Seite - 262 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

of a grieving, belated observer, left behind and looking back on the vanished but much desired art of the past. Here, looking back on the lost beauties whose history he had just finished writ- ing, he compares his situation with the situation of a (female) lover, who follows with tearful eyes her departing sweetheart, with no hope of seeing him again, and believes she can glimpse even in the distant sail the image of her lover.20 Yet, what remains to be grasped is nothing more than an afterimage, a faint memory of the departed. The same holds weight for ancient art, equally lost in the turmoil of history. As saddening and devastating as Winckel- mann’s murder might have been for those who were left behind, his death opened up the pos- Fig. 3: Christian Gottlob Geyser after Adam Friedrich Oeser, Paper Memo- rial for Winckelmann, in Johann Joachim Winckelmann, Storia delle arti di disegno presso gli antichi, trad. Carlo Fea, Rome 1783, frontispiece. hans christian hönes 262 Enquête sur les rapports de l´histoire de l´art au savoir antiquaire, in: Le Comte de Caylus. Les Arts et les Lett- res (ed. N. Cronk / K. Peeters), Amsterdam / New York 2004, p. 59–78; F. Queyrel, Caylus, de l’antiquaire à l’archéologue: une méthode différente de celle de Winckelmann, in: L’idée du style dans l’historiographie artistique (ed. S. Frommel / A. Brucculeri), Rome 2013, p. 231–239. 20 J.J Winckelmann, History of the Art of Antiquity (trad. H.F. Mallgrave), Los Angeles 2006, p. 351. See also the brilliant analysis by W. Davis, Winckelmann Divided, in: Ibid., Replications. Archaeology, Art History, Psychoana- lysis, University Park, Penn. 1996, p. 257–265. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR