#nydia

[mistercakerz]

Tiny oc doodle

[rooks-dagger]

Lydia Thorne 🌩️

@dudewheresmynug was kind enough to share Lydia's sliders with me, so I've been having fun playing dress up with her girl 🥰 (and Lydia had fun distracting her girl Neve with this lingerie set)

Ft. Lingerie for Rook by @flowersforthemachines 💙

[dudewheresmynug]

OC Kids

I was tagged by the lovely @rooks-dagger! There are two versions of this tag: the OC's Kids one and the OCs as Kids one. Showing off Ray's adorable blorbos in both links 🥰

I'll be doing the latter, since I don't think Lydia or Susanna would have children 😅

Picrew here

Lydia Thorne and Neve Gallus (Nydia)

Lydia was taken to the Circle at age 5, so I imagine the first pic would be her justttt before her magic manifests. Lydia grew up on a farm in Crestwood, Ferelden. She loved being outside, loved exploring, and lovedddd inserting her in everyone else's business! She wouldn't be back home to Crestwood until she was 15.

I imagine Neve and Lydia have about a 7 year age gap, with Lydia being the younger one. Neve in this pic is walking around Dock Town, absolutely sticking her nose in people's business and making sure to dish out justice where justice needs dishing out. I also imagine that, in this moment, she's giving little Susanna a lecture of some sort.

Adult Lydia and Neve live in Minrathous together after the events of Veilguard! I'm happy for them <3

Susanna Mercar and Bellara Lutare (Bellanna)

Susanna is as she always is. She is CONSISTENT AS HELL. Susanna is quite the troublemaker! And she'll get away with it, too. Her father never gives her consequences for her actions. I'm sure that's healthy and won't develop into lifelong issues with authority and self worth! Here, she probably has some insane plan to break some rules (cut back to the above Neve, who is lecturing her).

I imagine Bellara loved exploring as a kid! I'm thinking back to her banter with Davrin about aravel races 😂 I think she and Susanna would be intrigued by each other, if they were to meet as kids.

Tags under the cut :)

@rooks-dagger, @handsignals, @master-of-the-elements, @in-the-drowning-deep, @the-bear-and-his-sunbird, @pixiedurango, @blackwall-my-tiny-husband, @epiphany-jones, @davrinsleftpectoral, @hedwigoprah, @curiouswisp, @mushrooms-x-moss, @trash-nerd, @sandcastlekings, @loveydoveymerrillsabrae, @rookamell, @augustnugs @lycheecatee, @bring-thelight, @waxlyricalmoon, @notyourmamasdeerbat, @cimmanombagel

[artuurle]

"-But the moon can't love it only spins."

[eucanthos]

Randolph Rogers (US, 1825–1892)

Nydia, the Blind Girl of Pompeii, 1853–54; carved 1859 Marble 137 x 64 x 94 cm PAFA, Pennsylvania Academy of the Fine Arts TheMet

According to Rogers, it was replicated 167 times in two sizes

Reference to "The Last Days of Pompeii" (1834), a novel by Lord Edward Bulwer-Lytton (eruption of Mount Vesuvius in 79 AD)

Nydia was a blind flower seller in love with the noble-born Glaucus, who is engaged to Ione...

"...her courage was beautiful to behold! and Fate seemed to favor one so helpless. The boiling torrents touched her not... but spared that frail form... Weak, exposed, yet fearless, supported by but one wish, she was the very emblem of Psyche in her wanderings... of Hope, walking through the Valley of the Shadow; a very emblem of the Soul itself"

thnx ourheatisgospel and feminineforms

https://www.pafa.org/museum/collection/item/nydia-blind-girl-pompeii

https://www.metmuseum.org/art/collection/search/11951

[ccstiles]

*hits Odysseus with the trans ray*

Everyone say hi to Nydia! My transfem Ody AU :]

@bigidiotenergytm here's Vasileios' lost wife! We finally found her after 20 years at sea

Edit: Tumblr nuked the quality so you have to click on it for better quality 😭

[feminineforms]

"Nydia, the Blind Girl of Pompeii" (1860) by Randolph Rogers

Among the most memorable characters in Edward Bulwer-Lytton's hugely popular novel The Last Days of Pompeii (1834) is Nydia, a blind flower seller. In love with the noble-born Glaucus, who is engaged to Ione, Nydia knows the hopelessness of her position and endures her suffering with quiet courage. On the fateful day in A.D. 79 when Vesuvius erupts and buries Pompeii, Nydia attempts to lead Glaucus and Ione to safety through the darkness caused by the falling ash. In the crush of the fleeing crowds, the three become separated, and Nydia desperately seeks to find the others. As Bulwer-Lytton wrote: . . . it occurred to Nydia, that as it had been resolved to seek the seashore for escape, her most probable chance of rejoining her companions would be to persevere in that direction. Guiding her steps, then, by the staff which she always carried, she continued, with incredible dexterity, to avoid the masses that encumbered her path—to thread the streets—and unerringly (so blessed was that accustomed darkness, so afflicting in ordinary life) to take the nearest direction to the sea-side. Poor girl! her courage was beautiful to behold! and Fate seemed to favor one so helpless. The boiling torrents touched her not . . . but spared that frail form . . . Weak, exposed, yet fearless, supported by but one wish, she was the very emblem of Psyche in her wanderings . . . of Hope, walking through the Valley of the Shadow; a very emblem of the Soul itself—alone but comforted, amid the dangers and snares of life. [1] Nydia ultimately does rejoin and save Glaucus and Ione, but realizing that her love will never be fulfilled, drowns herself in despair. Randolph Rogers was one of the most gifted of the many American sculptors who lived and worked in Italy during the nineteenth century. Like other neoclassical sculptors of the day, he sought subjects that would allow him to demonstrate an accomplished handling of the human form and technical understanding of the medium of marble, but which would also convey a strong moral message. Just a decade earlier Hiram Powers had gained fame and fortune with his Greek Slave (1843), skillfully blending the allure of a full-length female nude with a narrative text that stressed her chasteness and piety. With Nydia, Rogers followed a similar path, for although she is clothed, those familiar with the story would have delighted in the mix of sensual longing and doomed love. Furthermore, unlike Powers' Greek Slave, who stands motionless, Rogers' Nydia is dramatically animated. She is shown hurrying, hand to ear, listening for directional clues, as her drapery streams around her body and flutters behind her. In a particularly beautiful passage, Rogers arranged the clothing folded around her staff and cascading down below it. At her side a fallen Corinthian capital reminds the viewer of the death and destruction that surrounds her as she flees. Nydia was a great success for Rogers, achieving a popularity rivaled by few contemporary sculptures and ultimately earning him more than $70,000. [2] In accord with accepted practice, Rogers first completed a full-size plaster model, which then served as the basis for marble versions that were cut and finely polished by skilled Italian masons. Smaller examples, measuring only 36 inches, and much less costly, were also made in substantial numbers, spreading the sculpture's fame far and wide. Full-scale versions such as this are far less common, and rank with Powers' Greek Slave and William Wetmore Story's Cleopatra as key works of American nineteenth-century sculpture.

[artthatgivesmefeelings]

Randolph Rogers (American, 1825-1892) Nydia, The Blind Flower Girl of Pompeii, modeled 1855–56, carved 1858 Art Institute Chicago