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| Alphonse Legros Study of Antique Torso ca. 1880 drawing National Gallery of Art, Washington DC |
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| Carl Friedrich Lessing Study of Classical Torso 1825 drawing Cincinnati Art Museum, Ohio |
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| Jan de Bisschop Three Torsos after Antique Sculptures 1671 etching Národní Galerie, Prague |
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| Jan de Bisschop Draped Torso of Antique Statue ca. 1660 etching Philadelphia Museum of Art |
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| Anonymous Italian Artist Studies of Antique Torso ca. 1524 drawing National Gallery of Art, Washington DC |
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| Anonymous Italian Artist Study of Antique Torso front and back 16th century drawing National Gallery of Scotland, Edinburgh |
-1840-drawing-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Daniel Huntington Study of Classical Torso 1840 drawing Cooper Hewitt, Smithsonian Design Museum |
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| Oliviero Gatti after Guercino Figure Study as Antique Torso 1619 engraving (for drawing manual) Harvard Art Museums |
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| Anonymous Artist Study of Antique Torso 17th century drawing Wellcome Collection, London |
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| Peter Paul Rubens Torso of the Laocoön ca. 1601-1602 drawing Kupferstich Kabinett, Gemäldegalerie, Dresden |
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| Willem Panneels Study of the Torso of the Laocoön ca. 1628-30 drawing Statens Museum for Kunst, Copenhagen |
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| Anonymous Italian Artist Studies of the Belvedere Torso 16th century drawing Graphische Sammlung Albertina, Vienna |
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| Anonymous Italian Artist Seated Figure with Helmet (modeled on the Belvedere Torso) 16th century drawing University of Reading, Berkshire |
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| John Downman Study of the Belvedere Torso ca. 1780 drawing Art Institute of Chicago |
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| Anonymous German Artist Study of the Belvedere Torso 18th century drawing Kupferstich Kabinett, Gemäldegalerie, Dresden |
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| Anonymous French Artist Study of a Cast of the Belvedere Torso 18th century drawing Yale University Art Gallery |
from The Gyres
Things thought too long can be no longer thought
For beauty dies of beauty, worth of worth,
And ancient lineaments are blotted out.
For beauty dies of beauty, worth of worth,
And ancient lineaments are blotted out.
Irrational streams of blood are staining earth;
Empedocles has thrown all things about;
Hector is dead and there's a light in Troy;
We that look on but laugh in tragic joy.
What matter though numb nightmare ride on top
And blood and mire the sensitive body stain?
And blood and mire the sensitive body stain?
What matter? Heave no sigh, let no tear drop,
A greater, a more gracious time has gone;
A greater, a more gracious time has gone;
For painted forms or boxes of make-up
In ancient tombs I sighed, but not again;
What matter?
– W.B. Yeats (1938)