![]() |
Willy Jaeckel The Giants in the Pit (Dante's Inferno) ca. 1923 etching Kupferstichkabinett, Staatliche Museen zu Berlin |
![]() |
Paul Jourdy Prometheus chained to the Rock 1840 oil on canvas Musée Ingres Bourdelle, Montauban |
![]() |
Palma il Giovane Study for Christ at the Column ca. 1580 drawing Musée des Beaux-Arts de Lyon |
![]() |
Irving Penn Truman Capote 1948 gelatin silver print Moderna Museet, Stockholm |
![]() |
Karl Sandels Wrestling - Sweden versus Finland 1935 gelatin silver print Moderna Museet, Stockholm |
![]() |
Pavel Petrovich Sokolov-Skalya Stop! ca. 1925-30 lithograph (poster) Moderna Museet, Stockholm |
![]() |
Albert Weisgerber Absalom 1914 oil on canvas Hamburger Kunsthalle |
![]() |
Gösta Åberg Women in Cages - Corinne Luchaire (French Cinema's New Sensation) 1955 lithograph (poster) Röhsska Museet, Göteborg |
![]() |
Anonymous French Artist Roman Captive 17th century marble relief (fragment) Musée des Beaux-Arts de Lyon |
![]() |
Christo Wrapped LOOK Magazine 1965 mixed media object Moderna Museet, Stockholm |
![]() |
Michiel Coxie St Sebastian ca. 1530 drawing Graphische Sammlung Albertina, Vienna |
![]() |
Théodore Géricault Bound Eros before 1824 drawing Musée Bonnat-Helleu, Bayonne |
![]() |
Alberto Giacometti Cage 1930-31 wood Moderna Museet, Stockholm |
![]() |
Hellenistic Greek Culture Alcyoneus (Giant) from the Athena Group Pergamon Altar Frieze (east) 175-150 BC marble-relief Antikensammlung, Staatliche Museen zu Berlin |
![]() |
Annika von Hausswolff It Takes a Long Time to Die 2002 C-print Nasjonalmuseet, Oslo |
"So exquisite were the harmonies of the singers, so exactly did the rhythms of the sound of their steps keep time with the music, that one's ears charmed one's eyes to be blind to what they saw; and as the procession of maidens passed, the onlookers moved in step with them, as if drawn by the cadences of the song, until behind them the troop of young horsemen and their captain rode up in splendor to prove the vision of beauty more potent than any sound."
"The young men numbered fifty, divided into two groups of twenty-five to escort the leader of the sacred mission who rode at their center. They wore boots woven from straps of crimson leather and bound tightly above their ankles. Their cloaks were white, fastened across their chests with a golden clasp and hemmed all around with a band of dark blue. Their mounts were all Thessalian steeds, and the light of the freedom of the plains of Thessaly shone in their eyes; they resented the mastery of the bit, foaming and champing and trying to dislodge it, yet they allowed their riders' thoughts to guide them. The horses were caparisoned with silver and gold frontlets and cheekpieces so splendid that you might have thought that the young men had held a competition on this point."
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)