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| Gerard de Jode after Frans Menton Lot protecting the Angels from the Sodomites 1585 hand-colored etching and engraving British Museum |
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| John Baptist Jackson after Jacopo Bassano The Rich Man and Lazarus 1743 chiaroscuro woodcut on two sheets (after a lost painting by Bassano) Royal Collection, Great Britain |
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| John Baptist Jackson after Jacopo Bassano The Rich Man and Lazarus 1743 chiaroscuro woodcut on two sheets (after a lost painting by Bassano) Royal Collection, Great Britain |
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| Wenceslaus Hollar after Leonardo da Vinci Anatomical Study of Torso (back view) 1645 etching Metropolitan Museum of Art, New York |
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| Louis-François Cassas Vue de la Décoration du Jardin du Général Berthier pour la Fête de la Paix entre la France et L'Empereur d'Allemagne ca. 1797 hand-colored etching Royal Collection, Great Britain |
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| Pietro Antonio Pazzi after Angelo Caroselli Allegory of Youth and Old Age ca. 1730-66 etching and engraving British Museum |
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| Pierre Brébiette after Claude Vignon Jupiter, Pluto and Neptune offering their Riches to Fortune 1624 etching Metropolitan Museum of Art, New York |
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| Henry Overton (publisher) Moses, Aaron and Joshua with the Tablets of the Ten Commandments ca. 1710-20 engraving (oversize format for display in churches) British Museum |
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| Joachim von Sandrart after Titian Flora ca. 1640 etching Museum of Fine Arts, Boston |
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| Augustin de Saint-Aubin Dernière Heure de la Baronne de Rebecque, morte à 36 ans 1780 etching and engraving Metropolitan Museum of Art, New York |
"Perhaps every night we accept the risk of facing, while we are asleep, sufferings which we regard as unreal and unimportant because they will be felt in the course of a sleep which we suppose to be unconscious. And indeed on these evenings when I came back late from la Raspelière I was very sleepy. But after the weather turned cold I could not get to sleep at once, for the fire lighted up the room as though there were a lamp burning in it. Only it was nothing more than a blazing log, and – like a lamp too, for that matter, like the day when night gathers – its too bright light was not long in fading; and I entered a state of slumber which is like a second room that we take, into which, leaving our own room, we go when we want to sleep. It has noises of its own and we are sometimes violently awakened by the sound of a bell, perfectly heard by our ears, although nobody has rung. It has its servants, its special visitors who call to take us out so that we are ready to get up when we are compelled to realise, by our almost immediate transmigration into the other room, the room of overnight, that it is empty, that nobody has called. The race that inhabits it is, like that of our first human ancestors, androgynous. A man in it appears a moment later in the form of a woman. Things in it shew a tendency to turn into men, men into friends and enemies."
– Marcel Proust, from Sodome et Gomorrhe (1921-22), translated by C.K. Scott Moncrieff as Cities of the Plain (1927)
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| Gabriel de Saint-Aubin Vue de la Foire de Beson, près Paris 1750 etching Metropolitan Museum of Art, New York |
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| attributed to Enea Vico Edward VI, King of England 1547 engraving (formerly in the Paper Museum of Cassiano dal Pozzo, Rome) Royal Collection, Great Britain |
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| workshop of Jacob de Gheyn II Sigismondo Malatesta ca. 1595 engraving (formerly in the Paper Museum of Cassiano dal Pozzo, Rome) Royal Collection, Great Britain |
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| Frederick Bloemaert after Abraham Bloemaert Draped Woman, viewed from the back before 1669 engraving Rijksmuseum, Amsterdam |
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| Francesco Faraone Aquila after Pier Leone Ghezzi Design for Head-Piece or Tail-Piece ca. 1700 engraving Victoria & Albert Museum |