New PDF release: Apollo, an illustrated manual of the history of art

By Salomon Reinach, Florence Simmonds

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It appears, in the first instance, that in the case of the mourners at the funeral there are two kinds of imagining. The first is the “naïve” imagining that forms and holds a picturelike scene or object in consciousness; the second is the methodical imagining that takes the already-formed object and varies it. 13 Moreover, the introjection into the imagined scene of imagined characters with some kind of consciousness, even if that consciousness is a “borrowed” aspect of one’s own, raises the thorny question of whether the methodological division of the 12 See Husserl 1980, 464–477.

23 But in the case of 22 How many columns are there? The answer depends on where you stand and whether you are counting all the columns of the façade or only the frontmost ones. The Panthéon’s portico has a front rank of six columns; but there is a second rank of six columns immediately behind the first, with the column at either end set outside the extreme columns of the first rank and thus, at a sufficient distance, appearing to belong to the first rank. Therefore one might plausibly say six or eight columns; and this is not to mention two additional ranks of columns behind the second.

Alain” was the pseudonym of Emile Chartier (1868–1951), philosopher who taught at the Lycée Henri–IV (opposite the Panthéon) from 1909. 15 Shortly we will take up the rest of this passage from Alain. Note that the present example is another case in which the relationship between remembering and imagining is unclear. 28 2 Locating Emergent Appearance whether human beings can have images in the “classic” sense of the visual model. But most of the rest of us have nothing like a mental photograph to consult, from which we could describe and count the object’s features.

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Apollo, an illustrated manual of the history of art throughout the ages by Salomon Reinach, Florence Simmonds


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