Transcriber’s Notes: Underscores “_” before and after a word or phrase indicate _italics_ in the original text. Equal signs “=” before and after a word or phrase indicate =bold= in the original text. Small capitals have been converted to SOLID capitals. Illustrations have been moved so they do not break up paragraphs. Typographical and punctuation errors have been silently corrected. Pages 170 and 171 are missing. A HISTORY OF SCULPTURE =APOLLO=: AN ILLUSTRATED MANUAL OF THE HISTORY OF ART THROUGHOUT THE AGES, BY SALOMON REINACH, MEMBER OF THE INSTITUTE OF FRANCE, TRANSLATED 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 Some new illustrations have been added, certain unsatisfactory blocks have been replaced by new ones, and the bibliographies have been expanded and brought up to date.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 criticise one’s ‘Bradshaw’—it is unique and it is a necessity.”—_Bookman._ _New and Cheaper Edition, with over 600 Illustrations. Price 6s. net._ [Illustration: _The Virgin_ _From Michael Angelo’s “Pieta”, St. Peter’s. Rome._] A HISTORY OF SCULPTURE BY ERNEST H. SHORT _WITH NUMEROUS ILLUSTRATIONS_ [Illustration] LONDON WILLIAM HEINEMANN 1907 _Copyright 1907 by William Heinemann_ TO _MISTRESS KATIE GIBBS_ IN TOKEN OF THE AUTHOR’S AFFECTIONATE REGARD PREFACE 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.