Bonus

Willy Wolff
Giorgione
1970
oil on panel
Galerie Neue Meister (Albertinum), Dresden

Marcantonio Raimondi after Francesco Francia
Allegorical Scene
ca. 1510
engraving
Graphische Sammlung Albertina, Vienna

Sophie Prell
Three Yellow Peppers
1886
oil on panel
Galerie Neue Meister (Albertinum), Dresden

Ancient Greek Culture
Siren
450 BC
painted terracotta
Museum of Fine Arts, Budapest

attributed to Benedetto Bordone
Triumphal Procession
(from the Hypnerotomachia Poliphili of Francesco Colonna
published by Aldus Manutius in Venice)
1499
woodcut
Hamburger Kunsthalle

Max Ernst
Hausengel
1937
oil on canvas
Pinakothek der Moderne, Munich

Jacques Androuet du Cerceau the Elder
Design for Lidded Cup
ca. 1555
etching
Museum für Angewandte Kunst, Vienna

Erasmus Quellinus the Younger
The Virgin bestowing a Stole on St Hubert
in the presence of St Nicholas of Tolentino
1669
oil on canvas
Musée des Beaux-Arts de Caen

Christopher Wool
Kidnapped
1994
enamel on aluminum
Pinakothek der Moderne, Munich

Karl Blechen
Stage Design - Egyptian Temple
1826
watercolor on paper
Kupferstichkabinett, Staatliche Museen zu Berlin

Carl Theodore von Blaas
Anatomical Study
1832
drawing
Museum für Angewandte Kunst, Vienna

Johann Rudolf Rahn
Baptistry Mosaics,
Basilica di San Giovanni in Fonte, Ravenna
1867
watercolor on paper
Graphische Sammlung, Zentralbibliothek Zürich

Anita Rée
Self Portrait with Prickly Pear
ca. 1922-25
oil on canvas
Hamburger Kunsthalle

Alexandre Jacovleff (Aleksandr Yakovlev)
Model Washing her Hair
1929
tempera on linen
Brooklyn Museum

Matts Leiderstam
The Eruption of Vesuvius
2000
gelatin silver print
Göteborgs Konstmuseum, Sweden

Matts Leiderstam
The Eruption of Vesuvius
2000
C-print
Göteborgs Konstmuseum, Sweden

For these first the man chosen to make the oration was Pericles the son of Xantippus, who, when the time served, going out of the place of burial into a high pulpit to be heard the farther off by the multitude about him, spake unto them in this manner:  "Though most that have spoken formerly in this place have commended the man that added this oration to the law as honourable for those that die in the wars, yet to me it seemeth sufficient that they who have showed their valour by action should also by an action have their honour, as now you see they have, in this their sepulture performed by the state, and not to have the virtue of many hazarded on one to be believed as that one shall make a good or bad oration.  For to speak of men in a just measure, is a hard matter; and though one do so, yet he shall hardly get the truth firmly believed.  The favourable hearer and he that knows what was done will perhaps think what is spoken short of what he would have it and what it was, and he that is ignorant will find somewhat on the other side which he will think too much extolled, especially if he hear aught above the pitch of his own nature.  For to hear another man praised finds patience so long only as each man shall think he could himself have done somewhat of that he hears.  And if one exceed in their praises, the hearer presently through envy thinks it false.  But since our ancestors have so thought good, I also, following the same ordinance, must endeavour to be answerable to the desires and opinions of everyone of you, as far forth as I can."

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Masters

Evangelista Dozza
Portrait of artist Antonio da Correggio
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Correggio (Antonio Allegri)
Divinity driving Chariot
before 1534
drawing
(study for allegorical image)
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Correggio (Antonio Allegri)
Madonna of St George
before 1530
drawing
(compositional study for altarpiece)
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Evangelista Dozza
Portrait of artist Rosso Fiorentino
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Rosso Fiorentino
Studies of Knee and Elbow Joints
ca. 1520
drawing
Städel Museum, Frankfurt

Evangelista Dozza
Portrait of artist Andrea del Sarto
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Andrea del Sarto
Sheet of Anatomical Studies
ca. 1520
drawing
Städel Museum, Frankfurt

Andrea del Sarto
Study of Antique Statue
before 1530
drawing
Victoria & Albert Museum, London

Evangelista Dozza
Portrait of artist Raphael Sanzio
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Raphael
Caryatid
ca. 1520
drawing
(study for Vatican fresco)
Städel Museum, Frankfurt

