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Published online by Cambridge University Press: 19 September 2019
Attributes are fundamental to the study of classical archaeology, just as they are to the discipline of art history at large. When it comes to identifying figures on an Attic vase – or for that matter the subject of a medieval fresco, Renaissance canvas, or Neoclassical statue – scholars regularly rely on the associative value of objects. Consider the ease with which we recognize ‘Heracles’ on the grounds of a club or lionskin; observe, too, how often a spiked wheel is understood to signal ‘St Catherine’, or a golden key to betoken ‘St Peter’. In all these scenarios, viewers have learned to ‘read’ certain objects in certain culturally conditioned sorts of ways. Despite their non-verbal medium, attributes come to function almost like textual labels: inserted within the field of visual representation, they inscribe an identity, narrative backdrop, or semantic context; they anchor the project of critical interpretation – and in doing so take on a significatory logic of their own.
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