Actas del Simposio, Museo Nacional del Prado, Madrid, 2001, pp. 178.Įl Coleccionismo de Escultura Clasica en España. Museo Nacional del Prado, Escultura clásica : guía, Fundación Marcelino Botín Museo del Prado, Madrid, 1999, pp. 65.Įlvira Barba, Miguel Ángel, El Cuaderno de Ajello y las esculturas del Museo del Prado, Museo del Prado, Madrid, 1998, pp. 212.Įlvira Barba, Miguel Angel, Cristina de Suecia en el Museo del Prado, Museo del Prado, Madrid, 1997, pp. Walker, Stefanie, The sculpture Gallery of the prince Livio Odescalchi, Journal of the history of collections, 6, 2, 1994, pp. Palma Venetucci, Beatrice, Pirro Ligorio e Le Erme Tiburtine, Leonardo de Luca, Roma, 1992, pp. Museo Nacional del Prado, Catálogo de la Escultura, Patronato Nacional de Museos, Madrid, 1981. Museo Nacional del Prado, Catálogo de la Escultura, por A. Museo Nacional del Prado, Catálogo de las esculturas, Museo del Prado, Madrid, 1949, pp. Tormo y Monzó, Elías, Encomio de las musas de la reina Cristina de Suecia en el Museo del Prado, Boletín de la Sociedad Española de Excursiones, 44, 1936, pp. Ricard, Robert, Marbres Antiques du Musee du Prado a Madrid, Feret & Fils, Burdeos, 1923, pp. Museo Nacional de Pintura y Escultura., Imprenta y fototipia J. 65.īarrón, Eduardo, Catálogo de la escultura. Hubner, Emil, Die Antiken Bildwerke in Madrid, Druck Und Verlag Von Georg Reimer, Berlín, 1862, pp. They were worshipped at the Museion of the famous library of Alexandria, from where the modern term “Museum” originates. It was only during the first century BC that each of the Muses began to be related to a specific art. The Muses were the daughters of Zeus and Mnemosyne and originally used to sing together with beautiful voices to the Gods in Olympus or provide divine inspiration to poets and the sibyls. They are now on display with their Baroque period names. Due to their lack of attributes, the original names of the other Muses cannot be identified. The muse who bears the portrait of Queen Cristina was converted into Melpomene although she was, in fact, Thalia, the muse of comedy, as is indicated by the mask of comedy which she holds Calliope was restored for no special reason as Urania. Only Terpsichore was correctly identified. The Muses were restored by Ercole Ferrata (1610-1686) who gave them new attributes and heads in accordance with the identification they were given at the time. They were later acquired by Philip V and reached the Palace of La Granja de San Ildefonso ( Segovia) in 1725. In about 1670, they were acquired by Queen Cristina of Sweden (1626-1689) and exhibited in her palace in Rome. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. They were made at the end of the reign of Emperor Hadrian (c. This marble statue and other seven more ( E000068, E000041, E000062, E000061, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon.
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