Winckelmann’s work inhabits an ambivalent place in the history of historiography. His Geschichte der Kunst des Alterthums (1764) is often referred to as the foundational document of art history, but almost never without the obligatory mention of its rather unhistorical dimension. The aim of the following discussion is to evaluate Winckelmann’s position in the history of eighteenth-century European historiography, especially with regard to the early phase of his career as a historian, i.e. the decisive period between his studies in Halle (...) and his stay in Nöthnitz (1738–1754). During these years, Winckelmann carefully excerpted historiographical literature and dealt intensively with the model of universal history, whose structural patterns deeply influenced his reflection on art historiography. (shrink)