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| Anonymous German Artist Musical Angel ca. 1300-1350 painted lindenwood relief (altarpiece fragment) Bode Museum, Berlin |
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| Spinello Aretino (Spinello di Luca) Musical Angels 1372 tempera on panel Galleria Sabauda, Turin |
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| Nicolás Francés Fall of the Rebel Angels ca. 1440 tempera on panel Cincinnati Art Museum, Ohio |
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| Isaia da Pisa Tabernacle with Angels ca. 1461-63 marble relief (fragment from Basilica di Santa Maria Maggiore, Rome) Art Institute of Chicago |
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| Master of the Benda Madonna Angel of the Annunciation ca. 1490-1500 oil on panel (altarpiece fragment) Staatliche Kunsthalle, Karlsruhe |
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| Hans Süss von Kulmbach Angel of the Annunciation ca. 1513 oil on panel (altarpiece fragment) Kunsthistorisches Museum, Vienna |
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| Anonymous Italian Artist after Domenico Beccafumi Angel ca. 1525-50 drawing Hamburger Kunsthalle |
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| Anonymous Italian Artist after Raphael Model posing as Angel 16th century drawing Ashmolean Museum, Oxford |
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| Master of Serumido Archangels Gabriel, Michael and Raphael with Tobias and a Donor cs. 1520-25 oil on panel Yale University Art Gallery |
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| Hans Bock the Elder Fall of the Rebel Angels ca. 1582 drawing Kupferstichkabinett, Kunstmuseum Basel |
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| Annibale Fontana Angel ca. 1583-84 wax (modello for statue) Cleveland Museum of Art, Ohio |
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| Anonymous Flemish Artist Annunciatory Angel ca. 1575-1600 oil on copper Musée des Beaux-Arts de Dijon |
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| Raffaellino del Garbo Virgin and Child with Musical Angels ca. 1496-98 oil and tempera on panel Gemäldegalerie, Staatliche Museen zu Berlin |
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| Bernardino Poccetti (Bernardino Barbatelli) Angel ca. 1590 drawing Hamburger Kunsthalle |
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| Lodovico Buti Abraham and the Three Angels ca. 1590-1600 oil on canvas Kunsthistorisches Museum, Vienna |
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| Pieter de Witte (Pietro Candido) Annunciatory Angel ca. 1590 drawing Kupferstichkabinett, Kunstmuseum Basel |
Tamburlaine [at the bedside of Zenocrate, his Queen]:
Proud furie and intollorable fit,
That dares torment the body of my Love,
That dares torment the body of my Love,
And scourge the Scourge of the immortall God:
Now are those Spheares where Cupid usde to sit,
Wounding the world with woonder and with love,
Sadly supplied with pale and ghastly death,
Whose darts do pierce the Center of my soule:
Her sacred beauty hath enchaunted heaven,
And had she liv'd before the siege of Troy,
Hellen, whose beauty somond Greece to armes,
And drew a thousand ships to Tenedos,
Had not bene nam'd in Homers Iliads:
Now are those Spheares where Cupid usde to sit,
Wounding the world with woonder and with love,
Sadly supplied with pale and ghastly death,
Whose darts do pierce the Center of my soule:
Her sacred beauty hath enchaunted heaven,
And had she liv'd before the siege of Troy,
Hellen, whose beauty somond Greece to armes,
And drew a thousand ships to Tenedos,
Had not bene nam'd in Homers Iliads:
Her name had bene in every line he wrote:
Or had those wanton Poets, for whose byrth
Olde Rome was proud, but gasde a while on her,
Nor Lesbia, nor Corrinna had bene nam'd,
Or had those wanton Poets, for whose byrth
Olde Rome was proud, but gasde a while on her,
Nor Lesbia, nor Corrinna had bene nam'd,
Zenocrate had bene the argument
Of every Epigram and Eligie.
– Christopher Marlowe, Tamburlaine, The Second Part, act II, scene iv (1590)