A History of Sculpture

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.”