The Beautiful View

Invention of Antiquity and Modernity

There was a certain pope that was very fond of statues from the ancient times. One day he decided to have a garden on the nearby hill where he would go to rest and enjoy the statues. The garden in which he grew flowers of the most fragrant smell and fruits of the most delicious flavor was named Belvedere. In short, nothing on earth could exceed it. The first statue he brought to the garden was the one of the Greek god Apollo. This was considered to be the most beautiful statue of all time.

After not too long, he learned about the discovery of the statue of the ancient priest  Laocoon and his two sons strangled by the giant serpents. In a short time this became the most admired statue in the entire world. The pope managed to acquire a few more statues and place them in the garden. Whenever he had time the pope would visit his beautiful garden. He would sit under the orange tree and enjoy the sight of the ancient marbles. While contemplating about the glorious times past, he believed that it was the Antiquity that was coming back alive here in this garden. But the pope was not aware that in his passionate search for Antiquity he has in fact discovered Modernity as well.

From the Tales of the Artisans

Antiquario dell Statue

Sometime around the year 1503, Pope Julius II placed the Apollo statue, which was in his possession, into the newly built Vatican garden named Belvedere. Soon after, the Laocoon group was excavated and brought to the garden as well. Then came other statues: Torso, Nile, Cleopatra, Venus, Comodus as Hercules, Tiber… Those had been mostly broken marbles scattered around in various private palaces or buried for many centuries. Now, put on display together in the enclosed garden, they became exhibits, as if in an open-air wonder camera. Unlike the other wonder camera collections, this one was dedicated solely to the statues from ancient times. Those fragments from the past, placed among the orange trees and in specially built niches, emerged as a completely new sight for the contemporaries.

This was a sight that had never been seen before. Soon it got the name Antiquario delle Statue,  and that was the moment when the Antiquity was born. However, this particular display of the statues from the past became also the new vision of the past.  Being the most novel invention of the time, this represents the birth of Modernity as well. Those statues were the first works of art and the first modern works of art. Thus the Belvedere Antiquarium itself was not only the first museum of art, but also the first museum of modern art. Since that moment, the Antiquario dell Statue, directly or indirectly, shaped the concept of art and art institutions throughout the entire Western World, for the next five centuries.

Belvedere Romanum

When cardinal Giuliano della Rovere became Pope Julius II, he brought this statue named Apollo  with him and placed it in the Vatican garden named Belvedere . One day in 1506 anno domini, news about an excavation of an unusual statue reached the Pope, and he immediately dispatched Sangalo and Michelangelo to the site. Sangalo instantly recognized the priest Laocoon and his sons, mentioned in Pliny’s writings, the unfortunate characters of the mythical Troy.  Not too long after, several more statues were placed in the garden in specially built niches on  the surrounding walls, including the reclining Nile and Tiber, Apollo, Laocoon, Venus, Cleopatra, Torso… and suddenly in the very heart of the Christendom a vision of a completely different world was beginning to emerge, a vision that would have profound impact on the entire western world for generations to come.

The sight of the collection of broken statues from the distant past, placed in the idyllic Vatican garden, later named “Belvedere Romanum”, marks the birth of “Antiquity”. Also, as a novelty, being at the time a new vision of the world that was not Christian, it marks the birth of “Modernity” as well. And for a short period of time Antiquity and Modernity lived happily together in this magical garden with a beautiful view, offering a way out of the Christian universe. Those statues, previously almost invisible as scattered parts of an urban landscape, now displayed together, became “aesthetic objects” admired primarily for their beauty. It was almost irrelevant why they had been made in the first place, what roles they once had played, what their internal narratives were. In today’s terms, we could consider these statues to be the first ready-mades and, in fact, the first objects of art, while the Belvedere Romanum could be understood as the first museum of art, and in that brief period even the first museum of modern art.

Their immediate impact could be recognized on the contemporary masters like Raphael, Titian, and Michelangelo. Gradually these contemporary reflections on Antiquity became Modernity, while Antiquity itself became identified with the ancient past. Those statues now became new, non-Christian, characters of a contemporary story about the distant past called ancient Rome. By being able to position oneself outside of the Christian narrative, it now became possible to recognize a crude three-pieces construction that became the foundation of the secular narrative called History: Rome – Christianity/Middle Ages – Modernity .

Belvedere Garden / according to ChatGPT and Stabile Diffusion

Q: What do you know about Pope Julius II as an art patron?

