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| Théodore Géricault The Derby at Epsom 1821 oil on canvas Musée du Louvre |
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| Pinturicchio (Bernardino di Betto) Chariot of Apollo ca. 1509 detached fresco (ceiling panel) Metropolitan Museum of Art, New York |
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| André Caverne The Wind ca. 1925 pastel on prepared panel Musée des Beaux-Arts de Bordeaux |
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| Christina Rundqvist Racing toward the Ark ca. 1975 lithograph and aquatint Moderna Museet, Stockholm |
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| Gaspare Diziani Apollo and Daphne ca. 1730 drawing, with added watercolor Morgan Library, New York |
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| François Verdier Apollo and Daphne ca. 1690 drawing Graphische Sammlung Albertina, Vienna |
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| Nicolas de Hoey Apollo and Daphne 1652 drawing Kupferstichkabinett, Kunstmuseum Basel |
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| Fortunato Duranti Apollo and Daphne ca. 1820 drawing Musée des Beaux-Arts de Lyon |
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| Giuseppe Scolari Abduction of Proserpina ca. 1590 woodcut Museum of Fine Arts, Budapest |
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| Karel Škréta Polyphemus pursuing Acis and Galatea ca. 1660 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Franz von Stuck Art Exhibition of the Munich Secession 1905 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Harald Sjövall Olympiska Förspelen 1912 lithograph (poster) Röhsska Museet, Göteborg |
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| Stefano della Bella Fleeing Man ca. 1650 drawing Hamburger Kunsthalle |
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| Lydia Skottsberg Svenska Dagbladet (newspaper) ca. 1930 lithograph (poster) Röhsska Museet, Göteborg |
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| Ary Scheffer Nestor and Diomedes ca. 1815 oil on canvas Dordrechts Museum |
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| Edward von Steinle The Four Horsemen of the Apocalypse 1838 oil on panel Kunsthalle Mannheim |
"When the procession had wound three times around the tomb of Neoptolemos, and the young men had ridden three times around it, the women cried aloud and the men raised a loud cry; whereupon, as if at one preconcerted signal, cattle, sheep, and goats began to be sacrificed, almost as if they were all being slaughtered by a single hand. On an enormous altar they heaped countless twigs, and on top they laid all the choicest parts of the sacrifices, as custom demanded. Then they asked the priest of Pythian Apollo to commence the libation and light the altar fire. Charikles replied that it was his office to pour the libation, 'But the leader of the sacred mission should be the one to light the fire, with the torch that he has received form the hands of the acolyte. This is the usage laid down by ancestral custom.'"
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)