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| Jean Metzinger Still Life with Black Vase 1926 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
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| Carlo Maratti Design for Cartouche with Barberini Coat-of-Arms ca. 1645 drawing National Museum, Warsaw |
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| Anonymous Russian Artist Invent! Celebrate Workers' Ingenuity! ca. 1925 lithograph (poster) Moderna Museet, Stockholm |
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| Koloman Moser Angels 1905 gouache on paper (design for stained glass) Leopold Museum, Vienna |
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| Ann Parker and Avon Neal Sally Morrison and Two Children, Rockingham, Vermont 1799 - 1792 - 1798 print made in 1963 stone rubbing Amon Carter Museum, Fort Worth, Texas |
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| Roman Empire Cinerary Urn for Married Couple AD 100-125 marble Antikensammlung, Staatliche Museen zu Berlin |
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| Paolo Gerolamo Piola Studies for Ecclesiastical Statues ca. 1710 drawing Morgan Library, New York |
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| Armand Cambon La République 1848 oil on canvas (sketch) Musée Ingres Bourdelle, Montauban |
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| Philippe de Champaigne Last Supper ca. 1652 oil on canvas Musée des Beaux-Arts de Lyon |
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| Joseph Guichard Christ on the Cross with Angels 1843 pastel on paper Musée des Beaux-Arts de Lyon |
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| Moderno (Galeazzo Mondella) Virgin and Child enthroned with Saints ca. 1490-1510 gilt-bronze plaquette National Gallery of Art, Washington DC |
-Live-Oak-Creek-1910-11-cyanotype-Amon-Carter-Museum-Fort-Worth-Texas.jpg) |
| John W. Paret Large Sycamore Tree, Live Oak Creek 1910-11 cyanotype Amon Carter Museum, Fort Worth, Texas |
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| Pietro Perugino Marriage of the Virgin 1504 oil on panel (looted from Perugia by French troops) Musée des Beaux-Arts de Caen |
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| Fernand Puigaudeau Wooden Horses ca. 1900 oil on canvas Musée d'Art Moderne André Malraux, Le Havre |
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| Theodor van Thulden after Peter Paul Rubens Triumphal Arch erected for Philip IV ca. 1640 oil on panel Royal Museum of Fine Arts, Antwerp |
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| Susan Rothenberg Untitled 1989 drawing Moderna Museet, Stockholm |
Chorus: Well, the two of you cannot be blamed for addressing him at length, paying recompense to his tomb for the time it lay unmourned. Now [to Orestes], since you are resolved in your mind to act, you can make trial of fortune and do the rest of the job.
Orestes: It shall be so. But it certainly isn't irrelevant to ask how she came to send those drink-offerings and for what reason, in belated recompense for a wrong beyond remedy. For a dead man, without consciousness, it was a wretched favour to send; I can't think of anything to compare to it. And the gifts do not match the crime. Pour out all you have in atonement for one man's blood – and your work is wasted: so the saying goes. I'd be pleased for you to tell me this, if you know.
Chorus: I do know, my child, because I was there. That godless woman sent these drink-offerings because she was shaken by dreams and wandering terrors of the night.
Orestes: Did you learn what the dream was, so as to be able to tell it accurately?
Chorus: As she herself says, she imagined she gave birth to a snake –
Orestes: That vision is not likely to have come for nothing!
Chorus: – and nestled it in swaddling-clothes, like a baby.
Orestes: What food did it want, this deadly new-born creature?
Chorus: In her dream, she herself offered her breast to it.
Orestes: Then surely her teat was wounded by the loathsome beast?
Chorus: So that in her milk it drew off a clot of blood.
Orestes: And where does the story reach its end and culmination?
Chorus: She cried out in terror in her sleep, and many house-lights which had been extinguished into blind darkness blazed up again for the sake of our mistress. Then she sent these drink-offerings of mourning, hoping for a decisive cure for her troubles.
– Aeschylus, from The Libation-Bearers (458 BC), translated by Alan H. Sommerstein (2008)