In this contribution two main themes are developed: first of all a comparison between the Sloria pittorica M'ltalia by Luigi Lanzi and Sloria delta scullura by Lcopoldo Cicognara. in particular the way in which the latter discussed the most important characteristics of the formers work, in order to state how sculpture had been peculiar to the Italian identity much more than painting. In second instance we show how Cicognara chose the pattern represented by the myth of Cupid and Psyche as particular form of mctanarrative for his Storia. According to this story, the Ideal Beauty of Sculpture, as Psyche, is able to rejoin again Canova/Cupid only after having left every contamination with the confused and contingent realm of Painting. It is due to this if Cicognara could recognize in his work the legacy of Winckelmanns Cesehuhte and Seroux d'Agincourts Histoire, avoiding the dangerous heritage of Lanzis Sloria.