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| Ferdinand Hodler View into Infinity III 1905 oil on canvas Hamburger Kunsthalle |
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| Ferdinand Hodler Ergriffenheit 1900 oil on canvas Belvedere Museum, Vienna |
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| Renato Birolli Flowers 1947 oil on board Moderna Museet, Stockholm |
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| Jacopo de' Barbari Galatea on a Dolphin ca. 1495 oil on panel Gemäldegalerie Alte Meister, Dresden |
-Figure-of-St-Anthony-Abbot-before-1613-drawing-Morgan-Library-New-York.jpg) |
| Cigoli (Lodovico Cardi) Figure of St Anthony Abbot before 1613 drawing Morgan Library, New York |
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| Anonymous Italian Artist Top of Trajan's Column, Rome 16th century etching Hamburger Kunsthalle |
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| Anonymous Artist working in Ferrara The Muse Melpomene ca. 1458-60 tempera and oil on panel Museum of Fine Arts, Budapest |
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| Rudolf Wacker Still Life with Great Crested Grebe 1928 oil on panel Leopold Museum, Vienna |
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| Pontormo (Jacopo Carrucci) Standing Woman ca. 1517-20 drawing Biblioteca Reale, Turin |
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| Michelangelo Buonarroti Standing Figure ca. 1503 drawing (formerly owned by both Peter Paul Rubens and the famous collector Pierre-Jean Mariette) Graphische Sammlung Albertina, Vienna |
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| Kerstin Bernhard Park of Rydboholm Castle, Sweden 1952 gelatin silver print Moderna Museet, Stockholm |
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| Baron Adolf De Meyer Teddie 1912 photogravure Amon Carter Museum, Fort Worth, Texas |
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| Jacques-Fabien Gautier-Dagoty Anatomical Figure ca. 1750 watercolor and gouache on paper Fine Arts Museums of San Francisco (Achenbach Foundation) |
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| Otto Hettner Figure in Landscape 1926 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Francesco Maffei Portrait of Giambattista Bufalini ca. 1650-60 oil on canvas Staatsgalerie-Stuttgart |
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| Master of the Straus Madonna St John the Baptist ca. 1410 tempera on panel (altarpiece fragment) Christ Church Picture Gallery, Oxford |
Enter Scout from the direction of the battlefield.
Scout: Eteocles, most excellent king of the Cadmeans, I come bringing definite news from the army out there; I was myself an eyewitness of what they were doing. Seven men, bold leaders of companies, slaughtered a bull, let its blood run into a black-rimmed shield, and touching the bull's blood with their hands swore an oath by Ares, Enyo, and blood-loving Terror, that they would either bring destruction on the city, sacking the town of the Cadmeans by force, or perish and mix their blood into the soil of this land; and with their own hands, shedding tears, they were adorning the chariot of Adrastus with mementoes of themselves* to take home to their parents. But no word of pity passed their lips: these breathed within them a steel-hearted spirit, blazing with courage, like that of lions with the light of war in their eyes. You have not been delayed in learning this by any slowness of mine: I left them drawing lots, so that according to the fall of the lot each should lead his company against a gate. In view of this, you should speedily post men of excellence, the pick of the city, at the entrances of the gates; for the Argive army, fully equipped, is already coming close, raising the dust, and white foam from the horses' lungs is dripping and staining the soil. Be like a good ship's captain and make the city tight, before the squalls of war assail her – for this army is like a roaring land-wave – and take the very quickest opportunity of doing this. For my part, from now on, I will keep a faithful daytime scout's eye out, and through my clear reports you will know what is happening outside and not come to harm.
Exit Scout, by the way he came.
– Aeschylus, from Seven Against Thebes (467 BC), translated by Alan H. Sommerstein (2008)
*probably locks of hair; on eight vase-paintings datable between 490 and 460, one of the Seven is shown cutting a lock