Images of meditation, uncertainty and repentance in ancient art

Abstract

Tracing back the history of a single gesture from a painting by Caravaggio to the portrait statue of Demosthenes by Polyeuktos, the problem of its meaning is first posed in terms of iconographical tradition. On the other side, the mutual relation between this gesture and its meaning is not a fixed one: one and the same gesture can cover some different (and even opposite) meanings, and conversely one and the same meaning can be conveyed by some different gestures. Some ways of describing and focusing this changing connection (seen as one of signifier and signified) are suggested.

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