SECTION A CLASSICAL ART 



(Hall 12, September 22, 10 a. m.) 



CHAIRMAN : PROFESSOR RUFUS B. RICHARDSON, New York City. 

 SPEAKERS: PROFESSOR ADOLPH FURTWAENGLER, University of Munich. 



PROFESSOR FRANK B. TARBELL, University of Chicago. 

 SECRETARY: DR. P. BAUR, Yale University. 



CLASSICAL ARCHAEOLOGY AND ITS RELATIONS TO 

 THE ALLIED SCIENCES 



BY ADOLPH FURTWAENGLER 

 (Translated from the German by Miss Ethel D. Puffer, Cambridge, Mass.) 



(Adolph Furtwangler, Professor of Archaeology, University of Munich, since 1894; 

 Director of Glyptotheca, since 1894; Conservator of the collection of Vases and 

 of the Gypsum Museum, b. Freiburg, Germany, June 30, 1853. Ph.D. Munich, 

 1874. Bursar, Imperial German Archaeological Institute, 1876-78; Manager 

 of the Excavations at Olympia, 1878-79; Privat-docent, University of Bonn, 

 1879-80; ibid. University" of Berlin, 1880-84; Professor of Archaeology, Berlin, 

 1884-94. Member of the Society for the Promotion of Hellenic Studies, London, 

 Archaeologic Society of Athens, Imperial German Archaeological Institute. 

 Author of numerous books and memoirs on Archaeology.] 



BEFORE we inquire what classical archaeology is to-day, and what 

 it aims at, let us cast a quick glance over what it was formerly. 



In the period of the Renaissance and the succeeding time up to the 

 rise of Winckelmann. the study of the monuments of ancient art was 

 either purely artistic or purely antiquarian, but always absolutely 

 unhistorical. Artists made collections of drawings of antique works, 

 some of which collections are still extant; many objects were also 

 engraved and published. People rejoiced in and admired the antique, 

 Imt they did not perceive that in its fashioning it was very different 

 from contemporary art; for those drawings and engravings trans- 

 lated the ancient works of art completely in the stylistic forms of 

 their own time; of an historical understanding of them there was 

 as yet no trace. And the learned antiquarians of that period busied 

 themselves with ancient iconography and all sorts of minor matters, 

 while the elucidation of ancient works of art was sought mostly in 

 Roman history, which was most familiar to them; here, too, the 

 historical understanding of the antique is yet entirely wanting. 



With Winckelmann a new epoch begins. In his History of Ancient 

 Art (I76o) the attempt is made for the first time to portray the antique 

 as an evolution, as an historically conditioned product of different 

 styles, organically unfolding one from another. Here was it first 



