Depths

Carl Wilhelm Gropius
Gothic Cloister
before 1870
watercolor on paper
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Johann Ludwig Ernst Morgenstern
Baroque Church Interior
1790
watercolor on paper
Städel Museum, Frankfurt

Giovanni Migliara
Maison Sainte-Marthe in Milan
(convent for rehabilitation of prostitutes)
ca. 1825
watercolor on paper
Graphische Sammlung Albertina, Vienna

Giovanni Volpato after Pietro Camporesi
Entrance to Raphael's Vatican Loggia
1772
hand-colored engraving
(frontispiece to portfolio of Loggia prints)
Graphische Sammlung Albertina, Vienna

Paul Decker the Elder
Architectural Ornament - Cupola Interior
ca. 1711
engraving
Kupferstichkabinett,
Staatliche Kunstsammlungen, Dresden

Karl Blechen
Garden of Palazzo Colonna, Rome
1829
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

Franz Alt
Salon in the Louvre
1899
watercolor on paper
Graphische Sammlung Albertina, Vienna

Anonymous Photographer
Gallery View - Bildgalerie von Sanssouci
2017
digital photograph
Bildgalerie von Sanssouci, Potsdam

Louis-Jean Desprez
Venerating Santa Rosalia in Palermo Cathedral
ca. 1765
watercolor on paper
Graphische Sammlung Albertina, Vienna

Luca Signorelli
Descent of the Holy Spirit
1494
oil on canvas
(banner for Confraternita dello Spirito Santo)
Galleria Nazionale delle Marche, Urbino

Anonymous Printmaker
Italian Paintings in Gemäldegalerie, Dresden
ca. 1830
etching and aquatint
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Christian Wilberg
Vault Ruins - Amphitheater at Pergamon
1879
drawing, with added gouache
Kupferstichkabinett, Staatliche Museen zu Berlin

Siegfried Klotz
Self Portrait in Studio Mirror
1974
oil on panel
Galerie Neue Meister (Albertinum), Dresden

James McNeill Whistler
The Kitchen
ca. 1880
etching and drypoint
Kupferstichkabinett, Staatliche Museen zu Berlin

Carl Goebel
Armory of the Ambras Collection in the Lower Belvedere
1875
watercolor on paper
Belvedere Museum, Vienna

Edgar Degas
Un bureau de coton à la Nouvelle Orléans
1873
oil on canvas
Musée des Beaux-Arts de Pau

After they came into Athens, there was habitation for a few and place of retire with some friends or kindred.  But the greatest part seated themselves in the empty places of the city and in temples and in all the chapels of the heroes, saving in such as were in the citadel and the Eleusinium and other places strongly shut up.  The Pelasgicum also under the citadel, though it were a thing accursed to dwell in it and forbidden by the end of a verse in a Pythian oracle in these words, "Best is the Pelasgicum empty," was nevertheless for the present necessity inhabited.  And in my opinion, this prophecy now fell out contrary to what was looked for.  For the unlawful dwelling there caused not the calamities that befell the city, but the war caused the necessity of dwelling there, which war the oracle, not naming, foretold only that it should one day be inhabited unfortunately.*  

Many also furnished the turrets of the walls and whatsoever other place they could any of them get.  For when they were come in, the city had not place for them all; but afterwards they had the long walls divided amongst them and inhabited there and in most parts of Piraeus.  Withal they applied themselves to the business of the war, levying their confederates and making ready a hundred galleys to send about Peloponnesus.  Thus were the Athenians preparing.

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

*Thucydides is contradicting a widespread (later) belief that the Pythian oracle had meant to declare the Pelasgicum cursed and that refugees from the countryside had violated this curse by camping there and that this violation was the direct cause of the subsequent disastrous plague that brought Athens low.  Thucydides himself prefers a more rational reading – that the Pythian meant to say only that when the Pelasgicum was no longer empty of people it would mean that misfortune had arrived in the shape of war.