HISTORY
OF
ANCIENT ART

BY
DR. FRANZ VON REBER
DIRECTOR OF THE BAVARIAN ROYAL AND STATE GALLERIES OF PAINTINGS
PROFESSOR IN THE UNIVERSITY AND POLYTECHNIC OF MUNICH

Revised by the Author

TRANSLATED AND AUGMENTED
BY
JOSEPH THACHER CLARKE

WITH 310 ILLUSTRATIONS AND A GLOSSARY OF TECHNICAL TERMS

NEW YORK
HARPER & BROTHERS, FRANKLIN SQUARE

Entered according to Act of Congress, in the year 1882, by

HARPER & BROTHERS,

In the Office of the Librarian of Congress, at Washington.

All rights reserved.

THE application of the historic method to the study of the Fine Arts, begun with imperfect means by Winckelmann one hundred and twenty years ago, has been productive of the best results in our own days. It has introduced order into a subject previously confused, disclosing the natural progress of the arts, and the relations of the arts of the different races by whom they have been successively practised. It has also had the more important result of securing to the fine arts their due place in the history of mankind as the chief record of various stages of civilization, and as the most trustworthy expression of the faith, the sentiments, and the emotions of past ages, and often even of their institutions and modes of life. The recognition of the significance of the fine arts in these respects is, indeed, as yet but partial, and the historical study of art does not hold the place in the scheme of liberal education which it is certain before long to attain. One reason of this fact lies in the circumstance that few of the general historical treatises on the fine arts that have been produced during the last fifty years have been works of sufficient learning or judgment to give them authority as satisfactory sources of instruction. Errors of statement and vague speculations have abounded in them. The subject, moreover, has been confused, especially in Germany, by the intrusion of metaphysics into its domain, in the guise of a professed but spurious science of æsthetics.

Under these conditions, a history of the fine arts that should state correctly what is known concerning their works, and should treat their various manifestations with intelligence and in just proportion, would be of great value to the student. Such, within its limits as a manual and for the period which it covers, is Dr. Reber’s History of Ancient Art. So far as I am aware, there is no compend of information on the subject in any language so trustworthy and so judicious as this. It serves equally well as an introduction to the study and as a treatise to which the advanced student may refer with advantage to refresh his knowledge of the outlines of any part of the field.

The work was originally published in 1871; but so rapid has been the progress of discovery during the last ten years that, in order to bring the book up to the requirements of the present time, a thorough revision of it was needed, together with the addition of much new matter and many new illustrations. This labor of revision and addition has been jointly performed by the author and the translator, the latter having had the advantage of doing the greater part of his work with the immediate assistance of Dr. Reber himself, and of bringing to it fresh resources of his own, the result of original study and investigation. The translator having been absent from the country, engaged in archæological research, during the printing of the volume, the last revision and the correction of the text have been in the hands of Professor William R. Ware, of the School of Mines of Columbia College.

Charles Eliot Norton.

Cambridge, Massachusetts, May, 1882.

In view of the great confusion which results from an irregular orthography of Greek proper names, a return to the original spelling of words not fully Anglicized may need an explanation, but no apology: it is only adopting a system already followed by scholars of the highest standing. The Romans, until the advent of that second classical revival in which the present century is still engaged, served as mediums for all acquaintance with Hellenic civilization. They employed Greek names, with certain alterations agreeable to the Latin tongue, blunting and coarsening the delicate sounds of Greek speech, much in the same manner as they debased the artistic forms of Greek architecture by a mechanical system of design. The clear ον became um, ος was changed to us, ει to e or i, etc. This Latinized nomenclature, like the Roman triglyph and Tuscan capital, was exclusively adopted by the early Renaissance, until, with the increasing knowledge of Greek lands and works of art, names were introduced which do not happen to occur in the writings of Roman authors. These were either changed in accordance with the more or less variable standard in use during the sixteenth and seventeenth centuries, or were adopted in their Greek form without change, the latter method being more and more generally employed. This has gradually led to a partial revision of Greek names and their spelling. Zeus and Hermes, Artemis and Athene, have resumed, as Greek deities, their original titles;—Sunium and Assus have been changed to Sunion and Assos; while other names have only been reformed in part, as in the case of the unfortunate Polycleitos, who at times appears as Polycletos, and at times as Polycleitus. Confusion and misunderstanding cannot but result from this unreasonable triple system of Latinized, Anglicized, and Greek orthography. Peirithoos may be sought in alphabetically classified works of reference under Per and Pir as well as under Peir. Πέργαμον, Pergamon, is written Pergamum, Pergamus, and Pergamos, in the two latter forms being naturally confused with the Cretan Πέργαμος, Pergamos, which, in its turn, is Latinized to Pergamus. In the present book the Greek spelling of Greek names has been adopted in all those cases where the word has not been fully Anglicized; that is to say, changed in pronunciation, when it would sound pedantic to employ its original form, as, for instance, to speak of the well-known Pæstum and Lucian as Poseidonia and Loukianos. The English alphabet provides, however, two letters for the Greek κάππα, and the more familiar c has been employed, as in Corinth, acropolis, etc., except in cases where the true sound is not thereby conveyed,—namely, before e, i, and y,—when the k is substituted. Moreover, the final αι is transformed to æ, according to the universal usage of our tongue.

Joseph Thacher Clarke.

CONTENTS.