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| Georg Lemberger The Fifth Trumpet opening the Bottomless Pit 1524 hand-colored woodcut from the "Luther" Bible Graphische Sammlung Albertina, Vienna |
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| Hermann tom Ring The Last Judgment 1595 drawing Graphische Sammlung Albertina, Vienna |
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| Johan Wierix after Michelangelo The Last Judgment - Sistine Chapel ca. 1585 engraving Herzog August Bibliothek, Wulfenbüttel |
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| Hieronymus Francken the Younger The Last Judgment ca. 1605-1610 oil on panel Kunsthistorisches Museum, Vienna |
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| Anonymous Italian Artist after Federico Zuccaro Figures from The Last Judgment 16th century drawing Yale University Art Gallery |
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| Anonymous German Artist Daniel's Vision of the Four Monsters ca. 1478 hand-colored woodcut from the Koberger Bible Graphische Sammlung, ETH Zürich |
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| Anonymous French Artist Three Scenes from the Apocalypse of St John ca. 1478 hand-colored woodcut Graphische Sammlung, ETH Zürich |
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| El Lissitzky Gravedigger (costume design for opera, Victory over the Sun) 1923 lithograph Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Scott Gentling À Marat 1989 watercolor and gouache on paper Amon Carter Museum, Fort Worth, Texas |
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| Marcantonio Raimondi Christ in Limbo ca. 1504-1505 engraving Graphische Sammlung Albertina, Vienna |
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| Rosso Fiorentino Proserpina and Saturn in Niches 1526 drawing (print studies) Musée des Beaux-Arts de Lyon |
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| Monogrammist IB Saturn (from Seven Planets series) 1528 engraving Graphische Sammlung, ETH Zürich |
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| Jean-Pierre Sudre Les Poires Pourries 1955 gelatin silver print Moderna Museet, Stockholm |
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| Edvard Munch Vampire II ca. 1895-1900 lithograph Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Edvard Munch Vampire 1895 lithograph and color-woodblock print Moderna Museet, Stockholm |
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| Théophile Schuler The Chariot of Death 1848-51 oil on canvas Musée Unterlinden, Colmar |
Chorus of Persian Elders:
remain under Persian rule,
nor continue to pay tribute
under the compulsion of their lords,
nor fall on their faces to the ground
in awed obeisance; for the strength of the monarchy
under guard; for the people
In its blood-soaked soil
Queen: My friends, anyone who has experience of misfortune knows that in human affairs, when one is assailed by a surge of troubles, one is apt to be afraid of anything; whereas when divine favour is flowing your way, you tend to be sure the breeze of good fortune will always continue to blow from astern. So for me now, everything is full of fear: before my eyes there appear hostile visions from the gods, and in my ears there resounds a din that is not a song of cheer – such is the stunning effect of these misfortunes that terrifies my mind. That is why I have retraced my path, coming back from my house without my carriage and without my former luxury, bringing propitiatory drink-offerings for the father of my child, such as serve to soothe the dead: white milk, good to drink, from a pure cow; the distilled product of the flower-worker, gleaming honey, together with a libation of water from a virgin spring; a drink that has come unsullied from its wild-growing mother, this juice of an old vine; and also here are the sweet-smelling produce of the tree whose foliage never ceases to live and flourish, the blond olive-tree, and a woven garland of flowers, the children of Earth, the bearer of all life.* Now, friends, accompany these drink-offerings to the nether powers with auspicious songs, and call up the divine Darius; meanwhile I will send these honours on their way to the gods below, by letting the earth drink them up.
– Aeschylus, from Persians (472 BC), translated by Alan H. Sommerstein (2008)
*every one of the six components of the offering is specified in Greek as coming from a feminine source – the cow, the bee, the virgin spring, the mother vine, the olive tree, and Mother Earth
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