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| Carlo Sarrabezolles Figure of Liberty 1931 plaster Musée des Beaux-Arts de Reims |
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| Arnold Newman Jean Dubuffet 1956 gelatin silver print Moderna Museet, Stockholm |
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| Gösta von Hennigs Acrobat ca. 1912 oil on canvas Prins Eugens Waldemarsudde, Stockholm |
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| Franciabigio Annunciatory Angel ca. 1510-20 oil on panel National Museum, Warsaw |
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| Ivan Galuzin and Oleg Samoilov 7-10-43 - Photo-reconstruction 2015 C-print Nordnorsk Kunstmuseum, Tromsø |
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| Anonymous Swedish Designer Carl Larsson - Nationalmuseum 1972 lithograph (exhibition poster) Moderna Museet, Stockholm |
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| Antoine Samuel Adam-Salomon Portrait of Alphonse Karr ca. 1865 Woodburytype print Moderna Museet, Stockholm |
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| Väinö Blomstedt Archer 1897 oil on canvas Ateneum Art Museum, Helsinki |
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| Ramón Casas Anis del Mono (liquer) ca. 1898-1900 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Annibale Carracci Study of Torso ca. 1595 drawing Fondation Custodia, Paris |
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| Pierre Bonnard Figure in Profile ca. 1933 oil on canvas Graphische Sammlung Albertina, Vienna |
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| Constanza Baldrighi Narcissus ca. 1780 etching Hamburger Kunsthalle |
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| attributed to Sisto Badalocchio Bearded Man with Turban ca. 1615 oil on canvas (study head, retained in the studio) Galleria Borghese, Rome |
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| Edvard Munch The Sick Girl I 1896 lithograph Nasjonalmuseet, Oslo |
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| Emil Pirchan Pirchan Posters ca. 1914 lithograph (exhibition poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Domenico Veneziano Martyrdom of St Lucy ca. 1445 tempera on panel (predella fragment) Gemäldegalerie, Staatliche Museen zu Berlin |
The syrinx consists of a number of pipes, each made from a reed; the set of pipes plays like a single flute. They are lined up in a row, side by side and joined. The front and back are identical. The reeds that are somewhat shorter are placed before the longer in such a way that the second, say, is as much longer than the first as the third is longer than the second, and the proportion determines the place of each succeeding reed in the chorus, each a step above the one before it, and the middle one is the mean between extremes. The reason for such a ranking is the distribution of notes. The pipes at the ends have the highest and lowest notes. Between these extremes are the intervals of the scale, each of the intervening reeds bringing the pitch down to its neighbor on the line until it reaches the final note.
The sounds that in the case of the Athena-flute are produced within the body of the instrument the Pan-pipes produce at the ends of the reeds. In the flute, it is the fingers that produce the music; in the Pan-pipes, the musician's mouth serves the function of the fingers. The flautist closes all the openings but one, through which the breath flows forth; here the player leaves all the other reeds free and only puts his lips on the one that does not want to be silent, and jumps about from one to another, wherever the notes will produce a happy harmony. So the mouth dances along the reeds of the Pan-pipes."
– Achilles Tatius, from Leucippe and Clitophon (2nd century AD), translated from Greek by John J. Winkler (1989)