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| William Eggleston Memphis ca. 1971-74 dye transfer print Metropolitan Museum of Art, New York |
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| Philip Elliott Shelocta, Pa. 1943 oil on canvas Buffalo AKG Art Museum, New York |
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| Giorgio de Chirico Rose Tower 1913 oil on canvas Nelson-Atkins Museum of Art, Kansas City, Missouri |
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| Mariano Fortuny Old Town Hall, Granada 1873 oil on panel Museo de Bellas Artes de Granada |
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| John Constable House amongst Trees 1832 watercolor on paper British Museum |
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| Eugène Constant San Giovanni Laterano, Rome ca. 1848-52 albumen silver print from glass negative Metropolitan Museum of Art, New York |
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| John Sell Cotman Tower of West Walton Church, Norfolk ca. 1812 watercolor on paper Ashmolean Museum, Oxford |
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| Lievin Cruyl Palazzo del Quirinale, Rome ca. 1664-70 ink and wash on vellum British Museum |
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| Alfred Capel Cure Montacute House near Yeovil ca. 1857 albumen silver print from paper negative Metropolitan Museum of Art, New York |
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| Virginia Cuthbert Office Building 1946 oil on canvas Buffalo AKG Art Museum, New York |
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| Lambert Doomer Town Gate at Anrath 1663 drawing British Museum |
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| Walker Evans John Ringling Mansion, Sarasota, Florida 1941 gelatin silver print Metropolitan Museum of Art, New York |
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| Kees van Dongen Place Vendôme ca. 1918-20 oil on canvas Milwaukee Art Museum, Wisconsin |
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| Allaert van Everdingen Rustic Houses on the Shore before 1675 drawing British Museum |
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| Thomas Fearnley Norwegian House ca. 1838-42 etching British Museum |
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| Charles Demuth My Egypt 1927 oil on board Whitney Museum of American Art, New York |
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| Eros Fiammetti Rustico, Astrio di Breno 1957 gelatin silver print Metropolitan Museum of Art, New York |
from The Celestial City
In midst of this City celestial
Where the eternal Temple should have rose,
Lightened the Idea Beatifical:
End and beginning of each thing that grows,
Whose self no end, nor yet beginning knows,
That hath no eyes to see, nor ears to hear,
Yet sees and hears, and is all eye, all ear,
That nowhere is contained, and yet is everywhere.
Changer of all things, yet immutable,
Before, and after all, the first, and last,
That moving all, is yet immoveable,
Great without quantity, in whose forecast,
Things past are present, things to come are past,
Swift without motion, to whose open eye
The hearts of wicked men unbreasted lie,
At once absent and present to them, far and nigh.
It is no flaming lustre made of light,
No sweet consent or well-timed harmony,
Ambrosia for to feast the appetite,
Or flowery odour mixed with spicery,
No soft embrace or pleasure bodily;
And yet it is a kind of inward feast,
A harmony that sounds within the breast,
An odour, light, embrace, in which the soul doth rest.
A heavenly feast no hunger can consume,
A light unseen, yet shines in every place,
A sound no time can steal, a sweet perfume
No winds can scatter, an entire embrace
That no satiety can e'er unlace.
Ingraced into so high a favour there,
The saints with their beau-peers whole worlds outwear,
And things unseen do see, and things unheard do hear.
– Giles Fletcher (1610)