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| Titian Portrait of Pope Paul III Farnese ca. 1545-46 oil on canvas Museo di Capodimonte, Naples |
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| Guercino (Francesco Barbieri) God the Father ca. 1640 drawing Graphische Sammlung Albertina, Vienna |
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| Nicolas Neufchâtel Portrait of goldsmith Wenzel Jamnitzer ca. 1562-63 oil on canvas Musée d'Art et d'Histoire de Genève |
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| Anonymous Italian Artist Bust of Homer ca. 1680-1720 marble (after antique bust in Naples) Museumslandschaft Hessen Kassel |
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| Roman Empire Bust of Socrates 2nd century AD (head) marble, mounted on modern marble base Rijksmuseum van Oudheden, Leiden |
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| Roman Empire Head of Plato 1st century AD marble Antikensammlung, Staatliche Museen zu Berlin |
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| Rembrandt van Rijn Old Man with Fur Hat ca. 1640 etching and engraving Graphische Sammlung, ETH Zürich |
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| Ambrosius Benson St Jerome ca. 1540 oil on panel Museum Mayer van den Bergh, Antwerp |
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| Erich Heckel Portrait of artist James Ensor 1930 oil on canvas Museum Ludwig, Cologne |
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| Pietro Perugino St Benedict ca. 1496-99 tempera on panel (predella fragment) Pinacoteca Vaticana, Rome |
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| attributed to Hans Steidlin Janus ca. 1600 drawing National Gallery of Art, Washington DC |
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| Jacopo Tintoretto Portrait of a Procurator of San Marco, Venice ca. 1575-85 oil on canvas Frick Collection, New York |
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| Jusepe de Ribera St Jerome ca. 1638-40 oil on canvas Cleveland Museum of Art, Ohio |
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| Cornelis de Visscher the Elder Portrait of a Musician 1574 oil on panel Kunsthistorisches Museum, Vienna |
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| Giambattista Moroni Portrait of Vercellino Olivazzi 1565 oil on canvas Mauritshuis, The Hague |
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| Marinus van Reymerswaele St Jerome in his Study 1541 oil on panel Royal Museum of Fine Arts, Antwerp |
[Enter Athena, clad in armour and wearing her aegis.]
Athena: From afar I heard a cry summoning me, from the Scamander, where I was staking my claim to the land which the leaders and chiefs of the Achaeans had apportioned to me entirely, absolutely and for ever, a large share of the captured property, as a special gift set aside for the children of Theseus. From there I have come on rapid and unwearied foot, not flying on wings but flapping the folds of my aegis.* Now, seeing these new visitors to my land, while I am not in the least afraid, my eyes are full of amazement. Who may you be? I speak to all alike, both to the stranger who is sitting close to my image and to you [meaning the Chorus of Furies]. You resemble no race of begotten beings, neither among the goddesses who are beheld by gods, nor is your appearance similar to that of mortals – but to speak injuriously of another, when one has no cause to blame him, is a long way from what is right, and propriety keeps far from it.
Chorus: We will tell you everything in brief, daughter of Zeus. We are the everlasting children of Night, and in our home below the earth we are called the Curses.
Athena: I now know your parentage, and the name by which you are called . . .
Chorus: And you will soon learn my privileges also.
Athena: I would, if someone gave me a clear account of them.
Chorus: We drive from their homes those who kill human beings.
– Aeschylus, from Eumenides (458 BC), translated by Alan H. Sommerstein (2008)
*Athena's aegis is represented in art as a garment (now short, now long, and often scaly) fringed with tassels or with snakes, either worn over the shoulders or hung over the left arm.