A HISTORY OF SCULPTURE

A history of sculptureAN ILLUSTRATED MANUAL OF THE
HISTORY OF ART THROUGHOUT THE AGES, BY SALOMON REINACH, MEMBER OF THE INSTITUTE OF FRANCE, TRANS- LATED BY FLORENCE SIMMONDS
M. Reinach's manual has been welcomed with enthusiasm in every European country. It has been translated into every civilised
tongue. Never before have the treasures of all the great galleries been laid under such
contribution, and thus M. Reinach's book claims a distinctive place among students'
manuals. The new edition has been revised
and corrected throughout by the author with the utmost care. Some new illustrations have been added, certain unsatisfactory blocks have been replaced by new ones, and the
bibliographies have been expanded and brought up to date. Interpolations in the
text in connection with English works of art
or artistic possessions are added by the
translator and approved by the author.
"To criticise it would be much the same as to
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A HISTORY OF SCULPTURE
A/B6o
TO
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 interpreta-
tion 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.
viii PREFACE
I am conscious that I have dealt curtly with pre-Hellenic
art particularly with that of the Mycenaean age. My reason is that ivory work and goldsmithery, by which
Mycenaean 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 biblio-
graphy, I can only make a general acknowledgment of
PREFACE ix
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.
CONTENTS
I. THE RISE OF GREEK SCULPTURE AND THE ATHLETIC
SCULPTURES OF GREECE . . I . . . 3
II. THE PARTHENON AND THE TEMPLE STATUARY OF GREECE
(470 B.C. to 420 B.C.) k > 4 3&ia$i 05
III. THE AGE OF SCOPAS AND PRAXITELES (400 B.C. to 330 B.C.) 44
IV. LYSIPPUS AND THE FOURTH-CENTURY REALISTS; WITH A
NOTE ON MODERN SCULPTURAL CRITICISM . . 6$
PART II. HELLENISTIC AND ROMAN SCULPTURE
V. THE POST-ALEXANDRIAN ART OF THE EMPIRE OF SELEUCUS,
THE KINGDOM OF PERGAMUS, OF RHODES, AND OF
ALEXANDRIA (300 B.C. to 50 B.C.) .... 83
VI. THE HELLENISTIC SCULPTURE OF GREECE (3OO B.C. tO
50 B.C.) . . i 99
VII. THE PORTRAIT SCULPTURE OF ROME (5 1 B.C. to A.D. 330) . 117
PART III. THE SCULPTURE OF THE ITALIAN RENAISSANCE
VIII. THE GOTHIC SCULPTORS AND THE RISE OF ITALIAN SCULP-
TURE AT PISA (A.D. 1000 to 1350) . . . . 145
IX. THE RISE OF NATURALISM GHIBERTI, DONATELLO, VER-
OCCHIO, ETC. (A.D. 14^0-1500) . . . .159
xii CONTENTS CHAI>, PAGE
X. MICHAEL ANGELO AND THE FLOOD TIDE OF RENAISSANCE SCULPTURE (A. D. 1490-1530) . .... 183
XI. ITALIAN SCULPTURE FROM A.D. 1527 TO A.D. 1650 CELLINI, GIOVANNI BOLOGNA, AND BERNINI . . 198
PART IV. MODERN SCULPTURE
XII. THE ART OF MONARCHICAL FRANCE, FROM FRANCIS I. (A.D.
1515) TO THE FRENCH REVOLUTION (1789) . . 221
XIII. THE NEO-CLASSICAL REVIVAL : EUROPEAN SCULPTURE OF
THE REVOLUTION AND THE REACTION (A.D. 1789-
1848) . 246
XV. THE MODERN BRITISH SCHOOL (THE NINETEENTH CENTURY) 280
LIST OF BOOKS . 305
page
Rome ....... Frontispiece
DEDICATORY STATUE (Archaic). The Acropolis Museum, Athens 12
HARMODIUS. National Museum, Naples . . . . 14 THE CHARIOTEER. Delphi Museum . .
