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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileThree nude goddesses are positioned in a triangular embrace against a backdrop of swirling clouds, with one figure seen from the back and the others in profile and near-frontal views. They lean on stone blocks and clouds while raising laurel wreaths aloft, their bodies rendered with the dynamic, muscular linework characteristic of Dutch Mannerism. The composition emphasizes the physical interconnectedness and rhythmic movement of the figures.
In Renaissance Neoplatonism, the Three Graces represent the 'liberalitas' or the threefold cycle of benefit: giving, receiving, and returning. This engraving specifically links their nudity to the concept of 'Verus Amor' (True Love), suggesting that divine grace and virtue require the absence of deceit or artificial ornament.
HG. Inuent. Cur nudæ Charites? et mundo orbata iuuenta? Hic quia fucus abest, est ubi uerus Amor. Munda carent mundo, nullo se tegmine velant, Sese ornata sat est intemerata charis.
Translation
HG. Inventor. Why are the Graces naked? And why is youth bereft of finery? Because deceit is absent here, where true Love resides. Pure things lack the world; they veil themselves with no covering, The undefiled grace is sufficiently adorned by itself.
Marsilio Ficino
Ficino's Neoplatonic works, such as 'De Amore', interpret the Graces as the three aspects of the soul's conversion to the divine: Beauty, Love, and Pleasure.
Pico della Mirandola
Pico's 'Conclusiones' and other works discuss the Graces as a symbol of the divine triad and the harmony of opposites.
Object
Engraving
mythological
Digital Source
Wikimedia Commons · Public domain
[1]
Public domain
3994 × 5734 px
0d00dc4e5acfa05192f193d24bb1ea5a983ba20b
November 25, 2016
March 23, 2026
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 1, 2026. Getty identifiers are AI-inferred and may require verification.