Seite - 263 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

sibility that, through dying, Winckelmann ul- timately achieved what he longed for most dur- ing his lifetime: to become part of the beloved past, this remote asylum of freedom and beauty.21 The ones left behind in this case are his saddened contemporaries, such as the beholder of Oeser’s fictive cenotaph. This interpretation is not on- ly suggested by the iconography of his paper monument, alluding to the farewell scene of the History, but also by the wording of several eulo- gies written on this occasion. As Herder wrote: The dream of your life tumbled down and lay shat- tered on the ground, as the statue of an Apollo-Mu- sagetes by the hand of a barbarian.22 The fate of the history of art and the fate of Winckelmann’s life are directly and unambiguously paralleled here. A similar setup is staged in another print re- membering Winckelmann, likewise published in d’Hancarville’s Antiquités étrusques, grecques et romaines (Vol. II). Here, one witnesses an- other scene of mourning taking place in a monu- mental, Pantheon-like building – apparently a columbarium (Fig. 4).23 In the middle of the room stands Winckelmann’s very antique-look- ing cenotaph. Next to it crouches an apparently grieving man, desperate over the loss of Winck- Fig. 4: Carmine Pignatori after Giuseppe Bracci: Paper Memorial for Winckelmann, in d’Hancarville, Antiquités (cit. n. 25), vol. II, Nap- les 1766 [1770], s.p. PaPer monuments for antiquaries 263 21 Cf. the brilliant analysis by Daniel Orrells: ‘Winckelmann himself came to be viewed like the Geschichte he wrote: he was seen as a timeless, classical figure that transcended the ages, both ancient and modern, and as a man always romantically destined to die young.’ (D. Orrells, Burying and excavating Winckelmann’s History of Art, in: Clas- sical Receptions Journal 3, 2011, p. 166–188, here: p. 173ff.) 22 [D]er Traum deines Lebens sank dahin und lag zerschlagen, wie die Bildsäule eines Apollo-Musagetes von der Hand des Bar- baren. (J. G. Herder, Lobschrift auf Winckelmann, in: Die Kasseler Lobschriften (cit. n. 17), p. 31–63, here: p. 60) 23 Michel Huber, who published a modified version of this print in his translation of the History of Ancient Art wrote: