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| Cosimo Ulivelli Prophet Elijah carried to Heaven in a Chariot before 1704 drawing British Museum |
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| Cosimo Ulivelli Designs for Frames before 1704 drawing Metropolitan Museum of Art, New York |
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| Cosimo Ulivelli Martyrdom of Two Female Saints before 1704 drawing Metropolitan Museum of Art, New York |
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| Daniel Seiter Joseph's Brothers bringing the Bloody Coat to Jacob before 1705 drawing Metropolitan Museum of Art, New York |
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| Daniel Seiter Virgin and Child appearing to St Geneviève before 1705 drawing British Museum |
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| Domenico Piola Male Figure with Bow and Arrow shooting at a Statue of a Woman with a Ball on her Head before 1703 drawing Metropolitan Museum of Art, New York |
"But no, Albertine was in no way to me a work of art. I knew what it meant to admire a woman in an artistic fashion, I had known Swann. For my own part, moreover, I was, no matter who the woman might be, incapable of doing so, having no sort of power of detached observation, never knowing what it was that I beheld, and I had been amazed when Swann added retrospectively for me an artistic dignity – by comparing her, as he liked to do with gallantry to her face, to some portrait by Luini, by finding in her attire the gown or the jewels of a picture by Giorgione – to a woman who had seemed to me to be devoid of interest. Nothing of that sort with me. The pleasure and the pain that I derived from Albertine never took, in order to reach me, the line of taste and intellect; indeed, to tell the truth, when I began to regard Albertine as an angel musician glazed with a marvellous patina whom I congratulated myself upon possessing, it was not long before I found her uninteresting; I soon became bored in her company, but these moments were of brief duration; we love only that in which we pursue something inaccessible, we love only what we do not possess, and very soon I returned to the conclusion that I did not possess Albertine."
– Marcel Proust, from La Prisonnière (1923), translated by C.K. Scott Moncrieff as The Captive (1929)
"But no; Albertine was not at all a work of art for me. I knew what it was to admire a woman from an artistic point of view – I had known Swann. But for my own part I was incapable of seeing any woman, whoever she might be, in this way, having no spirit whatsoever of external observation, never knowing what it was I was looking at, and I was full of wonderment when Swann retrospectively bestowed artistic dignity – by comparing her for me, as he liked to do as a compliment to herself, to some portrait by Luini, or finding in her costume the dress or the jewels of a Giorgione – upon a woman who had seemed to me unremarkable. I had no such inclination. Indeed, to tell the truth, when I began to see Albertine as an angel-musician, a wonderfully patinated statue, a prized possession, I soon became indifferent to her, presently I was bored in her company, but these moments did not last for long. There must be something inaccessible in what we love, something to pursue; we love only what we do not possess, and soon I began once more to realize that I did not possess Albertine."
– Marcel Proust, from La Prisonnière (1923), translated by Carol Clark as The Prisoner (2002)
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| Domenico Piola Naval Defeat of the Pisans at Meloria in the year 1284 (study for engraving) before 1703 drawing British Museum |
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| Domenico Piola Wooded Landscape with Two Figures before 1703 drawing Metropolitan Museum of Art, New York |
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| Gian Antonio Burrini Landscape with Figures near a Tomb before 1727 drawing Metropolitan Museum of Art, New York |
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| Paolo Gerolamo Piola Standing Figure of Apollo with Lyre before 1724 drawing Metropolitan Museum of Art, New York |
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| Guillaume Courtois (Il Borgognone) Aaron's Sacrifice 1653 drawing Museum Kunstpalast, Düsseldorf |
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| attributed to Lazzaro Baldi Sacrifice of Noah before 1703 drawing Metropolitan Museum of Art, New York |
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| Lazzaro Baldi Conversion of St Paul (print study) before 1703 drawing British Museum |
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| workshop of Carlo Cignani Studies of Two Women ca. 1700 drawing Museum Boijmans van Beuningen, Rotterdam |
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| attributed to Pierre Subleyras Figure wearing a Robe before 1749 drawing British Museum |