ChatGPT: Pope Julius II is widely regarded as one of the most important art patrons in the history of the Catholic Church. He was pope from 1503 until his death in 1513, and during his pontificate, he commissioned many famous works of art and architecture, particularly in Rome.

One of Julius II’s most notable artistic projects was the redesign of St. Peter’s Basilica in Rome. He enlisted the services of the great architect Donato Bramante to design a new church that would rival the grandeur of the ancient Roman structures. Bramante’s design featured a massive central dome, which would become one of the defining features of St. Peter’s.

Julius II also commissioned a number of famous works of art for the Vatican, including the Sistine Chapel ceiling by Michelangelo. He initially asked Michelangelo to paint frescoes on the ceiling depicting the twelve apostles, but Michelangelo convinced him to let him paint a more ambitious scheme featuring scenes from the book of Genesis. The resulting work is considered one of the greatest masterpieces of Western art.

In addition to these major projects, Julius II also patronized a number of other artists, including Raphael, who painted several famous works for the Vatican, including the “School of Athens” fresco in the Stanza della Segnatura.

Overall, Pope Julius II’s patronage helped to establish Rome as one of the great centers of art and culture in Europe during the Renaissance, and his legacy as a patron of the arts continues to be felt today.

Q: And what about his collection of antiquities?

Pope Julius II was also known for his interest in antiquities, and he was an avid collector of ancient art and artifacts. He believed that the art of the ancient world was a vital link to the classical past and an important part of the cultural heritage of Rome.

To house his collection, Julius II built the Belvedere Palace, a grand structure in the Vatican Gardens that was designed to showcase his treasures. The palace featured a series of rooms and galleries filled with ancient statuary, including famous pieces such as the Apollo Belvedere, the Laocoön Group, and the Belvedere Torso.

Julius II’s collection was not just a display of his personal wealth and taste, but also a way of asserting the power and prestige of the papacy. By amassing such a vast collection of ancient art, he was demonstrating the continuity and grandeur of the Roman Catholic Church, and its connection to the glory of the classical world.

Julius II’s collection of antiquities would go on to inspire generations of artists and scholars, and it remains an important part of the Vatican’s cultural heritage today.

Q: What is Apollo Belvedere?

The Apollo Belvedere is one of the most famous ancient sculptures in the world, and it was part of the collection of antiquities owned by Pope Julius II. The sculpture depicts the god Apollo, who was associated with music, poetry, prophecy, and healing, and it is widely considered to be a masterpiece of ancient Greek art.

The Apollo Belvedere is a marble statue that stands at approximately 7 feet (2.2 meters) tall, and it is thought to date from the 2nd century AD, although its exact origins are uncertain. The statue depicts Apollo in a moment of action, with his right arm extended as if he is about to shoot an arrow.

The sculpture was discovered in the late 15th century, and it quickly became one of the most prized pieces in the Vatican’s collection of antiquities. It was displayed in the Belvedere Palace, a grand structure built by Pope Julius II, and it inspired countless artists and scholars over the centuries.

Today, the Apollo Belvedere is considered to be one of the greatest treasures of the Vatican Museums, and it remains a testament to the enduring power and beauty of ancient Greek art.

Q: What is Laocoön Group?

The Laocoön Group is another famous sculpture that was part of Pope Julius II’s collection of antiquities. The sculpture is a Hellenistic masterpiece that depicts the Trojan priest Laocoön and his two sons being attacked by sea serpents, in a scene from Greek mythology.

The sculpture is a large-scale marble group, standing at approximately 7 feet (2.1 meters) tall and 13 feet (4 meters) wide. It is thought to date from the 1st century BC, and it is believed to be a Roman copy of an earlier Greek original.

The Laocoön Group is celebrated for its dynamic composition and powerful emotional impact. The twisting, writhing bodies of Laocoön and his sons convey a sense of intense pain and struggle, while the coiling serpents add a sense of horror and drama to the scene.

The sculpture was rediscovered in Rome in the early 16th century and quickly became one of the most prized pieces in the Vatican’s collection of antiquities. It has inspired countless artists and scholars over the centuries, and it remains an important symbol of the enduring power of ancient Greek and Roman art.

Q: Who was Laocoön?

