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| Hellenistic Greek Culture in Egypt Portraits of Ptolemy II Philadelphus and his sister-wife Arsinoe II ca. 278-269 BC onyx cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Ancient Rome Portrait of a Woman 1st century BC onyx cameo with enameled-gold mount, set with diamonds and rubies Kunsthistorisches Museum, Vienna |
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| Ancient Rome Bust of a Youth ca. 60-50 BC carnelian intaglio mounted in gold finger-ring Kunsthistorisches Museum, Vienna |
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| Ancient Rome Portrait of a Married Couple AD 230 sardonyx cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in Italy Busts of Four Roman Emperors ca. 1550-1600 agate cameo with enameled-gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in Italy Portrait of Agrippina as Ceres 16th century onyx cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in France Bust of a Roman Emperor ca. 1575-80 onyx cameo with enameled-gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in Italy Portrait of Nero ca. 1600 chalcedony cameo with enameled-gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in Italy Bust of a Roman Emperor ca. 1600 agate cameo with silver-gilt mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist working in Prague Bust of Alexander the Great ca. 1600-1620 moss-agate cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Niccolò Morelli Bust of Alexander the Great ca. 1800-1830 jasper cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist Bust of Antinoüs ca. 1690-1710 carnelian intaglio with gold mount Kunsthistorisches Museum, Vienna |
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| Giuseppe Girometti Bust of Antinoüs before 1851 onyx cameo with gold mount Kunsthistorisches Museum, Vienna |
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| Anonymous Artist Portrait of Livia as Ceres ca. 1700-1750 aquamarine intaglio with silver mount Kunsthistorisches Museum, Vienna |
"Certainly the weather was variable. It was green in the garden; grey the next. Here came the sun – an illimitable rapture of joy, embracing every flower, every leaf. Then in compassion it withdrew, covering its face, as if it forebore to look on human suffering. There was a fecklessness, a lack of symmetry and order in the clouds, as they thinned and thickened. Was it their own law, or no law, they obeyed? Some were wisps of white hair merely. One, high up, very distant, had hardened to golden alabaster; was made of immortal marble. Beyond that was blue, pure blue, black blue; blue that had never filtered down; that had escaped registration. It never fell as sun, shadow, or rain upon the world, but disregarded the little coloured ball of earth entirely. No flower felt it; no field; no garden."
– Virginia Woolf, Between the Acts (1941)