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| Hendrik van der Borcht the Younger after Correggio Women passing Basin ca. 1637-38 etching Agnes Etherington Art Centre, Kingston, Ontario |
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| Domenico Maria Muratori Sisters Mary and Martha ca. 1695 drawing Graphische Sammlung Albertina, Vienna |
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| D.W. Kellogg & Co. (Hartford, Connecticut) The Bride and Bride's-Maid ca. 1835 hand-colored lithograph National Museum of American History, Washington DC |
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| Charles Nègre Arlésiennes dans le Cloître de Saint-Trophime ca. 1852-54 salted paper print National Gallery of Art, Washington DC |
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| John Murray Miss Anson and Mrs Anson 1856 albumen silver print Asian Art Museum, San Francisco |
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| Eva Gonzalès La Fenêtre ca. 1865-70 oil on canvas Denver Art Museum, Colorado |
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| Joseph Rodefer De Camp Pear Pickers ca. 1895 oil on canvas Wichita Art Museum, Kansas |
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| Anonymous American Printmaker Visiting Toilettes 1898 lithographic fashion plate Wichita Art Museum, Kansas |
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| Frank von der Lancken The Sisters 1903 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Edvard Munch Girls and Apple Tree 1905 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| Edmund Diederich Two Women ca. 1912 modern digital print from glass-plate negative Art Gallery of South Australia, Adelaide |
-The-Quiet-Hour-1919-drypoint-British-Museum.png) |
| William Lee-Hankey The Quiet Hour 1919 drypoint British Museum |
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| Susan Meiselas Curtain Call, Essex Junction, Vermont 1973 gelatin silver print Whitney Museum of American Art, New York |
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| Leonie Reisberg G. and Me ca. 1978 gelatin silver print Art Institute of Chicago |
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| Raphael Soyer Annunciation 1980 oil on linen Smithsonian American Art Museum, Washington DC |
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| Alan Feltus August 1983 1983 oil on linen Smithsonian American Art Museum, Washington DC |
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| Annie Leibovitz Serena and Venus Williams 1998 pigment print National Portrait Gallery, Washington DC |
On the Frontispiece of Isaacsons Chronologie explained.
Let hoary Time's vast Bowels be the Grave
To what his Bowels birth and being gave;
Let Nature die, if (Phœnix-like) from death
Revived Nature take a second breath;
If on Times right hand, sit faire Historie;
If, from the seed of empty Ruine, she
Can raise so faire an Harvest, let her be
If, from the seed of empty Ruine, she
Can raise so faire an Harvest, let her be
Ne're so farre distant, yet Chronologie
(Sharpe sighted as the Eagles eye, that can
Out-stare the broad-beam'd Dayes Meridian)
Will have a Perspecill* to find her out,
Will have a Perspecill* to find her out,
And, through the Night of error and dark doubt,
Discerne the Dawne of Truth's eternall ray,
As when the rosie Morne budds into Day.
Now that Time's Empire might be amply fill'd,
Babels bold Artists strive (below) to build
Ruine a Temple; on whose fruitfull fall
History reares her Pyramids more tall
Than were th' Ægyptian (by the life these give,
Th' Ægyptian Pyramids themselves must live):
On these she lifts the World; and on their base
Shewes the two termes and limits of Time's race:
That, the Creation is; the Judgement, this;
That, the World's Morning, this her Midnight is.
On these she lifts the World; and on their base
Shewes the two termes and limits of Time's race:
That, the Creation is; the Judgement, this;
That, the World's Morning, this her Midnight is.
– Richard Crashaw, The Delights of the Muses (1646)
*telescope
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