A HISTORY OF SCULPTURE
APOLLO:
AN ILLUSTRATED MANUAL OF THE HISTORY OF ART THROUGHOUT THE AGES, BY SALOMON REINACH, MEMBER OF THE INSTITUTE OF FRANCE, TRANSLATED BY FLORENCE SIMMONDS
M. Reinach’s manual has been welcomed withenthusiasm in every European country. It has been translated into everycivilised tongue. Never before have the treasures of all the greatgalleries been laid under such contribution, and thus M. Reinach’s bookclaims a distinctive place among students’ manuals. The new edition hasbeen revised and corrected throughout by the author with the utmostcare. Some new illustrations have been added, certain unsatisfactoryblocks have been replaced by new ones, and the bibliographies havebeen expanded and brought up to date. Interpolations in the text inconnection with English works of art or artistic possessions are addedby the translator and approved by the author.
“To criticise it would be much the same as to criticise one’s‘Bradshaw’—it is unique and it is a necessity.”—Bookman.
New and Cheaper Edition, with over
600 Illustrations. Price 6s. net.
The Virgin
From Michael Angelo’s “Pieta”, St. Peter’s. Rome.
A HISTORY OF
SCULPTURE
BY
ERNEST H. SHORT
WITH NUMEROUS ILLUSTRATIONS
LONDON
WILLIAM HEINEMANN
1907
Copyright 1907 by William Heinemann
TO
MISTRESS KATIE GIBBS
IN TOKEN OF
THE AUTHOR’S AFFECTIONATE REGARD
PREFACE
Much that might properly occur in the preface of this book will befound in its opening chapter. I there set out the ground to be covered,and define the point of view from which I have treated my facts. Thesefew remarks will, accordingly, be addressed to any who may think thata work bearing the title “A History of Sculpture” requires a word ofintroduction.
My justification for the title and, indeed, for the work as a whole,is that I have not attempted to write a new text-book. In my view,all great art is essentially national art. It can therefore only beunderstood in the light of national and international history. For thisreason, I have given much more attention to the artistic interpretationof historical events and social circumstances than most, historiansof the arts have deemed necessary. Throughout I have written from thestandpoint of one who believes that the great schools of sculpture werecreated, not, by individuals of genius, but by the peoples to whomthey appealed. A work written on these lines can fairly claim to be “AHistory of Sculpture.”
This general scheme has entailed several consequences. I am consciousthat I have dealt curtly with pre-Hellenic art—particularly with thatof the Mycenæan age. My reason is that ivory work and goldsmithery,by which Mycenæan art can best be illustrated, do not com