-2008-oil-on-canvas-Galerie-Neue-Meister-(Albertinum)-Dresden.jpg) |
| Johannes Kahrs Untitled (Three Men Standing) 2008 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
 |
| Anonymous Venetian Artist Martyrdom of St Sebastian 18th century oil on canvas Museum of Fine Arts, Budapest |
 |
| Georg Jacobsen Still Life 1926 oil on canvas Nordnorsk Kunstmuseum, Tromsø |
-Kunsthistorisches-Museum-Vienna.jpg) |
| Lorenzo Lotto Sermon of St Dominic at Recanati 1508 oil on panel (predella fragment) Kunsthistorisches Museum, Vienna |
 |
| Franz von Stuck Pietà 1891 oil on canvas Städel Museum, Frankfurt |
 |
| Robert Rauschenberg Axle 1964 screenprint and oil paint on canvas Museum Ludwig, Cologne |
 |
| José Felipe Parra Still Life with Walnuts and Meerschaum ca. 1850-60 oil on panel Detroit Institute of Arts |
 |
| Robert Zandvliet Composition in Green, Yellow and Orange 2003 tempera on canvas Dordrechts Museum |
 |
| Titian Circumcision of Christ ca. 1506-1507 oil on panel (in ruinous condition) Yale University Art Gallery |
 |
| Björn Berg Saturday Night ca. 1950 etching and aquatint Moderna Museet, Stockholm |
 |
| Jan Beutener Turned Away 1996 oil on canvas Dordrechts Museum |
-Kupferstichkabinett-Staatliche-Museen-zu-Berlin.jpg) |
| Karl Friedrich Schinkel Sacrifice for Others in Defense against Human Brutality 1833 watercolor and gouache on paper (modello for mural) Kupferstichkabinett, Staatliche Museen zu Berlin |
-Kupferstichkabinett-Staatliche-Museen-zu-Berlin.jpg) |
| Karl Friedrich Schinkel Sacrifice for Others in the Event of a Natural Disaster 1834 watercolor and gouache on paper (modello for mural) Kupferstichkabinett, Staatliche Museen zu Berlin |
 |
| Matthias Strasser Frieze with Apollo, Minerva and the Muses 1645 drawing Kupferstichkabinett, Kunstmuseum Basel |
 |
| Martin Speer Martyred Saint 1738 oil on canvas Museum of Fine Arts, Budapest |
 |
| Helen Frankenthaler The Facade 1954 oil on canvas Carnegie Museum of Art, Pittsburgh |
It was about the time of the second grazing when, from a high lookout, Daphnis saw the flocks and Chloe and shouted out loud, "O Nymphs and Pan!" He ran down to the plain, threw his arms around Chloe, and fell down in a faint. When he was, with difficulty, brought back to life by Chloe's kisses and the warmth of her embraces, he went to their usual oak tree and, sitting at the foot of the trunk, he asked how she had escaped from such a large enemy force. She told him everything: the ivy on the goats, the howling of the sheep, the pine that grew on her head, the fire on land, the noise at sea, the two kinds of piping – the warlike and the peaceful – the night of terror, and how although she did not know her way home, music pointed the way. Daphnis recognized his dream of the Nymphs and the work of Pan; and he told her what he had seen, what he had heard, how he intended to die but was kept alive by the Nymphs. Then he sent her to fetch Dryas and Lamon and their families and to bring what they needed for a sacrifice. Meanwhile he caught the best of the goats and put a garland of ivy on it, just as the goats had appeared to the enemy. Then a poured a libation of milk on its horns, sacrificed it to the Nymphs, and after hanging it up and skinning it, he presented the skin as a thank-offering.
– Longus, from Daphnis and Chloe (2nd century AD), translated from Greek by Christopher Gill (1989)