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| Pseudo Pacchia Antique Sculpture Group - Romulus and Remus with She-Wolf ca. 1530 drawing British Museum |
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| Baldassare Peruzzi Study after the Antique ca. 1533 drawing National Gallery of Art, Washington DC |
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| workshop of Jacopo Tintoretto Studies of Antique Sculpture ca. 1570 drawing Statens Museum for Kunst, Copenhagen |
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| Willem Panneels The Belvedere Antinoüs ca. 1628-30 drawing Statens Museum for Kunst, Copenhagen |
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| Anonymous Italian Artist Study of Antique Torso ca. 1650 drawing National Gallery of Norway, Oslo |
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| Luis Paret y Alcázar Roman Military Trophies ca. 1770 drawing Museo del Prado, Madrid |
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| Anonymous Italian Artist after Polidoro da Caravaggio Roman Military Trophies ca. 1775-1800 drawing Cooper-Hewitt, Smithsonian Design Museum |
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| Felice Giani Ancient Sacrifice and Head of Satyr ca. 1790 drawing National Gallery of Art, Washington DC |
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| Theodor Kittelsen Classical Torso ca. 1875 drawing National Gallery of Norway, Oslo |
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| Thorolf Holmboe Classical Torso 1890 drawing National Gallery of Norway, Oslo |
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| Jerry Uelsmann Untitled 1964 gelatin silver print Yale University Art Gallery |
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| John Skippe Classical Figure holding Salver aloft ca. 1781-83 chiaroscuro woodcut Victoria & Albert Museum, London |
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| Nicolas Beatrizet Antique Sculpture of Oceanus 1560 engraving Victoria & Albert Museum, London |
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| Clodion Minerva 1766 terracotta Metropolitan Museum of Art, New York |
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| Anonymous Artist Crouching Venus ca. 1697 lead cast of antique sculpture National Trust, Knole, Sevenoaks, Kent |
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| Jacob van der Kool The Spinario (pastiche of antique sculpture) ca. 1725-40 faience Rijksmuseum, Amsterdam |
Logic
A trailed and lagging grass, a pin-point island
Drags the clear current's face it leans across
In ripple-wrinkles. At a touch
It has ravelled the imaged sky till it could be
A perplexity of metal, spun
Round a vortex, the sun flung off it
Veining the eye like a migraine – it could
Scarcely be sky. The stones do more, until we say
We see there meshes of water, liquid
Nets handed down over them, a clear
Cross-hatching in the dance of wrinkles that
Re-patterns wherever it strikes.
So much for stones. They seem to have their way.
But the sway is the water's: it cannot be held
Though moulded and humped by the surfaces
It races over, though a depth can still
And a blade's touch render it illegible.
Its strength is here: it must
Account for its opposite and yet remain
Itself, of its own power get there.
Water is like logic, for it flows
Meeting resistance arguing as it goes:
And it arrives, having found not the quickest
Way, but the way round, the channel which
Entering, it may come to a level in,
Which must admit, in certain and crowding fusion,
The irrefutable strength which follows it.
– Charles Tomlinson (1967)