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| Anonymous Printmaker Classical Acanthus Motifs ca. 1850 engraving Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Anonymous Printmaker Fashion Plate from the Englishwoman's Domestic Magazine 1863 hand-colored engraving Wichita Art Museum, Kansas |
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| Anonymous Printmaker Wyeth's Royal Windsor Soap 1817 engraving (trade card) British Museum |
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| Anonymous Printmaker Portrait of dramatist William Congreve 1750 hand-colored engraving (after a painted portrait by Godfrey Kneller) Agnes Etherington Art Centre, Kingston, Ontario |
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| Anonymous Printmaker Portrait of painter Anton Raphael Mengs 1779 engraving Bibliotheca Hertziana, Rome |
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| Anonymous Printmaker Les Nageurs from Le Suprême Bon-Ton ("Caricatures Parisiennes") 1815 hand-colored etching Clark Art Institute, Williamstown, Massachusetts |
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| Anonymous Printmaker Posthumous Portrait of Maria Theresa of Spain, consort of King Louis XIV ca. 1693 etching and engraving Staatliche Graphische Sammlung, Munich |
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| Anonymous Printmaker Woman with Flowers after 1757 engraving (after a painting by François Boucher) Clark Art Institute, Williamstown, Massachusetts |
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| Anonymous Printmaker Amputation of Lower Leg 1531 woodcut and letterpress Herzog August Bibliothek, Wolfenbüttel |
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| Anonymous Printmaker Christ nailed to the Cross ca. 1460-80 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Anonymous Printmaker Portrait of printer Paulus Manutius ca. 1615 woodcut Herzog August Bibliothek, Wolfenbüttel |
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| Anonymous Printmaker Title-Page Border with Putti at Play 16th century woodcut Museum für Angewandte Kunst, Vienna |
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| Anonymous Printmaker Allegory of Child with Olive Branch 15th century woodcut National Gallery of Canada, Ottawa |
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| Anonymous Printmaker Battle Scene within Figured Border 16th century woodcut Museum für Angewandte Kunst, Vienna |
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| Anonymous Printmaker Landscape with Nymphs and Satyrs ca. 1660 etching (after a painting by Giovanni Francesco Grimaldi) Graphische Sammlung, ETH Zürich |
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| Anonymous Printmaker Portrait of painter Artemisia Gentileschi ca. 1640 engraving Museum für Angewandte Kunst, Vienna |
Lament
Suddenly, after you die, those friends
who never agreed about anything
agree about your character.
They're like a houseful of singers rehearsing
the same score:
you were just, you were kind, you lived a fortunate life.
No harmony. No counterpoint. Except
they're not performers;
real tears are shed.
Luckily, you're dead; otherwise
you'd be overcome with revulsion.
But when that's passed,
when the guests begin filing out, wiping their eyes
because, after a day like this,
shut in with orthodoxy,
the sun's amazingly bright,
though it's late afternoon, September –
when the exodus begins,
that's when you'd feel
pangs of envy.
Your friends the living embrace one another,
gossip a little on the sidewalk
as the sun sinks, and the evening breeze
ruffles the women's shawls –
this, this, is the meaning of
"a fortunate life": it means
to exist in the present.
– Louise Glück (1990)