NINPHS. — In Greek religion, divine maidens (νύμφαι), daughters of Zeus, who animate with their invisible presence every aspect and manifestation of nature. They dwell in mountains, meadows, trees, woods, and waters, and are accordingly distinguished into: Oreads, Naiads, Dryads and Hamadryads, Naiads and Iads. A separate group is formed by the nymphs of the sea: Nereids and Oceanids.
The nymphs also derive their names from the regions where they were venerated or from local cults, such as the Idaean nymphs from Crete, the Pelidai from Mount Pelion, the Nysaean companions of Dionysus’ childhood, etc. Protectresses of thermal springs (Pindar, Olymp., XII, 19; Diodorus, V, 3, 4) and as such venerated in Campania, especially at Puteoli and Ischia (Nitrides or Nitrodiae). The nymphs also choose caves as their abode, a belief dating back to archaic cults and persisting into Christian times; in various regions of Greece grottoes dedicated to them arose, of which a notable example remains that of Vari, on the slopes of Hymettus (K. Weller, in American Journal of Archaeology, 7 [1903], pp. 263 ff.). They form part of the retinue of major deities such as Artemis, Dionysus, and Poseidon; they are often associated with the cult of minor rustic divinities, in conflict with the snares of satyrs, and not infrequently seek the love of mortals, as in the case of Hylas and Daphnis.
In Italic and Roman religion, under the name of Lymphae, Lumpae, Lumphiae (Diumpais in the Oscan inscription of Agnone), they inhabit and protect watercourses. In later times, special buildings of a semi-sacred, semi-profane character, called “nymphaea,” were dedicated to them; the infusion of the nymphs was believed to induce prophetic ecstasy, and those seized by it were called νυμφάληπτοι (Lat. lymphati or lymphatici). They also favored nuptial rites, and in funerary inscriptions dedicated to children they were entrusted with the care of their souls (CIG 997; 6201; 6293). Ancient literature soon appropriated their figures, surrounding them with an aura of gentleness and graceful epithets. They appear kindly toward mortals and compassionate helpers in their misfortunes (cf. the chorus of Oceanids in Aeschylus’ Prometheus). Art depicts them in bas-reliefs, barefoot, hair flying in the wind, faces smiling, their garments agitated by the movement of the dance (v. the description of the nymphs’ grotto in Longus, I-IV).