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| Laurits Andersen Ring Herman Kähler in his Workshop 1890 oil on canvas Randers Kunstmuseum, Denmark |
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| Gustaf Magnusson In the Woodshop 1935 oil on canvas Prins Eugens Waldemarsudde, Stockholm |
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| Gotthardt Kuehl Sailmaking Workshop in Lübeck ca. 1880-85 oil on canvas Museum Behnhaus, Lübeck |
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| Anonymous Russian Artist We Replenish the Labor Brigades with New Activists ca. 1920-30 lithograph (poster) Moderna Museet, Stockholm |
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| Anonymous Russian Artist We Must Bridge the Gap at All Costs ca. 1930 lithograph (poster) Moderna Museet, Stockholm |
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| Anonymous Russian Artist Meeting the Goals of the Five-Year Plan in Four Years 1930 lithograph (poster) Moderna Museet, Stockholm |
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| Ludwig von Hofmann Defense 1910 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Lievens-Jan- The Four Ages of Man and the Four Elements (Maturity and Earth) ca. 1623-25 oil on panel Museumslandschaft Hessen Kassel |
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| Kusakabe Kimbei Post Runner ca. 1890 hand-colored albumen silver print Moderna Museet, Stockholm |
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| Frederik Vermehren Traveling Bread-Seller 1851 oil on canvas Hirschsprung Collection, Copenhagen |
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| Alexandre Charpentier The Duval-Janvier Coin Press ca. 1900 bronze relief plaque Belvedere Museum, Vienna |
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| Cavaliere d'Arpino (Giuseppe Cesari) Scene at Vulcan's Forge ca. 1600 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Anonymous Italian Artist Académie as Blacksmith 18th century drawing Hamburger Kunsthalle |
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| Bertil Norén Worker in Landscape ca. 1932 watercolor on paper Moderna Museet, Stockholm |
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| Ollie Nyman Tapping Wine Cask 1948 oil on canvas Moderna Museet, Stockholm |
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| Ernst Würtenberger At School 1919 oil on canvas Staatliche Kunsthalle, Karlsruhe |
[Cilissa comes out of the palace.]
Chorus: The man from abroad seem to be causing some trouble: here comes Orestes' nurse, I see, in tears. Where are you bound for, Cilissa,* walking over the threshold of the palace? Grief is your unhired fellow-traveller.
Cilissa: The mistress ordered me to summon Aegisthus as quickly as possible to see the visitors, so that he can come and learn from this newly-reported information more clearly, man from man. In front of the servants she put on a sorrowful face – concealing the laughter that is underneath on account of the event that has come to pass, which is a good thing for her, but for this house things are thoroughly bad, as a result of the news that the visitors have reported very plainly. For certain, hearing it will bring joy to that man's heart when he learns of the story. O wretched me! For I found the old griefs that have happened in this house of Atreus hard enough to bear, all mixed together as they were, and they pained my heart within my breast; but I have never yet had to endure a sorrow like this.
– Aeschylus, from The Libation-Bearers (458 BC), translated by Alan H. Sommerstein (2008)
*This name indicates that the nurse is a native of Cilicia in south-eastern Asia Minor. She is the only ordinary slave (as distinct from captives of noble birth such as Cassandra) to be given a name in any surviving tragedy.