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monument. But the reader is surprised by the person to whom it is dedicated: The person re- membered here is none other than d’Hancarville himself, which is even more surprising consid- ering he was still very much alive when this vol- ume came out and went on wandering this earth for thirty more years.28 The intention of the author becomes clearer on reading the preface accompanying his paper monument, where he comments at length on this self-burial. His fictive tomb monument, d’Hancarville writes, is not meant as a memor- ial for the remembrance of the author but, on the contrary, it represents a symbolic break from his old ideas and writings. D’Hancarville wants, quite literally, to bury his old self. The third vol- ume of the Antiquités is therefore conceived as a critique of the volumes that had the misfortune to precede this one.29 Instead of continuing this old way of thinking, he claims to have developed a ‘new science’ – a science nouvelle. The reader should regard d’Hancarville’s previous works and opinions as dead, as if a man who’s dead for a fair- ly long time wrote them.30 I wish to argue that the last comment is directed against one specific man who died in fact not so long ago, Johann Joachim Winckel- mann, who was some kind of guiding spirit for the first two volumes of the Antiquités.31 Winck- elmann’s theory of art history is overturned in the third volume of the Antiquités; the crucial trait of d’Hancarville’s science nouvelle is that he describes art history in a way that is radically different to the cyclical narrative of birth, rise, blossom and decay which Winckelmann put for- ward. Instead of describing the downfall of an- cient art, d’Hancarville boldly claims that it never ceased to exist. Even the present is con- nected to the remotest past by a secret influ- ence.32 Somewhat in the vein of Aby Warburg,33 d’Hancarville states that primeval symbols sur- vive to the present.34 From the most beautiful sculptures of Greece to modern Christian art- works, they all contain un reste de l’ancienne manière de représenter.35 Be they the classical stat- ues of the Dioskuroi and the three Graces, or the Christian cross, or the saints and their attrib- hans christian hönes 266 28 On d’Hancarville’s biography, see F. Haskell, The Baron d’Hancarville: An adventurer and art historian in eigh- teenth-century Europe, in: Oxford, China and Italy. Writings in Honour of Sir Harold Acton on His Eightienth Birthday (ed. E. Chaney / N. Ritchie), London 1984, p. 177–191. 29 d’Hancarville, Antiquités (cit. n. 25), vol. III, Naples 1767 [1776], s.p. (‘Avant-Propos’). 30 Ibid. 31 On Winckelmann’s model function for this publication project: D. Constantine, Winckelmann and Sir William Hamilton, in: Oxford German Studies 22, 1993, p. 55–83. On the genesis of the Antiquités: P. Griener, Le Antichità etrusche greche e romane 1766–1776 di Pierre Hugues d’Hancarville, Rome 1992; N. Heringman, Sciences of Anti- quity, Oxford 2013, ch. 3. On Hamilton’s collection: Vases and Volcanoes. Sir William Hamilton and his Collection (exh. cat. London, British Museum), London 1996. 32 [C]es temps si éloignés de nous, se lient avec celui où nous vivons, c’est par la secrete influence qu’ils ont sur les Esprits, que les Siecles se touchent. (d’Hancarville, Antiquités (cit. n. 25), vol. III, Naples 1767 [1776], p. 32) 33 He was even called a ‘Vorfahre Aby Warburgs’ (L. Ritter Santini, ‘Auf dunklen Grund gezogen.’ Das Gedächtnis der Bilder, in: Geheimster Wohnsitz. Goethes italienisches Museum (ed. H. Mildenberger et al.), Berlin 1999, p. 41–73, here: p. 52). 34 Griener, Le Antichità (cit. n. 31), p. 58; Haskell, The Baron d’Hancarville (cit. n. 28), p. 185; J. Moore, History as The- oretical Reconstruction? Baron D’Hancarville and the Exploration of Ancient Mythology in the Eighteenth Century, in: Reinventing history: the enlightenment origins of ancient history (ed. Ibid. et al.), London 2008, p. 137–167, here: p. 150. 35 d’Hancarville, Antiquités (cit. n. 25), vol. III, Naples 1767 [1776], p. 36. [La] maniere de représenter les Dieux qui commenca dès les temps qui antérieurs à la découverte de la Sculpture subsista toujours avec elle, & ne finit pas, même par l’extinction de la Religion des Grecs & des Romains, puisqu’elle existe encore chez nous en mille facons différentes, qu’il seroit trop long de rapporter ici. (Ibid., p. 64) Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR