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We provide a persuasive model and a powerful catalyst for organizing systematic art historical enquiry as a universal domain of historical knowledge-production, applicable to all times, places, and cultures. Art history could be fashioned as a more or less secularized version of Hegel's theodicy, in which the Idea of art itself (or of the Divine, or of Humanity, or of an ethnicity, race, culture, or nationality) could be understood as an evolutionary, historical pageant from antiquity to the present.

Hegel's theodicy—or historicized classicism—renders the visible legible as episodes in a historical novel. But art is historical for Hegel not necessarily because of some intrinsic formal aesthetic evolution—as, for example, in Vasari's history of artistic precedents—but principally because it is the sensible presentation of the history of truth's unfolding.

Critics of the eighteenth and nineteenth centuries, and its passages on Winckelmann, Baumgarten, Kant, and Hegel are well written.

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