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Here we see the Ovidian Narcissus singing of his pain to his reflected image in the mirror of water (Metamorphoses 3, 339-510}: the young man, a figure who seems to take shape from the poet's verses, is portrayed semi-reclining on a rock, a position that enables him to draw close to the pool of water and see the reflection of his face. On the left side of the scene the artist painted a Cupid with a reverse torch, symbol the tragic conclusion of Narcissus’ life.
The poet tells that there was a clear pool with silvery bright water, to which no shepherds ever came, or she-goats feeding on the mountainside, or any other cattle ort wild animals. Here the youth Narcissus, worn by the chase and the heat, lies down, attracted thither by the appearance of the place and by the spring.
“dumque sitim sedare cupit, sitis altera crevit,
dumque bibit, visae correptus imagine formae
spem sine corpore amat, corpus putat esse, quod umbra est.
Adstupet ipse sibi vultuque inmotus eodem
haeret ut e Pario formatum marmore signum.
Spectat humi positus geminum, sua lumina, sidus
et dignos Baccho, dignos et Apolline crines
inpubesque genas et eburnea colla decusque
oris et in niveo mixtum candore ruborem
cunctaque miratur, quibus est mirabilis ipse.”
“While he seeks to slake his thirst another thirst springs up, and while he drinks he is smitten by the sight of the beautiful form he sees. He loves an unsubstantial hope and thinks that substance which is only shadow. He looks in speechless wonder at himself and hangs there motionless in the same expression, like a statue carved from Parian marble. Prone on the ground, he gazes at his eyes, twin stars, and his locks, worthy of Bacchus, worthy of Apollo ; on his smooth cheeks, his ivory neck, the glorious beauty of his face, the blush mingled with snowy white: all things, in short, he admires for which he is himself admired.”
[met. 3, 415 – 424]
After looking at himself for along time. Narcissus becomes aware that he and his beloved image are one and the same and "he rent his garment from the upper edge" (met. 3. 480], as a prelude to his final obsession dictated by the impossibility of reaching the object of his passion.
“Quae simul adspexit liquefacta rursus in unda,
non tulit ulterius, sed, ut intabescere flavae
igne levi cerae matutinaeque pruinae
sole tepente solent, sic attenuatus amore
liquitur et tecto paulatim carpitur igni”
“as the yellow wax melts before a gentle heat, as hoar frost melts before the warm morning sun, so does he, wasted with love, pine away, and is slowly consumed by its hidden fire”
[met. 3, 486 – 490]
The myth enjoyed overwhelming success in pictorial production from the Neronian age all the way through to the 15th century, although the favored image was that of the young man sitting down and looking at his image in a mirror [or basin].
Translation: Frank Justus Miller, “Ovid - Metamorphoses”
Fresco 43 cm x 40 cm
AD 60 - 79 (4th style)
From Pompeii, “Villa di Diomede”
Naples, “Museo Archeologico Nazionale”
Exhibition: “Ovidio: Loves, Myths & Other Stories”
Scuderie del Quirinale, Rome
The iele - a well known myth in our country, probably the second one after Count Dracula.
They are said to be feminine mythical creatures, most of the times being described as virgin fairies , with great seduction power over men, with magic skills, attributes similar to the Ancient Greek Nymphs, Naiads, Dryads.
More about the iele you can read here:
I became fascinated with them after my grandmother found a circle in the trefoil a few years ago (in the night of Sanziene - an orthodox holiday- when they are said to come out) and she said that the iele were dancing there, leaving a white circle behind.
Maybe it's true, maybe not, but the mystery remains....
The Giant Lanterns of China return to Edinburgh Zoo this winter. Head along for a new and exciting adventure as Scottish myths, ancient Chinese legends and incredible creatures come to life.
Escape into a world of folktales and fantasy with over 450 beautifully crafted lanterns lighting a magical trail through the Zoo. For 50 legendary nights, we’ll be home to unicorns, giants, kelpies and even the Loch Ness Monster, alongside animals past and present.
This unique and special event also includes handmade crafts from Chinese artisans in our festive marketplace and seasonal hot drinks and snacks to keep you warm.
It runs from 16th November until 17 February 2019 and to help with advertising, Lothian Buses 474 and 475 have received some striking adverts. 21st September 2018.
In the light of the autumn morning i decided to take my bag and explore as i do in rl.I ve to chase those bad nightmares with new visions of the word
No usar esta imagen sin mi autorización. © Todos los derechos reservados.
Please don't use this image without my explicit permission. © All rights reserved
My friend Jessi and her epic tattoo from the ancient Greek story of Apollo and Daphne.
Tatto Artist: Tom Michael at 510 Expert Tattoo in Charlotte, NC.
Press L to view on black.
This photo has gotten a ridiculous amount of publicity on tumblr.
Our galaxy got it's name from its appearance as a dim "milky" glowing band arching across the night sky. In Greek myth, the Milky Way was caused by milk spilt by Hera when suckling Heracles.
Fine tuned with Adobe Photoshop CC v14 x64.
The artist Martin Larsen - made app 1944
the figure depicts: The year is 1532. Christian II has just been imprisoned at Sønderborg Castle. He is the king who, since his coronation in 1513, has striven to become king over a united Scandinavia. He has mirrored himself in the largest European principalities, and with his wedding to the German emperor's granddaughter, Elisabeth of Habsburg, he has made one of the best parties in Danish history.
Despite all this, things go horribly wrong for Christian. First, in 1523, he was deprived of royal power because the nobility preferred his uncle (Frederik 1.). When eight years later he tries to recapture the kingdom via a foray into Norway, it almost seems to succeed, but in the end it too collapses. Christian II is lured to Denmark with the promise of free rent, but again things go wrong. The dethroned monarch is taken to Sønderborg Castle, which will be the setting for his captivity for the next several years.
You can almost imagine it: in desperation and on the border between genius and madness, Christian wanders around his cramped cell with one thumb constantly resting on the marble tabletop, where a groove will be left for posterity as testimony to the monarch's sad fate. This is a myth, but the story is a good example of how myths arise and develop - and over time can become very buoyant.
Desenho instalativo, feito diretamente sobre a parede da galeria, durante 10 dias consecutivos de trabalho.
Caneta permanente sobre parede 2,70x5,50 metros.
A imagem da onda em arrebentação fala das forças incomensuráveis que se abatem sobre nós, exigindo uma tomada de posição para sobrevivermos ao choque do impacto.
Ainda como uma metáfora visual, a onda desencadeia catexias ligadas à todo transbordamento de emoções e situações, que nos movem e nos estilhaçam ao mesmo tempo.
Exposição: Como sobreviver a um naufrágio. 2020.