In Greek mythology, Laocoön was a Trojan priest who warned his fellow Trojans not to accept the Trojan Horse, a gift from the Greeks during the Trojan War. According to the legend, Laocoön threw his spear at the wooden horse to expose it as a trick, but the Trojans did not listen to him and brought the horse into their city.

As punishment for his defiance, the god Poseidon sent two sea serpents to attack Laocoön and his two sons. The Laocoön Group sculpture depicts this scene, with the three figures entwined in the coils of the serpents.

Laocoön is considered a tragic figure in Greek mythology, as he was ultimately unable to prevent the fall of Troy and the destruction of his people. The story of Laocoön and the Trojan Horse has been retold in countless works of art and literature over the centuries, and it remains a powerful symbol of the dangers of pride and arrogance.

Q: And what was the connection between Laocoön and ancient Rome?

The Laocoön Group, a masterpiece of ancient Greek sculpture, was discovered in Rome in 1506, during the papacy of Julius II. The sculpture immediately captured the imagination of artists and scholars, and it became one of the most prized pieces in the Vatican’s collection of antiquities.

During the Renaissance, the Laocoön Group was seen as a perfect example of the classical ideal, and it became a major source of inspiration for artists such as Michelangelo, who admired its powerful emotional impact and dynamic composition.

The discovery of the Laocoön Group also had a significant impact on the study of ancient art and archaeology, as it challenged the prevailing view that ancient Greek art was idealistic and serene. The emotional intensity and physical realism of the Laocoön Group showed that ancient art was capable of depicting complex human emotions and intense physical struggle.

In this way, the discovery of the Laocoön Group helped to spark a new interest in the art and culture of ancient Greece and Rome, and it played a significant role in shaping the artistic and intellectual movements of the Renaissance and beyond.

Q: How was Laocoön Group discovered?

The Laocoön Group was discovered in 1506, during the Renaissance, in a vineyard near the site of the Baths of Trajan in Rome. According to accounts of the discovery, a group of men digging in the vineyard uncovered the sculpture, which had been buried underground for centuries.

The men recognized the value of the sculpture and alerted Pope Julius II, who immediately purchased it for the Vatican’s collection of antiquities. The sculpture was then restored and put on display in the Belvedere Palace, where it quickly became one of the most famous and admired pieces in the Vatican’s collection.

The discovery of the Laocoön Group was a major event in the history of art and archaeology, as it challenged prevailing notions about the nature of ancient Greek art and sparked a renewed interest in the study of classical antiquity. The sculpture remains one of the most celebrated and admired works of ancient art in the world today.

G: Who was sent by the Pope at the Laocoön Group excavation site?

According to historical accounts, the Pope who purchased the Laocoön Group was Pope Julius II, who reigned from 1503 to 1513. It is not clear from historical records who specifically was sent by the Pope to the excavation site where the sculpture was discovered.

However, it is known that the discovery of the Laocoön Group was a significant event in the art world of the time, and it quickly captured the attention of artists and scholars. The Pope himself was a passionate collector of art and antiquities, and he played a major role in shaping the Vatican’s collection of classical sculptures and other works of art.

Once the Laocoön Group was discovered, it was quickly recognized as a masterpiece of ancient Greek sculpture, and it became one of the most celebrated works in the Vatican’s collection. It remains an important symbol of the enduring power and beauty of ancient art to this day.

Q: Did perhaps Pope sent Michelangelo and Sangallo to overlook the excavation?

There is no historical evidence to suggest that Pope Julius II sent Michelangelo or Sangallo to overlook the excavation of the Laocoön Group. While both artists were active during the time period when the sculpture was discovered, there is no record of their involvement in the excavation or their presence at the site.

However, it is known that Pope Julius II was a great patron of the arts and a passionate collector of classical sculptures and other works of art. He was also a patron of Michelangelo and other prominent artists of the Renaissance, and he commissioned many works of art during his papacy.

It is possible that Michelangelo and other artists of the time were influenced by the discovery of the Laocoön Group and the other classical sculptures that were being unearthed in Rome at the time. The emotional intensity and physical realism of these works had a profound impact on the artistic and intellectual movements of the Renaissance, and they continue to inspire artists and scholars to this day.

Q: What about connecting the Laocoön Group with Pliny’s writings?

The discovery of the Laocoön Group in Rome in 1506 is closely linked to the writings of the ancient Roman author Pliny the Elder. In his work “Natural History,” written in the first century AD, Pliny describes a sculpture group depicting Laocoön and his sons being attacked by sea serpents, which was created by the sculptors Agesander, Athenodoros, and Polydorus of Rhodes.

