DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.5253#0603
THE DYING GALATIAN OF THE CAPITOL.
567
moment escapes his power. But, to save himself and wife from future slavery,
he has given her a fatal thrust, and now plunges the dagger into his own neck,
looking with wild defiance back, up at the victor whom thus he robs of his prize.
Were the warrior's right arm properly restored, it would be held higher and
more outward, with the thumb up ; and thus the despair of this uncouth face,
with its bushy eyebrows, shaggy, bristling hair, and opened lips, showing the
upper teeth, would come more to view. The whole type of this face is the
same as that of the so-called Dying Gladiator of the Capitol, and corresponds
to the descriptions of the Galatians of old. In the body, also, there is no mis-
Fig. 232. The Dying Galatian, falsely called the Dying Gladiator. Capitol Museum, Rome.
taking the characteristics of that wild people. Here is seen the giant frame,
tough, leathery skin, and nudity in battle. Above all, the blind, unbridled
passion here evident, enhanced by the figure of the falling wife, the victim
of his despair, makes it doubly certain that this is one of the fierce barba-
rians described by Pausanias, who took the lives of those who could not
flee, rather than leave them to captivity. The woman's bushy hair, peculiar
features, powerful frame, and fur-edged garments are not like those given
in art to Greek women, but such as might be expected among the rude and
gigantic people from the North. Her near kinship to the warrior is most
evident in the back, where modern restoration has not smoothed over the
surface. Were the modern supports of the statue removed, and the left arm
more relaxed in death, and were the warrior's face, full of anguish, less con-
cealed by his restored arm, how tremendous would become the tragic power
567
moment escapes his power. But, to save himself and wife from future slavery,
he has given her a fatal thrust, and now plunges the dagger into his own neck,
looking with wild defiance back, up at the victor whom thus he robs of his prize.
Were the warrior's right arm properly restored, it would be held higher and
more outward, with the thumb up ; and thus the despair of this uncouth face,
with its bushy eyebrows, shaggy, bristling hair, and opened lips, showing the
upper teeth, would come more to view. The whole type of this face is the
same as that of the so-called Dying Gladiator of the Capitol, and corresponds
to the descriptions of the Galatians of old. In the body, also, there is no mis-
Fig. 232. The Dying Galatian, falsely called the Dying Gladiator. Capitol Museum, Rome.
taking the characteristics of that wild people. Here is seen the giant frame,
tough, leathery skin, and nudity in battle. Above all, the blind, unbridled
passion here evident, enhanced by the figure of the falling wife, the victim
of his despair, makes it doubly certain that this is one of the fierce barba-
rians described by Pausanias, who took the lives of those who could not
flee, rather than leave them to captivity. The woman's bushy hair, peculiar
features, powerful frame, and fur-edged garments are not like those given
in art to Greek women, but such as might be expected among the rude and
gigantic people from the North. Her near kinship to the warrior is most
evident in the back, where modern restoration has not smoothed over the
surface. Were the modern supports of the statue removed, and the left arm
more relaxed in death, and were the warrior's face, full of anguish, less con-
cealed by his restored arm, how tremendous would become the tragic power