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| Reidun Tordhol Against Grey Background 1990 oil on canvas Lillehammer Kunstmuseum, Norway |
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| Peter Karnig Untitled ca. 1975 gelatin silver print Moderna Museet, Stockholm |
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| Valentin Serov Portrait of Maria Vasilievna Yakunchikova ca. 1885-88 oil on canvas Malmö Konstmuseum, Sweden |
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| Luca della Robbia Virgin and Child with Angels ca. 1450 glazed terracotta Bode Museum, Berlin |
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| workshop of Lucas Cranach the Younger Postmortem Portrait of Martin Luther ca. 1574 oil on panel Gemäldegalerie Alte Meister, Dresden |
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| Otto Friedrich Heinrich Gallia in Officer's Uniform ca. 1915 oil on paper (sketch) Belvedere Museum, Vienna |
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| Henri Fantin-Latour Still Life with Torso and Flowers 1874 oil on canvas Göteborgs Konstmuseum, Sweden |
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| Anonymous Artisans Cast of the Farnese Hercules (after colossal marble original in Naples) 18th century plaster Museumslandschaft Hessen Kassel |
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| Thomas Gainsborough Portrait of Miss Ann Ford 1760 oil on canvas Cincinnati Art Museum, Ohio |
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| René de Saint-Marceaux Charlotte Corday ca. 1899 marble Musée des Beaux-Arts de Reims |
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| Carl Jacob Malmberg Stage Personality Helga Frankenfeldt 1870 collodion print Moderna Museet, Stockholm |
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| Félix Nadar Sarah Bernhardt as Pierrot 1883 collodion print Moderna Museet, Stockholm |
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| Fernand Khnopff Madeleine Mabille with Painting Tools 1888 oil on panel Carnegie Museum of Art, Pittsburgh |
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| Louis Bastin Arrangement of White Objects 1957 etching and aquatint Moderna Museet, Stockholm |
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| Eva Rubinstein Duane Michals 1972 gelatin silver print Moderna Museet, Stockholm |
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| Danny Lyon Two Prisoners from Corpus Christi, Texas 1968 gelatin silver print Moderna Museet, Stockholm |
Deep into the night they talked of many things, naturally enough for two people who believed that after tonight they would never see one another again and who were enjoying one another's company as long as they might. Eventually they fell to considering the miracle at the stake. Theagenes was inclined to attribute it to the benevolence of the gods, who had been incensed by Arsake's iniquitous allegations and taken pity on her innocent and blameless victim. Charikleia seemed to be less certain.
"My bizarre deliverance," she said, "certainly bears all the marks of a supernatural or divine intervention to save me. But the fact that we are so beset by one misfortune coming directly after another and subject to such various and excessive torments suggests that we are under heaven's curse and the victims of divine malevolence – unless it is the divinity's way of working miracles to plunge us deep in despair and then deliver us from the abyss!"
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)