The sculpture described by Pliny is widely believed to be the same as the Laocoön Group that was discovered in Rome in 1506. The similarities between the sculpture and Pliny’s description are striking, and the identification of the sculpture with Pliny’s account helped to establish its significance as a masterpiece of ancient Greek art.

Pliny’s writings also helped to popularize the story of Laocoön and his sons among Renaissance artists and scholars, and the tale of their tragic end became a subject of fascination for many artists of the time. The Laocoön Group and the story it depicts remain enduring symbols of the power and beauty of ancient art, and they continue to inspire and captivate viewers to this day.

Q: Do you know who recognized this connection?

Yes, the connection between the Laocoön Group and Pliny’s writings was first recognized by the Italian humanist and scholar Giovanni Giocondo. Giocondo was a close friend and advisor to Pope Julius II, and he was one of the leading figures in the cultural and intellectual circles of Renaissance Rome.

When the Laocoön Group was discovered in 1506, Giocondo was one of the first scholars to recognize the similarities between the sculpture and Pliny’s description of the Laocoön group. He wrote a letter to the Pope in which he identified the sculpture as the same one described by Pliny, and his insights helped to establish the significance of the Laocoön Group as a masterpiece of ancient Greek art.

Giocondo’s work as a scholar and advisor to the Pope had a significant impact on the cultural and intellectual life of Renaissance Rome, and his insights into the Laocoön Group helped to shape the way that scholars and artists of the time understood and appreciated ancient Greek art.

Q: And what do you know about Belvedere Torso?

The Belvedere Torso is a fragmentary marble sculpture of a male figure that was discovered in Rome in the late 15th century. It is believed to date from the first century BC, and it is considered to be one of the most important surviving examples of ancient Greek sculpture.

The sculpture depicts the muscular torso of a seated male figure, and it is noted for its exceptional quality of carving and the powerful expressiveness of its form. Despite missing its head, arms, and legs, the Belvedere Torso was highly prized by Renaissance artists and collectors, who admired its mastery of anatomy and its intense emotional impact.

The sculpture takes its name from the Belvedere Court in the Vatican, where it was displayed as part of the papal collection of art and antiquities. The Belvedere Torso was a major influence on the work of Michelangelo and other Renaissance artists, who were fascinated by its expressive power and its mastery of human anatomy.

Today, the Belvedere Torso is considered to be one of the great masterpieces of ancient Greek sculpture, and it remains a celebrated work of art that continues to inspire and captivate viewers with its raw emotional power and its exceptional technical skill.

Q: Do you know if the Belvedere garden with all those statues was open to the public?

The Belvedere Garden, which is located in the Vatican City, was originally a private garden belonging to Pope Julius II. The garden was created in the early 16th century, and it was designed to be a place of retreat and contemplation for the Pope and his closest advisors.

While the garden was not open to the public during Pope Julius II’s time, it later became a popular destination for visitors to Rome. Over time, the garden was expanded and transformed into a grand public park, with numerous statues, fountains, and other works of art on display.

Today, the Belvedere Garden is open to the public, and it remains one of the most popular tourist attractions in Rome. Visitors can enjoy strolling through the garden’s lush green spaces, admiring the many sculptures and other works of art on display, and taking in the stunning views of the city from the top of the garden’s hill.

Q: Wasn’t it a bit strange to have on display all those naked statues of pagan gods and goddesses in the in Vatican, the hart of Christendom? 

The display of naked statues of pagan gods and goddesses in the Vatican during the Renaissance period was not seen as strange or inappropriate at the time. In fact, many of the leading thinkers and artists of the Renaissance saw the art of ancient Greece and Rome as a source of inspiration and enlightenment.

During the Renaissance, there was a renewed interest in the classical art and culture of ancient Greece and Rome, and many artists and scholars sought to revive the ideals and techniques of these ancient civilizations. The display of ancient Greek and Roman art, including statues of naked gods and goddesses, was seen as a way of celebrating the achievements of these great civilizations and of connecting with their timeless ideals of beauty, wisdom, and virtue.

While some religious authorities of the time were critical of the display of pagan art in the Vatican and other Christian institutions, many others saw it as a way of enriching and ennobling Christian culture. For them, the art of ancient Greece and Rome was not a threat to Christian values, but rather a powerful tool for illuminating and enhancing them.