<||, . . 14 THE SPARTAN GIRL. The Vatican, Rome
fl; . . . 18
THESEUS. British Museum. A figure from the Eastern Pedi-
ment of the Parthenon t
. r * . . . 30 THE THREE FATES. British Museum. A group from the
Eastern Pediment of the Parthenon . ,,, .. . . 30 From THE PARTHENON FRIEZE. British Museum. Scenes
from the Panathenaic Procession . ".
f . . . 32
ZEUS. The Vatican, Rome. Found at Otricoli , ..,..., ? 36 HERA. Terme Museum, Rome. From the Villa Ludovisi ,
"^ 36 HERA. The Vatican, Rome . . Vv 40 THE MAUSOLEUM CHARIOTEER. British Museum, London . 48 NIOBE. The Glyptothek, Munich . i . . . . 50 MENELAUS AND PATROCLUS. Loggia de Lonzi, Florence . . 52
ARES LUDOVISI. The Vatican, Rome . .- , . . ; /
w S 2
THE " DEXILEUS " RELIEF. The Ceramicus, Athens . . 54 THE HERMES (head). By Praxiteles. Olympia . . . 58
THE " EROS " TORSO. The Vatican, Rome. Found at Centocelle 60
APHRODITE OF CNIDUS. The Vatican, Rome ... 62
THE APOXYOMENUS. The Vatican, Rome .
'
. 68
THE SARCOPHAGUS OF ALEXANDER. Constantinople . . 74 PHOCION. The Vatican, Rome . '." . . . ," . 76
xiv HISTORY OF SCULPTURE To face
page
PERICLES. British Museum ...... 78 THE HEAD OF ALEXANDER (after Lysippus). British Museum 78 THE TYCHE OF ANTIOCH. The Vatican, Rome ... 86 THE DYING GAUL. The Capitoline Museum, Rome . . 88
THE TRIUMPH OF ATHENA. From the Altar of Zeus, Per-
'
ORESTES AND ELECTRA (pseudo-archaic). National Museum,
Naples . . . . . . . . .128 AUGUSTUS. The Vatican, Rome . . . . . .128 NERVA (Head). The Vatican, Rome 132 ANTINOUS. The Vatican, Rome . . . . . 1 36 MARCUS AURELIUS. Rome . . . . . .138 A GOTHIC PANEL :
" THE LAST JUDGMENT." A bas-relief from
the porch of Bourges Cathedral . . . . .150 GIOVANNI PISANO :
" THE ADORATION OF THE MAGI." A panel from the pulpit of the Pisan Duomo. Now in the
Museo Civico, Pisa . . . . . . .150 NICCOLA PISANO :
" THE PULPIT AT PISA " . . . .156
LORENZO GHIBERTI :
Baptistery, Florence _'..... . . . . 164 DONATELLO :
'
DONATELLO :
" DAVID." The Bargello, Florence . . .174 JACOPO DELLA QUERCIA : THE TOMB OF lLARIA DEL CARRETTO.
The Cathedral, Lucca 176 LUCA DELLA ROBBIA :
" THE VISITATION." Pistoja . . 178 ANDREA VEROCCHIO :
" THE DOUBTING THOMAS." A group for
the exterior of Or San Michele, Florence . . .180 VEROCCHIO AND LEOPARDI : THE COLLEONI MONUMENT.
Venice . / . _".v
Florence . . . . . .'."'',". '',
page
MICHAEL ANGELO : MONUMENT OF LORENZO. Medici Chapel, Florence ' 186
MICHAEL ANGELO :
" MOSES." A figure designed for the Tomb of Julius II. 188
MICHAEL ANGELO, LORENZO, DUKE OF URBINO. The Medici
Chapel, Florence . . . . . . . .192 MICHAEL ANGELO :
" NIGHT." From the monument to Giuliano,
Duke of Nemours. The Medici Chapel, Florence . . 194 MICHAEL ANGELO :
" DAWN." From the monument to
Lorenzo, Duke of Urbino. The Medici Chapel, Florence . 194 BENVENUTO CELLINI :
" PERSEUS." The Loggia dei Lanzi,
Florence ..... <"*." . . :Ji
" MERCURY." The Bargello .Florence 204 GIOVANNI BOLOGNA :
" THE RAPE OF THE SABINE WOMEN." The Loggia dei Lanzi, Florence . *"-** . *?* . 208
GIOVANNI BERNINI :
Borghese Gallery, Rome . .. . . . **
The church' of S. Maria della Vittoria, Rome .
" .
