epoch when Christianity and the barbaric invasions put an end to the ancient forms of civilization and prepared for the birth of the modern world, for the evolution of a new society and of a new art? To this question our neighbours may reply that the _Geschichte der bildenden Kunst_ of Carl Schnaase[3] does all that we ask. But that work has one great disadvantage for those who are not Germans. Its great bulk will almost certainly prevent its ever finding a translator, while it makes it very tedious reading to a foreigner. It must, besides, be very difficult, not to say impossible, for a single writer to treat with equal competence the arts of Asia, of Greece, and of Rome, of the Middle Ages and of modern times. As one might have expected, all the parts of such an extensive whole are by no means of equal value, and the chapters which treat of antique art are the least satisfactory. Of the eight volumes of which the work consists, two are devoted to ancient times, and, by general acknowledgment, they are not the two best. They were revised, indeed, for the second edition, by two colleagues whom Herr Schnaase called in to his assistance; oriental art by Carl von Lützow, and that of Greece and Rome by Carl Friedrichs. But the chapters in which Assyria, Chaldæa, Persia, Phœnicia, and Egypt are discussed are quite inadequate. No single question is exhaustively treated. Instead of well-considered personal views, we have vague guesses and explanations which do nothing to solve the many problems which perplex archæologists. The illustrations are not numerous enough to be useful, and, in most cases, they do not seem to have been taken from the objects themselves. Those which relate to architecture, especially, have been borrowed from other well known works, and furnish therefore no new elements for appreciation or discussion. Finally, the order adopted by the author is not easily understood. For reasons which have decided us to follow the same course, and which we will explain farther on, he takes no account of the extreme east, of China and Japan; but then, why begin with India, which had no relations with the peoples on the shores of the Mediterranean until a very late date, and, so far as art was concerned, rather came under their influence than brought them under its own? [3] _Geschichte der bildenden Kunst_, 2nd ed., corrected and augmented, with wood engravings in the text, 8 vols. 8vo. 1865-1873. The first edition consisted of 7 vols., and appeared between 1843 and 1864. The fact is that Schnaase follows a geographical order, which is very confusing in its results. To give but one example of its absurdity, he speaks of the Phœnicians before he has said a word of Egypt; now, we all know that the art of Tyre and Sidon was but a late reflection from that of Egypt; the workshops of those two famous ports were mere factories of cheap Egyptian art objects for exportation.