Aphrodite as a Nun
William S. Heckscher
IN studying the ever-changing appreciation of classical art and literature in post-classical times, we find ourselves confronted with two basic approaches which may call sophisticated. The approach is characteristic Middle Ages and, to a large extent, Renaissance. what, wider sense, be claimed as modern times. former would consider heritage something so intimately congenial truly vital that its form thought could, without effort, adapted commonplace images or used express sentiments day. latter prefers place antiquity on pedestal, it were, subjecting detached impassive investigation, guided solely by methods instruments science. Thus one naive mediaeval caelator gemmarum took intaglio showing blindfolded cupid his quiver after having had exorcised, inscribed words ECCE MITTO ANGELVM MEVM, stone might serve an ecclesiastical seal twelfth-century abbot St. 1'tienne at Caen.' sophisticated archaeologist commits tiniest sherd well noblest bronze custody Museum where, safely locked away glass case duly identified, object can seen weekdays from 10 A.M. 5 P.M. are, needless say, incompatible another. And yet, there point past where both peacefully side side, equally appreciated cultured judicious people. I have mind seventeenth century, century historians commonly refer Baroque. In order illustrate this strange unity disparity chosen instance Aphrodite Nun shall contrast, very briefly, example particularly advanced scientific method archaeological representation occurring almost exactly same time -in first second decades century. My examples are neither isolated nor exceptional. believe, therefore, they afford reader who not familiar field some insight into
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