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| Heinrich Aldegrever Panel with Putto and Mermaid 1528 engraving Graphische Sammlung, ETH Zürich |
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| Anonymous German ARtist Printer's Ornament 18th century woodcut (excised from printed book) Museum für Angewandte Kunst, Vienna |
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| Barthel Beham Ornamental Panel ca. 1530 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Jean Bérain the Elder Ornamental Design 1703 etching Herzog August Bibliothek, Wulfenbüttel |
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| Niccolò Billy and Pietro Cerini Acanthus Ornaments 1725 engraving Museum für Angewandte Kunst, Vienna |
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| Niccolò Billy and Pietro Cerini Acanthus Ornaments 1725 engraving Museum für Angewandte Kunst, Vienna |
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| Niccolò Billy and Pietro Cerini Acanthus Ornaments 1725 engraving Museum für Angewandte Kunst, Vienna |
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| Niccolò Billy and Pietro Cerini Acanthus Ornaments 1725 engraving Museum für Angewandte Kunst, Vienna |
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| Raphael Custos after Lucas Kilian Ornamental Panel 1632 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Angelo Falconetto Panel with Acanthus Scroll and Satyr Family before 1567 etching Museum für Angewandte Kunst, Vienna |
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| Peter Flötner Panel with Grotesque Ornament after the Antique before 1546 woodcut Museum für Angewandte Kunst, Vienna |
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| Agostino Musi (Agostino Veneziano) Acanthus Ornament in Basilica San Silvestro, Rome caa. 1510-20 engraving Graphische Sammlung Albertina, Vienna |
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| Georg Pencz Ornamental Panel with Satyress and Satyr ca. 1535 engraving Graphische Sammlung, ETH Zürich |
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| Susanne Maria von Sandrart after Jean Le Pautre Variations on Architectural Ornaments 1678 etching Herzog Anton Ulrich Museum, Braunschweig |
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| Jörg Seld Panel with Pomegranates and Acanthus 1514 woodcut Herzog Anton Ulrich Museum, Braunschweig |
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| Antonio Tempesta Panel with Grotesque Ornament surrounding Apollo before 1630 etching and engraving Museum für Angewandte Kunst, Vienna |
But Nicias, seeing the Athenians to be in a kind of tumult against Cleon, for that when he thought it so easy a matter he did not presently put it in practice, and seeing also he had upbraided him, willed him to take what strength he would that they could give him and undertake it. Cleon, supposing at first that he gave him this leave but in words, was ready to accept it; but when he knew he would give him the authority in good earnest, then he shrunk back and said that not he but Nicias was general, being now indeed afraid and hoping that he durst not have given over the office to him. But then Nicias again bade him do it and gave over his command to him for so much as concerned Pylus and called the Athenians to witness it. They (as is the fashion of the multitude), the more Cleon declined the voyage and went back from his word, pressed Nicias so much the more to resign his power to him and cried out upon Cleon to go. Insomuch as not knowing how to disengage himself of his word, he undertook the voyage, and stood forth saying that he feared not the Lacedaemonians, and that he would not carry any man with him out of the city but only the Lemnians and Imbrians that then were present and those targetiers that were come to them from Aenus and four hundred archers out of other places; and with these, he said, added to the soldiers that were at Pylus already, he would within twenty days either fetch away the Lacedaemonians alive or kill them upon the place. This vain speech moved amongst the Athenians some laughter, and was heard with great content of the wiser sort. For of two benefits, the one must needs fall out: either to be rid of Cleon (which was their greatest hope) or, if they were deceived in that, then to get those Lacedaemonians into their hands.
– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)