ABSTRACT
This essay aims to show how the central characteristics that Winckelmann gave to the allegory surpass the very range of the modes of figuration and became an original method to understand arts in History and in its ideal. This way of thinking took place in an age that the distinction between allegory and symbol was not canonic and it is very distant from the core of this opposition that became clear in romantic thought.
Keywords
Winckelmann; Allegory; Aesthetics; poetry and painting