The mythology of Greece and Rome, with special reference to its use in art

by Otto Seemann

Fig. 26—Melpomene. Vatican.

2. The Muses.—Pindar gives the following account of the origin of the Muses. After the defeat of the Titans, the celestials besought Zeus to create some beings who might perpetuate in song the mighty deeds of the gods. In answer to this prayer, Zeus begot with Mnemosyne (Memory) the nine Muses. They sing of the present, the past, and the future, while Apollo’s lute accompanies their sweet strains, which gladden the hearts of the gods as they sit assembled in the lofty palace of Father Zeus, in Olympus. Looked at in connection with nature, there is little doubt but that the Muses were originally nymphs of the fountains. The veneration of the Muses first arose in Pieria, a district on the eastern declivity of Mount Olympus in Thessaly, from whose steep and rocky heights a number of sweet rippling brooks descend to the plains. The perception of this natural music led at once to a belief in the existence of such song-loving goddesses. Their seat was subsequently transferred from the declivities of Olympus to Mount Helicon in Bœotia, or to Mount Parnassus, at the foot of which the Castalian fountain, which was sacred to them, had its source. Originally the Muses were only goddesses of song, though they are sometimes represented with instruments on vases. In early times, too, they only appear as a chorus or company, but at a later period separate functions were assigned to each, as presiding over this or that branch of art. Their names were Clio, Melpomene, Terpsichore, Polyhymnia, Thalia, Urania, Euterpe, Erato, and Calliope.

Fig. 27.—Euterpe. Vatican.

According to the art-distribution made, probably, at the time of the Alexandrine school, Calliope represents epic poetry and science generally, her attributes being a roll of parchment and a pen. Clio is the muse of history, and is likewise characterised by a roll and pen, so that it is sometimes difficult to distinguish her from Calliope. Euterpe represents lyric poetry, and is distinguished by her double flute. Melpomene, the muse of tragedy, generally appears with a tragic mask, a club or sword, and a garland of vine leaves. Terpsichore is the muse of dancing, and has a lyre and plectrum. To Erato is assigned erotic poetry, together with geometry and the mimic art; she generally bears a large stringed instrument. Thalia, the muse of comedy, is distinguished by a comic mask, an ivy garland, and a crook. Polyhymnia presides over the graver chant of religious service; she may be recognised by her dress, wrapped closely round her, and her grave, thoughtful countenance, but is without attribute of any kind. Lastly, Urania, the muse of astronomy, holds in one hand a celestial globe, and in the other a small wand.

Several European museums possess ancient groups of the Muses, among which, perhaps, the finest is that preserved in the Vatican. From this group are copied our engravings of Melpomene and Euterpe (Figs. 26 and 27). The original of Polyhymnia (Fig. 25) is in the Berlin Museum.

The Romans venerated a number of fountain-nymphs of song and prophecy under the name of Camenæ, among whom the Egeria of the history of Numa is well known. The Roman writers seem to have identified these goddesses with the Muses at pleasure.

3. The Charites (Gratiæ).—The Charites generally appear in the train of the goddess of love, whom it was their duty to clothe and adorn. They are often found, however, in attendance on other gods, since all that is charming and graceful, either to the senses or the intellect, was supposed to proceed from them.

Their names are Aglaïa, Euphrosyne, and Thalia. They were commonly represented as the daughters of Zeus and Eurynome, the Oceanid. Later writers, however, make them the daughters of Dionysus and Aphrodite. They were venerated as the source of all that makes human life more beautiful and pleasant, without whom there could be no real enjoyment of life. Thus, even the gods would not sit down to banquets without the Charites; and whenever men came together to feast, they first called on them and offered them the first bowl. Music, eloquence, art, and poetry received the higher consecration only at their hands; whence Pindar terms his songs a gift from them. Wisdom, bravery, kindly benevolence, and gratitude—in fine, all those qualities which become men most, and make them agreeable in the eyes of their fellow-men, were supposed to proceed from the Charites.