Abstract
One reason for this, perhaps, is Winckelmann’s own emphasis upon autopsy: his insistence on first-hand observation of works of art and contempt for learning that relies on books (Winckelmann 2006: 71-76). Yet the image of Winckelmann as (solely) an enraptured viewer has long since been exploded; Schadewaldt (1954) and Decultot (2000) have both emphasized the extent to which his putatively fresh and visual approach to antiquity relies on reading practices that hark back to ancient and Renaissance writers. Neglect of Pausanias contrasts with the interest commentators have shown in other possible influences. Kraus (1935) and Schadewaldt (1941) have explored Winckelmann’s engagement with Homer, Potts (1994) and Decultot (2000) have discussed his reading of French Enlightenment philosophes. In none of these works does Pausanias receive more than a passing mention.
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