List of figures
Acknowledgements
1 Introduction
The European elite and the use of 'Rome'
The Grand Tour: complex contradictions on foreign and familiar grounds
Different approaches to portraiture
Antiquity and portraiture: a new mythology for socially reliable portraits
2 Of Rome or in Rome? Laying claim to the imaginary and the real
Landowning, archaelogy and social legitimacy
'No history, surely, can be so interesting to us as that of the Romans'
'The charms of simple nature': the foreign landscape and the country house context
Reinforcing foreignness: the Van Dyck costume in the Grand Tour portrait
Purchasing and selling antiques: gaining and losing social prestige
3 Mythological adaptations: Gender and social identiy
A Trojan hero and a princee of Latium at an eighteenth-century wedding
'Lady, everything in you is Great': Diana/Artemis and the ambiguities of female virtue
'Before marriage their women are nuns, and after it libertines': the multiple roles of Cleopatra
The seductive pearl: marriage codex and sexuality
'A number of raw boys': social transition and initiation on the Grand Tour
On the move: initiation and expected change on the Grand Tour
From bachelor to married man: sexual initiation and homosociability on the Tour 4
4 'FARE ACCADEMIA': Arcadiandiscourse and social preservation.
The Accademia dell'Arcadia: a story of literary and social compromise
The elite in Arcadia: socialbility and pastoral disguise
'A sweet bride and a wise lady': the duplicate roles of a shepherdess
Shepherds on Tour: British travellers in Arcadia
The Arcadian landscape and the Grand Tour portrait
Movement and change in Arcadia
A Museum context: learning and display as Arcadian virtue
Conclusion
Bibliography -- .
