vertumnus and pomona

Once, when the kings of the Silvian House reigned over the Latin people, there lived a nymph whose name was Pomona. https://piction.clevelandart.org/cma/ump.di?e=8F6565F3222537AABAA919DD3B947482C4CAC500345BAF433CADD1E15C0E166D&s=21&se=433071129&v=4&f=1987.90_o2.jpg, Gift of Mr. and Mrs. Robert D. Milne in memory of Leona E. Prasse. But when he came near her Pomona dashed water in his face from her stream. For commercial uses (including publications) and advertising, requests must be addressed to the Museum Photo Archive archivo.fotografico@museothyssen.org, which manages the distribution worldwide of its images and together with its rights of reproduction. If there was no elm-tree for it to grow upon it would straggle along the ground, flat and unflourishing! And the vine that grows there! "You are Vertumnus," she said. Pomona fled from both of them, and after that she would let none of the male divinities come near where she was. solicitudes de escaneados o nuevos fotografiados serán reproducción. He was made to be yours, and you were made to be his, and I am here to tell you that!". "You are Vertumnus," she said. The tale of Vertumnus and Pomona has been called "the first exclusively Lat… "But," said Vertumnus, "if the tree In particular, the reproduction may not be superimposed with any other images or text. she said. Users may only reproduce a detail or cropped section of the work after obtaining written permission from the Fundación Colección Thyssen-Bornemisza. And then he came as a ploughman, big and burly, holding in his hand a goad which Pomona might think that he had just used to drive the oxen in the furrows. Pomona, the beautiful wood nymph cared nothing for the woods but cared only for her fruit filled gardens and orchards. 1776|access-date=26 November 2020|publisher=Cleveland Museum of Art}}. "Inventive Impressions: 18th- and 19th-Century French Prints". Even as these words were said the head-dress fell off the head of the one who spoke to Pomona. To her the shady grove, the flowery field, 5: She had on a head-dress that fell across her eyes, and she leaned upon a stick. If the images are being used for purposes other than those described above, prior written permission from the Fundación Colección Thyssen-Bornemisza is required. English). Back he came in the garb of a reaper, carrying a basket of barley-ears as an offering to her. "If that elm-tree stood unmated to the vine it would have no value except for its timber. She left him outside the gate, nor would she speak to him at all. Thomas Bulfinch's study of Greek and Roman Mythology, was first published in 1855. To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk. Vertumnus and Pomona is a painting by Francesco Melzi dated to c. 1518–1522. universitarios, y publicaciones académicas o de And as she went from tree to tree the old woman kept calling to her. After telling Pomona stories of love, he removed his disguise and won her hand. "Everything I heard about you made me think you were beautiful, but you are more beautiful than I thought." But all day she worked where fruits grew, leading water to flow by the roots, or destroying insects that came upon the leaves of her trees. After saying that, he kissed her. Even with the disguises, she still never paid him the slightest bit of attention. Vertumnus, the god of the seasons, tries in vain to court the nymph Pomona. She wearied him out and he went away. It is in the collection of the Gemäldegalerie of the Berlin State Museums. She left him before the gate, and although he shook it with his hands, he could not force it open. And the vine that grows there! The earliest known works by the artist are the portraits of his parents, Landscape with the Rest on the Flight into Egypt, Still Life with Fruit Pie and various Objects, River Landscape with Ferry Boat and Cottages. Pomona came back and stood under an elm-tree near where the old woman sat. Do you live here all alone, my dear?" "Be wise and choose Vertumnus! "Everything I heard about you made me think you were beautiful, but you are more beautiful than I thought." Silvanus was the first to go see her: he went in his hunter's dress, with a spear in his hand, and the game he had just killed in a bag at his side. If you have questions about requesting an image, please email imageservices@clevelandart.org. de Imágenes del museo In the spring-time she would see Flora, her sister-nymph, in the fields, giving color and fragrance to the flowers, giving sweetness to the honey in the combs, giving grace to the boys and girls who came about her. The elm-tree supported vines which were covered with bunches of grapes. Create your own unique website with customizable templates. (archivo.fotografico@museothyssen.org). This page was last edited on 15 October 2018, at 01:51. p. 294 – via JSTOR. p. 143. Pomona by rejecting even Vertumnus’s constant advances represents virtue whilst Vertumnus by persevering despite constant rejection shows just how difficult virtue is to obtain…. In such cases, the image credits must clearly indicate the word “detail”. Vertumnus and Pomona was almost certainly originally made for Canons in Middlesex, the seat of the Duke of Chandos, as a companion to a similar group by Scheemakers. One day Pomona saw outside her gate a bent and weary-looking old woman. Do you live here all alone, my dear?" They should be addressed to: Photographic Archive, Museo Thyssen-Bornemisza, Paseo del Prado 8, 28014 Madrid, Spain. Inventive Impressions: 18th- and 19-Century French Prints. She was shy, they knew; but each thought what a fine sweetheart she would make, if he could get her to walk or talk with him. Govaert Flinck has painted the moment in the courtship when Vertumnus, disguised as an old woman, is … [10] In 1905, Wilhelm von Bode confirmed Melzi as the artist of this painting as well as of Flora at the Hermitage Museum in Saint Petersburg. The first to attribute the painting to Melzi was the art historian Pierre-Jean Mariette (1694–1774). And sometimes she would see Venus, the great lady who had so many worshippers, but she would not leave her trees to go to where Venus had her shrine. But Pomona would never go to her or call Flora to come to her amongst her trees. Pomona would not come near him. And then, that she might think of him as one who had an interest in trees and fruit and be kind to him on that account, he came bearing a ladder upon his shoulder as if he were ready to mount to where the apples were growing and gather them. Vertumnus, the Roman god of seasons and change, assumed multiple guises as he attempted to woo the recalcitrant wood nymph Pomona. But all day she worked where fruits grew, leading water to flow by the roots, or destroying insects that came upon the leaves of her trees. Young Vertumnus saw her through the gate; he saw Pomona and he loved her more ardently than either Silvanus or Picus had loved her--Silvanus who was much older than he looked, and Picus who was always in love with some girl. [3] The painting likewise draws from known Leonardo compositions from before 1513:[4] For example, Melzi's painting had the same color scheme as Leonardo's Virgin and Child with Saint Anne at the Louvre. The elm-tree supported vines which were covered with bunches of grapes. She kept her orchards closed because she wanted to rid of the men who were attracted to her good looks. When an image owned by the Fundación Colección Thyssen-Bornemisza is reproduced, all reproductions or the list of photographic credits must include the following: the name of the artist, title, date, © Fundación Colección Thyssen-Bornemisza, Madrid. Pomona fled from both of them, and after that she would let none of the male divinities come near where she was.

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