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| attributed to Sostratus Maenad restraining Pan from butting a Goat restrained by a Satyr ca. 25 BC sardonyx cameo Getty Museum, Los Angeles |
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| Giovanni Bernardi Pan and Syrinx before 1553 bronze medallion National Gallery of Art, Washington DC |
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| Agostino Veneziano Nymph before a Herm of Pan ca. 1510-27 engraving British Museum |
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| Nicoletto da Modena Pan with Pipe, Child and Goat ca. 1500-1510 engraving British Museum |
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| Giulio Bonasone Pan discovering Pitys changed by Boreas into a Pine Tree 1555 engraving British Museum |
"Pitys listened to the music of Pan, and followed him even as the children followed the Pied Piper of later story. And ever his playing lured her further on and into more dangerous and desolate places, until at length she stood on the edge of a high cliff whose pitiless front rushed sheer down to cruel rocks far below. There Pan's music ceased, and Pitys knew all the joy and the sorrow of the world as the god held out his arms to embrace her. But neither Pan nor Pitys had remembrance of Boreas, the merciless north wind, whose love the nymph had flouted. Ere Pan could touch her, a blast, fierce and strong as death, had seized the nymph's fragile body, and as a wind of March tears from the tree the first white blossom that has dared to brave the ruthless gales, and casts it, torn and dying, to the earth, so did Boreas grip the slender Pitys and dash her life out on the rocks far down below. From her body sprang the pine tree, slender, erect, clinging for dear life to the sides of precipices – and by the prickly wreath he always wore, Pan showed that he held her in fond remembrance."
– Jean Lang, from A Book of Myths (London: T.C. and E.C. Jack, 1913)
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| Anonymous Photographer Statue of Pan in the National Museum, Athens ca. 1895-1905 collotype Rijksmuseum, Amsterdam |
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| Jean Mignon Pan (from a series of twenty terminals) ca. 1543-45 etching National Gallery of Art, Washington DC |
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| Roman Imperial copy after Hellenistic original Pan and Apollo or Pan and Daphnis (Farnese version) 1st-2nd century AD, heavily restored in the 16th century marble Museo Archeologico Nazionale, Naples |
Eight versions of this marble figure-group – most often called Pan and Apollo – were known in late Renaissance Rome. Other popular titles were Pan and Daphnis ; Marsyas and Olympos ; Satyr and Boy ; Satyr and Faun ; Silenus and Bacchus. Current belief maintains that the smaller figure holding pipes should not be identified as Apollo but as the shepherd Daphnis. The version from the Farnese collection (above) was transferred from Rome to the National Museum in Naples at the end of the 19th century, along with many Farnese sculptures.
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| after Battista Franco Pan and Apollo or Pan and Daphnis (Farnese version) ca. 1540-80 engraving Metropolitan Museum of Art, New York |
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| Anonymous Printmaker Pan and Apollo or Pan and Daphnis (Farnese version) 1584 engraving Rijksmuseum, Amsterdam |
In the same way and in the same period the Cesi/Ludovisi version of Pan and Apollo (below) was carried along when that collection also was surrendered to the state and transferred to the national museum in Rome.
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| Roman Imperial copy after Hellenistic original Pan and Apollo or Pan and Daphnis (Cesi/Ludovisi version) 1st-2nd century AD, heavily restored in the 16th century marble Museo Nazionale Romano, Palazzo Altemps, Rome |
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| Anonymous Printmaker Pan and Apollo or Pan and Daphnis (Cesi/Ludovisi version) 1584 engraving Rijksmuseum, Amsterdam |
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| Domenico de Rossi Pan and Apollo or Pan and Daphnis (Cesi/Ludovisi version) ca. 1704 engraving Philadelphia Museum of Art |
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| Anonymous Italian Artist Pan and Apollo or Pan and Daphnis 16th century drawing British Museum |