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| Anonymous European Artist Head of a Man 17th century drawing Scottish National Gallery, Edinburgh |
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| Anonymous Dutch Artist Head of a Bearded Man 17th century etching Yale University Art Gallery |
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| Pier Francesco Mola Head of a Young Woman ca. 1640 drawing Statens Museum for Kunst, Copenhagen |
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| Anonymous Italian Artist Head of a Satyr 17th century drawing Princeton University Art Museum |
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| Pietro Paolo Bonzi Head of an Old Man ca. 1620 oil on canvas Museo del Prado, Madrid |
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| Jusepe de Ribera Head of Bacchus (fragment of painting, The Triumph of Bacchus) 1636 oil on canvas Museo del Prado, Madrid |
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| Sigismondo Coccapani Head of a Woman ca. 1620 drawing National Gallery of Art, Washington DC |
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| Jan Cossiers Head of a Boy ca. 1658 drawing Getty Museum, Los Angeles |
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| Cornelis van Haarlem Study Head of a Woman 1633 oil on panel Victoria & Albert Museum, London |
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| Honoré Pelle Bust of King Charles II 1684 marble (carved in Genoa, based on an engraving) Victoria & Albert Museum, London |
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| Prince Rupert, Count Palatine after Pietro della Vecchia Head of a Lansquenet 1658 mezzotint Yale Center for British Art |
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| attributed to Diego Velázquez Portrait of a Man ca. 1650 oil on canvas (probably painted in Rome) Metropolitan Museum of Art, New York |
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| Isaac Oliver The Goddess Diana ca. 1615 watercolor miniature on cambric, mounted on limewood Victoria & Albert Museum, London |
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| Christopher Paudiss A Heyduck [brigand] in a Cap 1660 oil on canvas Gemäldegalerie, Dresden |
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| Giovanni Bernardino Azzolino Soul in Purgatory ca. 1620-30 colored wax relief (made in Naples) Victoria & Albert Museum, London |
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| Giovanni Bernardino Azzolino Damned Soul ca. 1620-30 colored wax relief (made in Naples) Victoria & Albert Museum, London |
"They were meant to select the book for the next month's discussion by committee, but unrepentantly Juliet steered them towards works that represented the truth, as she saw it, of female experience. She intended to keep things as contemporary as she could, and to prioritise women writers, but how could she resist Madame Bovary? How could she fail to direct them towards Anna Karenina, towards a woman dead on the railway tracks, put there by men? Then, sometimes, she capitulated and let them choose for themselves. Often they chose something that had been adapted into a film. The discussions always took an odd turn when that happened. The girls compared the book to the film, appearing to believe that the second had preceded the first. They referred to the characters using the names of the actors who had played them. Juliet would drink her coffee and stare out the window . . . "
– Rachel Cusk, from the novel Arlington Park (2006)