 |
| Anonymous Flemish Artist Capriccio of Ruins on a Coast ca. 1610-20 oil on copper Galleria Sabauda, Turin |
 |
| workshop of Bartholomeus Breenbergh Italian Landscape with Ruins of the Aurelian Wall ca. 1650-60 oil on canvas Mauritshuis, The Hague |
 |
| Paul Bril Religious Procession among Ruins, Rome ca. 1600-1610 oil on copper Gemäldegalerie, Staatliche Museen zu Berlin |
 |
| Claude Lorrain Roman Ruins on the Aventine Hill before 1682 drawing Graphische Sammlung Albertina, Vienna |
 |
| Caspar David Friedrich Ruins of the Temple of Juno at Agrigento ca. 1828 oil on canvas Museum für Kunst und Kulturgeschichte, Dortmund |
 |
| Giovanni Ghisolfi Capriccio with Ruins ca. 1650 drawing Museo Poldi Pezzoli, Milan |
 |
| Svein Johansen Roman Ruins ca. 1983 oil on canvas Nasjonalmuseet, Oslo |
-c1875-oil-on-canvas-Mus%C3%A9e-des-Beaux-Arts-de-Marseille.jpg) |
| Jules Laurens Ruins of a Roman Roadhead in Bithynia ca. 1875 oil on canvas Musée des Beaux-Arts de Marseille |
 |
| Jean Lemaire Artists studying Ruins ca. 1630 drawing Museum of Fine Arts, Budapest |
 |
| Giovanni Battista Mercati Domes of the Basilica di Santa Maria Maggiore rising behind Roman Ruins 1629 etching Hamburger Kunsthalle |
 |
| Gian Paolo Panini Capriccio of Roman Ruins with the Pantheon ca. 1740 oil on canvas Hamburger Kunsthalle |
 |
| Marco Ricci Capriccio of Antique Ruins ca. 1720-25 tempera on vellum Staatsgalerie Stuttgart |
 |
| Marco Ricci Capriccio of Antique Ruins ca. 1720-30 oil on canvas Museo Civico di Modena |
 |
| Hubert Robert Artist among Ruins on the Palatine Hill, Rome ca. 1760-65 drawing Städel Museum, Frankfurt |
 |
| Louise Joséphine Sarazin de Belmont Ruins of Roman Theater at Taormina 1825 oil on paper Morgan Library, New York |
 |
| Jan Baptist Weenix Study of Ruins ca. 1646 drawing Morgan Library, New York |
He recounts that he saw other similar things, and he tells marvelous stories of having seen men and other things that no one else says he has seen or heard, and that no one else has even imagined. The most wondrous thing of all is that in traveling north they came close to the moon, which was like a completely stripped land, and that while there they saw things that it was natural for a man to see who had invented such an exaggerated fiction.
Then the Sibyl picked up her art of divination again, with Carmanes. After this, each person made his own prayer, and everything turned out for each of the others in accordance with his prayer, but in his case, after he woke up, he was found in Tyre in the temple of Hercules, and after he got up, he found Dercyllis and Mantinias. They were safe and had released their parents from the long sleep or, rather, death, and were prospering in other ways as well.
These things Dinias told to Cymbas and provided cyprus tablets on which he asked Cymbas's companion Erasinides, since he was a skillful writer, to record the account. He also showed Dercyllis to them – it was in fact she who brought the cypress tablets. He ordered Cymbas to have the accounts written down on two sets of cypress tablets, one of which Cymbas would keep and the other of which Dercyllis was to place in a small box and set down near Dinias's grave at the time of his death.
– Antonius Diogenes, from The Wonders Beyond Thule, written in Greek, 1st-2nd century AD. A detailed summary of the book was composed (also in Greek) in the 9th century by Photius, Patriarch of Constantinople. The original text by Antonius Diogenes was subsequently lost; only the summary by Photius has survived. This was translated into English by Gerald N. Sandy (1989).