Muses appear to be pictured in art of the Renaissance from the mid-15th century, possibly as one of the evidences to prove the relations between the Renaissance and classical antiquity. Their images are found in significant ensembles like the painted compositions from the Lionello d’Este’s studiolo at the Belfiore palace or a small Muse sanctuary connected with Federico da Montefeltro’s studiolo at Palazzo Ducale di Urbino. In these works created by the artists of Quattrocento, the images of muses are filled with versatile allegoric sense that mates classical and medieval epochs. At the end of the 15th century, the series of separate images started to transform into multi-figured compositions with a diversified program. For example, Parnassus by Andrea Mantegna painted for Isabella d’Este’s studiolo at Mantua. It seems true that the apogee of this theme was reached in Raphael’s Parnassus, the fresco painted for Stanza della Segnatura at the Vatican palace, where a paradigm of absolute harmony manifests itself. With the evident influence of the Renaissance, the images of muses came into Classicism of the 17th century (Nicolas Poussin) and Neo-classical art of the 18th century (Anton Raphael Mengs). However, in comparison with the programme intensity of the Renaissance, these images gradually lost their individuality and polysemantic meaning.