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| Wilhelm Tischbein Odysseus 1796 oil on panel Museum of Fine Arts, Budapest |
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| Willem Schellinks Interior of the Colosseum, Rome ca. 1664 drawing Graphische Sammlung Albertina, Vienna |
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| Carl Moll Roman Ruin at Schönbrunn 1892 oil on canvas Belvedere Museum, Vienna |
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| attributed to Jean Laguerre Balustraded Colonnade with Figures ca. 1728-30 oil on plaster (mural panels) Victoria & Albert Museum, London |
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| Max Jacob Apollinaire and his Muse 1910 gouache on paper Musée des Beaux-Art d'Orléans |
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| Hippolyte Casimir Gourse Street in Gafsa ca. 1910 oil on canvas Musée d'Art et d'Histoire de Narbonne |
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| Paul Caponigro Stonehenge 1967 gelatin silver print Moderna Museet, Stockholm |
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| Adolphe Braun Untitled ca. 1880 albumen print Museum Folkwang, Essen |
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| James Anderson The Ghetto, Rome ca. 1865 albumen print Moderna Museet, Stockholm |
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| Aldham & Aldham (South Africa) Untitled ca. 1870 albumen print Moderna Museet, Stockholm |
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| Max Slevogt Samson bringing down the Temple 1906 oil on cardboard Alte Nationalgalerie, Staatliche Museen zu Berlin |
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| Christoffer Wilhelm Eckersberg Bernini's Colonnade in St Peter's Square, Rome ca. 1813-16 oil on canvas Ordrupgaard Art Museum, Copenhagen |
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| Karl Blechen Courtyard in Pompeii 1829 watercolor on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Bacchiacca (Francesco Ubertini) Study for an Altar ca. 1530 drawing National Gallery of Victoria, Melbourne |
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| Edmond Guillaume House of the Faun at Pompeii 1858 watercolor on paper Musée des Beaux-Arts de Valenciennes |
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| Eugène Jansson Youth in Doorway 1907 oil on canvas Prins Eugens Waldemarsudde, Stockholm |
Orestes: The mighty oracle of Loxias will assuredly not betray me. It bade me brave this peril, it cried forth many things, and it spoke openly of catastrophes that will bring dire chill into my hot heart, if I do not pursue those guilty of my father's death "in the same manner" – meaning, kill them in revenge. He said that I myself would pay for it with my own dear life, enduring many disagreeable sufferings, enfeebled by penalties that went beyond loss of property. He revealed the effects of the wrath of hostile powers from under the earth against mortals, and spoke of these dreadful afflictions – leprous ulcers attacking the flesh, eating away its pristine appearance with savage jaws, and short white hairs arising on the disease site. He spoke too of other assaults of Furies, generated by the blood of a father: the dark weapon of the powers below, arising from those of one's kin who have fallen and beg for justice, together with madness and empty night-time terrors, derange him, harry him, and chase him from his city, physically humiliated by a metal collar. And men such as this, he said, are not permitted to have a share in the mixing-bowl or in the pouring of a friendly libation; the father's unseen wrath keeps him away from altars; no one will receive him as a host, or lodge with him as a guest, and finally he will die, devoid of all respect and devoid of all friends, cruelly shrivelled in a death of total decay. Should I not believe such an oracle as that? Even if I do not, the deed still has to be done. Many motives join together to point the same way: the command of the god, my great grief for my father, being deprived of my property weighs heavy on me, and it is also my duty to liberate the city, so that its citizens, the most glorious people on earth, who overthrew Troy with resolute heart, should not remain, as they now are, subjected to a pair of women – for he'll soon know whether he* really has a woman's heart or not!
– Aeschylus, from The Libation-Bearers (458 BC), translated by Alan H. Sommerstein (2008)
*Aegisthus