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| Anonymous German Artist Model for an Altar devoted to St Castulus ca. 1740 carved and painted wood Harvard Art Museums |
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| Anonymous German Artist Reliquary Statuette of St Agnes ca. 1520 silver (partly gilded) Münster Cathedral |
-for-Morris-&-Co.-Janus-and-Dido-c1860-70-glazed-earthenware-tiles-Ashmolean-Museum-Oxford.jpg) |
| Edward Burne-Jones (designer) for Morris & Co. Janus and Dido ca. 1860-70 glazed earthenware tiles Ashmolean Museum, Oxford |
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| Gino Severini Still Life with Doves and a Mask 1929 mosaic Museum Boijmans Van Beuningen, Rotterdam |
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| Wiener Kunstkeramische Werkstätte Woman with Heart ca. 1910 glazed earthenware National Gallery of Victoria, Melbourne |
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| Meissen Manufactory (Dresden) Bacchus ca. 1858-64 porcelain Toledo Museum of Art, Ohio |
-Shepherd-and-Shepherdess-c1760-porcelain-National-Gallery-of-Victoria-Melbourne.jpg) |
| Doccia Manufactory (Florence) Shepherd and Shepherdess ca. 1760 porcelain National Gallery of Victoria, Melbourne |
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| Chelsea Porcelain Manufactory (London) Tyrolean Dancers ca. 1755-58 porcelain Art Gallery of New South Wales, Sydney |
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| Anonymous Italian Artist Dragon 18th century bronze (originally a support-piece for a casket or urn) Cleveland Museum of Art, Ohio |
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| Anonymous German Artist Goblet - Façon de Venise 17th century blown glass Museum Boijmans Van Beuningen, Rotterdam |
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| Hubert de Givenchy Evening Gown (detail) 1963 cotton embroidered with coral and glass beads Metropolitan Museum of Art, New York |
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| Alexander Calder Four Arches ca. 1975 lithograph National Gallery of Victoria, Melbourne |
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| Bruno Romanelli Boxed VIII 2000 glass Nottingham City Museums & Galleries |
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| Roman Empire Bottle 1st-3rd century AD glass (excavated in Paris) Musée Carnavalet, Paris |
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| Pablo Picasso Nymphs and Satyrs 1964 glass Albright-Knox Art Gallery, Buffalo, New York |
-Prickly-Pair-Chair-Gentleman-Style-2009-painted-wood-and-upholstery-Denver-Art-Museum.png) |
| Valentina Gonzalez Wohler Prickly Pair Chair - Gentleman Style 2009 painted wood and upholstery Denver Art Museum |
Green Quinces
Ripening there
among the entanglement of leaves
that share their colour –
green quinces:
green quinces:
fragrantly free
from the contaminations
of daily envy,
the sight and suddenness
of green unknot
all that which thought
has ravelled where it cannot span
between the private and the public man –
between the motive
and the word:
between the motive
and the word:
the repeated and absurd
impulse to justify
oneself, knows
now its own
true colours:
it was the hardest-to-be-
true colours:
it was the hardest-to-be-
put-down
vanity –desire
for the regard
of others. And how wrong
they were who taught us
green was the colour
green was the colour
should belong
to envy: they envied green.
– Charles Tomlinson (1972)