Although the importance of both monumental and literary evidence has always been recognized, it is only in recent years that systematic endeav ors have been made to correlate these sources, and, by a comparison of extant works with the descriptions of the literature, to determine with approximate certainty the characteristics of the various schools, and, within certain limits, the artists of the originals from which our copies were made. The modern histories begin with the epoch-making work of Winckelmann (q.v.), in which the periods of rise and decline in Greek art were first clearly defined. This and other works published before the middle of the nine teenth century have now chiefly an historical im portance. as the discoveries of recent years have vastly increased the material and revolutionized many of 'the earlier views. For the lives of the artists the fundamental work is still Brunn's Geschichte der griechischen Kiinstler (Braunschweig; second edition, Stuttgart, 1889). The best brief work is Tarbell's History of Greek Art (New York, 1897). A standard work of the old school is Overbeck's Geschichte der griechisch-en Piastik (4th edition, Leipzig, 1893-94). which suffers chiefly from the separa tion of the monuments and literature. Probably the best history at present is Collignon's Histoire de la sculpture grecque (Paris, 1892-97). Other good works are Reber, History of Ancient Art, translated by J. T. Clark (New York, 1882) ; Mitchell, History of Ancient Sculpture (New York, 1883) ; von Sybel, TVeltgeschichte der Kunst (Marburg, 1888) ; Gardner, Handbook of Greek Sculpture (London and New York, 1896 97) ; Springer, Handbuch der Kunstgeschichte: des Alterthum, 6th ed. by Michaelis (Leipzig,
1900). The great work of Perrot and Chipiez, Histoire de Part dans l'antiquite, has reached in vol. vii. only the early archaic period and the de velopment of the temple in Greek architecture. Of special value for architecture are Durm, Hand buch der Architektur; Die Baukunst der Grie chen (Darmstadt, 1892) ; Penrose, Principles of Athenian Architecture (2d ed., London, 1888) ; and Choisy, Histoire de l'architecture, vol. i. (Paris, 1899), which is important from the strictly technical side. Of great value to the stu dent are the catalogues of some of the principal collections, such as Friedrichs-Wolters, Cripsab gasse antiker Bildwerke des Berliner Museums (Berlin, 1885) ; the Catalogue of the Sculptures in the British Museum (London, 1892) ; and Hel big's Piihrer durch die offentlichen Sammlungen klassischer A Iterthiimer in Born (Leipzig, 1899; English translation, London, 1895-96). The new school, which seeks to determine the characteris tics of the great schools of antiquity and assign the surviving works to definite artists, is best studied in Furtwilngler's Masterpieces of Greek Sculpture, translated by E. Sellars (London, 1895), in which the known works of Phidias, l'olyclitus, Praxiteles, and others are used with great keenness and brilliancy as a basis for at tributing to these artists many other statues in which the same characteristics appear. Under the title Denkmdler der griechischen and romischen Skulptur, the firm of F. Bruchmann in Munich is publishing large, permanent photographs of the most important remains of ancient sculpture; the more recent numbers are accompanied by a valuable descriptive text by competent German scholars.