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| Eugène Carrière Portrait of Elisabeth, daughter of Elie Faure ca. 1902-03 oil on canvas Musée d'Art Moderne et Contemporain de Strasbourg |
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| Anonymous Italian Artist Portrait of a Man ca. 1600 oil on canvas Statens Museum for Kunst, Copenhagen |
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| Sofonisba Anguissola Portrait of a Woman (possible self-portrait) ca. 1560 oil on canvas, mounted on panel Musée Condé, Chantilly |
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| Hans Jakob Oeri Portrait of Maria Henriette Häfeli née Hofmeister ca. 1820 lithograph Graphische Sammlung, Zentralbibliothek Zürich |
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| Johann Baptist Reiter Portrait of a Girl ca. 1860 oil on canvas Leopold Museum, Vienna |
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| Julius Schnorr von Carolsfeld Portrait of artist Franz Théobald Horny 1820 drawing Graphische Sammlung Albertina, Vienna |
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| Wilhelm Steinhausen Self Portrait 1894 drawing Graphische Sammlung Albertina, Vienna |
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| Cornelis Bega Study for Self Portrait ca. 1649-50 oil on paper private collection |
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| Paolo Fidanza Portrait of classical scholar Constantine Lascaris (died 1501) ca. 1765 etching and drypoint Staatliche Graphische Sammlung, Munich |
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| Anonymous Flemish Artist Portrait of a Man 17th century oil on panel Musée de la Chartreuse, Douai |
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| Emma Heerdt Portrait of a Young Woman 1898 drawing Städel Museum, Frankfurt |
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| Janus Lutma the Younger Posthumous Portrait of Pieter Cornelisz Hooft (Dutch Dramatist) ca. 1670-80 engraving Staatliche Graphische Sammlung, Munich |
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| Johann Michael Neder Portrait of artist Thomas Ender ca. 1825 drawing Graphische Sammlung Albertina, Vienna |
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| Karl von Pidoll Self Portrait 1877 drawing Städel Museum, Frankfurt |
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| Adriaen Thomasz Key Portrait of a Woman 1578 oil on panel Kunsthistorisches Museum, Vienna |
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| Christian Griepenkerl Portrait Study of a Woman ca. 1905 drawing Graphische Sammlung Albertina, Vienna |
On the Nemesis of the Athenians – I am a white stone which the Median sculptor quarried with his stone-cutter's tools from the mountain where the rocks grow again, and he bore me across the sea to make of me images, tokens of victory over the Athenians. But when Marathon resounded with the Persian rout, and the ships voyaged on bloody waters, Athens, the mother of beautiful works, carved of me Adrasteia, the goddess who is the foe of arrogant men. I counter-balance vain hopes, and I am still a Victory to the Athenians, a Nemesis to the Assyrians.
On a Statue of Hera – Polycleitos of Argos, who alone saw Hera with his eyes, and moulded what he saw of her, revealed her beauty to mortals as far as was lawful; but we, the unknown forms beneath her dress's folds, are reserved for Zeus.
On Statues of the Muses – Three are we, the Muses who stand here; one bears in her hands a flute, another a harp, and the third a lyre. She who is the work of Aristocles holds the lyre, Ageladas' Muse the harp, and Canachas' the musical reeds. The first is she who rules tone, the second makes melody of colour, and the third invented skilled harmony.
On the Eros of Praxiteles – Praxiteles portrayed that Love he suffered, taking the model from his own heart, giving me to Phryne in payment for myself. But I give birth to passion no longer by shooting arrows, but by darting glances.
On the Eros of Praxiteles – Praxiteles, in return for love, gave me, Love, a god to mortal Phryne, creating at once a guerdon and a god. But she repulsed not the artist, for in her mind she feared lest the god should take up his bow to fight for the sculptor's art. She dreads no longer the son of Cypris, but thy offspring, Praxiteles, knowing that Art is his mother.
Though on thy back thou hast swift outstretched wings, though thou hast thy sharp-pointed Scythian arrows, I shall escape from thee, Love, under the earth. Yet what shall that avail me? For even Hades himself, who overcometh all things, did not escape thy might.
– from Book XVI (Epigrams of the Planudean Anthology) in the Greek Anthology, translated and edited by W.R. Paton (1918)