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

by Otto Seemann

The Graces of the Romans were simply transferred from the mythology of the Greeks, and have, therefore, the same meaning as the Charites.

Art represented the Charites or Graces as blooming maidens, of slender, comely form, characterised by an expression of joyous innocence. In their hands they often hold flowers, either roses or myrtles. They are less often distinguished by definite attributes than by a mutual intertwining of arms. In earlier Greek art they always appear fully clothed; but gradually their clothing became less and less, until at length, in the age of Scopas and Praxiteles, when nude figures had become common, it entirely disappeared. There are, however, few ancient statues of the Charites in existence.

4. Themis and the Horæ (Seasons).—In intimate connection with the Charites we find the Horæ, the daughters of Zeus and Themis. They were generally represented as three in number—Eunomia, Dice, and Irene. They represent the regular march of nature in the changes of the seasons, and Themis, who personifies the eternal laws of nature, and as the daughter of Uranus and Gæa ranks among the most ancient deities, is consequently their mother. Themis is the representative of the reign of law among gods and men; at Zeus’ command she calls together the assemblies of the gods. She also occupies a similar position on earth, as presiding over national assemblies and the laws of hospitality. Her daughters, the Horæ, appear in a similar though in a subordinate and attendant character. In Homer they figure as the servants of Zeus, who watch the gates of heaven, now closing them with thick clouds, now clearing the clouds away. They also appear as the servants and attendants of other divinities, such as Hera, Aphrodite, Apollo, and the Muses. Like their mother, they preside over all law and order in human affairs; and under their protection thrives all that is noble and beautiful and good.

We know but little concerning the worship of the Horæ among the Greeks. The Athenians celebrated a special festival in their honour, but they recognised only two—Thallo, the season of blossom, and Carpo, the season of the ripened fruit. The adoption of four Horæ, corresponding to the four seasons of the year, appears to have arisen at a later period.

Fig. 28.—The Horæ. Relief from the Villa Albani.

In plastic art Themis is generally represented with a balance in one hand and a palm branch in the other. The Horæ generally appear as lovely girls dancing with their garments tucked up, and adorned with flowers, fruit, and garlands. Subsequently they were distinguished by various attributes, typical of the different seasons. Such is the case in the engraving (Fig. 28), after a relief in the Villa Albani.

5. Nice (Victoria).—Nice is nothing but a personification of the irresistible and invincible power exercised by the god of heaven by means of his lightning. She also appears in the company of Pallas Athene, who was herself honoured by the Athenians as the goddess of victory. Victory does not seem to have had many separate temples or festivals, since she generally appears only in attendance on her superior deities.

Fig. 29.—Victoria. United Collections in Munich.