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| Albrecht Dürer Anatomical Studies for the Figure of Adam 1504 drawing (print study) British Museum |
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| Paris Bordone Young Woman with Mirror ca. 1535-40 oil on canvas Hamburger Kunsthalle |
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| Marcello Fogolino St Paul preaching in Athens ca. 1550 drawing British Museum |
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| Gerbrand van den Eeckhout Study of Seated Boy ca. 1655 drawing British Museum |
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| Allaert van Everdingen Coastal Scene before 1675 drawing British Museum |
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| John Downman Mr Brundish and Mr Mountain of Caius College, Cambridge 1778 watercolor and charcoal on paper British Museum |
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| Louis-Léopold Boilly La Chute des Neiges (grande avalanche musicale) ca. 1830 drawing British Museum |
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| Edward Burne-Jones Woman with Fan ca. 1883-89 drawing British Museum |
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| Thomas Eakins Dorothy Cook Katar in Classical Costume ca. 1892 platinum print Smithsonian American Art Museum, Washington DC |
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| Arnold Böcklin Pan and Dryads 1897 oil on canvas Von der Heydt Museum, Wuppertal |
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| Joseph Vogel Vision ca. 1935 lithograph (WPA Project) Smithsonian American Art Museum, Washington DC |
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| Ivor Francis Schizophrenia 1943 oil on canvas Art Gallery of South Australia, Adelaide |
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| Friedrich Vordemberge-Gildewart Composition no. 150 1945 oil on canvas Guggenheim Museum, New York |
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| Harold Edgerton Yul Brynner and Mary Martin on stage in The King and I 1946 gelatin silver print Whitney Museum of American Art, New York |
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| Ilya Bolotowsky Architectural Variation 1949 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Norman Bluhm Dido 1973 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Roy Dowell #676 1995 acrylic and collage on panel Orange County Museum of Art, Costa Mesa, California |
The ascending pile
Stood fixed her stately highth, and straight the doors
Opening their brazen folds discover wide
Within her ample spaces o'er the smooth
And level pavement; from the archèd roof
Pendent by subtle magic many a row
Of starry lamps and blazing cressets fed
With naphtha and asphaltus yielded light
As from a sky. The hasty multitude
Admiring entered, and the work some praise
And some the architect: his hand was known
In heaven by many a towered structure high,
Where sceptred angels held their residence,
And sat as princes, whom the supreme king
Exalted to such power, and gave to rule,
Each in his hierarchy, the orders bright.
Nor was his name unheard or unadored
In ancient Greece, and in Ausonian land
Men called him Mulciber; and how he fell
From heaven, they fabled, thrown by angry Jove
Sheer o'er the crystal battlements; from morn
To noon he fell, from noon to dewy eve,
A summer's day; and with the setting sun
Dropped from the zenith like falling star
On Lemnos the Aegaean isle: thus they relate,
Erring; for he with his rebellious rout
Fell long before; nor aught availed him now
To have built in heaven high towers; nor did he scape
By all his engines, but was headlong sent
With his industrious crew to build in hell.
– John Milton, from Paradise Lost (1667)