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Mythology in Marble

Chapter 138: INTERPRETATION.
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About This Book

A concise guide that pairs brief retellings of classical myths with descriptive analyses of the marble sculptures inspired by them, offering readers accessible explanations of how narrative themes inform pose, expression, and iconography. Each entry includes notes on artistic features and provenance alongside poetic quotations and illustrations to reinforce popular interpretations. Practical tools such as a table of Greek and Roman deity equivalents and a suggested reading list are appended to aid further study. The overall aim is to equip museumgoers and general readers with the background needed to appreciate mythological sculpture without requiring specialized art-historical training.

The Graces.
“Goddesses of Gracefulness.”

The three on men all gracious gifts bestow
Which deck the body or adorn the mind,
To make them lovely or well favored show;
As comely carriage, entertainment kind,
Sweet semblance, friendly offices that bind
And all the compliments of courtesy;
They teach us how to each degree and kind
We should ourselves demean, to low, to high,
To friends, to foes; which skill men call Civility.
Spenser.

STORY.
THREE CHARITIES.

Three sisters, Euphrosyne, Aglaia, and Thalia, in fair Venus’ train with the “rosy bosomed Hours,” were goddesses who enhanced the enjoyments of life by refinement and gentleness. They were young and modest maidens always dancing, singing or running, or decking themselves with flowers. Their home was on Mt. Olympus where they often danced before the deities. The Greeks believed that labor without gracefulness was in vain, and so Minerva, who presided over the serious business of life, often called in the aid of the Graces. They also assisted Mercury in his capacity of god of oratory.

INTERPRETATION.

The manifold beauty which the works of nature, especially in spring time, display would seem to have given rise in early times to a belief in the existence of certain goddesses at first simply as guardians of the vernal sweetness and beauty of nature, and afterward as the friends and protectors of everything graceful and beautiful. Purity and happiness in life and gratitude among men were associated with them. The name “Gratiæ,” or “Charites,” signifies the exercise of kind affection, or the charities of life.

ART.

These figures of the Graces by Canova, in the Borghese Gallery, Rome, are classic in outline and refined in treatment. They show not a trace of sensuality. Many artists have delighted in reproducing this type of the Graces.