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| Alonso Cano St John the Evangelist on Patmos ca. 1645 oil on canvas Museo de Bellas Artes de Granada, Spain |
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| Cornelis Bega Peasant at Window ca. 1655 etching and drypoint Art Gallery of New South Wales, Sydney |
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| Giuseppe Bartolomeo Chiari The Muse Euterpe ca. 1720-25 oil on canvas Blanton Museum of Art, Austin, Texas |
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| attributed to Emma Trimolet Reverie 1827 oil on canvas Musée des Beaux-Arts de Dijon |
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| Jean-Baptiste Frenet Portrait of a Young Man ca. 1855 salted paper print Chrysler Museum of Art, Norfolk, Virginia |
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| Anonymous Printmaker Farewell ca. 1870 chromolithograph National Museum of American History, Washington DC |
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| Ford Madox Brown Byron's Dream 1874 oil on canvas Manchester Art Gallery |
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| Ludwig von Hofmann Southern Coast ca. 1898-1900 oil on canvas Alte Nationalgalerie, Staatliche Museen zu Berlin |
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| Victor David Brenner Manifest Destiny before 1906 relief in copper alloy Cooper Hewitt, Smithsonian Design Museum |
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| Childe Hassam The East Window 1913 oil on canvas Hirshhorn Museum, Washington DC |
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| Kenyon Cox Bookplate Design 1919 drawing Cooper Hewitt, Smithsonian Design Museum |
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| Edvard Munch Two Women on a Veranda 1923-24 oil on canvas Hirshhorn Museum, Washington DC |
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| Lomonosov Porcelain Factory (Leningrad) Women guarding Border 1937 porcelain Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous Photographer Commissioner Carter viewing Swamp from Blimp 1945 gelatin silver print Chrysler Museum of Art, Norfolk, Virginia |
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| Robert Remsen Vickrey Pat Nixon 1960 tempera on panel (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Anonymous Photographer Portrait of artist Sidney Goodman, Martha's Vineyard ca. 1974 gelatin silver print Archives of American Art, Washington DC |
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| Gregory Heisler Susan Faludi and Gloria Steinem 1992 C-print (commissioned by Time magazine) National Portrait Gallery, Washington DC |
The Power of Love
The sacred Nine delight in cruel Love,
Tread in his Steps, and all his Ways approve:
Should some rude Swain, whom Love could ne'er refine,
Tread in his Steps, and all his Ways approve:
Should some rude Swain, whom Love could ne'er refine,
Woo the fair Muses, they his Suit decline;
But if the love-sick Shepherd sweetly sing,
The tuneful Choir, attending in a Ring,
Catch the soft Sounds, and tune the vocal Shell;
This Truth by frequent Precedent I tell:
For when I praise some Hero on my Lyre,
Or, nobly daring, to a God aspire,
In Strains more languid flows the nerveless Song,
Or dies in faltering Accents on my Tongue:
But when with Love or Lycidas I glow,
Or, nobly daring, to a God aspire,
In Strains more languid flows the nerveless Song,
Or dies in faltering Accents on my Tongue:
But when with Love or Lycidas I glow,
Smooth are my Lays, the Numbers sweetly flow.
– Bion (late 2nd century BC), translated by Francis Fawkes (1760)