 |
| follower of Michelangelo Figures at top - Venus and Cupid Figure at bottom - Statue of Night from the Medici Chapel ca. 1520-30 drawing British Museum |
 |
| Stradanus Sketches for Miracles of St Apollonius ca. 1590 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Stradanus Design for Title-page - Vermis Sericus [Introduction of the Silkworm] ca. 1590 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Anonymous Dutch artist Nude man falling backwards ca. 1600-1700 drawing British Museum |
Old Man –
"Orestes
was driving in last place,
lying back on his mares.
He had put his faith in the finish.
But as soon as he sees
the Athenian driver alone on the track
he lets out a cry that shivers his horses' ears
and goes after him.
Neck and neck
they are racing,
first one, then
the other
nosing ahead,
easing ahead.
Now our unlucky boy had stood every course so far,
sailing right on in his upright car,
but at this point he lets the left rein go slack
with the horses turning,
he doesn't notice,
hits the pillar and
smashes the axle box in two.
Out he flips
over the chariot rail,
reins snarled around him
and as he falls
the horse scatter midcourse.
They see him down. A gasp goes through the crowd:
"Not the boy!"
To go for glory, and end like this –
pounded against the ground,
legs beating the sky –
the other drivers could hardly manage
to stop his team and cut him loose.
Blood everywhere.
He was unrecognizable. Sickening.
They burned him at once on a pyre
and certain Phocians are bringing
the might body back –
just ashes,
a little bronze urn –
so you can bury him in his father's ground.
That is my story.
So far as words go,
gruesome enough.
But for those who watched it,
and we did watch it,
the ugliest evil I ever saw."
– from the Electra of Sophocles, translated by Anne Carson (The Greek Tragedy in New Translations, Oxford University Press, 2001) – viewers of the play understand that the Old Man's account is completely fictitious, that Orestes is alive and plotting nearby to slay his mother in revenge for her murder of his father
 |
| Jacques Sarazin Study for statue of Autumn for Château de Wideville after 1632 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Anonymous European artist Textile Factory ca. 1720-50 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Anonymous Italian artist Odysseus and Diomedes stealing the Palladium ca. 1775-1800 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Richard de Lalonde Design for Mirror-frame with monogram of Marie Antoinette ca. 1787-90 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Giovanni Barberi Design for Inkstand ca. 1810 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Felice Giani Son of Marcus Cato brings a dagger to his father ca. 1820 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Felice Giani Apelles painting Campaspe, watched by Alexander the Great before 1823 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| John Flaxman Illustration to Paradise Lost - Adam and Eve guarded by Angels before 1826 drawing Yale Center for British Art |
 |
| Constantin Guys At the Theater ca. 1873 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Howard Russell Butler Seated Young Moor 1887 drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Anonymous architectural draftsman San Francisco City Hall - Dome and Lantern ca. 1913-16 photostat of working drawing Cooper Hewitt, Smithsonian Design Museum |
 |
| Hugh Ferriss Study for Maximum Mass permitted by 1916 New York Zoning Law 1922 drawing Cooper Hewitt, Smithsonian Design Museum |