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| Alexandre Charpentier Program for Ibsen's Master Builder at Théâtre de L'Oeuvre, Paris 1898 lithograph and letterpress National Gallery of Australia, Canberra |
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| Marie Bermond Portrait of a Woman ca. 1900 oil on canvas Musée des Beaux-Arts de Gaillac |
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| Charles-Paul Landon Woman with Laurel Wreath (after the manner of Titian) ca. 1900 oil on canvas Musée Magnin, Dijon |
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| Gertrude Käsebier Rose O'Neil ca. 1900 platinum print National Museum of American History, Washington DC |
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| Frederick Sandys Proud Maisie 1902 drawing National Gallery of Canada, Ottawa |
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| Paul Cézanne Seated Woman in Blue ca. 1902-1906 oil on canvas Phillips Collection, Washington DC |
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| John Singer Sargent Marchesa Laura Spinola Núñez del Castillo 1903 oil on canvas Reynolda House Museum of American Art, Winston-Salem, North Carolina |
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| Thomas Eakins Mrs Anna Kershaw ca. 1903 platinum print Hirshhorn Museum, Washington DC |
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| Rudolf Eickemeyer Gertrude Vanderbilt Whitney 1903 platinum print National Museum of American History, Washington DC |
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| Otto Gussmann Portrait of Gertrud Herzog 1903-04 oil on panel Galerie Neue Meister (Albertinum), Dresden |
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| Joseph Decamp The Listener (Woman at the Theatre) ca. 1904 oil on canvas Farnsworth Art Museum, Rockland, Maine |
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| Pach Brothers Studio (New York) Miss Alice Roosevelt 1904 gelatin silver print (postcard) National Portrait Gallery, Washington DC |
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| Edward Hopper Portrait of Hettie Duryea Meade ca. 1905 oil on canvas Hirshhorn Museum, Washington DC |
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| Carl Leopold Hollitzer Portrait of cabaret artist Marya Delvard ca. 1905 watercolor on paper Graphische Sammlung Albertina, Vienna |
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| Giovanni Boldini Portrait of Ethel Mary Crocker de Limur 1906 oil on canvas Crocker Art Museum, Sacramento, California |
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| Childe Hassam The Victorian Chair 1906 oil on panel Smithsonian American Art Museum, Washington DC |
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| Henri Goovaerts Portrait of Lily Goovaerts ca. 1910 oil on canvas Bonnefantenmuseum, Maastricht |
PAUSE – A break in the line as metrically read or heard, which is almost always coincident with the end of a word, and which very frequently, but not always or so often as in the former case, coincides with a stop in punctuation. It is not necessary that every line should have a pause; and the place of the pause, when it exists, is practically ad libitum in most, if not all lines, while there may be more pauses than one. The attempt to curtail liberty in these three respects has been the cause of some of the worst mistakes about English prosody, especially when it takes the form of prescribing that the pause should always be as near the middle as possible. Variety of pause is, in fact, next to variety of feet, the great secret of success in our verse; and it is owing to this that Shakespeare and Milton more especially stand so high. On the other hand, this variety requires the most careful adjustment; and if such adjustment is neglected the lines will be uglier than continuously middle-paused ones, though not so monotonous.
– George Saintsbury, from Historical Manual of English Prosody (1910)