Abstract
When we look at ancient works of art we habitually treat them not merely as objects of aesthetic enjoyment but also as successive deposits of the human imagination. It is indeed this view of works of art as crystallised history that acounts for much of the interest felt in ancient art by those who have but little aesthetic feeling and who find nothing to interest them in the work of their contemporaries, where the historical motive is lacking, and they are left face to face with bare aesthetic values.
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