or level of "advancement".
You yourself may be short, have sloping shoulders and/or a prominent forehead. Even so, the evidence is that our ancestors were smarter, faster, and larger--had better eyesight, better technology than we suppose and were as "handsome" as we are.
And by the way, a cave man is simply a man (or woman) who lives in a cave! If they stooped, it was because the roof was low. Why were they in there in the first place? Perhaps war, pestilence, Flood, tower of Babel or other hardships forced men into caves for protection in certain locales and from time to time.
One of the items we discuss here below is suppressed information (over 100 stone tablets) that "cave men" had an early written language--much, much earlier than science admits.
Artifacts of Ancient Man
ANCIENT HUMAN CULTURES APPEAR IN SOPHISTICATED FORM
"...A more exact profile on ancient man can be derived from examination of actual artifacts which reveal his extensive sophistication. Rene Noorbergen writes that "for the past thirty years there has been a steadily increasing number of historical and archaeological discoveries made at various sites around the world, which, because of their mysterious and highly controversial nature, have been classified as 'out-of-place' artifacts.
....The reason for this designation is that they are found in geological strata where they shouldn't be, and their sudden appearance in these layers of ancient dirt has baffled the minds of many a trained scientific observer.
They emerge from among the remains of the treasured past sans evidence of any preceding period of culture or technological growth. In many cases, the technical sophistication of the (out-of-place artifacts) extends far beyond the inventive capabilities of the ancient peoples among whose remains they were discovered.''
Site Medzamor in Soviet Armenia is of intriguing interest. An international scientific report published in 1969 expressed the belief that these finds point to an unknown period of technological development.
"Medzamor was founded by the wise men of earlier civilizations. They possessed knowledge they had acquired during a remote age unknown to us that deserves to be called scientific and industrial.'
The preceding year Koriun Megurtchian of the Soviet Union unearthed the oldest large-scale metallurgical factory currently known. At this site over 4,500 years ago an unknown prehistoric people worked with over 200 furnaces, producing an assortment of vases, knives, spearheads, rings, bracelets, etc.
The Medzamor craftsmen wore mouth-filters and gloves while they labored and expertly fashioned their wares of copper, lead, zinc, iron, gold, tin, manganese, and fourteen kinds of bronze.
The smelters also produced an assortment of metallic paints, ceramics and glass. Scientific organizations from the Soviet Union, the United States, Britain, France and Germany verified that several pairs of tweezers made of exceptionally high grade steel were taken from layers predating the first millennium B.C.
In Scientific American (June 1951, Vol. 7, p. 298) a report was given concerning a metallic vase that had been dynamited out of solid rock on Meeting Horse Hill in Dorchester, Massachusetts. The report read, "On putting the two parts together 
it formed a bell-shaped vessel, 4 1/2 inches high, 6 l/2 inches at the base, 2 1/2 inches at the top and about an eighth of an inch in thickness.
The body of the vessel resembles zinc in color, or a composition metal in which there is a considerable portion of silver. On the sides there are six figures of a flower, a bouquet, beautifully inlaid with pure silver, and around the lower part of the vessel, a vine, or wreath, inlaid also with silver.
The chasing, carving and inlaying are exquisitely done by the art of some cunning craftsman. This curious and unknown vessel was blown out of the solid pudding stone, fifteen feet below the surface."
The scientific journals Nature (London,1886) and L'Astronomie (Paris,1887) published confirmation that in 1886, in the foundry of the Austrian Isador Braun of Vocklabruck, a block of coal dating from the Tertiary period was broken open.
A small metal cube was discovered inside. Tests indicated that the cube was composed of a steel-nickel alloy. It measured 2.64 by 2.64 by 1.85 inches, weighed 1.73 pounds, and had a specific gravity of 7.75.
The edges of this ancient cube were perfectly straight and sharp; four of its sides were flat, while the two remaining opposite sides were convex. A deep groove had been cut all the way around the cube. It appeared that the cube had been machine made and was part of a larger mechanism.
It was perhaps with uncanny insight that historian Will Durant wrote, "Immense volumes have been written to expound our knowledge, and conceal our ignorance, of primitive man...primitive cultures were not necessarily the ancestors of our own; for all we know they may be the degenerate remnants of higher cultures..."
Prehistorian Robert Silverberg describes the sophistication of Paleolithic art in terms which equate with the thesis of this dissertation: "The cave paintings are upsetting to those who prefer to think of Quaternary man as little more than an ape.
Not only do they indicate great craftsmanship, but they point to a whole constellation of conclusions: That primitive man had an organized society with continuity and shape, religion and art.
