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| Cornelis Troost Harlequin, Magician and Barber (The Rivals Exposed) 1738 pastel and gouache on paper Mauritshuis, The Hague |
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| Franz Christoph Janneck The Embarcation for Cythera ca. 1740 oil on copper Deutsche Barockgalerie, Augsburg |
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| Jacopo Amigoni The Encounter of Anthia and Habrocomes (scene from The Ephesian Tale by Xenophon of Ephesus) 1744 oil on canvas Staatsgalerie Stuttgart |
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| Henri de Favanne Parting of Telemachus and Eucharis (scene from The Adventures of Telemachus by François Fénelon) ca. 1746 oil on canvas Musée des Beaux-Arts de Lyon |
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| Gaspare Traversi The Portrait Session ca. 1750 oil on canvas Musée Magnin, Dijon |
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| Pompeo Batoni Scene of Frenzy ca. 1760 drawing National Gallery, Athens |
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| Gabriel de Saint-Aubin The Death of Tancrède (scene from Voltaire's verse drama, Tancrède) ca. 1760 drawing, with added watercolor Morgan Library, New York |
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| Francesco Bartolozzi after Sebastiano Ricci Furius Camillus liberating Rome from Brennus (episode described by Plutarch) 1763 etching printed in two colors Scottish National Gallery, Edinburgh |
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| Jean-Baptiste Greuze The Father's Curse on the Ungrateful Son ca. 1765 drawing Palais des Beaux-Arts de Lille |
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| François Boucher Boreas abducting Oreithyia (scene from Ovid's Metamorphoses) 1769 oil on canvas Kimbell Art Museum, Fort Worth, Texas |
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| Jacques-Louis David The Death of Seneca (scene from the Annals of Tacitus) 1773 oil on canvas Musée du Petit Palais, Paris |
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| Gaetano Fryer Lucius Albinus offering his Cart to the Vestal Virgins (scene from Livy's History of Rome) 1774 oil on canvas Galleria Nazionale di Parma |
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| Marco Marcola Scene of Assassination from Ancient History ca. 1775 drawing Morgan Library, New York |
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| Jean-Pierre Norblin The Pierides transformed into Magpies (scene from Ovid's Metamorphoses) ca. 1780 oil on canvas National Museum, Warsaw |
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| Antoine-François Callet Sacrifice of Polyxena (scene from Ovid's Metamorphoses) ca. 1780-83 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
Then casting up his eyes, he saw before him a rare meadow, and in the midst of it a little Arbour, as he so farre off tooke it to bee, but drawing neerer he found a delicate Fountaine circled about with Orange, and Pomgranet trees, the ground under them all hard sand, about the Fountaine (as next adjoyning) was a hedge of Jesamins mingled with Roses and Woodbines, and within that, paved with pavements of divers colours, plac'd for shew and pleasure; on the steps he sate downe beholding the worke of the Fountaine which was most curious, being a faire Maide as it were, thinking to lade it drie, but still the water came fast, as it past over the dish she seemed to lade withall. "And just thus," said hee, "are my labours fruitlesse, my woes increasing faster then my paines find ease." Then having enough, as hee thought, given liberty to his speech, he put the rest of his thought into excellent verse, making such excelling ones, as none could any more imitate or match them, then equall his valour: so exquisite was he in all true vertues, and skill in Poetry, a quallitie among the best much prized and esteemed, Princes brought up in that, next to the use of Armes.
– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)