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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileThe Parnassuslabel QS:Lit,"Parnaso"label QS:Lfr,"Le Parnasse"label QS:Lde,"Der Parnaß"label QS:Lpt,"O Parnaso"label QS:Lzh,"帕那苏斯山"label QS:Lsl,"Parnas"label QS:Lja,"パルナッソス (ラファエロ)"label QS:Lmk,"Парнас (Рафаел)"label QS:Lcs,"Parnas"label QS:Lth,"ภูเขาพาร์แนสซัส"label QS:Lpl,"Parnas (fresk Rafaela)"label QS:Laz,"Parnas"label QS:Lnl,"De Parnassus"label QS:Lsk,"Parnas"label QS:Lid,"Parnassus"label QS:Les,"El Parnaso"label QS:Lko,"파르나소스"label QS:Len,"The Parnassus"label QS:Leo,"La Parnaso"label QS:Lel,"Παρνασσός (ζωγραφική)"label QS:Lru,"Парнас"
At the center of the composition, Apollo is seated beneath laurel trees near the flowing Castalian spring. He is flanked by the nine Muses and a gathering of history's most famous poets, including the blind Homer, Dante Alighieri, and Virgil. In the lower left, the poetess Sappho holds a scroll identifying her, while other figures engage in conversation or look toward the divine musician.
This work illustrates the Neoplatonic doctrine of 'divine frenzy' (furor divinus), where poetic inspiration serves as a bridge between the human soul and divine truth. It functions as an allegorical representation of the 'theology of poetry,' a central theme in Renaissance humanism and the works of Marsilio Ficino.
SAPPHO
Marsilio Ficino
Ficino's commentaries on Plato's 'Phaedrus' defined the four types of divine inspiration, with the 'poetic frenzy' under the Muses being central to this scene.
Plato
The conceptual framework of the Muses as mediators of divine knowledge stems from Platonic philosophy.
Object
Oil on panel
allegory
Digital Source
Wikimedia Commons · Public domain
The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202.
3200 × 2218 px
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 2, 2026. Getty identifiers are AI-inferred and may require verification.