DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0602
566
THE HELLENISTIC AGE OF SCULPTURE.
Eumenes, make it probable that these works date from Attalos' reign, and
commemorate his important victories. "3°
How appropriate was this spot for monuments of victory! A little below
the summit of the acropolis stood the oldest shrine, a very plain and severely
archaic temple to Athena Polias, represented in the restored view of the site
(Fig. 230)."31 Looking off from the commanding terrace where it stood,
now cleared of rubbish and grass, one beholds the glorious view enjoyed by
the worshippers of old. The great
altar, directly at the foot of Athe-
na's temple, with its smoke of
sacrifice and mighty sculptures,
would, indeed, no longer be
seen; but the beautiful Cai'cos
valley still stretches out into the
plain, and the blue Mediterranean
still gleams beyond. Immediate-
ly about one, along the front and
sides of the terrace, would be
seen the now dismantled frag-
ments of Attalos' proud battle-
monuments.
Although the bronzes sur-
mounting these shapeless pedes-
tals have perished, there exist mar-
bles executed at Pergamon, which
represent Galatians, and are,
without doubt, direct products
of its historical art. Foremost
among these are the so-called
Fig. 231. Galatian Warrior and his Dying Wife. I/ilia Llldouisi, Dying GladiatOl' of the Capitol
at Rome, and a less celebrated
but equally powerful work, a group in the Villa Ludovisi. These two works,
originally together in the possession of Cardinal Ludovisi, according to his
inventory in 1633, may have been discovered in laying out the cardinal's new
villa in 1622, on the site of the ancient Gardens of Sallust; but of this mag-
nificent trove no record has been kept."32 That these two works belong
together, appears not only from their identity of style : it is also evident from
their material, a fine-grained marble from Furni, a small island between
Samos and Icaria, on the Asia-Minor coast."33
In the Ludovisi group, we see a giant warrior, standing on a long, oval
shield, on which has dropped the empty dagger-sheath (Fig. 231). The enemy
seems close at hand ; and, with wild stride, the despairing warrior for the
THE HELLENISTIC AGE OF SCULPTURE.
Eumenes, make it probable that these works date from Attalos' reign, and
commemorate his important victories. "3°
How appropriate was this spot for monuments of victory! A little below
the summit of the acropolis stood the oldest shrine, a very plain and severely
archaic temple to Athena Polias, represented in the restored view of the site
(Fig. 230)."31 Looking off from the commanding terrace where it stood,
now cleared of rubbish and grass, one beholds the glorious view enjoyed by
the worshippers of old. The great
altar, directly at the foot of Athe-
na's temple, with its smoke of
sacrifice and mighty sculptures,
would, indeed, no longer be
seen; but the beautiful Cai'cos
valley still stretches out into the
plain, and the blue Mediterranean
still gleams beyond. Immediate-
ly about one, along the front and
sides of the terrace, would be
seen the now dismantled frag-
ments of Attalos' proud battle-
monuments.
Although the bronzes sur-
mounting these shapeless pedes-
tals have perished, there exist mar-
bles executed at Pergamon, which
represent Galatians, and are,
without doubt, direct products
of its historical art. Foremost
among these are the so-called
Fig. 231. Galatian Warrior and his Dying Wife. I/ilia Llldouisi, Dying GladiatOl' of the Capitol
at Rome, and a less celebrated
but equally powerful work, a group in the Villa Ludovisi. These two works,
originally together in the possession of Cardinal Ludovisi, according to his
inventory in 1633, may have been discovered in laying out the cardinal's new
villa in 1622, on the site of the ancient Gardens of Sallust; but of this mag-
nificent trove no record has been kept."32 That these two works belong
together, appears not only from their identity of style : it is also evident from
their material, a fine-grained marble from Furni, a small island between
Samos and Icaria, on the Asia-Minor coast."33
In the Ludovisi group, we see a giant warrior, standing on a long, oval
shield, on which has dropped the empty dagger-sheath (Fig. 231). The enemy
seems close at hand ; and, with wild stride, the despairing warrior for the