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| Girolamo Romanino Ignudo 1531-32 fresco Castello del Buonconsiglio, Trento |
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| Titian The Resurrection (detail) ca. 1542-44 oil on canvas Galleria Nazionale delle Marche, Urbino |
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| Jacopo Tintoretto Miracle of the Slave (detail) 1548 oil on canvas Gallerie dell'Accademia, Venice |
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| Francesco Salviati Creation of the Sun and Moon ca. 1554 fresco Chigi Chapel, Basilica di Santa Maria del Popolo, Rome |
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| Paolo Veronese Triumph of Virtue over Vice 1554-56 oil on canvas Palazzo Ducale, Venice |
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| Luca Cambiaso Venus and Cupid ca. 1560-65 oil on canvas Galleria Borghese, Rome |
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| Cristoforo Roncalli and workshop Trompe-l'oeil Atlante ca. 1590-1600 fresco Sala del Tempesta, Appartamento della Principessa Isabelle, Palazzo Colonna, Rome |
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| Jacob Jordaens Allegory of Fertility ca. 1630 oil on canvas Musées Royaux des Beaux-Arts, Brussels |
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| Bartholomeus Breenbergh Classical Landscape with Nymphs 1647 oil on panel Mauritshuis, The Hague |
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| Michiel Sweerts Wrestling Match 1649 oil on canvas Staatliche Kunsthalle, Karlsruhe |
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| Gerard Ter Borch Paternal Admonition 1654 oil on canvas Rijksmuseum, Amsterdam |
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| Pieter de Hooch Lady addressing her Maid in a Courtyard ca. 1660-61 oil on canvas National Gallery, London |
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| Eglon van der Neer Wife of Candaules discovering the hiding Gyges ca. 1660-62 oil on canvas Museum Kunstpalast, Düsseldorf |
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| Jan Verkolje The Messenger 1674 oil on canvas Mauritshuis, The Hague |
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| Antonio Calza Battle Scene ca. 1685 oil on canvas Museo di Castelvecchio, Verona |
from I Have a Time Machine
But unfortunately it can only travel into the future
at a rate of one second per second,
which seems slow to the physicists and to the grant
committees and even to me.
But I manage to get there, time after time, to the next
moment and to the next.
Thing is, I can't turn it off. I keep zipping ahead –
well not zipping – And if I try
to get out of this time machine, open the latch,
I'll fall into space, unconscious,
then dessicated! And I'm pretty sure I'm afraid of that.
So I stay inside.
There's a window, though. It shows the past.
It's like a television or fish tank.
But it's never live; it's always over.
– Brenda Shaughnessy (2016)