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| Anonymous French Artist Portrait of a Woman as the Goddess Diana ca. 1750 oil on canvas Musée des Beaux-Arts de Reims |
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| Adam Camerarius Portrait of a Lady as the Goddess Diana ca. 1645-55 oil on canvas Groninger Museum, Netherlands |
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| Cesare Dandini Portrait of a Woman as the Goddess Diana 1639 oil on canvas Statens Museum for Kunst, Copenhagen |
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| workshop of Nicolas de Largillière Portrait Study of a Lady as the Goddess Diana ca. 1715 drawing Musée d'Art et d'Histoire de Genève |
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| Jan Mytens Portrait of a Young Woman as the Goddess Diana ca. 1660 oil on canvas, mounted on panel Museum Mayer van den Bergh, Antwerp |
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| Jean-Marc Nattier Portrait of Elisabeth de Flesselles as a Nymph 1747 oil on canvas Princeton University Art Museum |
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| Peter Paul Rubens Emperor Commodus costumed as Hercules and posed as a Gladiator ca. 1599-1600 oil on panel Leiden Collection, New York |
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| Adriaen Backer Allegorical Portrait of Anthony de Bordes entrusting his Son's Education to the Goddess Minerva 1679 oil on canvas Amsterdam Museum |
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| Pietro da Cortona (Pietro Berrettini) Jupiter crowning the Medici ca. 1642-44 ceiling fresco Sala di Giove, Palazzo Pitti, Florence |
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| Rembrandt Scholar in his Library 1634 oil on canvas Národní Galerie, Prague |
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| Salvator Rosa Genius of Salvator Rosa 1662 etching Museum of Fine Arts, Budapest |
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| August Sander Woman of Advanced Intellect 1914 gelatin silver print Museum Folkwang, Essen |
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| Henri Fantin-Latour Hommage to Rossini 1903 lithograph Kröller-Müller Museum, Otterlo, Netherlands |
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| workshop of Charles Le Brun Allegory on the Glory of Louis XIV ca. 1675 oil on canvas (reduced studio copy of lost ceiling painting) Musée Ingres Bourdelle, Montauban |
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| Nicolaes Verkolje Apotheosis of the Dutch East India Company ca. 1740 oil on canvas Rijksmuseum, Amsterdam |
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| Eugène Laermans Evening of the Strike - The Red Banner 1893 oil on canvas Musée Fin de Siècle, Brussels |
Clytemnestra: And amid my dreams I kept being awakened by the light buzz of a trumpeting mosquito, having seen more sufferings afflict you than could fit into the time they shared my bed. Now, after enduring all this, with a heart no longer grieving, I shall speak of this man as the watchdog of his homestead, the forestay that saves the ship, the firmly-footed pillar that supports a lofty roof, a father's only son; as land appearing to sailors in despair, as the daylight that is such a fair thing to behold after a storm, as a flowing spring to a thirsty traveller. Such, I say, are the appellations I hold him worthy of – but let us not court jealousy, for we have endured many sufferings already. Now then, please, dear heart, step out of this carriage – but do not set your foot on the earth, my lord, the foot that sacked Troy! Servants, why are you waiting, when you have ground in his path? Let his way forthwith be spread with crimson, so that Justice may lead him into a home he never hoped to see. [The attendants spread out the fabrics to form a path from the carriage to the palace door.] Careful thought, not overcome by sleep, will set everything else in order in accordance with justice, with the gods' help.
– Aeschylus, from Agamemnon (458 BC), translated by Alan H. Sommerstein (2008)