WeRead Powered by ReaderPub
Mythology in Marble cover

Mythology in Marble

Chapter 51: ART.
By Louie M. Bell
Open in WeRead

Explore more books like this:

ArtEssays, Letters & SpeechesMythology, Legends & Folklore

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 Three Fates
“The Weird Sisters.”

“Twist ye, twine ye! even so,
Mingle shades of joy and woe,
Hope, and fear, and peace, and strife,
In the thread of human life.”
—Scott.

STORY.
THE DAUGHTERS OF NIGHT.

“In their dark House of Cloud
The three weird sisters toil till time be sped:
One unwinds life; one ever weaves the shroud;
One waits to cut the thread.”
—Thomas Bailey Aldrich.

The Fates were three sisters, daughters of Night, and were named Clotho (Spinner), Lachesis (Alotter), and Atropos (Unchangeable).

They exercised a great influence over human life from the cradle to the grave. They spent their time spinning a thread of gold, silver or wool—now tightening, now slackening, and at last cutting it off. This occupation was so arranged that Clotho put the thread around the spindle, Lachesis spun it, and Atropos, the eldest, cut it off—

“Comes the blind Fury with the abhorred shears
And slits the thin spun life.”
—Milton.

Catullus thus gives a description of their spinning—

“Still as they span, as they span, was the tooth kept nipping and smoothing,
And to the withered lips clung morsels of wool as they smoothed it—
Filaments erstwhile rough that stood from the twist of the surface.
Close at their feet meantime, were woven baskets of wicker,
Guarding the soft white balls of the wool resplendent within them.
Thus then, parting the strands, these three with resonant voices
Uttered in chant divine, predestined sooth of the future—
Prophecy neither in time, nor yet in eternity shaken.”

INTERPRETATION.

The three Fates are the embodiment of a doctrine of Necessity which has all things within its inexorable grasp. They represent the birth, life and death of every man—Clotho the birth, as she holds unwound the thread on the distaff, Lachesis the life, with the thread just passing through her fingers, Atropos the death, as she waits, holding the shears to cut the thread.

ART.

These figures in pentelic marble were taken by the agents of Lord Elgin from the east pediment of the Parthenon in 1801. They were bought by the English Government and are now in the British Museum, London. There are no restorations.

The “blind decrees of Fate” recline negligently on rocky ground. Two of them seem almost as if about to rise, the third is leaning on the bosom of her companion. Their forms are large and robust, but at the same time supple and graceful and expressing perfect maturity of womanhood. The flowing folds of their garments reveal as well as conceal the charming outlines of their limbs. “The dress is the echo of the form.”