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| Hans Wandereisen Destruction of the Reussenburg 1523 hand-colored woodcut and letterpress Herzog August Bibliothek, Wulfenbüttel |
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| Frans Huys Grotesque Mask 1555 engraving Museum für Angewandte Kunst, Vienna |
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| Anonymous Artificers Heraldic Ex-Libris ca. 1600-1650 hand-colored woodcut Herzog August Bibliothek, Wulfenbüttel |
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| Daniel Seghers Holy Family within Garland of Roses (vignette figures by Simon de Vos) ca. 1640 oil on canvas Liechtenstein Museum, Vienna |
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| Anonymous Artificers Mirror Frame made for Admiral Russell ca. 1693-97 carved and gilded limewood Fitzwilliam Museum, Cambridge |
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| Anonymous Artificers Designs for Window Surrounds ca. 1740 drawing (print study) Museum für Angewandte Kunst, Vienna |
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| Marco Carlone (et al) Design for Ceiling Decoration ca. 1775-80 watercolor and gouache on paper (after painted fragments from the Baths of Titus, Rome) Graphische Sammlung Albertina, Vienna |
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| Gustav Klimt Head 1897-98 drawing (illustration for Secessionist magazine, Ver Sacrum) Graphische Sammlung Albertina, Vienna |
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| Christian Rohlfs Country Road with Red Trees against Blue Sky 1920 watercolor on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Maximilian Reinitz Red Roofs 1927 oil on canvas Belvedere Museum, Vienna |
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| Sasha Stone Berlin Apartment designed by Marcel Breuer ca. 1927-29 gelatin silver print Kunstbibliothek, Staatliche Museen zu Berlin |
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| László Moholy-Nagy Construction AL6 1933-34 oil paint and incised lines on aluminum Institut Valencià d'Art Modern |
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| Bror Utter Six Vignettes 1952 watercolor on paper Amon Carter Museum, Fort Worth, Texas |
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| Angela García The Fairies and the Embroidery 1975 collage and acrylic paint on canvas Institut Valencià d'Art Modern |
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| Leendert van Lier Red Rocks 1980 oil on canvas Museum de Fundatie, Zwolle, Netherlands |
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| Michel Parre French Revolution Bicentennial Poster 1989 lithograph Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève |
The death of Antony and Cleopatra is a subject which has been treated by the greatest wits of our nation after Shakespeare, and by all so variously that their example has given me the confidence to try myself in this bow of Ulysses amongst the crowd of suitors, and, withal, to take my own measures in airming at the mark. I doubt not but the same motive has prevailed with all of us in this attempt: I mean the excellency of the moral, for the chief persons represented were famous patterns of unlawful love, and their end accordingly was unfortunate. All reasonable men have long since concluded that the hero of the poem ought not to be a character of perfect virtue, for then he could not without injustice, be made unhappy; nor yet altogether wicked, because he could not then be pitied: I have therefore steered the middle course, and have drawn the character of Antony as favourably as Plutarch, Appian, and Dion Cassius would give me leave; the like I have observed in Cleopatra. That which is wanting to work up the pity to a greater height was not afforded me by the story: for the crimes of love which they both committed were not occasioned by any necessity or fatal ignorance, but were wholly voluntary, since our passions are, or ought to be, within our power. The fabric of the play is regular enough, as to the inferior parts of it, and the unities of time, place, and action more exactly observed than, perhaps, the English theatre requires. Particularly, the action is so much one that it is the only of the kind without episode or underplot, every scene in the tragedy conducing to the main design, and every act concluding with a turn of it.
– John Dryden, from the Preface to All for Love (1677)