A pasticcio opera is created from pre-existing music, texts or both. This way of creating operas began soon after 1600 and still continues today, yet twentieth-century musicologists, steeped in neoromantic assumptions, felt that purely original works had to be better than collaborative ones, or composites, and must have been more valued and widespread. They presented pasticcio as a marginal genre within opera which came to an end in the early nineteenth century. This narrative was achieved by allowing only those operas which designated themselves a pasticcio to be categorised as such.The book challenges this perspective, arguing that pasticcio is a method of creating opera not a genre. The word was coined in the 1720s but the practice had existed long before long before and continued long after the word fell out of favour, many operas that are patently pasticci did not describe themselves as such and the practice can be found in many other artforms. Pasticcio is studied over a long timeframe as its evolutions were stimulated by cultural transitions with similarly long timespans: Britain's gradual shift from a proto-literate to a mass-literate society and shifts in conceptualising the self among others. As a practice, pasticcio came under critical pressure in the nineteenth century, not just in opera but in sculpture, the restoration of antiquities and in making commodities such as wine. Yet far from coming to an end in this century, as once argued, pasticcio continued into and beyond the twentieth century