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| Bertoldo di Giovanni Portrait of Filippo de' Medici ca. 1462-74 bronze medallion British Museum |
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| attributed to Bertoldo di Giovanni Bellerophon slaying Chimera before 1491 plaquette in base metal with gilding British Museum |
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| attributed to Baccio Bandinelli Bust of a Man ca. 1540-50 marble Museum of Fine Arts, Budapest |
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| attributed to Valerio Belli Plaque with Scene of Ancient Sacrifice before 1546 rock crystal British Museum |
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| Jean de Court Dish with Destruction of Pharaoh's Army ca. 1560-80 enamel on copper (Limoges) British Museum |
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| Jean de Court Dish with Destruction of Pharaoh's Army (detail with grotesques on rim) ca. 1560-80 enamel on copper (Limoges) British Museum |
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| Meinrad Bauch Table Ornament with Bacchus astride Barrel ca. 1590-1600 silver-gilt figure on mother-of-pearl barrel British Museum |
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| Anonymous German Sculptor Portrait of a Man 1625 pear wood British Museum |
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| Anonymous German Sculptor Seated Pasha ca. 1650-1700 enameled-gold set with diamonds and baroque pearl British Museum |
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| attributed to André-Charles Boulle Cabinet ca. 1680, on Egyptian revival stand (added ca. 1800) oak and pine veneered with exotic woods and ormolu Fitzwilliam Museum, Cambridge |
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| François-Joseph Bosio Catherine, Princess of Württemberg ca. 1810-15 marble Dallas Museum of Art |
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| Antonio Canova Ideal Head ca. 1817 marble Kimbell Art Museum, Fort Worth, Texas |
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| Boston & Sandwich Glass Co. Dolphin Candlestick ca. 1850 pressed glass Chrysler Museum of Art, Norfolk, Virginia |
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| Thomas Ball Saint John the Divine ca. 1860 marble Chrysler Museum of Art, Norfolk, Virginia |
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| Thomas Ball Eve 1874 marble San Diego Museum of Art |
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| Herbert Ferber The Sun, the Moon and the Stars II 1956 brass Whitney Museum of American Art, New York |
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| Joost Baljeu Synthetic Construction W-III [2c+d] 1958 enamel on wood relief Museum Boijmans Van Beuningen, Rotterdam |
Thus sciences, by the diverse motions of this globe of the brain of man, are become opinions, nay, errors, and leave the imagination in a thousand labyrinths. What is all we know, compared with what we know not? We have not yet agreed about the chief good and felicity. It is perhaps artificial cunning. How many curiosities be framed by the least creatures of nature (who like a wise painter showeth in a small portrait more ingine than in a great) unto which the industry of the most curious artisans doth not attain! Is it riches? What are they but the idols of fools, the casting out of friends, snares of liberty, bands to such as have them, possessing rather than possessed, metals which nature hath hid (foreseeing the great harms they should occasion), and the only opinion of man hath brought in estimation? They are like to thorns, which laid in an open hand are easily blown away, and wound the closing and hard-gripping. Prodigals mispend them, wretches mis-keep them: when we have gathered the greatest abundance, we ourselves can enjoy no more of them than so much as belongs to one man. They take not away want, but occasion it: what great and rich men do by others, the meaner and more contented sort do by themselves. Will some talk of our pleasures? It is not, though in the fables, told out of purpose, that Pleasure, in haste being called up to heaven to disburthen herself and become more light, did here leave her apparel, which Sorrow (then naked, forsaken, and wandering) finding, did afterwards attire herself with. And if we would say the truth of most of our joys, we must confess them to be but disguised sorrows: remorse ever ensueth them, and (being the heirs of displeasure) seldom do they appear, except sadness and some wakening grief hath really preceded and forewent them. Will some ladies vaunt of their beauty? That is but skin-thick, of two senses only known, short even of marble statues and pictures; not the same to all eyes, dangerous to the beholder and hurtful to the possessor; an enemy to chastity, a frame made to delight others more than those that have it, a superficial varnish hiding bones and the brains, things fearful to be looked upon: growth in years doth blast it, or sickness or sorrow preventing them.
– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)
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