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| Bernardino Luini Mary Magdalen ca. 1525 oil on panel National Gallery of Art, Washington DC |
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| Alessandro Allori Portrait of a Woman ca. 1560 oil on panel San Diego Museum of Art |
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| Aert de Gelder Allegorical Figure ca. 1710 oil on canvas Dordrechts Museum |
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| Anonymous French Artist Miniature Portrait of a Woman ca. 1794 gouache on ivory Gemäldegalerie, Staatliche Museen zu Berlin |
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| Friedrich Bury Portrait of Luise, Countess von Voss ca. 1810 oil on canvas Alte Nationalgalerie, Staatliche Museen zu Berlin |
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| Caroline Bardua Wilhelmina Johanne Dorothee van Herzeele 1817 oil on canvas Museumslandschaft Hessen Kassel |
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| Richard Bergh Portrait of Gerda 1895 oil on canvas Nasjonalmuseet, Oslo |
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| Harald Slott-Møller Spring 1896 oil on panel Hirschsprung Collection, Copenhagen |
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| Ferdinand Hodler The Distant Song 1906 oil on canvas Kunsthalle Mannheim |
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| Eduard von Gebhardt Study for Bystander at The Ascension ca. 1910 oil on panel Galerie Neue Meister (Albertinum), Dresden |
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| Daniel de Losques Mistinguett dans la Revue des Folies Bergère ca. 1910 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Edvard Munch Portrait of Ingeborg Kaurin ca. 1912 oil on canvas Museum of Fine Arts, Boston |
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| Henri Matisse Portrait of a Girl 1916 oil on panel High Museum of Art, Atlanta |
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| Richard Stitzel Portrait of Heinz 1925 oil on canvas Kunsthalle Mannheim |
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| Walter Gamerith Portrait of Grete Gamerith in a Green Hat 1942 oil on canvas Belvedere Museum, Vienna |
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| Espen Gleditsch Athlete 2017 pigment print mounted on aluminum KORO (Public Art Norway), Oslo |
So this sinful war between the brothers was at an end, and the struggle, which had seemed set to be settled by the spilling of blood, changed at its denouement from tragedy to comedy. The father who had beheld his sons engaged in single combat, their swords drawn against one another, who had come within an ace of the misery of having his children die within the sight of the eyes that gave them birth, himself became the agent of peace. He had proved unable to escape destiny's ordinance, but his arrival in the nick of time to witness what had been preordained had brought him happiness. The two sons now had their father restored to them after his ten years of homeless wandering. He had been the cause of a quarrel over the priesthood for which they had been prepared to shed one another's blood, but the very next moment with their own hands they garlanded his head and crowned him with the insignia of his holy office, before escorting him into the city. But all were agreed that the high point of the drama was its romantic side, in the shape of Theagenes and Charikleia, two charming young people in the full bloom of their youth, who against all expectation were now reunited: the eyes of the city were turned upon them more than upon any of the other participants.
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)