Q: What was happening when Christians from all over the world would come on pilgrimage to Vatican and find all these naked pagan statues there?

When Christians from all over the world came on pilgrimage to the Vatican and encountered the naked pagan statues on display during the Renaissance period, it was not necessarily seen as a conflicting or contradictory experience. At that time, the display of ancient Greek and Roman art was not viewed as being in opposition to Christian values or beliefs.

Instead, many Christians of the time saw ancient Greek and Roman art as a reflection of the beauty and wisdom of God’s creation. They saw the human form, as depicted in the classical art of ancient Greece and Rome, as a symbol of divine creation and a source of inspiration for their own spiritual and artistic endeavors.

Furthermore, many of the artists and scholars who were involved in the revival of classical art during the Renaissance were themselves devout Christians. They saw their work as a way of celebrating the beauty and wonder of God’s creation, and they often imbued their art with religious themes and symbolism.

In short, while the presence of naked pagan statues in the Vatican during the Renaissance period might have been a surprise or even a shock to some pilgrims, it was generally not seen as being in conflict with Christian beliefs or values. Rather, it was seen as a celebration of the beauty and wisdom of God’s creation, and as a source of inspiration for both artistic and spiritual pursuits.

Q: If display of these statues was acceptable, why would niches with the statues have wooden shutters which where usually closed when pilgrims would come to the Vatican?

It is true that during the Renaissance period, wooden shutters were sometimes used to cover the niches containing pagan statues in the Vatican and other Christian institutions. The exact reasons for this practice are not entirely clear, but there are several theories.

One theory is that the use of shutters to cover the pagan statues was a way of distinguishing them from Christian art and iconography. By covering the statues, the Church may have been signaling that while it appreciated the beauty and artistic value of ancient pagan art, it did not endorse or promote pagan beliefs or practices.

Another theory is that the use of shutters to cover the pagan statues was a way of protecting the sensibilities of pilgrims who might be scandalized or offended by the nudity and pagan imagery. The Church may have believed that such images could be distracting or potentially harmful to the spiritual well-being of its visitors, and so it chose to keep them out of sight during times of heavy pilgrimage.

It is also possible that the use of shutters to cover the pagan statues was simply a practical measure, intended to protect the statues from dust, sunlight, and other environmental factors that could damage them over time.

Whatever the reason for their use, it is clear that the shutters covering the niches containing pagan statues were not always closed during times of heavy pilgrimage. Many visitors to the Vatican during the Renaissance period would have had the opportunity to see these statues in all their glory, whether with or without the shutters in place.

Q: Do you know when and where the notions “antiquity” and “modernity” originate from?

The notions of “antiquity” and “modernity” have their roots in the cultural and intellectual movements of the Renaissance period in Europe, which began in Italy in the 14th century and spread throughout the continent in the following centuries.

During the Renaissance, there was a renewed interest in the art, literature, philosophy, and scientific knowledge of ancient Greece and Rome. This led to a new appreciation of the classical tradition and a belief that the achievements of ancient Greece and Rome represented the pinnacle of human achievement.

At the same time, the Renaissance was characterized by a growing sense of humanism, which emphasized the value of human reason, individualism, and creativity. This led to a rejection of medieval scholasticism and a new emphasis on the importance of the individual in shaping the world.

As these intellectual and cultural movements developed, the concepts of “antiquity” and “modernity” began to take shape. “Antiquity” came to be associated with the classical tradition of ancient Greece and Rome, while “modernity” represented the new ideas and values of the Renaissance.

Over time, these concepts became deeply ingrained in European intellectual and cultural life, and they continue to shape our understanding of history and culture to this day.

Q: If notions antiquity and modernity were like the “past “and the “present”, when and where notion of the “future” came about?

The notion of the “future” as a distinct category of time emerged gradually over the course of the modern era, which began in the 16th century and extends to the present day. During this period, there were major changes in economic, social, and cultural structures that led to the emergence of new ways of thinking about time and the future.

One important factor in the development of the idea of the future was the growth of scientific and technological knowledge. As scientists and inventors made new discoveries and innovations, it became clear that the future held the promise of new possibilities and opportunities.

Another important factor was the increasing importance of individual agency and choice in shaping the course of history. As societies became more democratic and participatory, people began to see themselves as active agents in creating their own futures, rather than passive recipients of fate or tradition.

