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| Hendrik Hondius the Elder after Pieter Stevens Colosseum Interior, Rome 1600 engraving Museum für Angewandte Kunst, Vienna |
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| François-André Vincent Park of an Italian Villa ca. 1774-75 drawing National Gallery of Art, Washington DC |
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| Simon Fokke Italian Ruins with Cattle passing through an Arch before 1784 drawing Graphische Sammlung Albertina, Vienna |
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| Franz Théobald Horny Italian Country Life ca. 1820 watercolor on paper Museum Behnhaus Drägerhaus, Lübeck |
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| Franz Théobald Horny Colosseum, Rome ca. 1822-23 watercolor on paper Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Franz Théobald Horny Italian Landscape before 1824 drawing Städel Museum, Frankfurt |
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| Thomas Fearnley Pergola with Oranges ca. 1834 oil on paper, mounted on canvas Art Institute of Chicago |
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| Paul Flandrin Oaks along the Appian Way near Albano 1834 drawing National Gallery of Art, Washington DC |
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| Paul Flandrin Ruins of the Imperial Palace on the Palatine Hill, Rome 1834 oil on card Art Institute of Chicago |
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| Hippolyte Flandrin View of Rome by Night 1836 watercolor on paper Städel Museum, Frankfurt |
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| Constantin Hansen Group of Danish Artists in Rome 1837 oil on canvas Statens Museum for Kunst, Copenhagen |
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| Thomas Fearnley Lo Specchio della Diana ca. 1838-42 etching British Museum |
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| Joseph-Philibert Girault de Prangey Escalier du Jardin, Villa Albani, Rome 1842 daguerreotype Chrysler Museum of Art, Norfolk, Virginia |
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| Calvert Richard Jones Colosseum, Rome 1846 daguerreotype National Gallery of Canada, Ottawa |
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| Frédéric Flachéron The Colosseum, Rome ca. 1850 salted paper print Getty Museum, Los Angeles |
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| Frédéric Flachéron End View of the Arch of Constantine with the Colosseum, Rome ca. 1850 salted paper print Getty Museum, Los Angeles |
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| John Singer Sargent Marble Fountain in Italy ca. 1907 watercolor on paper Smithsonian American Art Museum, Washington DC |
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| Pierre Gusman Paysage en Italie ca. 1910 wood-engraving Agnes Etherington Art Centre, Kingston, Ontario |
Below
Your hotel window, the piazza blackens
And hisses. You do not draw back,
You hold it all in your eye's mind. The women
Limp toward the chapel named for him.
Their gums water. They mumble hocus-pocus
Before the painted wood baroque
Sebastian. Already his left foot is missing.
The strong white ankle, kiss by kiss
Borne past the dyed breaths and the human acids,
Celebrates elsewhere its mass –
While the saint, trammeled not at all by worm-drilled drapery
In his ambition to escape
No least caress, studies the whole procedure
Exuberantly. He appears, indeed,
To dip himself into their unfathomable craving
As into a pure, upholding wave . . .
– James Merrill (1959)
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