Daphne and Apollo is a life sized Baroque marble sculpture by Italian artist Gian Lorenzo Bernini, performed between 1622 and 1625. Housed in the Galleria Borghese in Rome, the work depicts the climax of the story of Phoebus and Daphne in Ovid's Metamorphoses.
The sculpture was the last of several artworks commissioned by Cardinal Scipione Borghese, early on in the career of Bernini. Daphne and Apollo was commissioned after Borghese had given an earlier work of his patronage, Bernini's Pluto and Persephone, to Cardinal Ludovico Ludovisi.
Much of the early work was done in 1622?1623, but rather possibly to work on the sculpture of David, a pause, interrupted its end, and Bernini didn't complete the work until 1625. Really, the sculpture wasn't transferred until September 1625 to the Cardinal's Villa Borghese. The sculpture was not executed by Bernini by himself; he'd important help from an associate of his workshop, Giuliano Finelli, who undertook the sculpture of the details that reveal her windswept hair, too as Daphne's conversion from human to tree, like the bark and branches. Some historians ignore the value of Finelli's contribution.
While the sculpture may be valued from multiple angles, Bernini planned for it to be seen side on, enabling the observer to see the reactions of Daphne and Apollo concurrently, so comprehending the narrative of the storyline in one moment, with no need to transfer location.
When Phoebus (Apollo), fated by Cupid's love-exciting arrow, sees the maiden daughter of Peneus a river god, he's full of wonder at her beauty and have by want. But Daphne has been fated by Cupid's love- arrow that is repelling and denies the love of guys. As the Nymph flees he pursues her? pleading, boasting, and assuring everything. When her strength is eventually spent she prays to her dad Peneus:
'Ruin alter the body that ruins my life, or the attractiveness that's injured me.' Before her prayer was stopped, torpor seized on all her body, and a thin bark shut around her tender bosom, and her hair became as going leaves; her arms were shifted to waving branches, and her active feet as clinging roots were fastened to the earth?her face was concealed with encircling leaves.
Phoebus adored the graceful tree, clung to it and kissed the wood:
' But thou canst not be my partner really thou shalt be my tree. Thee O laurel my hair, thee my lyres, thee my quivers shall consistently have ... And as my head is youthful with unshorn locks, do thou wear constantly evergreen honours of leaves. The laurel nodded assent with its branches recently made'
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