Front Cover -- Title Page -- Copyright -- Contents -- Illustrations -- Acknowledgments -- Introduction -- PART ONE: Redefining Urban Space and the Promotion of Classicism -- 1: Manuel Tolsá's Equestrian Statue of Charles IV and Buen Gusto in Late Colonial Mexico -- 2: Gothic Taste vs. Buen Gusto: Creolism, Urban Space, and Aesthetic Discourse in Late Colonial Peru -- 3: El Templete: Classicism and the Dialectics of Colonial Urban Space in Early Nineteenth-Century Havana, Cuba -- 4: Neoclassical Pompai in Early Twentieth-Century Cartagena de Indias, Colombia -- PART TWO: Imprinting Classicism and Its Consumption -- 5: A Taste for Art in Late Colonial New Spain -- 6: The Plantation Landscape and Its Architecture: Classicism, Representation, and Slavery -- 7: Buen Gusto and the Transition to Nation: 1830-1850 -- 8: A Western Mirage on the Bolivian Altiplano -- PART THREE: Dividing Lines: Practices and Problems -- 9: The Language of Line in Late Eighteenth-Century New Spain: The Calligraphic Equestrian Portrait of Bernardo de Gálvez (1796) -- 10: Art and Viceregal Taste in Late Colonial Lima and Buenos Aires -- 11: From Baroque Triumphalism to Neoclassical Renunciation: Altarpieces of the Cathedral of Cuzco in the Era of Independence -- 12: Buen Gusto and Classicism in the Late Nineteenth Century: An Appraisal in the Context of the 1881 Centennial of Mexico's Academy of San Carlos -- Contributors -- Index.