[4] Germany had long felt the want which Schnaase attempted to satisfy. As early as 1841 Franz Kugler published his Handbuch der Kunstgeschichte, which embraces the whole history of art from the earliest times down to our own day. The book was successful; the fourth edition, revised and corrected by Wilhelm Lübke (2 vols. 8vo. 1861, Stuttgart), lies before us, but to give an idea of its inadequacy as a history of ancient art, it is enough to say that the whole of the antique period, both in Greece and Asia, occupies no more than 206 pages of the first volume. The few illustrations are not very good in quality, and their source is never indicated; the draughtsman has taken little care to reproduce with fidelity the style of the originals or to call attention to their peculiarities; finally, the arrangements adopted betray the defects of a severely scientific method. The author commences with Celtic monuments (dolmens and menhirs), and then passes to the structures of Oceania and America; before commencing upon Egypt he takes us to Mexico and Yucatan. Lübke, whilst still occupied with the work of Kugler, wished to supply for the use of students and artists a book of a more elementary character; he therefore published in 1860 an 8vo volume which he called Grundriss der Kunstgeschichte; the antique here occupies 208 pages out of 720. His plan seems to us to be open to the same objection as that of Kugler; he follows a geographical instead of an historical arrangement; he begins with the extreme east; he puts the Assyrians and the Persians before Egypt, and India before Assyria. His illustrations are sometimes better than those of Kugler, but many of the cuts are common to both works.
Under the title Geschichte der Plastik, Overbeck and Lübke have each written a comprehensive history of sculpture. [The word "comprehensive" must here be understood in a strictly limited sense.—Ed.] The word Plastik in the language of German critics has this special and restricted meaning—it comprises sculpture only. The work of Overbeck, far superior to that of Lübke, deserves the success which has attended it; the third edition, which contains the results of the searches at Olympia and at Pergamus, is now in course of publication.
[5] Winckelmann's History of Ancient Art should be read in connection with his Remarks upon the History of Art, which is a kind of supplement to it, and takes the place of that new edition of which the author's premature and tragic death deprived the world. It is an answer to the objections which made themselves heard on every side; the preface to Monumenti inediti (Rome, 1867, 2 vols. in folio, with 208 plates) should also be read. The method of Winckelmann is there most clearly explained. Finally, the student of the life and labours of Winckelmann may consult with profit the interesting work of Carl Iusti, Winckelmann, sein Leben, seine Werke, und seine Zeitgenossen, which will give him a clear idea of the state of archæology at the time when the German savant intervened to place it upon a higher footing.
[6] Zoëga busied himself greatly with Egypt, and in inaugurating the study of Coptic prepared the way for Champollion. But the work which gave him a place among the chief scholars of Winckelmann is unfinished; the Bassirilievi antichi di Roma (Rome, 2 vols. 4to. 1808) only contains the monuments in the Villa Albani, engraved by Piroli, with the help of the celebrated Piranesi. A volume containing most of his essays was given to the world by Welcker in 1817 (Abhandlungen herausgegeben und mit Zusätzen begleitet, 8vo. Göttingen), who also published his life and a volume of his correspondence (Zoëga, Sammlung seiner Briefe und Beurtheilung seiner Werke, 2 vols. 8vo. Stuttgart, 1819).
[7] Il Museo Pio-Clementino, Visconti, vol. i. 1782; by Enn. Quir. Visconti, vols. ii. to vii. Rome, 1784-1807. Museum Worsleyanum, 2 vols. folio. London, 1794. Monumenti Gabini della Villa Pinciana, Visconti, 8vo. 1797. Description des Antiques du Musée Royal, begun by Visconti and continued by the Comte de Clarac. 12mo. Paris, 1820. For the collection of the materials and the execution of the plates in the Iconographie Grecque et Romain, Visconti took advantage of his opportunities as director of the Musée Napoléon, into which the art treasures of all Europe, except England, were collected at the beginning of this century.
[8] They were discovered in 1811 amid the ruins of one of the temples at Ægina, by a company of excavators presided over by Mr. Cockerell. They were bought by Prince Louis of Bavaria in 1812, and Thorwaldsen was occupied during several years in putting together and restoring them. They were first exhibited in the Glyptothek of Munich in 1820.
[9] The débris of the temple at Bassæ was explored by the same company in the year 1812, and a whole frieze was found, which was bought by the British Museum in 1815.
[10] The Antiquities of Athens, Measured and Delineated by J. Stuart and N. Revett. Folio. London, 1761.
[11] Expédition scientifique de Morée, ordonnée par le Gouvernement Français. Architecture, Sculpture, Inscriptions, mesurées, dessinées, recueillies et publiées, par A. Blouet, A. Ravoisié, Alph. Poirot, F. Trézel, et Fr. de Gournay. Paris, 1831-7.
[12] The restoration of the temple of Athenè Polias and of the Parthenon, by Ballu and Paccard, dates from 1845. Since that time the students of the French Academy have drawn and restored all the most important monuments of Greece.