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| Samuel Cotes Miniature Portrait of a Lady 1766 watercolor on ivory Fitzwilliam Museum, Cambridge |
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| Cornelis Cort The Spinario (antique bronze preserved in Rome) ca. 1575 engraving Herzog August Bibliothek, Wulfenbüttel |
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| Peter Cornelius Place de La Bastille, Paris ca. 1957 C-print Museum Folkwang, Essen |
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| Lovis Corinth Self Portrait with Model (model is the artist's wife, Charlotte Berend) 1903 oil on canvas Kunsthaus Zürich |
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| Cornelis van Haarlem St Sebastian ca. 1591 oil on canvas Liechtenstein Museum, Vienna |
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| Pietro da Cortona (Pietro Berrettini) Punishment of Hercules before 1669 oil on canvas Liechtenstein Museum, Vienna |
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| Lorenzo Costa the Elder Portrait of a Lady ca. 1485-95 oil on panel Museum of Fine Arts, Boston |
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| Gustave Courbet Blossoming Branches 1855 oil on canvas Hamburger Kunsthalle |
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| Francesco del Cossa St Peter ca. 1470-73 tempera on panel (altarpiece fragment) Pinacoteca di Brera, Milan |
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| Jan Cossiers Supper at Emmaus ca. 1650 oil on canvas Rhode Island School of Design, Providence |
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| Carlo Crivelli St Francis collecting the Blood of Christ ca. 1490-95 tempera on panel Museo Poldi Pezzoli, Milan |
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| Francesco Curradi Triumph of Judith ca. 1630 oil on canvas Musée des Augustins de Toulouse |
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| Pierre Courteys Flight of Aeneas from Troy before 1586 enamel on copper Liechtenstein Museum, Vienna |
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| Antoine Coysevox Louis of France, the Grand Dauphin (son of Louis XIV, grandfather of Louis XV) ca. 1698-99 marble National Gallery of Art, Washington DC |
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| Gabriel Cualladó Clemente with Three-Wheeled Bike 1958 gelatin silver print Institut Valencià d'Art Modern |
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| Carl Curman Statue of Diomedes by Johan Tobias Sergel ca. 1880 albumen silver print Moderna Museet, Stockholm |
Antony Take heed, young man,
How thou upbraid'st my love: the Queen has eyes,
And thou too hast a soul. Canst thou remember
When, swelled with hatred, thou beheld'st her first,
As accessory to thy brother's death?
Dollabella
Spare my remembrance; 'twas a guilty day,
And still the blush hangs here.
Antony To clear herself
For sending him no aid, she came from Egypt.
Her galley down the silver Cydnos rowed,
The tackling silk, the streamers waved with gold;
The gentle winds were lodged in purple sails;
Her nymphs, like Nereids, round her couch were placed,
Where she, another sea-born Venus, lay.
Dollabella
No more; I would not hear it.
Antony Oh, you must!
She lay, and leant her cheek upon her hand,
And cast a look so languishingly sweet
As if, secure of all beholders' hearts,
Neglecting she could take 'em. Boys like Cupids
Stood fanning with their painted wings the winds
That played about her face; but if she smiled,
A darting glory seemed to blaze abroad,
That men's desiring eyes were never wearied,
But hung upon the object. To soft flutes
The silver oars kept time; and while they played,
The hearing gave new pleasure to the sight,
And both to thought. 'Twas Heaven, or somewhat more,
For she so charmed all hearts, that gazing crowds
Stood panting on the shore, and wanted breath
To give their welcome voice.
Then, Dollabella, where was then thy soul?
Was not thy fury quite disarmed with wonder?
Didst thou not shrink behind me from those eyes,
And whisper in my ear, 'Oh, tell her not
That I accused her of my brother's death'?
Dollabella
And should my weakness be a plea for yours?
Mine was an age when love might be excused,
When kindly warmth, and when my springing youth
Made it a debt to Nature. Yours –
Ventidius Speak boldly.
Yours, he would say, in your declining age,
When no more heat was left but what you forced,
When all the sap was needful for the trunk,
When it went down, then you constrained the course,
And robbed from Nature to supply desire;
In you, I would not use so hard a word.
But 'tis plain dotage.
– John Dryden, All for Love (1677)