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| Ansgar Larssen Family Portrait ca. 1950 oil on canvas KODE (Art Museums Complex), Bergen, Norway |
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| August Sander Working Class Students 1926 gelatin silver print Moderna Museet, Stockholm |
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| Ludomir Śleńdziński Group Portrait 1925 oil on canvas Moderna Museet, Stockholm |
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| Karl Klefisch and Günter Fröhling Kraftwerk - Konzerthaus Elzer Hof 1981 lithograph (poster) Röhsska Museet, Göteborg |
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| Emil Schult and Pit Franke Kraftwerk - Pocket Calculator 1981 lithograph (poster) Röhsska Museet, Göteborg |
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| Abraham van Diepenbeeck The Four Doctors of the Church ca. 1660 oil on panel Musée des Beaux-Arts de Bordeaux |
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| Peter Paul Rubens The Four Evangelists ca. 1614 oil on canvas Bildgalerie von Sanssouci, Potsdam |
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| Irving Penn Dusek Brothers 1948 gelatin silver print Moderna Museet, Stockholm |
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| Gerhard Keil Gymnasts 1939 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
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| Christian Krohg Studio at Ankertorvet 1885 oil on canvas Lillehammer Kunstmuseum, Norway |
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| Otto Dix Portrait of Fritz and Erna Glaser with children Agathe and Volkmar 1925 tempera and oil on panel Galerie Neue Meister (Albertinum), Dresden |
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| Julius Exner Portrait of Jenny Raphael Adler with her daughters 1868 oil on canvas Hirschsprung Collection, Copenhagen |
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| Edgar Degas The Bellelli Family 1858 pastel on paper (study for painting) Ordrupgaard Art Museum, Copenhagen |
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| Thomas Gainsborough The Marsham Children 1787 oil on canvas Gemäldegalerie, Staatliche Museen zu Berlin |
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| Leopold Kalckreuth Children with Christmas Tree ca. 1910 oil on canvas National Museum, Warsaw |
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| Nicolas de Largillière The Artist with his Family ca. 1704 oil on canvas Kunsthalle Bremen |
"At the head of the procession came the sacrificial animals, led on the halter by the men who were to perform the holy rites, countryfolk in country costume. Each wore a white tunic, caught up to knee length by a belt. Their right arms were bare to the shoulder and breast, and in their right hands they each brandished a double-headed axe. Each and every one of the oxen was black: they carried their heads proudly on powerful necks that thickened to a hump of perfect proportions; their horns were flawlessly straight and pointed, on some gilded, on others wreathed with garlands of flowers; their legs were stocky, their dewlaps so deep that they brushed their knees. There were exactly one hundred of them – a hecatomb in the true sense of the word. Behind the oxen came a host of different sorts of beasts for the sacrifice, each kind separate and in its due place, while flute and pipe began a solemn melody as prelude to the sacred ceremony."
"After the animals and the cowherds came some Thessalian maidens, in beauteous raiment girdled deep, their hair streaming free. They were divided into two companies: half – the first company – carried baskets full of flowers and fresh fruit, while the others bore wickerwork trays of sweetmeats and aromatics that breathed a sweet fragrance over the whole place. They balanced their baskets on their heads, leaving their hands free to link arms in a formation of diagonal rows; thus they were able to dance and process simultaneously. They were given the signal to begin by the second group launching into the introduction to the ode, for this group had been granted the privilege of singing the hymn through from beginning to end. The hymn was in praise of Thetis and Peleus, and their son and finally their son's son."
– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)
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