From the Library: Nine Books for the Nine Muses
Upon arrival at the Warburg Institute, visitors are greeted by a Coade Stone replica frieze depicting the Nine Muses. Recently restored as part of the Warburg Renaissance project, the frieze has returned and takes pride of place in our newly refurbished entrance foyer.
Learn more about the frieze's fascinating history and restoration in this blog by historian and Warburg Library Scanner Operator, Mark Amies.
In Greek mythology, the Muses were the daughters of Zeus, king of the gods, and Mnemosyne, the goddess of memory. Revered ever since Antiquity as the divine sources of artistic inspiration, they are a fitting symbol for an institute dedicated to the continuity of classical tradition in all its forms.
Let the Muses inspire you too through this curated selection of books, each relating to their standard areas of patronage.
Calliope – Muse of epic poetry
B. R. Foster (transl. and ed.), The Epic of Gilgamesh. A New Translation, Analogues, Criticism, and Response, New York 2019. GNH 180
The "Epic of Gilgamesh" is the oldest known epic poem, dating to around the 2nd millennium BC. Written in Akkadian, a language that was spoken in regions of ancient Mesopotamia, the epic is a cornerstone of the ancient Babylonian literary tradition. First preserved on clay tablets bearing cuneiform writing, the epic was lost for several thousand years until it was rediscovered in fragmentary form in the 19th century at Nineveh. The 12 rediscovered tablets have formed the principal basis for subsequent editions of the text, like this one, which can be found at classmark GNH 180.
The story follows the title character, Gilgamesh, King of Uruk, who is part human and part divine. Initially arrogant and oppressive, Gilgamesh befriends Enkidu, a wild man created by the gods to challenge him. After many heroic exploits, Enkidu's death profoundly affects Gilgamesh, prompting him to seek immortality. Although he is shown a plant that can make him young once more, this is ultimately snatched from his grasp. The epic emphasizes human limitations, the importance of friendship, and the enduring nature of legacy over the pursuit of eternal life.
Clio – Muse of history
M. Marini (ed.), Fabulae pictae. Miti e storie nelle maioliche del Rinascimento, Florence 2012. CGB 400
Maiolica, a type of Italian tin-glazed pottery, was a popular ceramic used for a variety of practical and decorative objects in the Renaissance and early modern periods. Different types of decorative styles were popular. By the 16th century, the istoriato style was in vogue, featuring mythological and historical subjects. This catalogue examines the iconography and narrative content of these ceramic works, highlighting their role in visual storytelling during the Renaissance. It offers insights into the techniques, artistic influences, and cultural significance of these ceramics, revealing how maiolica served as a medium for both artistic expression and the transmission of classical and contemporary stories in Renaissance Italy. Learn more at classmark CGB 400.
Erato – Muse of love poetry
Dante Alighieri, Canzoni d'amore e madrigali di Dante Alighieri secondo il rarissimo esemplare della edizione del 1518 conservato nella R. Biblioteca Nazionale di Firenze, Florence 1896. ENH 158
Dante, the Florentine poet active in the late 13th and early 14th centuries, is best known for his magnum opus, The Divine Comedy. Dante’s dedication to his ideal woman, Beatrice, is evident in this work. Dante’s thoughts also turned to love in other poems. Find a collection of poems that showcases Dante Alighieri's lyrical side at classmark ENH 158. These focus primarily on themes of love and devotion in two different formats: canzoni (songs or lyrical poems) and madrigali (shorter poetic forms). Courtly love, the same type of chivalrous, idealising love that Dante displayed in his Divine Comedy, is the main theme of the canzoni, while the madrigali feature a more playful tone.
Euterpe – Muse of music
E. M. Duval, Concordes et discordes des muses. Poésie, musique et renaissance des genres lyriques en France, 1350-1650, Geneva 2023. EBC 200
Duval’s work explores the intricate relationship between poetry, music, and the revival of lyrical genres in France from the late medieval period through the early modern era. The period spanning from 1350 to 1650 was marked by significant cultural and artistic developments, particularly in how poetry and music intertwined to shape the lyrical tradition. A central theme of the book is, therefore, the symbiotic relationship between poetry and music. It examines how poets and composers collaborated to create new forms of lyrical expression, leading to a renaissance of genres that had declined in the earlier centuries. Delving into theoretical debates about the nature of lyricism, the role of the muses as symbols of artistic inspiration, and the concept of concord and discord in artistic creation, the book explores how harmony and dissonance, both literal and metaphorical, played a role in shaping the artistic output of the period. Find it at classmark EBC 200.