It was so dismaying to learn that the earliest inhabitants of Western Europe...had scaled heights of artistic achievement that would not be reached again until late in the Christian era. That exploded the theory [that] man's rise from barbarism had been steady and always upward.'' From the facts at hand there is warrant for the concept that barbarism occurred after the great heights of achievement were manifest.
The great archaeologist, William F. Albright, in From The Stone Age To Christianity, gave his expert impressions about Paleolithic art: "...though the number of motifs, techniques and media available to him now is, of course, immeasurably greater, it is very doubtful whether man's artistic capabilities are actually any higher today than they were in late prehistoric times."
Research has supported the concept that Stone Age man lived in well-constructed houses. The Magdalenian paintings have been admired for their originality and profusion. Yet, in these Lascaux Caverns one can still see the holes in the rock that supported wooden crossbeams.
These crossbeams held scaffolding that enabled Cro-Magnon artists to execute their works on the cave ceilings ten to twelve feet above the cavern floor, much like Michelangelo constructed many millennia later.
Rene Noorbergen sheds revealing light on this subject of Stone Age sophistication:
What are perhaps the most disturbing prehistoric construction and civilization finds were uncovered in 1965 by archaeologist Dragoslav Srejovic at a site now called Starveco, on the Danube River, on the Yugoslavian and Rumanian border.
Digging into the Yugoslavian bank, Srejovic first encountered traces of a Roman road; beneath this were fragments of proto-Greek pottery, and below these were Neolithic remnants and traces of Mesolithic cultural artifacts.
Deeper still, Srejovic came upon something totally out of place: the remains of a cement floor. More specifically, the material was an amalgam of local limestone, sand and water, considered a feat of chemistry and construction several millennia ahead of its time. The cement surfaces were not placed haphazardly, but were carefully laid out in large slabs to form the foundations of houses.
Deeper still, Srejovic came upon something totally out of place: the remains of a cement floor. More specifically, the material was an amalgam of local limestone, sand and water, considered a feat of chemistry and construction several millennia ahead of its time. The cement surfaces were not placed haphazardly, but were carefully laid out in large slabs to form the foundations of houses.
Several foundations were built one on top of another, indicating that buildings had been constructed and reconstructed over an indeterminate period. Yet there was also remarkable 
uniformity. (Photo:some of the Starveco foundations) The layout of the houses in the later periods was the same as that in the earlier periods - there was no evidence of a gradual development from a simple to a complex pattern.
uniformity. (Photo:some of the Starveco foundations) The layout of the houses in the later periods was the same as that in the earlier periods - there was no evidence of a gradual development from a simple to a complex pattern.
Rather, the Starveco village suddenly appeared, fully mature, flourished, then decayed and was abandoned in the same advanced state. In addition to the foundations, the individual Starveco buildings also showed a high order of architectural sophistication. They all had one side larger in size than the other three, with proportions of either 3:1 or 4:1. The larger side was shaped like a 60-degree segment of a circle.
This larger side always faced toward the river, providing the occupants with the maximum view of the Danube and the surrounding hilly country. Inside each house, the shape of the dwelling was repeated in the hearth or oven, which was bounded by carefully shaped stone slabs and always located in the eastern or sunny end of the house.
Srejovic noted that the position of the hearth was significant, as it was situated in the exact center of an equilateral triangle if the lines of the house were extended....The implications of the mathematical and geometrical knowledge cannot be ignored.
The same precision and order evident in the architecture is also found in the arrangement of the dwellings at the Starveco site. The structures were laid out in what appears to have been a planned fan shape, opening toward the riverbank.
The larger buildings, presumably those belonging to members of a higher class or governing body, were located toward the center, surrounding a paved plaza...
The Starveco site has yielded a number of other cultural characteristics previously thought to have been developed thousands of years later, in the Middle East. Behind the hearth in each house, laborers unearthed the remains of altars, indicating religious beliefs and practices.
Each altar was composed of a flat stone, with a cup impression for burning a sacriffce, which faced two or more upright stones of reddish sandstone. This sandstone has been excavated from an outcrop, located in a ravine several miles away, and many of the stones had carved wavy lines or chevrons in low relief, considered the oldest examples of architectural decoration. Even more significant was the discovery of twenty sculpted life-size human faces of stone....
An interesting aspect of the site was the evidence of very good health among the Starveco population. There was a striking absence of deformed or diseased bones, and the women were so robustly built that it was difficult to tell their skeletal remains from those of the men.'
In spite of his absence from Western culture and history "Stone Age" man is seen to equal or, in some cases, to surpass our own modern accomplishments."...
Source:Rene Noorbergen
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