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| Lucas Cranach the Elder Melancolia 1532 oil on panel Statens Museum for Kunst, Copenhagen |
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| Jean-Auguste-Dominique Ingres Studies of Trumpeters ca. 1812 drawing (study for painting, Romulus victorious over Acron) Musée Bonnat-Helleu, Bayonne |
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| Édouard Vuillard Large Interior with Six Figures 1897 oil on canvas Kunsthaus Zürich |
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| Gerrit Haverkamp Wheat Field 1903 oil on canvas Dordrechts Museum |
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| Anselm Feuerbach The Banquet of Plato 1869 oil on canvas Staatliche Kunsthalle, Karlsruhe |
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| Roelant Savery Landscape with Birds 1622 oil on panel Národní Galerie, Prague |
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| attributed to Benedetto Bordone Temple of Apollo (from the Hypnerotomachia Poliphili of Francesco Colonna published by Aldus Manutius in Venice) 1499 woodcut Hamburger Kunsthalle |
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| Frank Duveneck Study of Heads and Hands 1879 oil on canvas Cincinnati Art Museum, Ohio |
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| Aert van den Bossche Martyrdom of St Crispin and St Crispinian 1494 oil on panel National Museum, Warsaw |
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| Frederic Edwin Church The Icebergs 1861 oil on canvas Dallas Museum of Art |
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| Eustache Le Sueur Martyrdom of St Gervasius and St Protasius ca. 1652-55 oil on canvas Musée des Beaux-Arts de Lyon |
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| Richard Bergh Still Life ca. 1895-1900 oil on canvas, mounted on panel Prins Eugens Waldemarsudde, Stockholm |
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| Anonymous Spanish Artist Still Life with Sweetmeats 17th century oil on canvas Museum of Fine Arts, Boston |
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| Rosa Bonheur Horse Fair ca. 1852 oil on canvas Albright-Knox Art Gallery, Buffalo, New York |
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| Sodoma (Giovanni Antonio Bazzi) Christ carrying the Cross ca. 1510 oil on panel (predella fragment) Museum of Fine Arts, Budapest |
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| Marcello Venusti Christ on the Mount of Olives ca. 1560-70 oil on panel Kunsthistorisches Museum, Vienna |
The garden was a very beautiful place and bore comparison with royal gardens. It was two hundred yards long, lay on elevated ground, and was over a hundred yards wide. You would say it was like a long plain. It had every kind of tree – apple, myrtle, pear, pomegranate, fig, and olive. On one side, it had a tall vine, which spread over the apple and pear trees with its darkening grapes, as if it was competing with their fruit. These were the cultivated trees; and there were also cypresses, laurels, planes, and pines. These were all overgrown, not by the grape but by the ivy, while the clusters of ivy berries, which were big and turning dark, looked just like bunches of grapes. The fruit-bearing trees were on the inside, as though protected by the others. The other trees stood around them like a man-made wall, but these were enclosed in turn by a narrow fence. Everything was divided and separate, with each trunk at some distance from its neighbor. But, higher up, the branches joined and intertwined their foliage. This was the work of nature, but it also seemed to be the work of art. There were beds of flowers too, some produced by the earth itself, and some by art. Roses, hyacinths, and lilies were the work of human hands; violets, narcissi, and pimpernels were produced by the earth itself. There was shade in the summer, flowers in the spring, grapes for picking in the autumn, and fruit in every season.
From there the plain was clearly visible, so you could see people grazing their flocks; the sea was visible too, and people sailing past were open to view. This too contributed to the luxurious feel of the garden. At the midpoint of the length and breadth of the garden was a temple and altar to Dionysus. Ivy surrounded the altar, and vine shoots surrounded the temple. Inside, the temple had paintings of subjects related to Dionysus: Semele giving birth, Ariadne asleep, Lycurgus in chains, Pentheus being torn apart; there were also Indians being conquered and Etruscans changing shape. Everywhere satyrs were treading the grapes; everywhere bacchantes were dancing. And Pan was not forgotten; he sat there too on a rock, playing the Pan-pipes himself, as though he were providing an accompaniment both for the treaders and the dancers.
– Longus, from Daphnis and Chloe (2nd century AD), translated from Greek by Christopher Gill (1989)