Seite - 265 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

into being by being described as such. There are hardly any other passages in art historical liter- ature, which demonstrate such an awareness of the power of the act of writing itself. By understanding history in this way, one might conclude that this very history could pot- entially be remodelled once again by recount- ing it differently. This seems to be, in any case, the conclusion that another follower, interpreter, and contemporary of Winckelmann drew from Winckelmann’s identity politics. I am speaking of Pierre-François d’Hancarville, whose exten- sive occupation with paper monuments for anti- quaries should have already become clear during the course of this essay. At the beginning of the third volume of the Antiquités, placed as a vignette after the preface, the reader is greeted by another strange paper monument, a little more modest than the two discussed so far (Fig. 5).27 What is apparently shown is a dilapidated monument in the mid- dle of a deserted landscape; a couple of circling birds are the only sign of life in the ruinous scen- ery. Only a short inscription on what seems to be the pedestal of a now lost statue or a funerary al- tar testifies to who was once remembered by this Fig. 5: Carmine Pignatori after Giuseppe Bracci: Paper Memorial for d’Hancarville, in d’Hancarville, Antiquités (cit. n. 25), vol. III, Naples 1767 [1776], s.p. (‘Avant-Propos’). PaPer monuments for antiquaries 265 27 For an in-depth analysis of this vignette and d’Hancarville’s art theory in general, see H.C Hönes, Kunst am Ur- sprung. Das Nachleben der Bilder und die Souveränität des Antiquars, Bielefeld 2014.