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| Herman van der Myn Hagar in the Desert 1718 oil on panel Museum of Fine Arts, Budapest |
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| Johann Liss Allegorical Figure ca. 1625 drawing Städtisches Museum, Braunschweig |
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| Master of the Biberach Holy Kinship St Sebastian ca. 1515 painted lindenwood Bode Museum, Berlin |
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| Anonymous German Artist Boy riding a Goose ca. 1530 brass fountain-head (after antique sculpture) Ashmolean Museum, Oxford |
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| Guido Reni St Catherine of Alexandria ca. 1600 oil on canvas Chrysler Museum of Art, Norfolk, Virginia |
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| Ugo da Carpi after Domenico Beccafumi Abel making his Offering before 1532 chiaroscuro woodcut Graphische Sammlung Albertina, Vienna |
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| Victor Müller Académie ca. 1850-55 drawing Städel Museum, Frankfurt |
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| Simone Peterzano St John the Evangelist ca. 1578 drawing (study for fresco) Hamburger Kunsthalle |
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| François-Antoine Aveline after Charles-Joseph Natoire Académie ca. 1750 engraving Ashmolean Museum, Oxford |
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| Amico Aspertini St Sebastian ca. 1505 oil on panel National Gallery of Art, Washington DC |
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| Pietro Santi Bartoli Bronze Statue of the Trojan prince Paris ca. 1675 engraving Graphische Sammlung Albertina, Vienna |
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| Sebald Beham Astronomy - Astrologia (series, the Seven Liberal Arts) before 1550 engraving Herzog Anton Ulrich Museum, Braunschweig |
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| Jacques Bellange St Bartholomew ca. 1611-16 etching Graphische Sammlung Albertina, Vienna |
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| Clement Barnhorn Académie ca. 1891-95 drawing Cincinnati Art Museum, Ohio |
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| Johann Kenckel after Johann Martin Schuster Académie ca. 1710-20 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Jan Gossaert The Mocking of Christ 1527 oil on panel Museum of Fine Arts, Budapest |
On the Cnidian Aphrodite of Praxiteles – Who gave a soul to marble? Who saw Cypris on earth? Who wrought such love-longing in a stone? This must be the work of Praxiteles' hands, or else perchance Olympus is bereaved since the Paphian has descended to Cnidus.
On the Cnidian Aphrodite of Praxiteles – Paphian Cytherea came through the waves to Cnidus, wishing to see her own image, and having viewed it from all sides in its open shrine, she cried, "Where did Praxiteles see me naked?"
On the Cnidian Aphrodite and the Eros of Praxiteles – You will say, when you look on Cypris in rocky Cnidus, that she, though of stone, may set a stone on fire; but when you see the sweet Love in Thespiae you will say that he will not only set fire to a stone, but to cold adamant. Such were the gods Praxiteles made, each in a different continent, that everything should not be burnt up by the double fire.
On a Statue of the Armed Aphrodite – Why, Cytherea, hast thou put on these arms of Ares, bearing this useless weight? For, naked thyself, thou didst disarm Ares himself, and if a god has been vanquished by thee it is in vain that thou takest up arms against mortals.
On the Armed Aphrodite in Sparta – Cypris has ever learnt to carry a quiver and bow, and to ply the far-shooting archer's craft. Is it from reverence for the laws of warlike Lycurgus that, bringing her love-charms to Sparta, she comes clad in armour for close combat? But ye, daughters of Sparta, venerating in your chambers the arms of Cytherea, bring forth courageous sons.
On the Armed Aphrodite in Sparta – Laugher-loving Aphrodite, minister of the bridal chamber, who girt thee, honey-sweet goddess that thou art, with the weapons of war? To thee the Paean is dear, and golden-haired Hymenaeus and the dulcet charm of shrill-voiced flutes. Why hast thou put on these engines of murder? Is it that thou hast despoiled bold Ares to boast how great is the might of Cypris?
– from Book XVI (Epigrams of the Planudean Anthology) in the Greek Anthology, translated and edited by W.R. Paton (1918)