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| Sebastiano Ricci Venus and Adonis ca. 1706-1707 oil on canvas Musée des Beaux-Art d'Orléans |
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| Charles Le Brun Rising of Aurora ca. 1652-56 oil on canvas (ceiling panels) Musée Carnavalet, Paris |
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| Donato Creti Astronomical Observations - Jupiter 1711 oil on canvas Pinacoteca Vaticana, Rome |
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| Hasse Persson Rolling Fork, Mississippi 1974 gelatin silver print Moderna Museet, Stockholm |
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| Yves Brayer The Gattamelata Monument in Padua 1937 oil on canvas Musée des Beaux-Arts de Pau |
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| Eilif Amundsen Small Still Life with Rider 1959 oil on canvas Nasjonalmuseet, Oslo |
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| Jean-Paul Laurens St John Chrysostom haranguing Empress Eudoxia 1893 oil on canvas Musée des Augustins de Toulouse |
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| Christian Wilhelm Ernst Dietrich Ecce Homo 1754 oil on canvas Deutsche Barockgalerie, Augsburg |
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| François Perrier Antique Statue - Horse Tamer (Piazza del Quirinale, Rome) 1638 etching Hamburger Kunsthalle |
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| François Perrier Antique Statue - Horse Tamer (Piazza del Quirinale, Rome) 1638 etching Hamburger Kunsthalle |
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| Martin Ferdinand Quadal Studio for Life Drawing at the Vienna Academy 1787 drawing Graphische Sammlung Albertina, Vienna |
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| Christian Skredsvig Near Sevilla 1882 oil on panel Nasjonalmuseet, Oslo |
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| Weegee The Duke and Duchess of Windsor 1953 gelatin silver print Moderna Museet, Stockholm |
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| Gerhard Richter Clouds 1970 oil on canvas Museum Folkwang, Essen |
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| Federico Brandani Aquilini Ceiling (scenes from the Life of Julius Caesar) ca. 1562-68 stucco relief Galleria Nazionale delle Marche, Urbino |
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| Bartolomeo Altomonte Veneration of the Christ Child ca. 1760 oil on canvas Belvedere Museum, Vienna |
Electra [standing before the tomb]: Great Herald who communicates between those above and those below, Hermes of the Underworld, aid me by making proclamation on my behalf both to the powers under the earth, who watch over my father's house, that they should hear my prayers, and to Earth herself, who gives birth to all things, nurtures them, and then receives that fruit of her womb back into herself. And I, as I pour these lustral libations, call on my father and say: Have pity on me and kindle a light in your house in the shape of my beloved Orestes. For at present we are virtually vagrants, sold by our mother, who has received in exchange a new man – Aegisthus, the same who shared the guilt of your murder. I am in the position of a slave,* Orestes is in exile, deprived of his property, and they are greatly and extravagantly luxuriating in the wealth for which you toiled. I pray to you – and do hear me, father – for Orestes to come here by some stroke of fortune; and for myself, grant that I may be far more virtuous than my mother and more righteous in action. These prayers for us. Upon our enemies I ask for there to appear an avenger for you, father, and for the killers to meet justice and perish in their turn – I place this in the middle of my prayer for good, uttering this prayer for evil against them; but for us, be a sender of blessings from below, together with the gods, and Earth, and Justice to bring us victory. Such are the prayers I make before pouring these drink-offerings; [to the Chorus] the custom is for you to adorn them with wailing, uttering a paean to the deceased. [She pours out the offerings on the ground from the three jars in succession, while the Chorus sing.]
– Aeschylus, from The Libation-Bearers (458 BC), translated by Alan H. Sommerstein (2008)
*meaning primarily that though she must by now be well into her twenties, she has still not been given in marriage as any free daughter of a family routinely would be in her mid teens