Vertumnus, the god of changing seasons, fell in love with her, and to be nearer to her, disguised himself as a labourer in her garden. VERTUMNUS AND POMONA. Florentine painting, if not portraiture, often was intellectual, academic, and focused on allegory, mythology, or religious themes. After Canons was demolished the group went to Stowe in Buckinghamshire, where it functioned as a garden sculpture until it was sold in 1921. Vertumnus and Pomona, Jan Tengnagel, 1617 oil on copper, h 21.4cm × w 29.4cm More details. Vertumnus en Pomona, RP-P-OB-15.709.jpg 5,352 × 7,292; 5.91 MB Condition:--not specified. Book The Poems of Alexander Pope. The art of tapestry attained its peak with sixteenth century production from Flemish workshops, primarily through Brussels production, where the themes were often inspired by greco-roman mythology. The myth is that of Pomona, a beautiful but aloof wood-nymph, shown with a sickle at right lower corner, who sheltered herself inside her orchard, dedicating herself to its cultivation while spurning all suitors. Even with the disguises, she still never paid him the slightest bit of attention. Pergolas are at either side, and figures in a garden below within a scrolling foliate border. She never went near the springs, or lakes, or rivers, nor near the wild woods; she cared only for places where grew trees that were laden with fruits. The love story between Vertumnus and Pomona is probably one of the most famous in the Gulbenkian Collection, originating from Ovid’s Metamorphoses.Vertumnus, god of gardens and orchards, responsible for the changing of the seasons, and Pomona, goddess of fruit trees, have been represented many times by various artists, including Peter Paul Rubens. The Hamadryads were Wood-nymphs. He could change his form at will; using this power, according to Ovid's Metamorphoses (xiv), he tricked Pomona into talking to him by disguising himself as an old woman and gaining entry to her orchard, then using a narrative warning of the dangers of rejecting a suitor (the embedded tale of Iphis and Anaxarete) to seduce her. Vertumnus and Pomona Camille Claudel (1864 -1943) 1905. Rembrandt - Vertumnus and Pomona. Vertumnus and Pomona. This tapestry from the Vertumnus and Pomona set is the fifth panel out of nine, the remainder still belong to the Vienna Museum from which the collector acquired this one in 1938. It could be a possible explanation of the subject that the young woman at right in the upper part of the wall wearing a wreath of stalks of grain and … Varro was convinced that Vortumnus was Etruscan, and a major god. Not currently on view. Read more Provenance . Vertumnus, either a demigod of seasons or a satyr, becomes taken with the nymph's beauty, but she ignores and rebuffs all his advances to enter her realm and remains a maiden. When Vertumnus, the god, disguised in the shape of the old woman, had spoken, but to no effect, he went back to being a youth, and threw off the dress of an old woman, and appeared to Pomona, in the glowing likeness of the sun, when it overcomes contending clouds, and shines out, unopposed. Title: Vertumnus and Pomona. Miriam Winson-Alio. So complete was the goddess Pomona's devotion to her orchards and gardens that she spurned the many suitors who courted her. said, and kissed Pomona, not exactly with an old woman's kiss. Propertius, the major literary source for the god, also asserts that the god was Etruscan, and came from Volsinii. Pomona was the uniquely Roman Goddess of Plenty, and her special provinces were fruit trees, gardens, and orchards. 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