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LOTIS


oil on canvas (50 x 70 cm.)
PRIVATE COLLECTION


LOTIS was a Naiad Nymph of the springs of the River Sperkheios on Mount Othrys in Malis, northern Greece. She metamorphosed into a lotus flower in order to escape the pursuit of the god Priapos.

"You were holding, Greece, the feast of grape-crowned Bacchus [Dionysos], celebrated by custom each third winter. The gods who serve Lyaeus [Dionysos] also attended and whoever is not hostile to play, namely Panes and young Satyri and goddesses who haunt streams and lonely wilds [Naiades and Dryades]. Old Silenus came, too, on a sway-backed donkey, and the red-groined terror of timid birds [Priapos whose garden statue functioned as a scarecrow].
They discovered a grove suitable for party pleasures and sprawled on grass-lined couches. Liber [Dionysos] supplied wine, they had brought their own garlands, a brook gave water for frugal mixing. Naiades were there, some with hair flowing uncombed, others with locks artfully coiffured . . . Some generate tender fires inside the Satyri, others in you, whose brow is bound with pine [Pan]. They inflame you, too, Silenus; your lust can't be quenched, lechery will not allow you to be old. But red Priapus, the garden's glory and protection, fell victim above all to Lotis.
He desires her, he wants her, he sighs for her alone; he nods at her and pesters her with signs. Disdain defines the pretty, beauty is trailed by pride: she teases and scorns him with her looks. It was night. Wine induced slumber and prone bodies lay everywhere, conquered by sleep. Lotis rested furthest away, tired from partying, in the grass beneath some maple branches. Her lover rises and, holding his breath, tracks secretly and silently on tiptoe. When he had reached the snow-white Nympha's secluded bed, he took care his breathing was soundless. And now he was poised on the grass right next to her, and still she was filled with a mighty sleep. His joy soars; he draws the cover from her feet and starts the happy road to his desires.
Then look, the donkey, Silenus' mount, brays loudly, and emits untimely blasts from its throat. The terrified Nympha leaps up, fends Priapus off, and awakens the whole grove with her flight. And the god, whose obscene part was far too ready, was ridiculed by all in the moon's light. The author of the clamour was punished with death. He’s a victim dear to Hellespont’s god."  Ovid, Fasti 1. 391 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) :


"There is a lake [in Oikhalia] whose shelving sides had shaped a sloping shore, and myrtles crowned the ridge. There Dryope had come, not dreaming of fate's design, and, what must make you more indignant, bringing garlands for the Nymphae . . . Near the lakeside was a water-lotus flowered, its crimson blooms like Tyrian dye, fair hope of fruit to come. Dryope picked a posy of these flowers to please her boy. I [Iole] meant to do the same (for I was there), when I saw drops of blood drip from the blossoms of the boughs shiver in horror. For this shrub, you see (too late the peasants told us), was the Nymphe Lotis who fled Priapus's lechery and found changed features there but kept her name. Nothing of this my sister knew. She'd said prayers to the Nymphae and now in terror tried to turn away and leave, but found her feet rooted. She fought to free herself, but failed to move below her bosom. Gradually up from the soil right round her legs and loins bark climbed and clung; and, seeing it, she tried to tear her hair, but found leaves filled her hand, leaves covered her whole head [she was transformed into a tree]." Ovid, Metamorphoses 9. 334 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :

source: http://www.theoi.com

POPPY / PAPAVERO


oil on canvas (60 x 80 cm.)
€ 800,00

MINTHE


oil on canvas (40 x 80 cm.)
€ 650,00


MINTHE (or Mintha) was a Naiad Nymph of Mount Minthe in Elis (southern Greece) who was loved by the god Haides. When she claimed to be superior to Persephone, the goddess transformed into a mint plant.

