In this piece of sculpture, dreadful as the idea is, there is less of horror than in the Laocoon, for the reason that the moment chosen is that just before the climax of the catastrophe, while in the Laocoon it is in its midst. The latter group is made to be seen from but one side, and was probably intended for a niche; but the Farnese Bull is perfect, and presents a finished aspect on all sides and from every point of view. There are numerous accessories and much attention to detail, while the rocky base represents Mount Cithæron and the wildness of the scene in a manner not before known in sculpture. The group has been much restored, but its excellences support the theory of its being the original work of the Greek artists, and the skill with which the various figures are brought into one stupendous moment is such as commands great praise and admiration; it is doubtful if any other work of sculpture tells its story with power equal to that of this celebrated group.
Fig. 52.—The Farnese Bull.
Fig. 53.—Gallic Warrior.
Venice.
After the art of Rhodes that of Pergamon was important. When Attalus I., King of Pergamon, gained his victory over the Gauls, in B.C. 229, the Greek artists were aroused to new efforts to record in sculpture the great deeds of Attalus and to place him on a level with the glorious heroes of their nation who had preceded him. It is recorded that the conqueror himself offered four groups of statues at Athens, and that they stood on the southern wall of the Acropolis. The subjects were: "The Battle of the Gods and Giants," "The Battle of Athenians and Amazons," "The Battle of Marathon," and "The Destruction of the Gauls in Mysia by Attalus." Thus the different epochs of Greek history were represented, and Attalus placed himself near the other great warriors who had preserved the honor and freedom of their nation. These groups consisted of many figures, and are estimated to have been from sixty to eighty in number. It is believed that at least ten of them are now in European collections—that is, three in Venice, four in Naples, one in Paris, one in the Vatican, and the last in the Castellani collection in Rome. This picture of one of those in Venice seems to represent a warrior who has been suddenly thrown down; his weapons and shield—which last was probably held in the left hand—have been dropped in the violence of the shock which has prostrated him (Fig. 53). His face and hair are of the barbarian type, and the power and elasticity of his powerful frame are manifest even in this moment of his defeat. He is yet unwounded, but the weapon of his adversary may be before his eyes, and in another moment he may sink back in the agony of death.
Fig. 54.—The Dying Gaul.
It is now believed that the statue of the Dying Gaul, often called the Dying Gladiator, was the work of a sculptor of Pergamon, and represents a Gaul who has killed himself rather than submit as a slave to his conquerors. The moment had come when he could not escape, and he chose death rather than humiliation. We learn from history that when these barbarians saw that all was lost they frequently slew their wives and children and then themselves, to avoid being taken as prisoners, which really meant being made slaves. This warrior has thrown himself upon his shield; his battle-horn is broken, and the sword which has given him the freedom of death has fallen from his hand. His eye is already dim, his right arm can scarce sustain him, his brow is contracted with pain, and it seems as if a sigh escaped his lips. He has not the noble form of the Greeks; we do not feel the exalted spirit which is shown in the death scenes of some of the Periclean statue heroes; here it is only a rude, barbarous Gaul, suffering death as a brute might; it is very realistic, and when we are near the marble itself we see the coarseness of the skin, the hardened soles of the feet, the coarse hand, and we are sure the artist must have made a true representation of this wild, savage man, who yet had the nobility of nature which would not live to be enslaved (Fig. 54).