I have devoted myself to painting a group of pictures in which I have succeeded in making observations for which there is normally no opportunity in commissioned works, which give no scope for fantasy and invention.” (tr. Enriqueta Harris)
Chaerea, a young Athenian man, spots the girl Pamphila and falls in love with her. He follows her to her house where he substitutes for a eunuch. While Pamphila’s servants prepare her bath, she looks at a painting of Danae and so does Chaerea.
“While preparations were being made, the damsel sat in a room looking up at a certain painting, in which was represented how Jove is said once to have sent a golden shower into the bosom of Danaë.” 
Chaerea resolves to follow the example of Jove (Jupiter) — the supreme seducer of Greek mythology — and sleeps with the girl. Some accounts speak of rape:
“a picture of Danae and the golden shower in her lap inflames a young man with such lust and such envy of Jupiter’s sexual agency that he rapes the object of his desire”.
The following is (as always) is the part I love. Negative reviews of finger-wagging detractors:
The finger-wagger is Saint Augustine who in the words of Ginzburg intends to “demonstrate the evil effects of lascivious pictures.”
“Hence the young profligate in Terence, when he sees on the wall a fresco representing the fabled descent of Jupiter into the lap of Danae in the form of a golden shower, accepts this as authoritative precedent for his own licentiousness, and boasts that he is an imitator of God.”
And that same Saint Augustine on the same passage in Confessions:
“Hence words are learnt; hence eloquence; most necessary to gain your ends, or maintain opinions.” As if we should have never known such words as “golden shower,” “lap,” “beguile,” “temples of the heavens,” or others in that passage, unless Terence had brought a lewd youth upon the stage, setting up Jupiter as his example of seduction.
“Viewing a picture, where the tale was drawn,
Of Jove’s descending in a golden shower
To Danae’s lap a woman to beguile.”
And then mark how he excites himself to lust as by celestial authority:
“And what God? Great Jove,
Who shakes heaven’s highest temples with his thunder,
“Except the face, probably no part of the human body is more characteristic, individual, significant, and expressive than the hand; to represent it satisfactorily has ever been one of the chief difficulties which artists have had to contend with, and one which only the greatest have been completely successful in overcoming. Of this, both painting and sculpture afford us ample proof. I have given a few examples of characteristic hands.” —Italian Painters
“Morelli’s books look different from those of any other writer on art. They are sprinkled with illustrations of fingers and ears, careful records of the characteristic trifles by which an artist gives himself away, as a criminal might be spotted by a fingerprint . . . any art gallery studied by Morelli begins to resemble a rogues’ gallery . . .” (Wind 1963:40-41)
In Between Parentheses: Essays, Articles and Speeches, 1998-2003, Roberto Bolaño has this to say:
The Temple of Iconoclasts is one of the best books of the twentieth century. … Some of his characters are real historical figures, like Hans Hörbiger, the Austrian scientist who advanced the theory of successive moons and counted Hitler among … Owing a debt to Borges, Alfonso Reyes, and Marcel Schwob, who in turn owe a debt, in the manner of funhouse mirrors, to the prose of the encyclopedists, The Temple of Iconoclasts is a collection of biographies of mad inventors, adventurers, scientists, and the odd artist.
I find the genre de viris illustribus, meaning “On Illustrious / Famous Men”, a trope of ancient Roman exemplary literature that was revived during the Italian Renaissance and inspired the assembly or commissioning of series of portraits of outstanding men— and sometimes, by the sixteenth century, of outstanding women as well— with a high didactic purpose. Historicity? Dubious.
I find Parallel Lives by Plutarch, criticized for its lack of judicious discrimination in use of authorities and the consequent errors and inaccuracies.