"Near Pylos, towards the east, is a mountain named after Minthe, who, according to myth, became the concubine of Haides, was trampled under foot by Kore (Core) [Persephone], and was transformed into garden-mint, the plant which some call hedyosmos. Furthermore, near the mountain is a precinct sacred to Haides."   Strabo, Geography 8. 3. 14 (trans. Jones) (Greek geographer C1st B.C. to C1st A.D.)
"Mint (Mintha), men say, was once a maid beneath the earth, a Nymphe of Kokytos (Cocytus), and she lay in the bed of Aidoneus [Hades]; but when he raped the maid Persephone from the Aitnaian hill [Mount Etna in Sicily], then she complained loudly with overweening words and raved foolishly for jealousy, and Demeter in anger trampled upon her with her feet and destroyed her. For she had said that she was nobler of form and more excellent in beauty than dark-eyed Persephone and she boasted that Aidoneus would return to her and banish the other from his halls: such infatuation leapt upon her tongue. And from the earth spray the weak herb that bears her name."   Oppian, Halieutica 3. 485 ff (trans. Mair) (Greek poet C3rd A.D.)
"Persephone of old was given grace to change a woman's [Mintha's] form to fragrant mint."   Ovid, Metamorphoses 10. 728 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.)
source: http://www.theoi.com

ECHO


oil on canvas (60 x 80 cm.)
€ 800,00


EKHO (or Echo) was an Oreiad nymph of Mount Kithairon (Cithaeron) in Boiotia. The goddess Hera cursed her with the voice of the echo, to only repeat the last words of what was said before, as punishment for distracting her with chatter. She was loved by the god Pan, and herself became enamoured of the boy Narkissos (Narcissus). When the youth spurned her advances the faded away, leaving only her echoing voice behind. In ancient Greek vase painting Ekho was depicted as a winged nymph with her face shrouded in a veil.
"Cephisius [i.e. the boy Narkissos, Narcissus] now had reached his sixteenth year and seemed both man and boy; and many a youth and many a girl desired him, but hard pride ruled in that delicate frame, and never a youth and never a girl could touch his haughty heart. Once as he drove to nets the frightened deer a strange-voiced Nymphe observed him, who must speak if any other speak an cannot speak unless another speak, resounding Echo. Echo was still a body, not a voice, but talkative as now, and with the same power of speaking, only to repeat, as best she could, the last of many words, Saturnia [Hera] had made her so; for many a time when the great goddess might have caught the Nymphae lying with Jove [Zeus] upon the mountainside, Echo discreetly kept her talking till the Nymphae had fled away; and when at last the goddess saw the truth, ‘Your tongue’, she said, ‘with which you tricked me, now its power shall lose, your voice avail but fro the briefest use.’ The event confirmed the threat: when speaking ends, all she can do is double each last word, and echo back again the voice she's heard.
Now when she saw Narcissus wandering in the green byways, Echo's heart was fired; and stealthily she followed, and the more she followed him, the nearer flamed her love. As when a torch is lit and from the tip the leaping sulphur grasps the offered flame. She longed to come to him with winning words, to urge soft please, but nature now opposed; she might not speak the first but--wheat she might--waited for words her voice could say again. It chanced Narcissus, searching for his friends, called ‘Anyone here?’ and Echo answered ‘Here!’ Amazed he looked all round and, raising his voice called ‘Come this way!’ and Echo called ‘This way!’ He looked behind and, no one coming, shouted ‘Why run away?’ and heard his words again. He stopped, and cheated by the answering voice, called ‘Join me here!’ and she, never more glad to give her answer, answered ‘Join me here!’ And graced her words and ran out from the wood to throw her longing arms around his neck. He bolted, shouting ‘Keep your arms from me! Be off! I’ll die before I yield to you.’ And all she answered was ‘I yield to you’.
Shamed and rejected in the woods she hides and has her dwelling in the lonely caves; yet still her love endures and grows on grief, and weeping vigils waste her frame away; her body shrivels, all its moisture dries; only her voice and bones are left; at last only her voice, her bones are turned to stone, so in the woods she hides and hills around, for all to hear, alive, but just a sound.
Thus had Narcissus mocked her; others too, Nymphae of Hill and Water and many a man he mocked; till one scorned youth, with raised hands, prayed, ‘So may he love-- and never win his love!’ And Rhamnusia [Nemesis] approved the righteous prayer . . . [and caused Narkissos to fall in love with his own reflection and waste away in grief.]
No longer lasts the body Echo loved. But she, though angry still and unforgetting, grieved for the hapless boy, and when he moaned ‘Alas’, with answering sob she moaned ‘alas’, and when he beat his hands upon his breast, she gave again the same sad sound of woe. His latest words, gazing and gazing still, he sighed ‘alas! The boy I loved in vain!’ And these the place repeats, and then ‘farewell’, and Echo said ‘farewell’. On the green grass he drooped his weary head, and those bright eyes that loved their master’s beauty closed in death . . . His sister Naides wailed and sheared their locks in mourning for their brother; the Dryades too wailed and sad Echo wailed in answering woe. And then the brandished torches, bier and pyre were ready--but no body anywhere; and in its stead they found a flower--behold, white petals clustered round a cup of gold!"    Ovid, Metamorphoses 3. 350 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :

source: http://www.theoi.com

AEGLE


oil on canvas (40 x 80 cm.)
€ 650,00


AIGLE (or Aegle) was the goddess of radiant good health. She was an attendant of her father, the medicine-god Asklepios. Her sisters included Panakeia (All-Cure), Iaso (Remedy) and Hygeia (Good-Health).

According to Virgil and Pausanias she is the most beautiful of the Naiads, daughter of Zeus and Neaera (Virg. Eclog. vi. 20), by whom Helios begot the Charites. (Paus. ix. 35. § 1.)
source: www.mythindex.com

NEREID / NEREIDE


oil on canvas (60 x 80 cm.)
€ 800,00


Nereis, or Nerine (Virg. Eclog. vii. 37), is a patronymic from Nereus, and applied to his daughters (Nereides, Nêreïdes, and in Homer Nêrêïdes) by Doris, who were regarded by the ancients as marine nymphs of the Mediterranean, in contra-distinction from the Naiades, or the nymphs of fresh water, and the Oceanides, or the nymphs of the great ocean (Eustath. ad Hom. p. 622). The number of the Nereides was fifty, but their names are not the same in all writers (Hom. Il. xviii. 39, &c.; Hes. Theog. 240, &c.; Pind. Isthm. vi. 8; Apollod. i. 2. § 7; Ov. Met. ii. 10, &c.; Virg. Aen. v. 825; Hygin. Fab. praef.) They are described as lovely divinities, and dwelling with their father at the bottom of the sea, and they were believed to be propitious to all sailors, and especially to the Argonauts (Hom. Il. xviii. 36, &c. 140; Apollod. i. 9. § 25; Apollon. Rhod. iv. 859, 930). They were worshipped in several parts of Greece, but more especially in sea-port towns. such as Cardamyle (Paus. iii. 2. § 5), and on the Isthmus of Corinth (ii. 1. § 7). The epithets given them by the poets refer partly to their beauty and partly to their place of abode. They were frequently represented in antiquity, in paintings, on gems, in relievoes and statues, and commonly as youthful, beautiful, and naked maidens, and often grouped together with Tritons and other marine monsters, in which they resemble the Bacchic routs. Sometimes, also, they appear on gems as half maidens and half fish, like mermaids, the belief in whom is quite analogous to the belief of the ancients in the existence of the Nereides.
source: www.mythindex.com

NYMPH DRYAD / NINFA DRIADE


oil on canvas (50 x 100 cm)
PRIVATE COLLECTION


THE DRYADES & OREIADES were the beautiful Nymphs of the trees, groves, woods and mountain forests. They were the ladies of the oaks and pines, poplar and ash, apple and laurel. For those known as Hamadryades, trees sprung up from the earth at their birth, trees to which their lives were closely tied. While the tree flourished, so did its resident nymph, but when it died she passed away with it.
source: http://www.theoi.com

