PAINTING HISTORY: PICTURE, WITNESS, AND ANCIENT HISTORIOGRAPHY

This article treats an analogy that is used persistently in the history of historiography: the equation of historiography with painting and the identification of the historiographer with the painter. In examining the conceptual stakes of this (auto)identification, the article mobilizes the analogy in order to explore larger issues of historical theory and, through the prism of historical painting, reflects on the problem of representation and narrativist approaches to history as text. The article argues that the historiographic desire surfacing in a comparison with painting does not concern painting's ability to capture the past; rather, it concerns its ability to capture the viewer. Opening with a brief survey of the ut pictura historia analogy in the history of historiography, the article makes this claim by analyzing historiographical engagements with the analogy in antiquity (turning to Herodotus and Polybius) and by exploring ancient history painting itself (offering pride of place to the Alexander Mosaic). In thus engaging with the theory of historiography via concrete historical material, the article leverages a historical episode of interaction between textual media and visual media to find that they are structured by the same simple desire that continues to exert its force today: the desire to see for oneself.