Abstract

An epistemological break occurred in historical discourse between the eighteenth and the nineteenth centuries; it is exemplified in the collections of Alexandre Lenoir and Alexandre du Sommerard in the Musée de Cluny. Foucault and later Hayden White identified this break as a transition from the classic to the romantic episteme. The classic eighteenth -century relationship between the historical object and the historical text tended to be reductionist and mechanistic while the nineteenth-century form was more integrated and organic. White treated these relations as modes of discourse and referred to their typological forms as tropes. He referred to the classic and romantic tropes as metonymy and synecdoche, respectively. Lenoir's "metonymic" collection includes as many objects of a period as possible within a space. Du Sommerard, on the other hand, displayed the objects "synecdochically" within a space designed not only to contain them, but to explain their role in the past