Abstract
In the burgeoning scholarly literature on the history of collecting and display of art in England, very little attention has been paid to painting collections made by institutions rather than individuals. A survey of the acquisition, collection and display of paintings, especially portraits, in post-Reformation England shows that civic bodies such as towns and boroughs, livery companies, schools and university colleges also indulged in such activities. However, they did so for quite different reasons than contemporary individual collectors seeking to replicate and possess elements of neoclassical culture: men and women whom we associate with the ‘Renaissance’ and with the goal of self-fashioning.
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