Raphael
Half-Length Figure Study for St Sebastian
ca. 1505
drawing
Hamburger Kunsthalle

Evangelista Dozza
Portrait of artist Giulio Romano
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Giulio Romano
Head of Venus in Hands of Adonis
1516
drawing
(fresco cartoon)
Graphische Sammlung Albertina, Vienna

Giulio Romano
Virgin and Child
ca. 1520-22
oil on panel
Gallerie degli Uffizi, Florence

Evangelista Dozza
Portrait of artist Domenico Puligo
1647
woodcut
(illustration to a 17th-century edition of Vasari's Lives)
Bibliotheca Hertziana, Rome

Domenico Puligo (Domenico Ubaldini)
Portrait of a Young Man
ca. 1510
oil on panel
Carnegie Museum of Art, Pittsburgh

About the end of this summer the Athenians, both themselves and the strangers that dwelt amongst them, with the whole power of the city, under the conduct of Pericles the son of Xantippus , invaded the territory of Megaris.  And those Athenians likewise that had been with the hundred galleys about Peloponnesus, in their return, being now at Aegina, hearing that the whole power of the city was gone into Megaris, went and joined them.  And this was the greatest army that ever the Athenians had together in one place before, the city being now in her strength and the plague not yet amongst them.  For the Athenians themselves were no less than ten thousand men of arms, besides the three thousand at Potidaea; and the strangers that dwelt amongst them and accompanied them in this invasion were no fewer than three thousand men of arms more, besides other great numbers of light-armed soldiers.  And when they had wasted the greatest part of the country, they went back to Athens.  And afterwards, year after year during the war the Athenians invaded Megaris, sometimes with their horsemen and sometimes with their whole army, until such time as they had won Nisaea.

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Litho - I

Karl Friedrich Schinkel
Gothic Church concealed by Tree
1810
lithograph
Kupferstichkabinett,
Staatliche Kunstsammlungen, Dresden

Achille Parboni
Ruins of Trajan's Market, Rome
ca. 1820
lithograph
Max Planck Institute for Art History, Florence

Jacob Wilhelm Christian Roux
after Friedrich Tiedemann
Inner Thoracic Arteries
1822
lithograph (book illustration)
Universitätsbibliothek Heidelberg

Lorenzo Bianchi and Domenico Cuciniello
Contadina di Terranova
ca. 1825
lithograph
Graphische Sammlung, ETH Zürich

Anonymous French Artist
Alexandra Feodorovna, Empress of Russia
ca. 1826
lithograph
Staatliche Graphische Sammlung, Munich

Carl Boetticher
Textile Pattern
(velvet chasuble from Brandenburg Cathedral)
ca. 1830-35
lithograph
Kupferstichkabinett, Staatliche Museen zu Berlin

Anonymous German Artist
Clock-maker's Workshop in Dresden
ca. 1835
lithograph
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Grobon Frères
(François-Frédéric and Anthelme-Eugène)
Pears
ca. 1850-60
lithograph
Museum für Angewandte Kunst, Vienna

Joséphine Ducollet
Head of Napoleon
ca. 1870
lithograph
Kupferstichkabinett,
Kunstsammlungen der Veste Coburg

Léonce Schérer
Souvenirs de La Commune
ca. 1872
lithograph
Universitätsbibliothek Heidelberg

Rodolphe Bresdin
The Distant City
1873
lithograph
Rhode Island School of Design, Providence

Anonymous Italian Makers
Six Views of Florence
ca. 1875
lithographic postcards
Max Planck Institute for Art History, Florence

Hans Thoma
Allegory of Lithography
ca. 1880
drawing (print study)
Städel Museum, Frankfurt

Georges Meunier
Otard Dupuis & Co. - Cognac
1890
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Fritz Rehm
Multiplex Gasfernzünder
ca. 1890-95
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Henri de Toulouse-Lautrec
Le Matin (magazine)
1893
lithograph (poster)
Museum Folkwang, Essen

When the Athenians had thus gotten the command by the confederates' own accord for the hatred they bare to Pausanias, they then set down an order which cities should contribute money for this war against the barbarians, and which galleys.  For they pretended to repair the injuries they had suffered by laying waste the territories of the king.  And then first came up amongst the Athenians the office of treasurers of Greece, who were receivers of the tribute, for so they called this money contributed.  And the first tribute that was raised came to four hundred and sixty talents.  The treasury was at Delos, and their meetings were kept there in the temple. 

