![]() Her most notable signature is the comic mask she carries around with her. ![]() Many sculptures of the goddess will show her holding a shepherd's staff. Thalia is often portrayed as a giggling, uplifting woman with a slightly jeering expression, and is also frequently portrayed as wearing a crown made of ivy and boots on her feet. Thalia inspires comedy, idyllic poetry and conjures the natural world. Thalia is one of the two muses of the theatre. Thalia, the eighth born of her siblings, is known as “the joyous and flourishing” muse. Thalia and the Muses were crucial to the artistic development of ancient Greece. The nymphs then presented themselves as whispers in the ears of those that called upon them.Īn ancient writer Hesiod summoned them across the world as the Nine Muses, their names being: Thalia, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Calliope, Terpsichore and Urania. The Muses began their lives as nymphs, an extensive class of female divinities. They are the daughters of Zeus and Mnemosine who are the amorous counterparts of Apollo's posse of gods. The Muses are the foundation of inspiration, arts and wisdom. Thalia is a part of the Nine Muses in Greek mythology. The Greek word thalia is an adjective applied to banquets, meaning rich, plentiful, luxuriant and abundant. In Greek mythology, Thalia or Thaleia ( / ˈ θ eɪ l i ə/ or / θ ə ˈ l aɪ ə/ Ancient Greek: Θάλεια, romanized: Tháleia, lit.'the joyous, the abundance') was one of the three Charites or Graces, along with her sisters Aglaea and Euphrosyne. JSTOR ( May 2023) ( Learn how and when to remove this template message).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. 54* (Thalia? Calliope?).This article needs additional citations for verification. Lexicon Iconographicum Mythologiae Classicae, VII, 1019 s.v. Vaughan, ‘Albacini and his English Patrons’, Journal of the History of Collections 3/2 (1991), 183-197, 188 Cook, The Townley Marbles (London, 1985), 22-3, fig. Smith, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Vol. A Guide to the Graeco-Roman Sculptures in the Department of Greek and Roman Antiquities, 2 vols. Ancient Marbles of the British Museum, III, pl. Synopsis of the Contents of the British Museum (1808), IV.5 Cook, `The Townley Marbles in Westminster and Bloomsbury’, The British Museum Yearbook, 2 (1977), 42-43, figs. Cook, `The Townley Marbles in Westminster and Bloomsbury’, The British Museum Yearbook, 2 (1977), 46, figs. On 4 October, Hamilton sent a Bill of Lading for Thalia, priced at £300 (TY 7/617). On 29 August, however, Hamilton acknowledged a letter from Townley dated 8 July, in which he announced his desire to purchase the ‘Pastoral Muse’ (TY7/615). On 27 July, Hamilton wrote that he would like Townley to have the Thalia (TY 7/613), but Townley seems to have declined it in a letter (no longer extant) of 9 July or 2 August, both of which Hamilton acknowledged on 21 August (TY 7/614). A month later, he wrote that he had restored the pedum in the right hand, adding ‘the head is one of those made to let into the statue, and the statue made to receive a head of that sort, the head fits it exactly of the same marble’, and the caveat ‘I don’t suppose you will be content with any statue where the subject is not decided by its attributes’ (TY 7/612). Hamilton first mentioned the Thalia in a list of concealed statues that were frankly described as ‘contraband’ (letter dated 12 June 1776, TY 7/611). 21v), but also recorded by Townley at £400 (TY 10/6-7), perhaps having in mind Hamilton’s original proposal on 12 July 1776 (TY 7/612) and his suggestion of £1000 jointly for this statue and the Venus (1805,0703.15), which eventually cost £600 (TY 7/616, 30 August 1776). This statue was found at Ostia 1775 near that of Libera, …. Townley's description ‘A Statue of Thaleia the pastoral muse, richly draped with the Tunic and an outward loose garment, of so fine a texture that the forms of the body and limbs tho covered, are very apparent the head is crowned with a wreath of Ivy, and in the right hand is the pedum or pastoral crook. ![]() Part of the surface of the drapery was reworked in the 18th century when the arm was restored. The head is ancient, but does not belong with the torso.
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