Abstract
In Continental Europe, the rise of historical consciousness in 1750–1830 led to the evolutionary display of objects in museums. These categories can be applied only to a limited degree to Neoclassical Britain where Piranesi's visionary aesthetics seem to have had a significantly deeper impact on collecting and displaying antiquities than Winckelmann's writings on the antique. Private and public collections of antiquities in London around 1800 evoked a different discourse of the past than the syntagmatical logics of narrative texts. The English preference for a “picturesque” display of antiquities indicates the autopoetic features of visual media as a frame of Neoclassical imagination.
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