The New York herald., 1877-12-10

after receiving from him some message for tho com
manding general in regard the prisoners captured
returned TO the latter and reported that order
been delivered IL u generally conceded
that General Longsreet, this occasion, fairly
chargeabie with iardness, and have always thought
that his conduct in this particular due TO lack
appreciation his part oSthe circumstances which
created urgent peculiar need for the
Of his troops at the front
'As the necessity for the Of the
army was precipitated by the unexpected encounter
LIST OF July with large force Of the enemy
Gettysburg General Longstreet was urged to hasten
his march, and this perhaps, should have sufced to
cause him 10 push his divisions on toward Gettys-
burg which point no was distant but four miles,
earlv the 2i, but cannot say that he notified
on the night OF the first Of the attack proposed be
made the morning of the I'd and the part his
was TO tako therein Nelthor do l think II just TO
charge that he alone responsible for the delay in
attacking that ensued after his arrival the field.
we'll remember how General Lee was chafed by the
nonappearance OF the troops, until he finally became
restless and rode back to meet General Longstreet
and urge him forward; but, then, there consider
able delay In putting the troops 10 work after they
reached the field, and much time Was spent in ds-
cussing what to be done, which, perhaps, could
notbe avoided At any rate. would be unreasonable
to hold General Longstreet alone accountable for this
ART HISTORY
OUTLINES History OF ART. By DR.. Wilhelm
LlDke, Professor al the Polytechnic and al the Art
School IN stuttgardt new translation rom the
seventh German edition. Edited Dy Clarence Cook
In two volumes, fully illustrated. Volume l. New
YORK: Dodd, Mead 4 Co.
At this time, when great activity prevails In al
branches OF the part of both and
amateurs, and when the interest felt by toe general
public in 1t and everything apperiaining to II is on
the increase, the publication oi the nrst American
edition Of work which for over fifteen years has been
regarded as a standard on art history IN Germany,
among devoted lovers In other countries, IN tho
original, and more widely BY means of an early Eng
lisn translation, Is very oppoTune.
The work Is one when will be found both interest
ing and valuable 10 the scholar as well as TO the
student, for whose II is primarily intended, and
is written a calm, lucid, Judicial style aot ting to
each country It's proper place and share In forming
the history Of art. F.
The name OF the editor, who by his writings has
become well identified with art in Its various forms.
is al guarantee of careful revision and annoa-
t,on. THIS latter In few rises even to
criticism ana dissent from the text In general
the notes are confined to references to authori-
ties, to quotations at length whore they bear
directly upon the text and TO references
to collections in this country which illustrate
the subject matter The writing OF q headline to q
page that II shall indicate the contents OF both the
page and the edtor's notes below, Is, we think In
rather questionable taste From the editors preface
We learn that was originally tho intention of the
publishers to reprint tho early English translation,
adding all the matter with which the writer had
pliaed his latest edition. The English translation
having, however, been found very inaccurate, the ed
itor decided upon having entirely new ono made,
which has been done under the supervision Of Nr.
Edward L. BurIinghame
In his introduction the author speaks of the orign
OF art. the birth Of which in one nation dates
back thousand years and In another Is yet
looked forward to, and notes the harmony to be
observed in all cases OF the first utterances this
original universal language OF mankind the traces Of
which are scattered over all the world. At first q
mound or hugo block Of stone was erected the
grave Of fallen hero and then combinations of
such blocks forming geometrical figures erected
into altar-likc forms, massive and grandy de-
signed. and found scattered over Scandinavia,
England, Ireland, Brittany, North Germany,
India, Asia Minor, Egypt, the north coast
OF Africa aud the region about the Atlas Mountains
In the ancient monuments ~oi America, as In Peru,
Mexico aud Central America step urther forward was
made primitive development OF ornamen tation
Is observable, the motives used being the ribbon ike
twist OF tho threads the ancient processes the
tile art aud forms or vegetable and animal e but as
tho author says 'lhe stone remains OF this people
(hc AztecsL SO highly developed to q certain extent
afford even now striking proofs Of their ncapacy TO
attain higher culture" Sculpture gradually advances
IN development beside monumental art, and
ampes OF the latter are linked with the alteration
Deity, the image OF which takes shape aitor the
makers from the ycarning after the mighty and
vast, distorted into strange aud monstrous forms.
Art entered not into the productions OF the stone
PERIOD but developed considerably during that known
as the bronze age, Of which many Of the weapons.
vessels and ornaments noticeable Tor elegance of
form and decoration. In the age tho spread Of
art is strongly discernable ''Snch early attempts
made in al quarters OF the globe mark overy whore
the artistic striving Of the nations The mysterious
impulse to art is felt by he attalns 10
cortan point Of civilization, ana the longing 10
awakened within him to give visible form to what he
dimly feels to leave behind him lasting testi-
mony, a mon ume mt OF his existence"
or the three books comprising volume / the Hrst s
devoted TO The Ancient Art Of the East under which
included Egyptian art, the art Of Central Asia,
tho of Western Asia and the art OF Eastern Asia,
India and branches OF Indian art; the second has the
generic head Of ''Classic Art" under which have
Greek art, Etruscan art and Roman art; and the
third treats oil Medeval Art" including Early Chris
tian art, Mohammedan art and tho Ronanesque
style.
Iu each tito author speaks rst Of the land and
people, traces the ua uence oil the former upon the
arsc development Of tho latter and passes through
tho architecture to TO decorative art and
painting proper. In Egypt, the banks Of the Milo,
tho regular and fall OF which had such great part
IN forming the character Of the people and
quenty o. their art, the earliest traces of artistic
activity met with. Coeval with the increasing
power and spendor OF the Kingdom rose the great
monuments, becoming more and more elaborate as
the centuries rolled on diminishing gradually gran
dour Of plan, but having compensation a richer
and varied handling OF the architectural men,
bers.
The grandeurs Of Assyrian architecture and sculp.
ure are well described, but not as fully could
wish. Persia and Media treated Of and under
the head Of Western Asia, that OF the Fh9piciaus