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And they worshipped love, from Nova Venus by Mahlon Blaine (1938)

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Source details and larger version.

If you like fairies or are one, here’s my current collection of vintage fairy imagery.

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Source details and larger version.

If you like fairies or are one, here’s my current collection of vintage fairy imagery.

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Filippo Palizzi (Italian, 1818-1899)

La fanciulla sulla roccia di Sorrento

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Dimitar Dobrovich (Bulgarian, 1816-1905)

Spinner

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Vasilii Kirilovich Nechitaylo - Binder (1957)

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Angels Pity

Carlo Crivelli⏤ ca. 1470

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Saint Andrew (detail) Carlo Crivelli

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The Birth of Venus by Adolf Hirémy-Hirschl, c. 1888

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The Foam Sprite by Herbert James Draper (1897)

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The Tooth Worm as Hell’s Demon’, 18th century depiction of the tooth worm believed by many in the past to bore holes in teeth and cause toothaches [1298x1280]

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Series Vertumnus and Pomona

Models Circle of Pieter Coecke Van Aelst and Léonard Thiry

Manufacture Unknown workshop, Brussels, before 1550

Composition Gold, silk and wool

Location Royal Palace of Aranjuez

Origin Mentioned for the first time in the inventory of Charles II

The tapestries of Vertumnus and Pomona are, without a doubt, the greatest artistic representations of the tale as told by Ovid in his Metamorphoses (Book XIV, 623-771). According to the poet, the goddess lived a reclusive life in her land, where she devoted herself exclusively to her duties: the tending of her gardens. She was distrustful of the creatures of the woods and did not let outsiders – especially male ones – into her orchards. Ovid tells how Vertumnus, the god of the seasons who fell in love with Pomona, manages to approach the goddess and seduce her using his special power, the ability to transform himself into whatever form he desires. The Habsburg tapestry collections contained at least four series of the story of Vertumnus and Pomona, weaved in gold, silver, silk and wool. The series currently on display in the Royal Palace of Aranjuez is one of these, series 18 in the National Heritage catalogue.

#tapestry #pomona

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The Infant Christ Pressing the Wine of the Eucharist, c. 1500

Unknown artist, Netherlandsexpand_more

Linen warp, wool, silk - 13 7/8 × 13 1/16 in. (35.24 × 33.18 cm) (sight) Minneapolis Institute of Art.

This small tapestry depicts the infant Jesus pressing grapes into a chalice. The imagery was widely understood at the time of its creation to reference the physical sacrifice Jesus would later make in his crucifixion. In the Christian ritual of the Eucharist, followers drink holy wine to remember Jesus’s suffering. The remarkably fine quality of the weaving suggests the tapestry was made in a preeminent Brussels workshop. The presence of gold and silk yarns proclaim the tapestry’s value as a high status object, but the intimate scale and subject matter suggest it was used by an elite individual within a devotional practice, most likely within the home.

#tapestry

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Tapestry with the history of Jupiter and Callisto.

Design Karel van Mander (I).

Weaver François Spiering, Delft. ca. 1593 - ca. 1600.

Wool, silk. : h 360 cm. × b 260 cm

Rijksmuseum.

#tapestry

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Allegory of Spring with Flora, Vertumnus, and Pomona, France, c. 1600,

Wool.

Hyde Collection - Glens Falls, NY

#tapestry

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Most Sacred Heart of Jesus, 19th century

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Edward John Poynter - Psyche in the Temple of Love