Statue of the Muse Polymnia (c. 150–200 CE)

This is the Statue of the Muse Polyhymnia (also spelled Polymnia or Polimnia), now proudly displayed at the Centrale Montemartini in Rome. Created as a Roman copy of a Hellenistic original, she represents the Greek goddess of sacred hymns, pantomime, and deep contemplation. Her pensive expression immediately draws viewers in, inviting us to ponder the power of silent inspiration across more than two thousand years.

From Hellenistic Inspiration to Imperial Roman Splendor  

The statue’s story begins in the creative ferment of the Hellenistic period (roughly 323–31 BCE), when Greek artists developed more naturalistic and emotionally expressive styles. Our Polyhymnia here is a high-quality Roman copy, most likely produced in the mid-to-late 2nd century CE (around 150–200 CE). Roman workshops specialized in reproducing famous Greek prototypes for wealthy collectors and imperial patrons who wished to surround themselves with the cultural prestige of Greece.  

This particular sculpture once formed part of the lavish decorative program in the Horti Spei Veteris (“Gardens of Old Hope”), a sprawling imperial estate on Rome’s Esquiline Hill. The gardens were expanded and beautified under Emperor Septimius Severus (reigned 193–211 CE) and later enjoyed by his successors, including Elagabalus. Statues of the Muses were popular in such luxurious settings because they symbolized education, the arts, and refined leisure—values the Roman elite proudly displayed.

A Dramatic 1928 Discovery  

In 1928, during construction work along Via Terni in Rome, workers made an exciting find inside an ancient underground passage near what is now Villa Fiorelli. They uncovered this statue of Polyhymnia together with another Muse statue (identified as Melpomene, now in the Museo Nazionale Romano) and a small hoard of Roman coins dating to the reigns of Marcus Aurelius and Septimius Severus.  The discovery suggests the sculptures had been carefully placed or perhaps hidden in the passage centuries earlier, possibly during times of upheaval or when parts of the imperial gardens fell into disuse. Finding two Muses together hints that they once belonged to a larger ensemble celebrating the nine Muses—goddesses who inspired poetry, music, dance, and knowledge in both Greek and Roman culture. This chance survival gives us a rare glimpse into how imperial gardens were once adorned.

The Muse of Many Hymns  

Polyhymnia (whose name means “She of Many Hymns” or “Rich in Songs”) was one of the nine Muses, daughters of Zeus and Mnemosyne (Memory). While her sisters often represented lively arts such as dance or love poetry, Polyhymnia presided over sacred hymns, solemn poetry, pantomime (expressive silent dance), and sometimes geometry or meditation. Artists typically portrayed her in a veiled or deeply thoughtful pose—exactly as we see here—emphasizing introspection, spiritual depth, and the idea that true inspiration often arises in silence. In ancient Greece and Rome, statues like this one were not merely decorative; they carried symbolic weight. They reminded viewers of the divine origin of the arts, the importance of memory and education, and the harmony between human creativity and the gods. 

Masterfully Carved in Marble  

The statue stands 159 cm (62.6 inches) tall—roughly life-size for a standing female figure, making her presence both monumental and intimately human. She is carved from fine Parian marble, prized in antiquity for its pure white color, subtle translucency, and ability to take a high polish.  

Technically, this is a Roman marble copy of a Hellenistic bronze or marble original. Roman copyists were highly skilled at transferring proportions, drapery folds, and emotional expression from earlier works, often using pointing techniques or plaster casts as guides. The drapery clings softly to the body in the Hellenistic manner, while the calm, introspective face reflects the idealized beauty favored in both Greek and Roman art. Minor surface weathering and possible ancient repairs are typical for sculptures that spent centuries buried or exposed to the elements.

From an Underground Passage to a Modern Museum Stage  

After its dramatic discovery in 1928, the statue entered the collections of the Capitoline Museums. It is now exhibited at the Centrale Montemartini, the evocative second venue of the Musei Capitolini, housed in a former early-20th-century thermoelectric power plant. Here, ancient sculptures stand dramatically against industrial machinery, creating a striking dialogue between classical art and modern technology.  

Its precise original placement within the Horti Spei Veteris remains unknown, but the findspot and accompanying artifacts confirm it belonged to the rich sculptural decoration of this imperial estate on the outskirts of ancient Rome.