 |
| Joseph-Marie Vien Melancholy 1758 oil on canvas Musée des Augustins de Toulouse |
 |
| Thomas Gainsborough Georgiana, Duchess of Devonshire 1783 oil on canvas National Gallery of Art, Washington DC |
 |
| Johann Gottlieb Prestel after Pietro da Cortona The Woman taken in Adultery 1788 color aquatint Rhode Island School of Design, Providence |
 |
| Francesco Hayez Bather ca. 1844 oil on canvas Musée Faure, Aix-les-Bains |
 |
| Alessandro Algardi Christ at the Column ca. 1630-40 silver National Gallery of Art, Washington DC |
 |
| Giovanni Battista Cecchi after Ignazio Enrico Hugford Portrait of artist Cesare Dandini 1774 engraving Bibliotheca Hertziana, Rome |
 |
| Francesco Bartolozzi after Guercino Woman with a Salver ca. 1760 drawing Graphische Sammlung Albertina, Vienna |
 |
| Rembrandt van Rijn Woman Bathing 1658 etching and drypoint Graphische Sammlung, ETH Zürich |
 |
| Albrecht Altdorfer Bathing Woman ca. 1520-30 engraving Graphische Sammlung, ETH Zürich |
 |
| Anthony Andriessen Académie 1772 drawing Rijksmuseum, Amsterdam |
-c1750-etching-Graphische-Sammlung-Zentralbibliothek-Z%C3%BCrich.jpg) |
| Anonymous Swiss Artist Orgetorix (Helvetian Warrior) ca. 1750 etching Graphische Sammlung, Zentralbibliothek Zürich |
 |
| Anonymous French Artist Académie 19th century drawing Princeton University Art Museum |
 |
| Jacques-Louis David Académie 1790 drawing Musée de la Chartreuse, Douai |
-Half-Length-Figure-Study-c1880-drawing-St%C3%A4del-Museum-Frankfurt.jpg) |
| Karl Stauffer-Bern Half-Length Figure Study ca. 1880 drawing Städel Museum, Frankfurt |
 |
| Ernst Julius Hähnel Académie ca. 1850-60 drawing Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden |
 |
| Julius Hamel Half-Length Study of Young Man ca. 1880 drawing Städel Museum, Frankfurt |
On a Statue of Bound Cupid – Who impiously hunted thee down and set thee here in fetters? Who crossed and bound thy hands, and wrought thee with this rueful face? Where, poor child, is thy swift bow, where the bitter quiver that held thine arrows? Of a truth in vain the sculptor laboured, making fast in this trap thee who dost tempest the gods with the fury of desire.
On a Statue of Dionysus which stood near Athens – A. "Tell me what hast thou in common with Pallas; for to her javelins and wars, to thee banquets are exceeding dear." B. "Do not rashly, O stranger, ask such questions about the gods, but learn in how many ways I am like to this goddess. For the glory of wars is dear to me likewise; all India, subdued by me as far as the Eastern Ocean, knows it. The race of mortals, too, have we gifted, she with the olive, and I with the sweet clusters of the vine. Neither again did a mother suffer the pangs of labour for me, but I burst from our father's thigh, she from his head."
On Statues of Dionysus and Heracles – Both are from Thebes, both warriors, and both sons of Zeus. The one wields well his thyrsus, the other his club. The statues of both are close together and like are the arms they bear, the one a fawn-skin, the other a lion-skin; cymbals the one, a rattle the other. To both Hera was a cruel goddess, and both through fire went from earth to the immortals.
On a Statue of Hermes – A certain man prayed for help to a wooden Hermes, and Hermes remained wooden. Then, taking him up, the man threw him on the ground, and, the statue breaking, out from it poured gold. Outrage often produces profit.
On a Statue of Hermes – I, a Hermes of our native clay and with earthen feet, was moulded on the revolving circle of the wheel; of mud was I kneaded, I will tell no lie; but, stranger, I loved the luckless labour of the potters.
On a Statue of Hermes – Swift Hermes is my name, but in the wrestling-school set me not up without arms and feet; or how shall I spar correctly, if I stand on a base deprived of both?*
– from Book XVI (Epigrams of the Planudean Anthology) in the Greek Anthology, translated and edited by W.R. Paton (1918)
*The epigram is facetious. The ordinary Hermae were terminal without legs or arms.