* *
" THE IMMACULATE CONCEPTION." Genoa . i 234 GIRARDON :
" APOLLO AND NYMPHS." Versailles . . .. 236 PIGALLE : "MERCURY." The Louvre, Paris . . . . 238 FALCONET :
" L'AMOUR MENA9ANT." The Louvre, Paris . 238
CLODION :
ANTONIO CANOVA : PAULINE BORGHESE AS " VENUS VICTRIX."
Villa Borghese, Rome . . . . . . 248 ANTONIO CANOVA :
" CUPID AND PSYCHE." Villa Carlotta,
Lake of Como . . . . ... . 248 BERTEL THORVALDSEN :
" VENUS." Devonshire Collection,
JOHN FLAXMAN :
" SATAN AND THE ARCHANGEL MICHAEL" From the model in South Kensington .... 260
ANTOINE BARYE :" CENTAUR AND LAPITH." The Louvre, Paris 264
JEAN BAPTISTE CARPEAUX :
ANTOINE IDRAC :
xvi HISTORY OF SCULPTURE To face
page
Paris .......... 270
JULES DALOU :
Luxembourg, Paris . . . . . . .272 AUGUSTE RODIN :
" THE Kiss." The Luxembourg, Paris . 276 AUGUSTE RODIN :
" THE THINKER." The Pantheon, Paris 278
JOHN GIBSON :
London ......... 282
ALFRED STEVENS : FIGURE FROM THE FIREPLACE, DORCHESTER HOUSE, LONDON . . . . . . . . . 286
LORD LEIGHTON :" ATHLETE AND PYTHON." Tate Gallery . 288
THOMAS BROCK :
" EVE." The Tate Gallery, London . . 290 HAMO THORNYCROFT :
" THE MOWER." Liverpool . . 290 MEUNIER (Belgian School) : "THE MOWER" .... 292 ALFRED GILBERT :
" SAINT GEORGE." From the Clarence
Memorial, Windsor ....... 296 ONSLOW FORD :
" EGYPTIAN SINGER." The Tate Gallery, London ......... 298
HARRY BATES :
J. M. SWAN :
" MYSTERIARCH " .... 302
PART I
HELLENIC SCULPTURE
CHAPTER I
THE RISE OF GREEK SCULPTURE AND THE ATHLETIC SCULPTURES OF GREECE
NOWADAYS sculpture is not an acknowledged queen in
the Tourney of the Arts. The writer who has thrust her
colours into his casque and would break a lance on her
behalf, struggles for some unstoried damsel about whose
very existence he has been playfully twitted by the cham-
pions of the reigning beauties.
Rightly considered, art is but a form of speech sculp-
ture speaking through words formed from chiselled
marble and moulded bronze. Such a language can only have lost its meaning if the men of to-day differ funda-
mentally from those of the past. But is this the case ?
Can any one doubt that human thought and action are
ever substantially repeating themselves, since men and
women are at all times actuated by substantially the same
passions ? The twentieth century simply requires to
realise that sculpture throbs with the thought and emotion
astir in itself. Though it cannot be claimed that the
art is popular in the sense that music and painting are
popular, our firm conviction is that its peculiar thrill
only needs to be felt, for sculpture to become as widely
appreciated as the sister arts. Dancing may be a lost
art ; we are assured sculpture is not.
4 A HISTORY OF SCULPTURE
Under these circumstances, honesty compels us to
preface this book with a confession. It is a history of
sculpture with a purpose. It seeks to entice a few men and women into the belief that sculpture is, essentially, a
living art. Its one object is to marshal the evidence in
favour of the proposition that the marbles and bronzes of
the great sculptors are not dead things which may well be
left to gather dust in national museums and unfrequented corners of public galleries.
Though marble and bronze have not lost their potency, it would be folly to regard all sculpture as equally vital
Much has only an archaeological or antiquarian interest in
these latter days. Consequently, though building from
the bricks of the past, everything which has lost its mean-
ing for the men of to-day will be ruthlessly excluded.
