What is the relationship between art history and its objects? Responding to Jaś Elsner’s claim that art-historical writing is inevitably ekphrastic, this essay revisits a site of intense disciplinary anxiety—Johann Joachim Winckelmann’s 1759 description of the Belvedere Torso and its revised version in his 1764 History of Ancient Art. Description has been cast as the “scapegoat” (or pharmakos) of Winckelmann’s art history—that which must be excised yet is fundamental to the operations of the whole. But although it often serves as (...) a site of perceived excess and sublimation in his work, the ekphrastic elements of Winckelmann’s prose are nevertheless some of the most historicist aspects of his scholarship, shaped by a deep engagement with Greco-Roman ekphrastic literature. Description, in this sense, serves as a Platonic pharmakon—both affliction and cure for classical art history’s medial and ontological separation from its ruined and fragmented objects. In Winckelmann’s description of the torso, ekphrasis holds out the potential for the statue’s “completion” (Ergänzung). But understood according to eighteenth-century practices of visual restoration, this raises the question of whether such “whole-making” should be understood as proper or supplemental to the original image. What does it mean to “re-member” the Belvedere Torso through ekphrastic strategies drawn from antiquity itself? And what does this imply for our own textual (and pharmacological) mediations of the visual? (shrink)