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| Aaron Bohrod Four Horsemen 1974 oil on panel Milwaukee Art Museum, Wisconsin |
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| Marc Chagall Le Cavalier 1966 oil on canvas Milwaukee Art Museum, Wisconsin |
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| Alen MacWeeney Horsewoman, Ireland 1965 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Gordon Parks Racetrack in Paris 1964 dye imbibition print National Gallery of Art, Washington DC |
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| Walter Hege Parthenon, West Frieze, Horsebreaker ca. 1928-29 gelatin silver print Art Institute of Chicago |
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| Jean-Léon Gérôme Boy riding Horse before 1904 drawing British Museum |
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| Albert Pinkham Ryder The Racetrack ca. 1896 oil on canvas Cleveland Museum of Art, Ohio |
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| Paul Gauguin In the Vanilla Grove, Man and Horse 1891 oil on canvas Guggenheim Museum, New York |
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| Gustave Surand St George and the Dragon 1888 oil on canvas Los Angeles County Museum of Art |
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| Constantin Guys Sketch of Horsewoman ca. 1842-48 watercolor on paper Ashmolean Museum, Oxford |
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| Anonymous Italian Sculptor Horse of San Marco ca. 1816-17 plaster cast Gallerie dell'Accademia, Venice |
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| Abraham Pietersz van Kalraet Horses and Cattle in a Landscape ca. 1680-1700 oil on panel Barber Institute of Fine Arts, University of Birmingham, West Midlands |
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| Simone Cantarini (il Pesarese) Homage to Scipione Borghese ca. 1633 etching Clark Art Institute, Williamstown, Massachusetts |
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| Anthony van Dyck Equestrian Portrait of Charles V, Holy Roman Emperor ca. 1620 oil on canvas Gallerie degli Uffizi, Florence |
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| Severo da Ravenna Child on Rearing Horse before 1563 (marble and gilt-bronze mount added in France ca. 1760) bronze Musée du Louvre |
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| Andrea del Verrocchio Study of one of the Bronze Horses of San Marco before 1488 drawing Musée du Louvre |
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| Roman Empire Man restraining Horse 1st century AD vessel fragment of cast cameo glass Getty Museum, Los Angeles |
Renaissance cabinets of curiosity typically contained both natural and man-made wonders. There was debate among contemporary scholars and collectors over the origin of what are now known as prehistoric stone tools (such as flint hand axes) which had found their way into these gentlemanly accumulations. Ulisse Aldrovandi (1522-1605), the first professor of natural sciences at the University of Bologna, favored a "natural" explanation, holding that the shaped flints had fallen out of the sky. They existed, he explained, "due to an admixture of a certain exhalation of thunder and lightning with metallic matter, chiefly in dark clouds, which is coagulated by the circumfused moisture and conglutinated into a mass (like flour and water) and subsequently indurated by heat, like a brick."