-19th-century-marble-imitating-the-antique-Newport-Mansions-Preservation-Society-Rhode-Island.jpg) |
| Anonymous Artist End Panel of Sarcophagus 19th century marble (pastiche of ancient Roman models) Newport Mansions Preservation Society, Rhode Island |
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| Anonymous Artist Bust of Warrior ca. 1850-70 terracotta (Renaissance Revival) National Gallery of Art, Washington DC |
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| Anonymous Artist Jar with Head of Apollo ca. 1800 maiolica Royal Ontario Museum, Toronto |
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| Anonymous Artist Head of Proserpina ca. 1770 marble (after a statue by Gianlorenzo Bernini) Los Angeles County Museum of Art |
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| Anonymous Artist Young St John the Baptist ca. 1750-75 marble (after a relief by Desiderio da Settignano) Los Angeles County Museum of Art |
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| Anonymous Artist Head of a Patriarch 18th century painted terracotta Musées d'Art et d'Histoire, Genève |
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| Anonymous Artist Pannello Traforato ca. 1680-1700 gilded walnut Isabella Stewart Gardner Museum, Boston |
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| Anonymous Artist Profile Portrait of Roman Emperor 17th century marble relief Ashmolean Museum, Oxford |
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| Anonymous Artist St Sebastian ca. 1600 alabaster statuette Isabella Stewart Gardner Museum, Boston |
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| Anonymous Artist Foot 16th century marble Isabella Stewart Gardner Museum, Boston |
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| Anonymous Artist Inkwell with St George and the Dragon ca. 1490 maiolica (formerly owned by Hermann Göring) Bayerisches Nationalmuseum, Munich |
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| Anonymous Artist Profile Portrait of Petrus Bon ca. 1480-90 marble relief Isabella Stewart Gardner Museum, Boston |
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| Anonymous Artist Bust of St Bernardino ca. 1475-1500 painted terracotta Isabella Stewart Gardner Museum, Boston |
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| Anonymous Artist St Sebastian ca. 1450-1500 painted wood Norton Simon Museum, Pasadena, California |
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| Anonymous Artist Virgin and Child ca. 1425 painted terracotta National Gallery of Art, Washington DC |
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| Anonymous Artist Virgin and Child ca. 1400-1420 painted terracotta Philbrook Museum of Art, Tulsa, Oklahoma |
Song
Like a protected heart,
the blood-red
flower of the wild rose begins
to open on the lowest branch,
supported by the netted
mass of a large shrub:
it blooms against the dark
which is the heart's constant
backdrop, while flowers
higher up have wilted or rotted;
to survive
adversity merely
deepens its color. But John
objects, he thinks
if this were not a poem but
an actual garden, then
the red rose would be
required to resemble
nothing else, neither
another flower nor
the shadowy heart, at
earth level pulsing
half maroon, half crimson.
– Louise Glück (1992)