"The presence and the meaning of the nymph in late medieval and early modern art goes beyond the fashionable adoption of an antique motif. It was Aby Warburg ... who developed a passionate interest in the divine girl ... who wandered near bucolic springs and grottoes....It is not the nymph's iconographic Nachleben that interests me here, but rather her pictorial identity in early humanism. This aspect opens up a discourse on movement and the wind in the visual medium, on pictorial 'disruptors', on the impact of the nymph on the viewer, and on (self-)reflection in the fine arts, particularly painting."--P. [3].