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| Gregorio Pagani St Helena (study of saint's pose repeated 14 times) ca. 1592 drawing British Museum |
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| Bernard Picart Académie 1721 drawing Ashmolean Museum, Oxford |
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| Hugues Taraval Life Study (model posed for foreshortened Crucifixion) before 1785 drawing Victoria & Albert Museum, London |
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| Salvino Salvini Model Study by a Sculptor ca. 1850 oil on canvas Museo Nazionale di Palazzo Reale, Pisa |
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| Auguste Belloc Reclining Model ca. 1858 albumen silver print Museum of Modern Art, New York |
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| Paul Cézanne Académie ca. 1867 drawing Ashmolean Museum, Oxford |
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| Hermann Heid Model Study ca. 1875 albumen silver print Museum of Modern Art, New York |
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| Anonymous English Photographer Artist and Model in the Studio ca. 1890 albumen silver print Museum of Modern Art, New York |
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| Alphonse Mucha Model Study ca. 1899 gelatin silver print San Francisco Museum of Modern Art |
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| Charles Despiau Seated Model ca. 1900 drawing Museum of Modern Art, New York |
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| Henri Matisse Model Study ca. 1908-1909 drawing Museum of Modern Art, New York |
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| Constant Puyo Three Photographers in a Meadow with a Model 1909 platinum print Metropolitan Museum of Art, New York |
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| George Bellows Standing Model before 1925 drawing Buffalo AKG Art Museum, New York |
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| George Grosz Self Portrait with Model 1928 oil on canvas Museum of Modern Art, New York |
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| PaJaMa (Paul Cadmus, Jared French, Margaret French) Francis Burton Harrison III, Saint Luke's Place, New York 1945 gelatin silver print Museum of Modern Art, New York |
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| Anonymous American Photographer Woman posing in Bathing Suit 1959 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Philip Pearlstein Male Model, Minstrel Marionettes and Unfinished Painting 1994 oil on canvas Museum of Modern Art, New York |
To crown all, he has scattered through these few pages a multitude of proper names, most of them gorgeous in sound, and each of them carrying its own strange freight of reminiscences and allusions from the unknown depths of the past. As one reads, an extraordinary procession of persons seems to pass before one's eyes – Moses, Archimedes, Achilles, Job, Hector and Charles the Fifth, Cardan and Alaric, Gordianus, and Pilate, and Homer, and Cambyses, and the Canaanitish woman. Among them, one visionary figure flits with a mysterious pre-eminence, flickering over every page, like a familiar and ghostly flame. It is Methuselah; and in Browne's scheme, the remote, almost infinite, and almost ridiculous patriarch is – who can doubt it? – the only possible centre and symbol of all the rest.
– Lytton Strachey on Sir Thomas Browne (1906)