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| Eugène Cuvelier Study of Trees ca. 1852 salted paper print Museum Ludwig, Cologne |
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| Gustaf Wernersson Cronquist His Majesty the King at Tullgarn Palace 1937 autochrome Moderna Museet, Stockholm |
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| Luca Giordano Samson breaking his Bonds ca. 1660-65 oil on canvas Kunsthistorisches Museum, Vienna |
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| Giovanni Costetti Portrait of a Man 1906 drawing private collection |
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| Clara E. Sipprell Scene from an outdoor production of Lysistrata ca. 1917 platinum print Amon Carter Museum, Fort Worth, Texas |
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| Svein Strand Woman in Mirror III 1991 oil on canvas Stortingets Kunstsamling, Oslo |
-Seated-Old-Woman-1899-etching-and-aquatint-Kunsthalle-zu-Kiel.jpg) |
| Paula Modersohn-Becker Seated Old Woman 1899 etching and aquatint Kunsthalle zu Kiel |
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| Vilhelm Hammershøi An Old Woman 1886 oil on canvas Hirschsprung Collection, Copenhagen |
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| Laura Gilpin The Prelude 1917 platinum print Amon Carter Museum, Fort Worth, Texas |
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| Baron Adolf De Meyer Nymphenburg Figure 1912 photogravure Amon Carter Museum, Fort Worth, Texas |
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| Lovis Corinth Study for The Lamentation 1908 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Edgar Degas Study for Portrait of Mademoiselle Fiocre in the Ballet, La Source ca. 1867-68 oil on canvas Albright-Knox Art Gallery, Buffalo, New York |
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| Théodore Géricault Model posed as Boatman ca. 1820 oil on canvas Musée Bonnat-Helleu, Bayonne |
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| Marsden Hartley Madawaska: Acadian Light-Heavy 1940 oil on panel Art Institute of Chicago |
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| Edvard Munch Vampire 1895 color woodblock print and lithograph Moderna Museet, Stockholm |
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| Théodule Ribot Leg of Mutton ca. 1870 oil on canvas Musée Hébert, Paris |
[The Pythia goes into the temple. A moment later she comes out again, terrified, crawling on hands and knees like a baby. It is some time before she can speak.]
Things truly fearful to speak of, fearful to behold with the eyes, have driven me back out of the house of Loxias; they have taken away my strength and made me unable to stand upright, so that I run on my hands instead of making speed with my legs! A frightened old woman is nothing – or rather no better than a little child! [Becoming slightly more composed.] I am on my way to the inner shrine richly hung with wreaths, and there I see a man sitting at the navel-stone as a suppliant for purification, a man polluted in the eyes of the gods, his hands dripping blood, holding a newly-drawn sword and a tall-grown olive branch reverently adorned with a very long wreath of wool, of snow-white fleece (by speaking this way I shall make myself clear). In front of this man there was an extraordinary band of women, asleep sitting on chairs – no, I won't call them women, but Gorgons; but then I can't liken their form to that of Gorgons either. I did once see before now, in a painting, female creatures robbing Phineus of his dinner; these ones, though, it is plain to see, don't have wings, and they're black and utterly nauseating. They're pumping out snores that one doesn't dare come near, and dripping a loathsome drip from their eyes. And their attire is one that it's not proper to bring either before the images of the gods or under the roofs of men.* I have never seen the tribe to which this company belongs, nor do I know what country boasts that it has reared this race without harm to itself and does not regret the labour of doing so.
– Aeschylus, from Eumenides (458 BC), translated by Alan H. Sommerstein (2008)
*The Erinyes' dark garments are such as would normally be worn only in token of mourning, and one would never enter a temple, especially of Apollo, so dressed.