Melpomene – Muse of tragedy
F. W. Nietzsche, The Birth of Tragedy, or, Hellenism and Pessimism, transl. and ed. W. A. Haussmann, Edinburgh 1909. AMH 700
First written in 1872, then reissued and expanded in 1886, Nietzsche’s The Birth of Tragedy explores typically Nietzschean themes of nihilism and pessimism through the lens of ancient Greek tragedy. Nietzsche interpreted tragedy as a dichotomy between disordered and unstructured (Dionysian) and ordered and structured (Apollonian) forms. This dichotomy extended to life itself, which Nietzsche viewed as an eternal struggle between these two forms, never to be fully resolved. Thus, for Nietzsche, ancient Greek tragedy embodied and reflected the full human experience. Read his full discussion at classmark AMH 700.
Polyhymnia – Muse of hymns and sacred poetry
Analecta hymnica medii aevi, 55 vols., New York 1961-1978. NAH 502.A51.
The Analecta Hymnica Medii Aevi is an extensive, multi-volume collection of medieval Latin liturgical music, compiled between 1886 and 1922. Spanning 55 volumes, it is a critical resource for the study of Christian liturgical traditions from the early Middle Ages to the Renaissance. Not only a fundamental reference for scholars of medieval liturgy, theology, musicology, and Latin literature, it is also a key resource for art historians who seek to identify or research liturgical snippets present in painted works of the period. Browse volumes at classmark NAH 502.A51.
Terpsichore – Muse of dance
P. Pal (ed.), Dancing to the Flute. Music and Dance in Indian Art, Sydney 1997. DBG 40.A113s
We hold a range of works related to the history of dance around the globe. To browse, simply search the online catalogue by either keyword or subject. This catalogue of this 1997 exhibition from the Art Gallery of New South Wales, Australia, showcases the objects related to music and dance as represented in Indian art ranging from the 1st century to the 20th century. The artworks included encompass sculptures, paintings, textiles, and decorative objects, spanning the central role of music and dance in Indian culture, not only as forms of artistic expression but also as mediums for religious and spiritual experiences. Essays explore subjects including the symbolic meanings of music and dance in Indian art, the role of these art forms in religious rituals, and their representation in mythology and folklore. The catalogue also considers the iconography of musical instruments and the portrayal of deities and performers in dance poses, offering readers a deeper understanding of the significance of these themes in Indian culture. Find it at classmark DBG 40.A113s.
Thalia – Muse of comedy
A. Bocchi (ed), La Biagia da Decomano, una commedia fiorentina in versi del primo cinquecento, Rome 2023. ENH 626
This 16th-century Florentine verse comedy, attributed to Bernardo Giambullari, offers a satirical portrayal of everyday life in Renaissance Florence. Focusing on themes such as love, intrigue, and social rivalry, the characters, include peasants, artisans, and nobles, reflect the social dynamics of the period. Written in verse and employing vernacular language, the comedy captures the essence of popular Florentine theatre, blending humour with social commentary. Read more at classmark ENH 626.
Urania – Muse of astronomy
P. D. Omodeo, Copernicus in the Cultural Debates of the Renaissance. Reception, Legacy and Transformation, Leiden 2014. FAC 259
By considering how Copernicus's heliocentric theory was initially received with caution and controversy, Omodeo emphasizes the tension between Copernican ideas and religious doctrines. This illustrates how Copernicus’s work challenged traditional views and became a focal point in broader intellectual debates. Over time, Copernicus’s theory transformed from a controversial hypothesis to a cornerstone of scientific thought. However, Omodeo highlights how Copernicus's ideas were not just scientific, but deeply intertwined with the cultural and philosophical shifts of the Renaissance, marking a significant transformation in European thought. Find out more at classmark FAC 259.
