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| Hippolyte Petitjean Pan IV (Arcadia) ca. 1898-1900 lithograph National Gallery of Art, Washington DC |
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| Louis Fabritius Dubourg Arcadian Landscape with Figures around a Monumental Fountain 1742 watercolor on paper Museum Boijmans Van Beuningen, Rotterdam |
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| Gaspard Dughet Arcadian Landscape ca. 1670 oil on canvas Statens Museum for Kunst, Copenhagen |
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| Thomas Eakins Arcadia ca. 1883 bronze relief Philadelphia Museum of Art |
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| Thomas Eakins Arcadia ca. 1883 oil on canvas Metropolitan Museum of Art, New York |
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| Herbert Arthur Hess In Arcadia 1899 platinum print Princeton University Art Museum |
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| Jean-Jacques François Lebarbier Arcadian Family 1800 drawing Graphische Sammlung Albertina, Vienna |
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| Isaac de Moucheron The Three Fates in Arcadian Landscape ca. 1710 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Francesco Fontebasso Et in Arcadia ego ca. 1744 drawing (print study) Morgan Library, New York |
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| Jan van de Cappelle Arcadian Landscape ca. 1660 drawing National Gallery, Athens |
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| Richard van Orley Arcadian Landscape 1702 gouache on vellum Kupferstichkabinett, Kunstmuseum Basel |
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| Jean-Pierre Norblin Aqueduct in Arcadia 1784 watercolor and gouache on paper National Museum, Warsaw |
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| Jean-Charles-Joseph Rémond Arcadian Landscape 1820 oil on canvas private collection |
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| Joseph Anton Koch Arcadian Landscape 1792 watercolor and gouache on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Parmigianino (Francesco Mazzola) Arcadian Shepherds ca. 1535 drawing Hamburger Kunsthalle |
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| Ancient GreeK Artist Head of a Woman 350-325 BC marble (excavated in Arcadia) National Archaeological Museum, Athens |
"There had been, from the beginning of classical speculation, two contrasting opinions about the natural state of man. One view conceives of primitive life as a golden age of plenty, innocence and happiness – in other words, as civilized life purged of its vices. The other conceives of primitive life as an almost subhuman existence full of terrible hardships and devoid of all comforts – in other words, as civilized life stripped of its virtues. Arcady, as we encounter it in all modern literature, and as we refer to it in our daily speech, falls under the heading of golden-age primitivism. But of Arcady as it existed in actuality, and as it is described to us by Greek writers, almost the opposite is true. To be sure, this real Arcady was the domain of Pan, who could be heard playing the syrinx on Mount Maenalus, and its inhabitants were famous for their musical accomplishments as well as for their ancient lineage, rugged virtue, and rustic hospitality; but they were also famous for their utter ignorance and low standards of living. . . . Small wonder, then, that the Greek poets refrained from staging their pastorals in Arcady. The scene of the most famous of them, the Idylls of Theocritus, is laid in Sicily, then so richly endowed with all those flowery meadows, shadowy groves and mild breezes which the "desert ways" of the actual Arcady conspicuously lacked. . . . It was in Latin, not in Greek, poetry that the great shift took place and that Arcady entered upon the stage of world literature."
– Erwin Panofsky, from Et in Arcadia Ego: Poussin and the Elegiac Tradition (1936)
"Also to Virgil's credit is the creation of the Arcadian setting – Snell's famous 'spiritual landscape' – which was to prove so influential in European pastoral. But it is important to note that references to Arcadia in the Eclogues are actually rather few, and are moreover combined with features of Italian topography. The precise import of Arcadia is much disputed. It seems best to regard it as a remote, solitary setting for lovers' plaints and for song; . . . a place where poetry and love meet, avoiding the worlds of politics, cities, and empires."
– The Oxford Classical Dictionary (3rd edition), edited by Simon Hornblower and Antony Spawforth
– The Oxford Classical Dictionary (3rd edition), edited by Simon Hornblower and Antony Spawforth
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