Substantial

Bertoldo di Giovanni
Portrait of Filippo de' Medici
ca. 1462-74
bronze medallion
British Museum

attributed to Bertoldo di Giovanni
Bellerophon slaying Chimera
before 1491
plaquette in base metal with gilding
British Museum

attributed to Baccio Bandinelli
Bust of a Man
ca. 1540-50
marble
Museum of Fine Arts, Budapest

attributed to Valerio Belli
Plaque with Scene of Ancient Sacrifice
before 1546
rock crystal
British Museum

Jean de Court
Dish with Destruction of Pharaoh's Army
ca. 1560-80
enamel on copper (Limoges)
British Museum

Jean de Court
Dish with Destruction of Pharaoh's Army
(detail with grotesques on rim)
ca. 1560-80
enamel on copper (Limoges)
British Museum

Meinrad Bauch
Table Ornament with Bacchus astride Barrel
ca. 1590-1600
silver-gilt figure on mother-of-pearl barrel
British Museum

Anonymous German Sculptor
Portrait of a Man
1625
pear wood
British Museum

Anonymous German Sculptor
Seated Pasha
ca. 1650-1700
enameled-gold set with diamonds and baroque pearl
British Museum

attributed to André-Charles Boulle
Cabinet
ca. 1680, on Egyptian revival stand (added ca. 1800)
oak and pine veneered with exotic woods and ormolu
Fitzwilliam Museum, Cambridge

François-Joseph Bosio
Catherine, Princess of Württemberg
ca. 1810-15
marble
Dallas Museum of Art

Antonio Canova
Ideal Head
ca. 1817
marble
Kimbell Art Museum, Fort Worth, Texas

Boston & Sandwich Glass Co.
Dolphin Candlestick
ca. 1850
pressed glass
Chrysler Museum of Art, Norfolk, Virginia

Thomas Ball
Saint John the Divine
ca. 1860
marble
Chrysler Museum of Art, Norfolk, Virginia

Thomas Ball
Eve
1874
marble
San Diego Museum of Art

Herbert Ferber
The Sun, the Moon and the Stars II
1956
brass
Whitney Museum of American Art, New York

Joost Baljeu
Synthetic Construction W-III [2c+d]
1958
enamel on wood relief
Museum Boijmans Van Beuningen, Rotterdam

    Thus sciences, by the diverse motions of this globe of the brain of man, are become opinions, nay, errors, and leave the imagination in a thousand labyrinths.  What is all we know, compared with what we know not?  We have not yet agreed about the chief good and felicity.  It is perhaps artificial cunning.  How many curiosities be framed by the least creatures of nature (who like a wise painter showeth in a small portrait more ingine than in a great) unto which the industry of the most curious artisans doth not attain!  Is it riches?  What are they but the idols of fools, the casting out of friends, snares of liberty, bands to such as have them, possessing rather than possessed, metals which nature hath hid (foreseeing the great harms they should occasion), and the only opinion of man hath brought in estimation?  They are like to thorns, which laid in an open hand are easily blown away, and wound the closing and hard-gripping.  Prodigals mispend them, wretches mis-keep them: when we have gathered the greatest abundance, we ourselves can enjoy no more of them than so much as belongs to one man.  They take not away want, but occasion it: what great and rich men do by others, the meaner and more contented sort do by themselves.  Will some talk of our pleasures?  It is not, though in the fables, told out of purpose, that Pleasure, in haste being called up to heaven to disburthen herself and become more light, did here leave her apparel, which Sorrow (then naked, forsaken, and wandering) finding, did afterwards attire herself with.  And if we would say the truth of most of our joys, we must confess them to be but disguised sorrows: remorse ever ensueth them, and (being the heirs of displeasure) seldom do they appear, except sadness and some wakening grief hath really preceded and forewent them.  Will some ladies vaunt of their beauty?  That is but skin-thick, of two senses only known, short even of marble statues and pictures; not the same to all eyes, dangerous to the beholder and hurtful to the possessor; an enemy to chastity, a frame made to delight others more than those that have it, a superficial varnish hiding bones and the brains, things fearful to be looked upon: growth in years doth blast it, or sickness or sorrow preventing them. 

– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)