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| Titian Virgin and Child in Glory with Saints 1522-26 oil on panel, transferred to canvas (altarpiece) Pinacoteca Vaticana, Rome |
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| Maurice de Vlaminck Landscape with Haystacks ca. 1910 oil on canvas Romanian National Museum of Art, Bucharest |
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| Jan Sadeler the Elder after Theodor Bernard Personification of Evening 1582 engraving Herzog August Bibliothek, Wulfenbüttel |
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| Jan Sadeler the Elder after Theodor Bernard Personification of Dawn 1582 engraving Herzog August Bibliothek, Wulfenbüttel |
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| Virgil Solis Fortitudo before 1562 etching and engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Karel Dujardin Return from the Flight into Egypt 1662 oil on canvas Detroit Institute of Arts |
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| Eugène Boudin The Shore at Deauville 1897 oil on canvas Palais des Beaux-Arts de Lille |
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| Ferdinand Hodler The Weisshorn viewed from Montana 1915 oil on canvas Museum Folkwang, Essen |
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| Jacob van Ruisdael Dam Square in Amsterdam ca. 1670-80 oil on canvas Gemäldegalerie, Staatliche Museen zu Berlin |
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| Hans Thoma St George 1889 oil on cardboard Alte Nationalgalerie, Staatliche Museen zu Berlin |
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| Anonymous Italian Artist Figure seated on Clouds 16th century drawing Graphische Sammlung Albertina, Vienna |
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| Domenico Mondo Allegorical Scene ca. 1780-85 drawing Graphische Sammlung Albertina, Vienna |
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| Luca Giordano Allegorical Figure riding Pegasus and scattering Rose Petals before 1705 drawing Graphische Sammlung Albertina, Vienna |
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| Gustave Doré Scottish Landscape 1881 oil on canvas Musée des Beaux-Arts de Caen |
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| Enrico Prampolini Diver among Clouds ca. 1930 oil on canvas Musée de Grenoble |
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| Kolomon Moser Cloud Study ca. 1913 oil on card Belvedere Museum, Vienna |
It is a lying fable, Theocles, that the Graces are good and that there are three of them in Orchomenus; for five times ten dance round thy face, all archeresses, ravishers of other men's souls.
Now thou givest me these futile kisses, when the fire of love is quenched, when not even apart from it do I regard thee as a sweet friend. For I remember those days of thy stubborn resistance. Yet even now, Daphnis, though it be late, let repentance find its place.
What delight, Heliodorus, is there in kisses, if thou dost not kiss me, pressing against me with greedy lips, but on the tips of mine with thine closed and motionless, as a wax image at home kisses me even without thee?
If I do you a wrong by kissing you, and you think this an injury, kiss me too, inflicting the same on me as a punishment.
If you were still uninitiated in the matter about which I go on trying to persuade you, you would be right in being afraid, thinking it is perhaps something formidable. But if your master's bed has made you proficient in it, why do you grudge granting the favour to another, receiving the same? For he, after summoning you to the business, dismisses you, and being your lord and master, goes to sleep without even addressing a word to you. But here you will have other enjoyments, playing on equal terms, talking together, and all else by invitation and not by order.
How, Dionysius, shall you teach a boy to read when you do not even know how to make the transition from one note to another? You have passed so quickly from the highest note to a deep one, from the slightest rise to the most voluminous. Yet I bear you no grudge; only study, and striking both notes say Lambda and Alpha* to the envious.
– from Book XII (Strato's Musa Puerilis) in the Greek Anthology, translated and edited by W.R. Paton (1917)
*Probably, as the commentators explain, having some sort of sexual meaning. There is double meaning in all the rest of the epigram, but it is somewhat obscure – and had best remain so.