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| Julia Margaret Cameron Portrait of Julia Jackson ca. 1864-65 albumen print Art Institute of Chicago |
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| Julia Margaret Cameron Portrait of Julia Jackson ca. 1867 albumen print Art Institute of Chicago |
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| Julia Margaret Cameron Portrait of Julia Jackson (future mother of Virginia Woolf) 1874 albumen print Art Institute of Chicago |
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| Julia Margaret Cameron Portrait of Christina Spartali ca. 1865-70 albumen print Freer Gallery of Art, Washington DC |
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| Julia Margaret Cameron Portrait of Mary Fisher 1867 albumen print Art Institute of Chicago |
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| Julia Margaret Cameron Saint Joan 1872 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron Portrait of Annie Chinery Cameron (Julia Margaret Cameron's daughter-in-law) ca. 1869-70 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron Mary Hillier (The Dream) 1869 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron May Prinsep (Isabel) 1870 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron On Wings of Morning 1877 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron The God of Love ca. 1865 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron Portrait of James Thomas Fields (American publisher) 1869 albumen print National Portrait Gallery, Washington DC |
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| Julia Margaret Cameron Portrait of Henry Wadsworth Longfellow 1868 albumen print National Portrait Gallery, Washington DC |
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| Julia Margaret Cameron Prospero and Miranda ca. 1865 albumen print National Museum of American History, Washington DC |
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| Julia Margaret Cameron English Flowers 1873 albumen print National Gallery of Australia, Canberra |
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| Julia Margaret Cameron And Enid Sang 1874 albumen print National Gallery of Australia, Canberra |
from Metamorphoses
The Clods, as if Inform'd with some new Soul,
Forthwith take motion, and begin to rowl;
First tops of Lances pierce the teeming Ground,
Whose very Birth tells they are made to Wound:
Then rising Casks their painted Crests display
Whose Form at once shews terrible and gay:
Next may he Shoulders, Breasts, and Arms descry,
Whose brandish'd Spears proclaim some Battle nigh:
Until at length in perfect view appears
A growing Harvest of young Cuirassiers.
Thus we in Theaters, the Scenes withdrew,
When some more solemn Spectacle they shew,
See Images in slow Machines arise,
Still mounting by insensible degrees;
New-peeping Heads our longing View first greet,
And humble Faces levell with our Feet:
Next gliding Trunks are in soft order shown,
And neather Limbs heave upper gently on;
So still their Motion, their Ascent so slow,
You'd justly think they did not move, but grow:
At last their sluggish Feet advanc'd in sight,
Present as Statues in full Bulk and Height:
Mean while we struck with fix'd Amazement stare,
And marvel what strange Conveyance brought 'em there,
Made by Surprize more Statues then they are:
No less astonished doubtfull Cadmus gaz'd,
Doubly, by Wonder, and by Fear amaz'd.
– Ovid (43 BC-AD 17), translated by John Oldham (before 1683)