-Phantom-Banquet-Ghost-2019-painted-polystyrene-and-neon-Moderna-Museet-Stockholm.jpeg) |
| Lap-See Lam Phantom Banquet Ghost 2019 painted polystyrene and neon Moderna Museet, Stockholm |
 |
| Didier Lapène Le Musée de Pau 2006 oil on canvas Musée des Beaux-Arts de Pau |
 |
| Johann Peter Krafft Orpheus at the Tomb of Eurydice 1805 oil on canvas Belvedere Museum, Vienna |
-R%C3%B6hsska-Museet-G%C3%B6teborg.jpg) |
| Sigurd Lewerentz The Stockholm Exhibition 1930 lithograph (poster) Röhsska Museet, Göteborg |
-Portrait-of-Philippine-Charlotte-von-Braunschweig-c1770-80-oil-on-canvas-Bildgalerie-von-Sanssouci-Potsdam.png) |
| Anna Rosina Lisiewska (Anna Rosina de Gasc) Portrait of Philippine Charlotte von Braunschweig ca. 1770-80 oil on canvas Bildgalerie von Sanssouci, Potsdam |
 |
| Broncia Koller Self Portrait ca. 1910 oil on canvas Leopold Museum, Vienna |
-1927-oil-on-canvas-Leopold-Museum-Vienna.jpg) |
| Ferdinand Andri Seated Woman in Red Dress (Helene Zarci) 1927 oil on canvas Leopold Museum, Vienna |
 |
| Otto Friedrich Lady in Red 1909 oil on canvas Leopold Museum, Vienna |
 |
| Anders Zorn Self Portrait in Red 1915 oil on canvas Zornmuseet, Mora, Sweden |
 |
| Joseph Anton Settegast Portrait of Dorothea Veit ca. 1844 oil on canvas Kunsthalle Mannheim |
 |
| Max Slevogt Portrait of a Rider 1906 oil on canvas Kunsthalle Mannheim |
 |
| Jann Haworth Rhinestone Ring 1963 satin stuffed with polyester Moderna Museet, Stockholm |
 |
| François Gérard Alexandrine-Anne de la Pallu, marquise de Flers ca. 1810 oil on canvas Musée Carnavalet, Paris |
-c1990-screenprint-Moderna-Museet-Stockholm.jpeg) |
| Annelie Wallin Untitled (Bernini's St Teresa in Ecstasy) ca. 1990 screenprint Moderna Museet, Stockholm |
 |
| Frederic Matys Thursz Vermilion II 1983 oil on canvas Moderna Museet, Stockholm |
 |
| Antoni Tàpies All Red 1961 oil paint and sand on canvas Moderna Museet, Stockholm |
They took him to see the well that measures the Nile, which is almost identical to the one at Memphis: it is constructed of close-fitting blocks of polished stone and has an engraved scale marked in cubits; the river water seeps underground into the well, where its level against the markings registers the rise and fall in the level of the Nile for the benefit of the inhabitants of the area, who are able to gauge the degree of inundation or shortage of water by the number of divisions covered or exposed.* They also showed him the sundials that cast no shadow at noon, for in the latitude of Syene** the light of the sun is perpendicularly overhead at the summer solstice and thus throws equal illumination on all sides of an object, precluding the casting of a shadow. Likewise the water at the bottom of wells is directly illuminated. Hydaspes, however, was not much impressed by these sights, which were already familiar to him: exactly the same occurred, he said, at Meroe in Ethiopia.
*This whole passage is extremely close to the description of the Nilometer at Elephantine by Strabo. No doubt Heliodorus and Strabo derive their information from the same source. Devices of this kind were essential in a country whose agriculture depended entirely on the annual inundation of the Nile.
**Syene lies almost exactly on the Tropic of Cancer, where the sun is directly overhead on the day of the summer solstice – which, of course, is the time of year when this section of the novel is set. The shadowless sundial and illuminated well bottom are often mentioned in connection with the city.
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)
-1984-acrylic-on-canvas-Dordrechts-Museum.jpg)
-Moderna-Museet-Stockholm.jpeg)
-Man-in-Blue-Recognition-1983-acrylic-on-canvas-KORO-(Public-Art-Norway)-Oslo.jpg)
-Waiting-c1958-synthetic-resin-paint-on-canvas-G%C3%B6teborgs-Konstmuseum-Sweden.jpg)
