This painting, attributed to an anonymous artist from the workshop of Filippino Lippi (c. 1457-1504), depicts two Muses—patron goddesses of arts, sciences and creativity—from ancient Greek and Roman mythology. The Minneapolis Institute of Art, which houses the artwork, identifies the Muse on the right as likely being Melpomene, whereas the institution more tentatively proposes that the other Muse may be Thalia or Erato. Their names, and those of their godly sisters, are believed to have first been written down by the Greek poet, Hesiod (c. 8th century BCE), who stated, “the Muses sang, who dwell in Olympus, the nine daughters born of great Zeus, Clio and Euterpe and Thaleia and Melpomene, Terpsichore and Erato and Polyhymnia and Urania, and Calliope, who is chief among them all” (Hesiod, Theogony, approximately lines 76-79). Despite the 8th century BCE (or earlier) coinage of the names, it took longer for each Muse to gain a specific area of expertise. This evolution was described by the scholar, Diodorus Siculus (c. 1st century BCE), who wrote, “To each of the Muses men assign her special aptitude for one of the branches of the liberal arts, such as poetry, song, pantomimic dancing, the round dance with music, the study of the stars, and the other liberal arts” (Library of History, 4.7). Melpomene was the Muse of tragic art, whereas Thalia was the Muse of comedy, and Erato was the Muse of lyric and erotic poetry, and also mimes. Calliope, meanwhile, was the Muse of epic poetry; Terpsichore was patron of song and dance; Polyhymnia of hymns and works of praise; Clio of history; Urania of astronomy, and Euterpe of flute-playing.
Refocusing on the painting and its use of symbolism, the masks of comedy and tragedy are key identifying features included in the artwork. The Muse on the right can be seen carrying the frowning mask of tragedy in her hand, which is evidence enough for many observers to label her as Melpomene without any further inquiry. Yet, the Muse on the left is trickier because the mask of comedy is depicted under her foot—which is not a common pose for Thalia, the Muse of comedy. Given the problems with the comedy mask’s location, significance is instead placed on the mystery Muse’s positioning of her hand on the lyre seen in the center of the painting. Unfortunately, the lyre does not single out any one Muse. Calliope, Terpsichore and Erato could all be depicted with lyres in ancient art. Erato, however, arguably had the closest association with the instrument. Additionally, given Erato’s curious connection to the theatrical practice of mimicry, it would make sense that, after Thalia, she could be the next most likely Muse to be paired with Melpomene, the Muse of tragedy.
Written by C. Keith Hansley
Sources:
- Theogony and Works and Days by Hesiod, translated by M. L. West. Oxford: Oxford University Press, 1988, 1999, 2008.
- The Library of History, by Diodorus Siculus, edited by Giles Laurén (Sophron Editor, 2014).
- Metamorphoses by Ovid. Translated by David Raeburn. Penguin Classics; Revised Edition, 2004.
- The Oxford Dictionary of Classical Myth and Religion, edited by Simon Price and Emily Kearns. New York: Oxford University Press, 2003.
- https://www.theoi.com/Ouranios/MousaMelpomene.html
- https://www.theoi.com/Ouranios/MousaErato.html
- https://www.theoi.com/Ouranios/MousaThaleia.html
- https://collections.artsmia.org/art/1632/two-muses-workshop-of-filippino-lippi
