Works
His best-known work is his History of Greece (1857-1867). It presented in an attractive style what were then the latest results of scholarly research, but it was criticized as wanting in erudition. It is now superseded. His other writings are chiefly archaeological. The most important are:
- Die Akropolis von Athen (1844)
- Naxos (1846)
- Peloponnesos, eine historisch-geographische Beschreibung der Halbinsel (1851)
- Olympia (1852)
- Die Ionier vor der ionischen Wanderung (1855)
- Attische Studien (1862-1865)
- Ephesos (1874)
- Die Ausgrabungen zu Olympia (1877, etc.)
- Olympia und Umgegend (edited by Curtius and F Adler, 1882)
- Olympia. Die Ergebnisse der von dem deutschen Reich veranstalteten Ausgrabung (with F Adler, 1890-1898)
- Die Stadtgeschichte von Athen (1891)
- Gesammelte Abhandlungen (1894)
His collected speeches and lectures were published under the title of Altertum und Gegenwart (5th ed., 1903 foll.), to which a third volume was added under the title of Unter drei Kaisern (2nd ed., 1895).
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Famous quotes containing the word works:
“Do not worry about the incarnation of ideas. If you are a poet, your works will contain them without your knowledge—they will be both moral and national if you follow your inspiration freely.”
—Vissarion Belinsky (1810–1848)
“That man’s best works should be such bungling imitations of Nature’s infinite perfection, matters not much; but that he should make himself an imitation, this is the fact which Nature moans over, and deprecates beseechingly. Be spontaneous, be truthful, be free, and thus be individuals! is the song she sings through warbling birds, and whispering pines, and roaring waves, and screeching winds.”
—Lydia M. Child (1802–1880)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)