How can display deal with lost time? Can it only offer the historical data which provide a map of the past, or can it redeem experience, the inhabitation of the world that map describes? This essay examines how Greek sculpture was used in late-Victorian Britain to answer these questions, and to consider the theoretical problem of the fugitive object through visual, spatial and textual strategies. This is about neither display in a literal sense, with regard to the arrangement of objects and their relationship to museum architecture, nor what is generally called the reception of Greek sculpture. Rather, looking at the work of John Addington Symonds and Frederic Leighton through a Proustian lens, it speculates on the ways in which fantasies about Greek sculpture served to make sculptural objects personal and social aymbols of booth loss and redemption.
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