Abstract
The vast exhibition of Italian art held at the Royal Academy of Arts, London, in 1930 was treated by Francis Haskell in his last book, The Ephemeral Museum (2000). However, the general questions raised by this Anglo-Italian collaboration prompt deeper consideration. The time period covered by this exhibition, the mediums included, and the Renaissance examples chosen all bear further scrutiny, both against the background of public collections, exhibitions, and art pedagogy in England, and especially in terms of the Fascist regime in Italy and its evolving policies regarding Italian art and culture.
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