Our purpose is to write a history of the art itself, to
show how its various manifestations arose from social
and political circumstances, to trace the emotions and
thoughts which stimulated the artists to produce their
greatest works and to gauge the action and interaction
which created the various national styles. On the one
hand is the sculptor expressing what appears to be his
own thoughts and emotions. On the other, the men of his country and time providing him with the raw
material of thought and feeling, and compelling the
production of works which could never have seen
the light had he dwelt on a column in the desert
after the manner of some Alexandrian mystic. Nor
is this all. In addition, there is the influence which
the sculptor exerts upon those around him, and particu-
larly upon his fellow craftsmen. Out of the reciprocal
modification arises a body of sculptural production,
endowed with a definite national style.
HELLENIC SCULPTURE 5
The task of estimating these actions and counteractions
and their effects cannot be an easy one. It calls for
heart as well as mind, both from writer and reader. It
would be fatal to treat the bronzes of Polyclitus, the
marbles of Phidias, Donatello, and Michael Angelo, as
too many historians do the documents from which they
presume to create the past. Even if political history can
be profitably reduced to a dull catalogue of charters and
enactments which we deny the history of an art
cannot. That must take human passion and emotion
into account, and must be written by those who are not
afraid to feel or ashamed of their feelings. From any other standpoint, art becomes divorced from life. The reader is denied a glimpse of its most potent force
its mysterious power of arousing echoes in his own heart.
Fortunately, the ground to be covered is pregnant with
interest. The story of the meteoric rise of the art in
Greece, so sudden that a paltry half-century separated the dead work of the sixth century from the vitalised
marbles of the Parthenon, will be followed by an account
of the " Golden Age," in which sculpture expressed the
whole nature physical, mental, and spiritual of the
most complete men who have ever lived. Thence to the
art of the Alexandrian and Roman Empires, leading up to the great revival of sculpture in the city states of
Northern Italy. Finally, a consideration of the sculpture of Monarchical, Imperial, and Republican France will
lead up to the works of our own time and the final problem how near such a sculptor as Rodin is to assimilating
and expressing the strange and wonderful experiences
arising from the stress of modern life.
In the nature of things all our correlations will not be
6 A HISTORY OF SCULPTURE
equally exhaustive or correct. The philosophical method is more open to errors arising from individual prejudice than the more strictly scientific one, which is content
to collect and group examples. In some cases, more-
over, peculiarities of style and subject will depend upon circumstances extremely remote from present-day ex-
perience, and, therefore, peculiarly difficult to express
adequately. Nevertheless, we hope to suggest a method, and to lay a foundation upon which our readers will be
able to build. Though we shall base our generalisations
upon a comparatively few examples, we shall seek to pro- vide niches into which practically all the greater works of
sculpture can be fitted.
Bearing in mind that our only concern is with what
may be termed " vital sculpture
" art with a message for
the twentieth century we may ask, where should a
beginning be made ?
never been blessed with an Archbishop Ussher willing to
vouch for the day and hour of its birth in some year after
4004 B.C. As a craft, of course, sculpture dates from the
very earliest times. While the prehistoric painter was
scratching his first rude picture in the sands about his
doorway, his sculptor brother was whittling a stick into
the semblance of a human figure, or roughly moulding the river clay to his fancy. The results interest the archae-
ologist, and rightly find a place in our museums rather
than in our art galleries. But they are not what we have
in mind when we speak of " paintings
" or " sculpture."
HELLENIC SCULPTURE 7
How far then must we go back to find the birth of the
art of sculpture ? In other words, when did man first
awaken to a sense of the real beauty of human form ; and,
under the impulse of this feeling, when did he first seek
to perpetuate the fleeting beauties he saw around him, and the still more fleeting imaginations which these beauties
evoked ? Where must we begin if we would determine
the various human influences social, political, and re-
ligious which have determined the course of sculpture as an art ?
The man in the street answers readily enough and he
is quite right " Fifth Century Greece." He is satisfied
that, speaking in general terms, it was not until after
Marathon and Salamis that
" Human hands first mimicked, and then mocked With moulded limbs more lovely than its own, The human form, till marble grew divine."
The average man, who has none of the yearnings of
the archaeologist, sees the interest of some of the plastic
art of the earlier civilisations. He even grants it a
certain beauty. Yet he knows that it is not what he
expects to find in a gallery of sculpture. In Baby- lonia, the art was too closely identified with archi-
tecture to ever attain a vigorous independent growth. In Egypt, the conventionalities that resulted from the
influence of an all-powerful priesthood and an extremely narrow emotional and intellectual experience, proved too
strong for…