In the articles that follow, five writers deal with parts or aspects of Abildgaard’s oeuvre; the British art historian Martin Myrone describes the international milieu in Rome in which Abildgaard found himself in the 1770s; the art historian Charlotte Christensen investigates Abildgaard’s use of references to art history and sheds new light on the presence of the tradition in Abildgaard’s works; Kasper Monrad interprets Abildgaard’s Nightmare against the background of the biographical context in which it arose; Henrik Ole Holm makes a topicalizing interpretation of The Wounded Philoctetes, and finally Louise Fussing analyses a selection of Abildgaard’s furniture designs and puts them into perspective.