Abstract

This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.

中文翻译：

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现代玻璃器皿中的古代花瓶：博物馆展示的感官动态和社会意义

摘要

这项研究探索了感官优先级的变化，这是在欧洲收藏中展示希腊彩绘陶器的基础。重点是在十九世纪中叶专门设计的公共艺术和考古博物馆中引入玻璃面橱柜。与期望相反，围绕画廊家具使用的同期辩论表明，博物馆的利益相关者对物品的安全性的担心程度不如中产阶级和工人阶级的游客在雅典陶器上暴露于色情图像的可能性。