The classificatory order for the visual arts and art history has long been rigorous in its demand for juxtapositions and comparisons – notwithstanding the fact that there is really no such thing as a disciplinary domain called ‘comparative visuality’ that can parallel comparative literature. In regards to cultural comparisons, there is a vast difference between approaches to visual art and to literature when it comes to analysis of their objects of expression. Historically, the endeavour of comparing the visual arts was an enlightenment practice, established by historian-critics such as Johann Winckelmann who in 1764 made the case for judging the ‘highest beauty’ achieved by Classical Greek artists in contrast to the ‘arrested growth’ of the artistic development of Egyptian and Persian art. His politic of comparison simply extended the broader notions about cultures from Kantian ‘observations’ which were later incorporated with Hegelian philosophies of history.