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This Element discusses the ancient statues once set up in Byzantine Constantinople, with a special focus on their popular reception. From its foundation by Constantine the Great in 324, Constantinople housed a great number of statues which stood in the city on streets and public places, or were kept in several collections and in the Hippodrome. Almost all of them, except a number of newly made statues of reigning emperors, were ancient objects which had been brought to the city from other places. Many of these statues were later identified with persons other than those they actually represented, or received an allegorical (sometimes even an apocalyptical) interpretation. When the Crusaders of the Fourth Crusade conquered the city in 1204, almost all of the statues of Constantinople were destroyed or looted.
This chapter considers three topics that preoccupied Friedrich Nietzsche during the years when he was thinking about, and writing, The Birth of Tragedy and, in one way or another, during most of the rest of the 1870s: the philosophy of Arthur Schopenhauer, the music of Richard Wagner, and the importance of ancient Greek art and civilisation for a renaissance of German culture. The chapter discusses a few specific issues relevant both to Nietzsche's notes and to his published works in order to indicate the various ways in which each kind of writing can cast light on the other. The notes are divided into three sub-periods, corresponding, roughly, with his writing The Birth of Tragedy, the Untimely Meditations and Human, All Too Human. Nietzsche's notes of the time reveal his increasing interest in philosophical problems of metaphysics and epistemology as well as in the history of Greek philosophy.
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