                                              *                          *                        *

Amongst other causes of revolts the principal was their failing to bring in their tribute and galleys and their refusing (when they did so) to follow the wars.  For the Athenians exacted strictly and were grievous to them by imposing a necessity of toil which they were neither accustomed nor willing to undergo.  They were also otherwise not so gentle in their government as they had been, nor followed the war upon equal terms, and could easily bring back to their subjection such as should revolt.  And of this the confederates themselves were the causes.  For through this refusal to accompany the army the most of them, to the end they might stay at home, were ordered to excuse their galleys with money, as much as it came to, by which means the navy of the Athenians was increased at the cost of the confederates, and themselves unprovided and without means to make war in case they should revolt. 

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Lifted - II

Guido Reni
Christ crowned with Thorns
ca. 1639-40
oil on canvas
Gemäldegalerie Alte Meister, Dresden

Jacob Wilhelm Christian Roux 
after Friedrich Tiedemann
Arteries of the Head
1822
lithograph (book illustration)
Universitätsbibliothek, Heidelberg

Joseph-Marie Vien
Académie
1767
oil on canvas
(made in Rome)
Musée des Augustins de Toulouse

Andrea Casali
Lucretia
ca. 1735-45
oil on canvas
Museum of Fine Arts, Budapest

Agostino Carracci
Penitent Magdalen
ca. 1581
engraving
Graphische Sammlung, ETH Zürich

Frank Samuel Eastman
Half-Length Study of a Model
ca. 1910
drawing
Harvard Art Museums

Hendrik Goltzius 
St John the Evangelist
1589
engraving
Graphische Sammlung, ETH Zürich

Nicolas van Haften
Heraclitus, the Weeping Philosopher
1702
etching
Graphische Sammlung, ETH Zürich

Wolfgang Philipp Kilian
Portrait of humanist Conradus Celtis
ca. 1700
etching and engraving
Deutsche Nationalbibliothek, Leipzig

Adolph Menzel
Study of Young Woman
1893
drawing
Städel Museum, Frankfurt

Albert Theer
Portrait of Johanna Weissenthurn as Medea
1843
gouache on paper (miniature)
Belvedere Museum, Vienna

Bartolomeo Passarotti
Mary Magdalen
ca. 1560
oil on canvas
Museo Civico di Modena

Fede Galizia
St Catherine of Alexandria
ca. 1620
oil on panel
Galleria Borghese, Rome

Elisabetta Sirani
Virgin and Child
1663
oil on canvas
Národní Galerie, Prague

Tanzio da Varallo
St Francis
ca. 1630
oil on canvas
Kunsthistorisches Museum, Vienna

Jusepe de Ribera
St Mary of Egypt
1641
oil on canvas
Musée Fabre, Montpellier

On a Painting of Andromeda – The land is Ethiopia; he with the winged sandals is Perseus; she who is chained to the rock is Andromeda; the face is the Gorgon's, whose glance turns men to stone; the sea-monster is the task set by Love; she who boasted of her child's beauty is Cassiopeia.  Andromeda releases from the rock her feet inured to numbness and dead, and her suitor carries off the bride his prize. 

On a Painting of Andromeda – Did Cepheus or the painter expose Andromeda on the rocks, for the judgment of the eye is indecisive?  And was the monster drawn as we see it on the curving crag, or did it rise out of the neighbouring sea?  I see: a skilled man made these things; he was indeed clever thus to deceive our eyes and our wits.  

On a Picture of Helen – This is the lovely form of Argive Helen, whom of old the cowherd carried away, spurning Zeus who protects host and guest. 

On a Painting of Dido – Thou seest, O stranger, the exact likeness of far-famed Dido, a portrait shining with divine beauty.  Even so I was, but had not such a character as thou hearest, having gained glory rather for reputable things.  For neither did I ever set eyes on Aeneas nor did I reach Libya at the time of the sack of Troy, but to escape a forced marriage with Iarbas I plunged the two-edged sword into my heart.  Ye Muses, why did ye arm chaste Virgil against me to slander thus falsely my virtue?

On a Statue of Echo – Tongueless Echo sings in the shepherd's meadow, her voice taking up and responding to the notes of the birds. 

On a Statue of Echo – The Echo of the rocks thou seest, my friend, the companion of Pan, singing back to us a responsive note, the garrulous counterfeit of every kind of tongue, the shepherds' sweet toy.  After hearing every word thou utterest, begone. 

– from Book XVI (Epigrams of the Planudean Anthology) in the Greek Anthology, translated and edited by W.R. Paton (1918)