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| Luca Giordano Galatea and Polyphemus ca. 1674-75 oil on canvas Museo di Capodimonte, Naples |
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| Ancient Greek Culture Wrestlers 510-500 BC marble relief (base of funerary kouros, excavated in Athens) National Archaeological Museum, Athens |
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| Battista Franco (il Semolei) Motifs from Antique Cameos ca. 1550 engraving Hamburger Kunsthalle |
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| Jacob Jordaens Moses striking Water from the Rock ca. 1645-50 oil on canvas Getty Museum, Los Angeles |
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| Francis Tattegrain Mourners at Étaples 1883 oil on canvas Musée de Picardie, Amiens |
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| Zachar Sherman The Beautiful Sixties 1997 oil on canvas Museum Ludwig, Cologne |
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| Jean Coustou Trompe-l'oeil with Portrait Medal of the Comte de Caylus 1778 oil on canvas (overdoor) Musée Fabre, Montpellier |
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| Wolfgang Heimbach Banquet at Night 1640 oil on copper Kunsthistorisches Museum, Vienna |
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| Théodore Géricault Figure Study for Raft of the Medusa 1818-19 drawing Musée Bonnat-Helleu, Bayonne |
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| Irving Penn Skull, Huile and Lemon 1993 platinum palladium print Moderna Museet, Stockholm |
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| Charles Norbert Roettiers Artemis intervening to save Iphigenia ca. 1750 drawing Hamburger Kunsthalle |
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| Valentin Lefebvre Venus with Mirror 1670 drawing National Museum, Warsaw |
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| Pablo Picasso Reclining Nude with Cat 1964 oil on canvas Von der Heydt Museum, Wuppertal |
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| Édouard Manet The Bullfight 1864 oil on canvas Frick Collection, New York |
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| attributed to Andrea Schiavone (Andrea Meldolla) Apollo and Daphne ca. 1550 tempera on panel Princeton University Art Museum |
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| Louis Fabritius Dubourg Arcadian Landscape with Figures around a Monumental Fountain 1742 watercolor Museum Boijmans Van Beuningen, Rotterdam |
Lamon had just finished his storytelling, and Philetas was praising him for telling a story sweeter than any song, when Tityrus arrived, bringing his father his pipes. The instrument was a big one, with big reeds, and decorated with bronze where the reeds were fastened with wax. You could have imagined it was the very instrument that Pan first put together. Philetas got up and sat upright on a chair. First he tried the reeds to see if he could blow through them properly. Once he'd found that his breath ran through them unimpeded, he then blew a loud and lusty note. You would have thought you were hearing several flutes playing together, so strong was the sound of his piping. Gradually reducing his force, he modulated the tune to a sweeter sound and displayed every kind of skill in musical herdsmanship: he played music that fitted a herd of cows, music that suited a herd of goats, music that flocks of sheep would love. For the sheep the tune was sweet; for the cows it was loud; for the goats it was sharp. Altogether, that one set of pipes imitated all the pipes there are.
– Longus, from Daphnis and Chloe (2nd century AD), translated from Greek by Christopher Gill (1989)