begin to cover the field. Nothing like all the works of the
greater sculptors, let alone the lesser ones, are so much as
mentioned by name in extant ancient literature.

Secondly, we have several hundreds of original inscriptions
belonging to Greek works of sculpture and containing the names of
the artists who made them. It was a common practice, in the case
especially of independent statues in the round, for the sculptor
to attach his signature, generally to the pedestal. Unfortunately,
while great numbers of these inscribed pedestals have been
preserved for us, it is very rarely that we have the statues which
once belonged on them. Moreover, the artists' names which we meet
on the pedestals are in a large proportion of cases names not even
mentioned by our literary sources. In fact, there is only one
indisputable case where we possess both a statue and the pedestal
belonging to it, the latter inscribed with the name of an artist
known to us from literary tradition. (See pages 212-3.)

Thirdly, we have the actual remains of Greek sculpture, a
constantly accumulating store, yet only an insignificant remnant
of what once existed. These works have suffered sad disfigurement.
Not one life-sized figure has reached us absolutely intact; but
few have escaped serious mutilation. Most of those found before
the beginning of this century, and some of those found since, have
been subjected to a process known as "restoration." Missing parts
have been supplied, often in the most arbitrary and tasteless
manner, and injured surfaces, e. g., of faces, have been polished,
with irreparable damage as the result.

Again, it is important to recognize that the creations of Greek