Angellica's paintings, I have argued, are the bright links in a metonymic chain joining the text of The Rover to the apparatus of representation. Angellica's portraits represent the courtesan in the most radical sense. They produce an image of her and at the same time reduce her to that image. Notwithstanding her passionate address, Angellica cannot exceed her simulacra. In effect she is doubly commodified—first because she puts her body into exchange, and second because this body is equated with, indeed interchangeable with, the art object. When Willmore performs the "gest" of appropriating the painted image of Angellica, he makes visible, on the one hand, the patriarchal and homosocial economy that controls the apparatus and, on the other hand, the commodity status of paintings, of their model, and, by metonymic extension, of the painted actress and the painted scenes.

Flecknoe and Pepys, we noted earlier...