-before-1550-engraving-Herzog-Anton-Ulrich-Museum-Braunschweig.jpg) |
| Sebald Beham Musica (series, The Seven Liberal Arts) before 1550 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Pierre Guillaume St Cecilia ca. 1635 oil on canvas Musée des Beaux-Arts de Lyon |
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| Paul Sérusier St Cecilia at the Clavecin 1926 oil on canvas Musée des Beaux-Arts de Chartres |
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| Franz Xaver Wagenschön Archduchess Marie-Antoinette of Austria, later Queen of France ca. 1770 oil on canvas Kunsthistorisches Museum, Vienna |
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| Israel van Meckenem Couple playing Table Organ ca. 1500 engraving Museum für Angewandte Kunst, Vienna |
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| Alphonse Mucha Paul Gauguin playing the Harmonium ca. 1895 gelatin silver print Moderna Museet, Stockholm |
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| Niclas Gulbrandsen Chopin Prelude 2000 woodcut Stortingets Kunstsamling, Oslo |
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| Jacques-Louis David Two Trumpeters ca. 1814 drawing (study for painting) Morgan Library, New York |
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| Hans Unger Nicodé Concert 1897 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Ludolph Busing Flute Player ca. 1650 chiaroscuro woodcut Herzog Anton Ulrich Museum, Braunschweig |
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| Sebald Beham Satyr playing Horn ca. 1530-40 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Sebald Beham Satyress playing Bagpipe ca. 1530-40 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Martin Treu Two Musicians ca. 1540 engraving Graphische Sammlung, ETH Zürich |
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| Karl Erik Nilsen Violinist ca. 1985 color woodblock print Stortingets Kunstsamling, Oslo |
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| Vilhelm Tveteraas Violinist 1946 color woodblock print Stortingets Kunstsamling, Oslo |
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| Sebald Beham Satyr playing Lyre ca. 1530-40 engraving Herzog Anton Ulrich Museum, Braunschweig |
Now, too, underground I remain faithful to thee, master, as before, not forgetting thy kindness – how thrice when I was sick thou didst set me safe upon my feet, and hast laid me now under sufficient shelter, announcing on the stone my name, Manes, a Persian. Because thou hast been good to me thou shalt have slaves more ready to serve thee in thy hour of need.
Sore pitied, dear Democrateia, didst thou go to the dark house of Acheron, leaving thy mother to lament. And she, when thou wast dead, shore the grey hairs from her old head with the newly-sharpened steel.
I am the tomb of the maiden Helen, and in mourning too for her brother who died before her I receive double tears from their mother. To her suitors I left a common grief; for the hope of all mourned equally for her who was yet no one's.
The Italian earth holds me, an African, and near to Rome I lie, a virgin yet, by these sands. Pompeia who reared me wept for me as for a daughter, and laid me in a freewoman's grave. Another light* she hoped for, but this came earlier, and the torch was lit not as we prayed, but by Persephone.
Unhappy Cleanassa, thou wast ripe for marriage, being in the bloom of thine age. But at thy wedding attended not Hymenaeus to preside at the feast, nor did Hera who linketh man and wife come with her torches. Black-robed Hades burst in and by him the fell Erinys chanted the dirge of death. On the very day that the lights were lit around thy bridal bed thou camest to no wedding chamber, but to thy funeral pyre.
– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)
*i.e. that of the bridal chamber, not of the funeral pyre