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| Giuseppe Bernardino Bison Shepherd in Landscape with Ruins ca. 1810 drawing Morgan Library, New York |
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| Hermann Blumenthal Campagna Shepherd 1937 bronze Kunsthalle Mannheim |
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| François Boucher Shepherd in a Landscape ca. 1751 oil on canvas Musée des Beaux-Arts de Caen |
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| Jean-Antoine Constantin Shepherd departing from the Ruins of the Forum ca. 1770-80 drawing Morgan Library, New York |
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| William Holman Hunt Study for The Hireling Shepherd 1852 drawing National Gallery of Victoria, Melbourne |
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| Constantin Hansen Shepherd within Temple at Paestum 1854 oil on canvas Nasjonalmuseet, Oslo |
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| Jean Lemaire Shepherd among Ruins ca. 1630 oil on canvas Kunsthistorisches Museum, Vienna |
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| Alexei Savrasov Shepherd beneath Oaks 1860 oil on canvas State Tretyakov Gallery, Moscow |
-Arcadian-Scene-with-Two-Shepherds-c1535-drawing-Hamburger-Kunsthalle.jpg) |
| Parmigianino (Francesco Mazzola) Arcadian Scene with Two Shepherds ca. 1535 drawing Hamburger Kunsthalle |
-c1765-oil-on-canvas-Kunsthistorisches-Museum-Vienna.jpg){kind=spacer} |
| Andries Cornelis Lens Apulian Shepherd transformed into an Olive Tree (scene from The Metamorphoses of Ovid) ca. 1765 oil on canvas Kunsthistorisches Museum, Vienna |
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| Marco Sammartino Shepherdess playing Flute ca. 1650-70 etching Hamburger Kunsthalle |
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| Jacob Adriaensz Backer Shepherdess ca. 1640 oil on panel Fine Arts Museums of San Francisco |
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| Govert Flinck Portrait of a Woman as a Shepherdess 1636 oil on canvas Herzog Anton Ulrich Museum, Braunschweig |
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| Joseph-Charles Marin Shepherd and Shepherdess ca. 1790-1800 terracotta Art Institute of Chicago |
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| Hans Unger Shepherds on the Seashore 1893 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Carl Larsson Shepherdess 1888 oil on canvas (sketch for mural) Prins Eugens Waldemarsudde, Stockholm |
"This is all very well, Sisimithres," retorted Hydaspes, "the kind of thing one might expect from an impassioned advocate rather than from a judge. But beware lest, in answering one point, you raise another question, a serious one that is far from easy for my consort to answer: how could we, Ethiopians both, produce, contrary to all probability, a white daughter?"
Sisimithres shot him a wry glance and said with a slightly condescending smile: "I do not know what is wrong with you. It is not like you to criticize me for an advocacy that I see no reason to regret. We define the true judge as the one who advocates justice. In the end you will probably think me as much your advocate as the girl's, for, with the god's help, I shall prove that you are a father, and I shall not forsake the daughter whom I preserved for you in her cradle now that she is safely restored in adulthood. But think what you will about us, for we attach no importance to it. We do not live to please others: our only goal is perfect virtue, and if our own consciences are satisfied, it is enough. In any case, the solution to the problem about the color of her skin is contained in the band, where Persinna here admits to having absorbed certain images and visual forms of resemblance from the picture of Andromeda that she saw while having intercourse with you. If you desire further confirmation, the exemplar is at hand. Take a close look at Andromeda, and you will find that she is reproduced in this girl exactly as she appears in the painting."
At a word of command from the king, the attendants went to take down the picture, which they brought and set up next to Charikleia. This occasioned universal cheering and acclaim: those members of the crowd with the slightest understanding of what was being said and done explained it to their neighbors, and the exactitude of the likeness struck them with delighted astonishment. Even Hydaspes could hold out no longer in his disbelief but stood motionless awhile, possessed by a mixture of joy and amazement.
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)
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