-Agony-in-the-Garden-c1485-90-engraving-British-Museum.jpg) |
| Master I.A.M. of Zwolle (Netherlandish printmaker) The Agony in the Garden ca. 1485-90 engraving British Museum |
-Two-Armies-at-the-Battle-of-Ravenna-c1512-engraving-British-Museum.jpg) |
| Master N.A. D.A.T. (Italian printmaker) Two Armies at the Battle of Ravenna ca. 1512-15 engraving British Museum |
-Battle-of-Ravenna-c1512-drawing-(print-study)-Kupferstichkabinett-Hamburger-Kunsthalle.jpg) |
| Master with the Mousetrap (Italian printmaker) Battle of Ravenna ca. 1512-15 drawing (print study) Kupferstichkabinett, Hamburger Kunsthalle |
 |
| Lucas van Leyden Pyramus and Thisbe 1514 engraving British Museum |
-Aeneas-deserting-Dido-c1530-35-enamel-on-copper-(Limoges)-Metropolitan-Museum-of-Art-New-York.jpg) |
| Master of the Aeneid Legend (French enameller) Aeneas deserting Dido ca. 1530-35 enamel on copper (Limoges) Metropolitan Museum of Art, New York |
-after-Raphael-Aeneas-carrying-Anchises-out-of-Troy-c1530-60-engraving-British-Museum.jpg) |
| Master of the Die (Italian printmaker) after Raphael Aeneas carrying Anchises out of Troy ca. 1530-60 engraving British Museum |
-Polyptych-with-Ecce-Homo-and-Saints-1538-oil-on-panel-Galleria-Nazionale-di-Parma.jpg) |
| Girolamo Mazzola Bedoli Polyptych with Ecce Homo and Saints 1538 oil on panel Galleria Nazionale di Parma |
-Calumny-of-Apelles-c1540-50-enamel-plaque-on-copper-(Limoges)-British-Museum.jpg) |
| Master-KIP-(French-enameller)- The Calumny of Apelles ca. 1540-50 enamel on copper (Limoges) British Museum |
-after-Giulio-Romano-Agamemnon-slaying-Odius-c1545-etching-(School-of-Fontainebleau)-British-Museum.jpg) |
| Master of the Story of Cadmus (French printmaker) after Giulio Romano Agamemnon slaying Odius ca. 1545 etching (School of Fontainebleau) British Museum |
-Last-Judgment-1547-engraving-British-Museum.jpg) |
| Master C.C. (French printmaker) The Last Judgment 1547 engraving British Museum |
-Allegory-of-the-Last-Judgment-16th-century-drawing-British-Museum.jpg) |
| Master of the Egmont Albums (Netherlandish draughtsman) Allegory of the Last Judgment 16th century drawing British Museum |
-British-Museum.jpg) |
| Marten de Vos the Elder Ecce Homo ca. 1590 drawing (print study) British Museum |
 |
| Alessandro Maganza St Lawrence before the Judge before 1630 drawing British Museum |
 |
| Benjamin West Samson Bound 1788 watercolor on paper British Museum |
 |
| Joseph Anton Koch St Francis and the Devil battling for the Soul of Guido da Montefeltro (episode in Dante's Hell) 1808 etching British Museum |
 |
| Carle Vernet Battle of Quatre Bras ca. 1815-20 watercolor on paper British Museum |
-British-Museum.jpg) |
| G.H. Miles Assassin Edward Oxford shooting at Queen Victoria 1840 watercolor on paper British Museum |
That Children committed unto the school of Nature, without institution would naturally speak the primitive language of the world, was the opinion of ancient heathens, and continued since by Christians; who will have it our Hebrew tongue, as being the language of Adam. That this were true were much to be desired, not only for the easie attainment of that usefull tongue, but to determine the true and primitive Hebrew. For whether the present Hebrew be the unconfounded language of Babel, and that which remaining in Heber was continued by Abraham and his posterity; or rather the language of Phaenicia and Canaan, wherein he lived, some learned men I perceive doe yet remain unsatisfied. Although I confesse probability stands fairest for the former; nor are they without all reason, who think that at the confusion of tongues, there was no constitution of a new speech in every family, but a variation and permutation of the old, out of one common language raising severall dialects; the primitive tongue remaining still entire. Which they who retained might make a shift to understand most of the rest.
– John Evelyn from Pseudodoxia Epidemica (1646)