 |
| Giulio Clovio Initial D on opening page of Psaltery ca. 1569 tempera on vellum Kupferstichkabinett, Staatliche Museen zu Berlin |
 |
| Anonymous French Maker Playing Card - Queen of Hearts ca. 1595-1625 stencil-colored woodcut Fitzwilliam Museum, Cambridge |
 |
| Domenico Falcini after Jacopo Ligozzi Allegory of the Genealogy of Cosimo I de' Medici, Grand Duke of Tuscany 1606 etching and engraving Graphische Sammlung Albertina, Vienna |
-private-collection.jpg) |
| Gabriel de Saint-Aubin Paris Salon of 1767 1767 oil on panel (sketch) private collection |
 |
| Matthäus Kern Picture Room of the Archduchess Sophie of Austria ca. 1843 watercolor on paper Liechtenstein Museum, Vienna |
 |
| Ferdinand Georg Waldmüller Roses 1843 oil on panel Liechtenstein Museum, Vienna |
-c1850-cashmere-Mus%C3%A9es-d'Art-et-d'Histoire-Gen%C3%A8ve.jpeg) |
| Lion Frères (Paris) Shawl ca. 1850 cashmere Musées d'Art et d'Histoire, Genève |
 |
| W. Sodoma Pattern for Silk Scarf ca. 1865 gouache on paper Museum für Angewandte Kunst, Vienna |
-1897-lithograph-(poster)-Kunstbibliothek-Staatliche-Museen-zu-Berlin.jpg) |
| Edward Penfield Harper's July 1897 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
 |
| Erma Bossi Café Interior with Two Figures ca. 1900 oil on cardboard Lenbachhaus Munich |
 |
| Piet Mondrian Tableau No. 1 1913 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
 |
| Anonymous Dutch Artist Sailor's Prosperity 1973 oil on canvas Museum de Fundatie, Zwolle, Netherlands |
 |
| Carl Lewis Realities ca. 1985 C-print Amon Carter Museum, Fort Worth, Texas |
 |
| Bridget Riley Shadowplay 1990 oil on canvas Fitzwilliam Museum, Cambridge |
 |
| Mohamed Bourouissa Carré Rouge 2005 C-print Institut Valencià d'Art Modern |
 |
| Martin Gustavsson In No Particular Order, no. 109 2009 oil and acrylic paint on canvas Göteborgs Konstmuseum, Sweden |
In my style I have professed to imitate the divine Shakespeare, which that I might perform more freely, I have disencumbered myself from rhyme. Not that I condemn my former way, but that this is more proper to my present purpose. I hope I need not to explain myself, that I have not copied my author servilely: words and phrases must of necessity receive a change in succeeding ages, but 'tis almost a miracle that much of his language remains so pure, and that he who began dramatic poetry amongst us, untaught by any, as Ben Jonson tells us, without learning, should by the force of his own genius perform so much that in a manner he has left no praise for any who come after him. The occasion is fair, and the subject would be pleasant, to handle the difference of style betwixt him and Fletcher, and wherein and how far they are both to be imitated. But since I must not be over-confident of my own performance after him, it will be prudence in me to be silent. Yet I hope I may affirm, and without vanity, that by imitating him I have excelled myself throughout the play . . .
– John Dryden, from the Preface to All for Love (1677)