A History of Sculpture

This general scheme has entailed several consequences. I am conscious that I have dealt curtly with pre-Hellenic art—particularly with that of the Mycenæan age. My reason is that ivory work and goldsmithery, by which Mycenæan 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.