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Daphne into a Laurel or Apollo Incoronasi de Lauro, illustration from Ovid
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Daphne into a Laurel or Apollo Incoronasi de Lauro, illustration from Ovid
STC415814 Daphne into a Laurel or Apollo Incoronasi de Lauro, illustration from Ovids Metamorphoses, Florence, 1832 (hand-coloured engraving) by Ademollo, Luigi (1764-1849); Private Collection; (add.info.: P. Ovidii Nasonis Metamorphoseon Libri XV cum Appositis Italico Carmine* Interpretationibus ac Notis, 5 Vols (Florence, 1824, repr. 1832); Book I; Daphne, daughter of the river-god Peneus, Daphne is a wood nymph who wishes to live chaste, like Diana. When she flees the love of Apollo, she prays to her father to save her and he transforms her into a Laurel tree.
); The Stapleton Collection; Italian, out of copyright
Media ID 23475638
© The Stapleton Collection / Bridgeman Images
Apollo Book I Daphne Greek Myth Laurel Lyre Metamorphosis Mythologyical Ovid
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Daphne into a Laurel or Apollo Incoronasi de Lauro, illustration from Ovid's Metamorphoses, Florence, 1832 (hand-coloured engraving) by Ademollo, Luigi (1764-1849); Private Collection. This print captures the mythical transformation of Daphne into a laurel tree as depicted in Ovid's Metamorphoses. The intricate hand-colored engraving by Luigi Ademollo brings to life the enchanting tale of Daphne, daughter of the river-god Peneus. In this scene, we witness Daphne fleeing from the relentless pursuit of Apollo who has fallen deeply in love with her. Desperate for escape and determined to preserve her chastity like Diana, she calls upon her father for salvation. As her plea reaches his ears, he grants her wish but not without consequence - transforming her into a graceful laurel tree. The artist skillfully portrays this metamorphosis with delicate details and vibrant colors that enhance the ethereal quality of the scene. The viewer is drawn into the moment as Daphne's body merges seamlessly with branches and leaves while Apollo watches helplessly nearby. This print serves as a testament to both Ovid's enduring storytelling and Ademollo's artistic prowess. It invites us to contemplate themes of sacrifice, nature's power over mortals' desires, and the eternal beauty found within mythology. A true masterpiece from Florence in 1832 now preserved in private collection; it continues
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