Читать книгу A History of Sculpture - Ernest Henry Short - Страница 3

Table of Contents

Much that might properly occur in the preface of this book will be found 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. These few remarks will, accordingly, be addressed to any who may think that a work bearing the title “A History of Sculpture” requires a word of introduction.

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 be understood in the light of national and international history. For this reason, I have given much more attention to the artistic interpretation of historical events and social circumstances than most, historians of the arts have deemed necessary. Throughout I have written from the standpoint of one who believes that the great schools of sculpture were created, not, by individuals of genius, but by the peoples to whom they appealed. A work written on these lines can fairly claim to be “A History of Sculpture.”

This general scheme has entailed several consequences. I am conscious that I have dealt curtly with pre-Hellenic art—particularly with that of the Mycenæan age. My reason is that ivory work and goldsmithery, by which Mycenæan art can best be illustrated, do not come within the scope of the book. References to such schools as the modern German and the American have been omitted in the belief that they would have added little to the strength of my main argument. For the same reason I have devoted comparatively little space to biographical details concerning individual artists—even of the first class—and have referred to only the most characteristic of their works.

I trust, however, that I have mapped out the main facts which are essential to a right judgment in sculpture. The list of books will indicate sources of more detailed information about particular schools and artists.

Seeing that I have dealt with general propositions rather than particular facts, I have not burdened my pages with continual references to “authorities.” Any of my readers who regret the absence of the “notes” so dear to many Englishmen, will, I am convinced, be out-numbered by those who will welcome this small relief. I have purposely confined my bibliography to small limits, and, as a rule, have only included books likely to be of use to English readers. I have taken care to choose those which are well illustrated.

In the absence of “notes” and an extensive bibliography, I can only make a general acknowledgment of my obligation to the many writers who have dealt with various aspects of the art. I wish, however, to record the deep debt of gratitude I owe to my friend, Dr. Emil Reich. I am indebted to him for that broad, large-hearted view of general history which is essential to the right understanding of any art. With his name I should like to couple that of my wife, upon whose sympathetic help I have relied from first to last.

I have to thank my father, Mr. Charles Short, and Mr. Edwin Preston, for their kindness in reading my proofs, and Mr. H. L. Weinberg for his help while this book has been passing through the press.

Ernest H. Short.

6, Pitt Street,

Kensington.