NYMPH NEREID / NINFA NEREIDE


oil on canvas (50 x 100 cm)
€ 700,00


Nereis, or Nerine (Virg. Eclog. vii. 37), is a patronymic from Nereus, and applied to his daughters (Nereides, Nêreïdes, and in Homer Nêrêïdes) by Doris, who were regarded by the ancients as marine nymphs of the Mediterranean, in contra-distinction from the Naiades, or the nymphs of fresh water, and the Oceanides, or the nymphs of the great ocean (Eustath. ad Hom. p. 622). The number of the Nereides was fifty, but their names are not the same in all writers (Hom. Il. xviii. 39, &c.; Hes. Theog. 240, &c.; Pind. Isthm. vi. 8; Apollod. i. 2. § 7; Ov. Met. ii. 10, &c.; Virg. Aen. v. 825; Hygin. Fab. praef.) They are described as lovely divinities, and dwelling with their father at the bottom of the sea, and they were believed to be propitious to all sailors, and especially to the Argonauts (Hom. Il. xviii. 36, &c. 140; Apollod. i. 9. § 25; Apollon. Rhod. iv. 859, 930). They were worshipped in several parts of Greece, but more especially in sea-port towns. such as Cardamyle (Paus. iii. 2. § 5), and on the Isthmus of Corinth (ii. 1. § 7). The epithets given them by the poets refer partly to their beauty and partly to their place of abode. They were frequently represented in antiquity, in paintings, on gems, in relievoes and statues, and commonly as youthful, beautiful, and naked maidens, and often grouped together with Tritons and other marine monsters, in which they resemble the Bacchic routs. Sometimes, also, they appear on gems as half maidens and half fish, like mermaids, the belief in whom is quite analogous to the belief of the ancients in the existence of the Nereides.
source: www.mythindex.com

NYMPH NAIAD / NINFA NAIADE


oil on canvas (50 x 100 cm)
PRIVATE COLLECTION

THE NAIADES were fresh-water Nymphs who inhabited the rivers, streams, lakes, marshes, fountains and springs of the earth. They were immortal, minor divinities who were invited to attend the assemblies of the gods on Mount Olympos.
The Naiades, along with Artemis, were regarded as the divine nurses of the young, and the protectors of girls and maidens, overseeing their safe passage into adulthood. Similarly Apollon and the River-Gods (fathers of the Naiades) were the patron gods of boys and youths.
Many of the Naiades married local kings and played a prominent role in the genealogies of the royal families of myth. Others, such as the beautiful Naiad daughters of Asopos, were loved by the gods. They often gave their names to towns, cities and islands, and as such were most likely regarded as the goddess-protectors of the community's water supply, which usually consisting of a spring, stream-fed fountain, or well.
The Naiades were depicted in ancient art as beautiful, young women, either seated, standing or reclining beside their springs, and holding a hydria (water jug) or branch of lush foliage.
source: http://www.theoi.com

SYRINX


oil on canvas (50 x 100 cm)
PRIVATE COLLECTION

Ovid, Metamorphoses, book I

[689] … “ A famous Naiad dwelt among the Hamadryads, on the cold Arcadian summit Nonacris, whose name was Syrinx. Often she escaped the Gods, that wandered in the groves of sylvan shades, and often fled from Satyrs that pursued. Vowing virginity, in all pursuits she strove to emulate Diana's ways: and as that graceful goddess wears her robe, so Syrinx girded hers that one might well believe Diana there. Even though her bow were made of horn, Diana's wrought of gold, vet might she well deceive. “Now chanced it Pan. Whose head was girt with prickly pines, espied the Nymph returning from the Lycian Hill, and these words uttered he”—But Mercury refrained from further speech, and Pan's appeal remains untold. If he had told it all, the tale of Syrinx would have followed thus:—but she despised the prayers of Pan, and fled through pathless wilds until she had arrived the placid Ladon's sandy stream, whose waves prevented her escape. There she implored her sister Nymphs to change her form: and Pan, believing he had caught her, held instead some marsh reeds for the body of the Nymph; and while he sighed the moving winds began to utter plaintive music in the reeds, so sweet and voice like that poor Pan exclaimed; “Forever this discovery shall remain a sweet communion binding thee to me.”—and this explains why reeds of different length, when joined together by cementing wax, derive the name of Syrinx from the maid.