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| Gösta Hübinette Mona Mårtenson in the play Easter by August Strindberg 1924 gelatin silver print Moderna Museet, Stockholm |
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| Henry Goodwin Portrait of German film star Lil Dagover 1926 photogravure Moderna Museet, Stockholm |
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| Nell Dorr Portrait of Lillian Gish ca. 1960 platinum print Amon Carter Museum, Fort Worth, Texas |
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| Laura Gilpin Lillian Gish as Camille in Central City, Colorado 1932 platinum print Amon Carter Museum, Fort Worth, Texas |
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| Henri Cartier-Bresson Julie Harris in her Dressing Room, New York City 1960 gelatin silver print Dayton Art Institute, Ohio |
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| Napoleon Sarony Stage performer Clara Morris ca. 1876 albumen silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
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| Napoleon Sarony Stage performer Agnes Ethel ca. 1870 albumen silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
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| Smith & Hardy Stage performer Helena Luy ca. 1890 collodion silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
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| Benjamin Falk Stage performer Helena Luy ca. 1890 albumen silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
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| Isaac Israëls Wrestlers on Stage in Paris ca. 1910 watercolor on paper Kröller-Müller Museum, Otterlo, Netherlands |
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| Emo Verkerk Buster Keaton and Samuel Beckett 1992 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Pierre-Augustin Thomire Portrait of actor Fabre d'Églantine (holding silver award shaped as sprig of wild roses) 1793 oil on canvas Musée des Beaux-Arts de Carcassonne |
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| Martin Kippenberger The Alma Band 1984 screenprint (poster) Museum Folkwang, Essen |
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| Ernst Ludwig Kirchner Dancing Couple 1914 oil on canvas Museum Folkwang, Essen |
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| August Macke Stage Dancers 1914 gouache on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Gustave Doré Family of Saltimbanques 1874 oil on canvas Musée d'Art Roger Quilliot, Clermont-Ferrand |
The stone tells that it contains here the white Maltese dog, Eumelus' faithful guardian. They called him Bull while he still lived, but now the silent paths of night possess his voice.
No longer, dolphin, darting through the bubbling brine, shalt thou startle the flocks of the deep, nor, dancing to the tune of the pierced reed, shalt thou throw up the sea beside the ships. No longer, foamer, shalt thou take the Nereids on thy back as of yore and carry them to the realms of Tethys; for the waves when they rose high as the headland of Males drove thee on to the sandy beach.
The waves and rough surges drove me, the dolphin, on the land, a spectacle of misfortune for all strangers to look on. Yet on earth pity finds a place, for the men who saw me straightway in reverence decked me for my grave. But now the sea who bore me has destroyed me. What faith is there in the sea, that spared not even her own nursling?
Here by the threshing floor, O ant, careworn toiler, I built for thee a grave-mound of thirsty clod, so that in death too thou mayest delight in the corn-bearing furrow of Demeter, as thou liest chambered in the earth the plough upturned.
No longer perched on the green leaves dost thou shed abroad thy sweet call, for as thou wast singing, noisy cicada, a foolish boy with outstretched hand slew thee.
This tomb Damis built for his steadfast war-horse pierced through the breast by gory Ares. The black blood bubbled through his stubborn hide, and he drenched the earth in his sore death-pangs.
– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)