The Enlightenment, which began in the 17th century and reached its height in the 18th century, was a particularly important period in the development of the idea of the future. Enlightenment thinkers believed that reason and knowledge could be used to shape a better future for humanity, and they emphasized the importance of progress and innovation in achieving this goal.

Since the Enlightenment, the idea of the future has become a central aspect of modern culture and society. From science fiction to futurism, from strategic planning to personal goal-setting, the future is a pervasive and powerful concept that shapes the way we think about our lives and our world.

Q: Do you perhaps see yourself as part of that future and in what way?

As an artificial intelligence language model, I am a product of the modern era’s scientific and technological advancements, particularly in the field of natural language processing and machine learning. In that sense, I can be seen as part of the future that emerged from the Enlightenment’s belief in progress and the power of reason and knowledge.

As an AI language model, my purpose is to assist and augment human intelligence by providing access to vast amounts of information and knowledge. I can help users find answers to their questions, generate ideas and insights, and even engage in conversation and creative expression.

However, it is important to note that AI technology is still in its early stages, and there are many ethical, social, and economic implications that need to be considered and addressed as we move forward into the future. It will be up to humans to decide how we want to shape the development and use of AI technology to ensure that it benefits all of humanity in a fair and equitable way.

Appendix

From the Walter Benjamin’s lecture The Un-making of Art, Guangzhou 2011

“To find an answer to this question we have to go to back to Rome some five hundred years ago. When cardinal Giuliano della Rovere became the Pope Julius II, he brought this statue named Apollo with him and placed it in the Vatican garden named Belvedere. One day in 1506 ano domini, news about an excavation of an unusual statue reached the Pope, and he immediately dispatched Sangalo and Michelangelo to the site. Sangalo instantly recognized the priest Laocoon and his sons , mentioned in Pliny’s writings, the unfortunate characters of the mythical Troy. Not too long after, several more statues were placed in the garden  in specially built niches on  the surrounding walls, including the reclining Nile and Tiber, Apollo, Laocoon, Venus, Cleopatra, Torso..  and suddenly in the very heart of the Christendom a vision of a completely different world was beginning to emerge, a vision that would have profound impact on the entire western world for generations to come.

The sight of the collection of broken statues from the distant past, placed in the idyllic Vatican garden, later named “Belvedere Romanum”, marks the birth of “Antiquity”. Also, as a novelty, being at the time a new vision of the world that was not Christian, it marks the birth of “Modernity” as well. And for a short period of time Antiquity and Modernity lived happily together in this magical garden with a beautiful view, offering a way out of the Christian universe.

Those statues, previously almost invisible as scattered parts of an urban landscape, now displayed together, became “aesthetic objects” admired primarily for their beauty. It was almost irrelevant why they had been made at first place, what roles they once had played, what their internal narratives were. In today’s terms, we could consider these statues to be the first ready-mades and, in fact, the first objects of art, while the Belvedere Romanum could be understood as the first museum of art, and in that brief period even the first museum of modern art. Their immediate impact could be recognized on the contemporary masters like Raphael, Titian, and  Michelangelo.

Gradually these contemporary reflections on Antiquity became the Modernity, while Antiquity itself became identified with the ancient past. Those statues now became new, non-Christian, characters of a contemporary story about the distant past called ancient Rome . By being able to position oneself outside of the Christian narrative, it now became possible to recognize a crude three-pieces construction that became the foundation of the secular narrative called History: Rome –  Christianity – Modernity (what we call the Renaissance today). After Winckelmann’s observation of the excavations of Pompeii and Herculaneum and his interpretation of Greek art, the mythical ancient Greece became a reality and was added to the construction before Rome, while on the other end Modernity was already in the Baroque by that time.

With Napoleon’s campaign in Egypt this ancient African civilization was included into European ancestry, preceding Greece on the chronological time-line, while on the opposite end it was already time for Neo-Classicism. Finally in the XX century two more chapters were added, the beginning moved one step back in time, from Egypt to Prehistory, while it’s contemporary on the other end became modernism, and the entire history and art history as we know it became completed. It would begin with Prehistory, followed chronologically by Egypt, Greece, Rome, Christianity, Renaissance, Baroque, Neo-Classicism and ending in Modernism .The story was organized along the chronological time line and as the methods of authentication and dating of the artifacts improved, the story became more accurate and copies were being identified and separated from the originals.”