The classic Greek canon – attributed to Polykleitos and reconstructed by Winckelmann – establishes a strict conjunction of proportion and composition rules for the representation of the gods’ and heroes’ beauty in their age of virility. Similar to this, though with the opposed value sign in relation to nudity, was the canon of Christian painting, dominant in Latin America until the end of the 19th century, when the change in sensibility promoted by liberalism brought tastes closer to neoclassic patterns (at least among the elites). As a result, republican architecture remained branded by the profusion of allegorical frescos, on which nymphs and Venus were often painted with the faces of the current governing politicians’ daughters.