1. Grabado de Guillaume de Signerre para el frontispicio de Practica Musicae, de F. Gafori (Gafurius), 1496. Escala de tonos y modos musicales, planetas, Musas, Gracias, etc… http://simbolismoyalquimia.com/utopias/artes_renacimiento/gafori_escala-musas.htm
2. Tres musas en un bajorrelieve de Mantinea, Atribuido a Praxiteles, siglo IV a.C., Musée archéologique national, Athènes. https://es.wikipedia.org/wiki/Musa#/media/File:NAMA_3_Muses.jpg
USUARIORAY-06, 27/11/15,
Bas-relief d'un piédestal, en marbre, provenant de Mantinée en Arcadie. Il s'agissait du décor de la base d'un groupe statuaire de la trinité délienne Léto, Apollon et Artémis, ou d'un autel. La plaque présente trois des neuf muses tenant des instruments de musique et des rouleaux de parchemins. Les reliefs sont de style praxitélien et sont probablement l'œuvre d'un disciple du grand sculpteur. Milieu du IVe s. av. J.-C. Musée archéologique national, Athènes.
3. El Parnaso (Le Parnasse dit aussi Apollon et les muses), Nicolas Poussin, (1631-33), Oléo sobre tela, Clasiscismo, Museo del Prado, España. http://www.wga.hu/html_m/p/poussin/2a/21parnas.html
11. Allegory of Music or Erato, Filippino Lippi, Tempera on panel, 1500, Staatliche Museen, Berlin http://www.wga.hu/html_m/l/lippi/flippino/2/7erato.html
14. Helicon or Minerva’s visit to the Muses, Joos de Momper, 17th Century, Oil on Panel, Koninklijk Museum voor Schone Kunsten, Antwerp http://www.wga.hu/html_m/m/momper/josse2/helicon.html
URAY13, 11/27/15,
This painting is the result of a co-operation of three artists, Joos de Momper (landscape), Hendrik van Balen (figures) and Jan 'Velvet' Brueghel (flowers). It is an attractive work with a harmonious landscape. The foreground and background merge gradually with one another, forbidding rocks give way to a grand valley, in which the mythological scene forms a balanced component.Ovid describes (Met. 5:250-268) how Minerva visited the Muses on Mt Helicon, their home, to listen to their song and story and to see the sacred spring, the Hippocrene, which flowed from a rock after it had been struck by the hoof of the winged horse, Pegasus. The scene is a wooded mountain-side where the company of Muses are playing their instruments. Pegasus is seen in the background leaping from a high rock from which water gushes. The association of Minerva and the Muses was in line with the tradition that made her patroness of the arts.
15. Apollo and the Muses on Mount Helion (Parnassus), Claude Lorrain, 1680, Oil on canvas, Museum of Fine Arts, Boston. http://www.wga.hu/html_m/c/claude/3/10muses.html
URAY13, 11/27/15,
In the last decade of his life, Claude concentrated on a limited number of themes, many of them from Virgil's Aeneid. The Apollo and the Muses on Mount Helion (Parnassus) of 1680 in the Boston Museum of Fine Arts is a good example of his use of idyllic mythology during his last years. His technique remained as refined as in his earlier years, but his compositions often lost the earlier sense of perfect balance in the trees of different sizes and densities on each side of the picture. Sometimes, as in the Boston picture, the whole appears rather awkward, especially in reproductions which tend to emphasize the patterns made by the landscape against the sky. In front of the original, however, these awkwardnesses disappear because one becomes aware that the artist is concentrating entirely on atmosphere, to the exclusion of everything else.The mythological story depicted on the picture is the following.Apollo, as the God of Poetry and Music (in this role named Apollo Musagetes), dwells on Mount Parnassus, accompanied by the muses, the goddesses of poetic inspiration and the creative arts in general. The running brook is the Castilian spring, which, like another, the Pierian, was a source of inspiration and learning where we are advised to drink deep.The painting was executed for the Principe Colonna, and was in the family collection until at least 1783. It is included in Liber Veritatis (LV 193).
16. Apollo and the Muses, Martial Courtois, Limoges enamel, 16th Century, Wallace Collection, London http://www.wga.hu/html_m/c/courtoim/apollo.html
URAY13, 11/27/15,
Martial Courtois was an enameller in Limoges.The design is copied from an engraving of a design by Luca Penni, itself deriving from the painting by Raphael in the Vatican.
17. The muse Thalia, Michele Pannonio, 1456-57, Tempera and oil on poplar, Szépmüvészeti Múzeum, Budapest http://www.wga.hu/html_m/m/michele/pannonio/ceres.html
URAY13, 11/27/15,
This panel belonged to the cycle depicting the Muses which once adorned the studiolo of the Belfiore Palace in Ferrara. The series was ordered by Lionello d'Este, but brought to completion by his brother Borso d'Este. The decorative scheme included a similar composition depicting an enthroned allegorical figure by Cosmč Tura, now in the National Gallery in London.The image depicts Thalia not as the patron of comedy but as the muse of growing plants, in reference to the efforts of Duke Borso in the areas of soil improvement and agriculture.This is the only known and authentic work of a master who came from Pannonia, the Western part of Hungary. From 1415 onward he seems to have worked at Ferrara and is mentioned in the records as Michele Ongaro, one of the court painters of Borso d'Este, Duke of Ferrara. The general style of his work, as well as its strongly graphic character and rich detail, indicate a strong link with the School of Ferrara. The structure and the delicate, enamal-like handling reveal that the painter was an artist of no mean talent.
18. Euterpe, the Muse of Music and Lyric Poetry, Simon Vouet, 1630, oil on oak panel, Private Collection http://www.wga.hu/html_m/v/vouet/2/05muse.html
21. Minerva visits the Muses on Mount Helicon, Mirror, Suzanne de Count, early 17th century, Painted enamel, partly gilt and partly silvered: on cooper; silver; mirror glass, Robert Lehman Collection, The Metropolitan Museum of Arts (MET) http://www.metmuseum.org/collection/the-collection-online/search/461205
22. Muse with barbiton, Attribued to Asteas, Paestan Red Figure, Lekanis lid, ca. 360-340 BC, Musée du Louvre, Paris, France http://www.theoi.com/Gallery/K20.1C.html
24. Landscape with the Contest between the Muses and the Pierides, Luvas van Uden, 17th century, oil on canvas, Private Collection. http://www.wga.hu/html_m/u/uden/landmuse.html
URAY13, 11/27/15,
he literary source for the contest between the Muses and the Pierides was Ovid's Metamorphoses, V, 294-678. The nine daughters of Pierus, King of Emathia, overconfident of their musical talent, challenged the Muses to a singing contest. After all had performed, the adjudicating nymphs declared the Muses the winners. The Pierides unwisely clamoured against their decision, and as punishment for their presumption and rudeness were transformed into magpies.
25. Marble sarcophagus with the Contest between the Muses and the Sirens, Late imperial, Gallienic, 3rd quarter of 3rd
century AD, Roger FUND, The Metropolitan Museum of Arts (MET) http://www.metmuseum.org/collection/the-collection-online/search/248205
26. Hercules chasing Avarice from the Temple of the Muses, Ugo da Capri, ca. 1510-30, Chiaroscuro woodcut from two blocks, Roger FUND, The Metropolitan Museum of Arts (MET) http://www.metmuseum.org/collection/the-collection-