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| Cornelis van Poelenburgh Nymphs and Satyrs before 1667 oil on copper Musée des Augustins de Toulouse |
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| Pietro Paolo Bonzi Bacchantes dancing while Cupid subdues Satyr before 1636 drawing Musée du Louvre |
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| Giulio Carpioni Bacchanal ca. 1665 oil on canvas Palazzo Pretorio, Prato |
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| Domenico Campagnola Five Satyrs making Music before 1564 drawing Musée du Louvre |
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| William Etty The World before the Flood before 1849 oil on canvas Southampton City Art Gallery, Hampshire |
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| Bartholomeus Spranger Triumph of Bacchus ca. 1585 drawing Musée du Louvre |
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| Paolo Fiammingo Fruits of Love ca. 1585-89 oil on canvas Kunsthistorisches Museum, Vienna |
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| workshop of Rosso Fiorentino Worshippers of Cybele ca. 1530-40 drawing (study for stucco relief at Fontainebleau) Musée du Louvre |
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| Hans Friedrich Schorer after Paolo Fiammingo Triumph of Cybele 1634 drawing Metropolitan Museum of Art, New York |
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| Anonymous Emilian Artist Bacchanal (detail) 17th century oil on canvas Palazzo Lanfranchi, Matera |
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| attributed to Jean-Baptiste Henri Deshays Bacchanal before 1765 drawing Musée du Louvre |
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| Michel Corneille the Younger Bacchanal before a Term of Priapus ca. 1660 drawing Musée du Louvre |
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| Giulio Romano Maenads tormenting Satyr ca. 1527 drawing (study for fresco) Musée du Louvre |
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| Gabriel-François Doyen Bacchanalian Celebration in Honor of the God of Gardens ca. 1750-54 drawing (study for painting) Musée du Louvre |
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| Charles Le Brun Drunken Silenus supported by a Satyr before 1690 drawing (study for painting, Bacchus and Ariadne) Musée du Louvre |
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| Jan van Somer Bacchanal with Nymphs and Satyrs before 1699 mezzotint Rijksmuseum, Amsterdam |
"Especially in ragged surroundings objects from classical times are messengers of a higher reality, give an aching sense of what is missing, and mark the passage of time more vividly because its rough usage still goes on. One could leave loose ends mysteriously dangling this way, significant of broken connections, or one could work the pieces into one's own unity, less grand than the original but more comfortable than shreds."
– Robert Harbison, from Eccentric Spaces (New York: Knopf, 1977)