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| Louis-Léopold Boilly Portrait of a Woman ca. 1805 oil on canvas Musée des Beaux-Arts de Reims |
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| Michele Bisi Princesse Augusta Amalia of Bavaria, vice-regent of Italy ca. 1808-1810 engraving printed à la poupée British Museum |
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| Samuel De Wilde Mrs Glover as Eugenia in The Foundling of the Forest 1811 watercolor on paper British Museum |
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| Rembrandt Peale Portrait of Rosalba Peale ca. 1820 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Jean-Baptiste-Camille Corot Study of Seated Woman ca. 1830-40 drawing British Museum |
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| Wilhelm Marstrand Study of an Italian Woman ca. 1840 oil on canvas Nivågård Museum, Denmark |
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| Louis Janmot Portrait of Hortense Thayer née Bertrand ca. 1840-50 oil on canvas National Museum, Warsaw |
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| Richard Redgrave Ophelia weaving Garlands ca. 1842 watercolor on paper (study for painting) British Museum |
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| Charles Matet Portrait of Mademoiselle de Lassus 1844 oil on canvas Musée Fabre, Montpellier |
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| Adolph Menzel Portrait of Frau Meyerheim 1847 watercolor on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Dante Gabriel Rossetti Head of a Girl ca. 1849 drawing (study for painting) British Museum |
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| Henry Weekes Clytie ca. 1850 marble Newport Mansions Preservation Society, Rhode Island |
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| George Perfect Harding after Peter Lely Portrait of Mrs Hughes before 1853 watercolor on paper British Museum |
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| Oliver H. Willard Portrait of a Woman ca. 1857 salted paper print Smithsonian American Art Museum, Washington DC |
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| Edward Harrison May Portrait of a Young Woman 1862 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Oscar Gustave Rejlander The Cup that Cheers ca. 1862 albumen print National Gallery of Australia, Canberra |
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| Octave Tassaert Study of Mademoiselle Goton ca. 1865 drawing Clark Art Institute, Williamstown, Massachusetts |
Tennyson very seldom tried the couplet, but when he did, as in The Vision of Sin, he achieved it magnificently:
I had a vision when the night was late:
A youth came riding toward a palace gate,
He rode a horse with wings, that would have flown
But that his heavy rider kept him down.
And from the palace came a child of sin,
And took him by the curls and led him in,
Where sat a company with heated eyes,
Expecting when a fountain should arise:
A sleepy light upon their brows and lips –
As when the sun, a crescent of eclipse,
Dreams over lake and lawn, and isles and capes –
Suffused them, sitting, lying, languid shapes,
By heaps of gourds, and skins of wine, and piles of grapes.
(Observe how fine this couplet is, and how personal. We have seen how Keats studied Dryden; this is as if Dryden had studied Keats.)
– George Saintsbury, from Historical Manual of English Prosody (1910)