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| Benedetto Briosco Venus mourning Adonis ca. 1490-1510 marble relief North Carolina Museum of Art, Raleigh |
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| Perino del Vaga (Pietro Buonaccorsi) Venus directing Aeneas to Carthage ca. 1532 drawing (study for tapestry) British Museum |
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| Anonymous Netherlandish Printmaker after Lambert Sustris Venus and Cupid ca. 1550-1600 etching and engraving British Museum |
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| Jost Amman Mars, Venus and Cupid ca. 1570-80 drawing British Museum |
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| Hendrik Goltzius Sine Cerere et Baccho friget Venus (without Ceres and Bacchus, Venus freezes) 1593 drawing (ink on vellum) British Museum |
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| Enameller I.D.C. Venus with Cupid (recto, at left) (at right, mythological scene on the verso) ca. 1600 enamel on copper, made in Limoges British Museum |
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| Bartholomäus Reiter Venus and Pan 1610 etching British Museum |
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| Johann Rottenhammer Venus and Cupid ca. 1611 drawing British Museum |
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| Odoardo Fialetti Venus combing Cupid's Hair (series, Scherzi d'Amore) 1617 etching Philadelphia Museum of Art |
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| Anthony van Dyck after Titian Images of Venus, copied from Paintings ca. 1621-27 drawing (leaf from van Dyck's Italian sketchbook) British Museum |
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| Pietro Liberi Two Studies for Venus, Mars and Cupid ca. 1660-70 drawing British Museum |
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| Giacomo Piccini after Titian Venus in Empty Landscape before 1670 engraving British Museum |
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| Giuseppe Diamantini Venus with Putti ca. 1675 etching British Museum |
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| Sir James Thornhill Bacchus, Venus and Ceres ca. 1720 drawing (study for painted ceiling-panel at Eastbury Park) British Museum |
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| John Vanderbank Satyrs gazing at sleeping Venus before 1739 drawing (ink and gouache on paper) British Museum |
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| Jean-Jacques Lagrenée La Toilette de Vénus 1784 etching and aquatint British Museum |
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| Cornelius Varley Venus lulling Adonis to Sleep 1810 drawing (print study for illustration to Spenser's Faerie Queene) British Museum |
But let it be granted that glory and fame are some great matter, are the life of the dead, and can reach heaven itself, sith they are oft buried with the honoured and pass away in so fleet a revolution of time, what great good can they have in them? How is not glory temporal, if it increase with years and depend on time? Then imagine me (for what cannot imagination reach unto?) one could be famous in all times to come, and over the whole world present; yet shall he be for ever obscure and ignoble to those mighty ones which were only heretofore esteemed famous amongst the Assyrians, Persians, Romans. Again, the vain affectation of man is so suppressed that though his works abide some space, the worker is unknown; the huge Egyptian pyramids and that grot in Pausilipo, though they have wrestled with time, and worn upon the waste of days, yet are their authors no more known than it is known by what strange earthquakes and deluges isles were divided from the continent, or hills bursted forth of the valleys. Days, months and years are swallowed up in the great gulf of time (which puts out the eyes of all their glory) and only a fatal oblivion remains: of so many ages past we may well figure to ourselves some likely appearances but can affirm little certainty.
– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)