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Excerpt from A History of Greek Sculpture, Vol. 2 of 2 IT may be that an acquaintance with the personality of an artist, does not promote in the end a true judgment of his work. But we cannot deny that it has often furnished the pages of the historian with charm and vivacity. The History of Greek Sculpture presents no such opportunity. It has no Lives to beguile the student along an arduous path. Only here and there an incident, handed down on mostly a dubious authority, breaks the narrative of work done and the examination of what remains of it to our day. The sculptors of ancient Greece seem to have lost themselves in their art, and this might have been a less misfortune for us, if it also had not since their time disappeared in a great measure. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Excerpt from History of Sculpture, From the Earliest Ages to the Present Time, Vol. 2 of 2 All, therefore, that Christianity had with efi'ort repressed for nearly five hundred years, namely, the old Teutonic natural feeling and delight in the mighty legends of antiquity, now began uncontrollably to rise again, and acquired a new life through poetry. But one thing was irrecoverably lost, and that was the original connection of religious doctrine with national legend and with an innate appreciation of nature. The Christian religion had rejected that central point from which the sages had drawn their fuller and deeper life, and had implanted in the breast of the N orthern races a new heart, as it were, in the place of the old one. When, therefore, the legends of antiquity again made their way into poetry, they had lost their original feeling, and were often obliged with effort and constraint to adapt themselves to the Christian views that had, meanwhile, become predominant. Hence it was that the German nation could never produce a national epos like the Iliad and hence, moreover, it was that poets did not write for the whole people, but only for a chosen circle, and for courtly-trained knights. And hence the whole poetry of the period bears an artificial stamp, which only too speedily degenerated into an afi'ected and conventional character. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.