History and image: the Penelope Painter's Akropolis (Louvre G372 and 480/79 BC)

Cromey, Robert D.

doi:10.2307/631894

The Classical Parthenon

Clair¹

2022

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In attempting to recover an understanding of the ancient classical experiences of seeing, sightlines, conventions, and genres, we ought also, I suggest, give weight to what the eighteenth-century philosophers called 'Nature', not as a tiresome and unwanted 'predisciplinary' intrusion to be elided in the same way as eighteenthcentury artists and engravers excluded the storks from their pictures of the Parthenon. On the contrary, they and other birds, animals, and insects, ought to be re-inserted. In ancient times, for example, an area of the Acropolis slopes was called 'the pelasgikon', a place that, according to a local myth, the Pelasgians, a pre-Hellenic people, had cultivated explored the uses of the word. 48 Tyche as a figure on the official inscriptions that relate to the making of a statue is mentioned in Chapter 2. 49 As, for example, in Dem. 60 19 and in the whole tradition of funeral orations. 50 The contradictions of Christian providentialism and the contortions that its advocates found themselves resorting to were discussed in St Clair, WStP, Chapter 22,

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1. Recovering the Strangeness

Clair¹

2022

The Classical Parthenon

View full text Add to dashboard Cite

In attempting to recover an understanding of the ancient classical experiences of seeing, sightlines, conventions, and genres, we ought also, I suggest, give weight to what the eighteenth-century philosophers called 'Nature', not as a tiresome and unwanted 'predisciplinary' intrusion to be elided in the same way as eighteenthcentury artists and engravers excluded the storks from their pictures of the Parthenon. On the contrary, they and other birds, animals, and insects, ought to be re-inserted. In ancient times, for example, an area of the Acropolis slopes was called 'the pelasgikon', a place that, according to a local myth, the Pelasgians, a pre-Hellenic people, had cultivated explored the uses of the word. 48 Tyche as a figure on the official inscriptions that relate to the making of a statue is mentioned in Chapter 2. 49 As, for example, in Dem. 60 19 and in the whole tradition of funeral orations. 50 The contradictions of Christian providentialism and the contortions that its advocates found themselves resorting to were discussed in St Clair, WStP, Chapter 22,

show abstract

2. ‘How do we set straight our sacred city?’

Clair¹

2022

The Classical Parthenon

0

View full text Add to dashboard Cite

In attempting to recover an understanding of the ancient classical experiences of seeing, sightlines, conventions, and genres, we ought also, I suggest, give weight to what the eighteenth-century philosophers called 'Nature', not as a tiresome and unwanted 'predisciplinary' intrusion to be elided in the same way as eighteenthcentury artists and engravers excluded the storks from their pictures of the Parthenon. On the contrary, they and other birds, animals, and insects, ought to be re-inserted. In ancient times, for example, an area of the Acropolis slopes was called 'the pelasgikon', a place that, according to a local myth, the Pelasgians, a pre-Hellenic people, had cultivated explored the uses of the word. 48 Tyche as a figure on the official inscriptions that relate to the making of a statue is mentioned in Chapter 2. 49 As, for example, in Dem. 60 19 and in the whole tradition of funeral orations. 50 The contradictions of Christian providentialism and the contortions that its advocates found themselves resorting to were discussed in St Clair, WStP, Chapter 22,

show abstract

History and image: the Penelope Painter's Akropolis (Louvre G372 and 480/79 BC)

Cited by 9 publications

References 5 publications

The Classical Parthenon

The Classical Parthenon

1. Recovering the Strangeness

2. ‘How do we set straight our sacred city?’

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