Identifier: sixgreeksculptor00gard (find matches)
Title: Six Greek sculptors
Year: 1915 (1910s)
Authors: Gardner, Ernest Arthur, 1862-1939
Subjects: Sculptors Sculpture, Greek
Publisher: London : Duckworth and Co. New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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nder, the mostprolific and original was Pergamum, where the kings ofthe Attalid dynasty made their capital the rival ofAlexandria in science and literature, and beyond allrivals in the architecture and sculpture with which itwas enriched. The sculptors they employed wereattached by tradition to the school of Lysippus, thoughmore than a century had elapsed since that mastersactivity. We have seen in the Alexander Sarco-phagus from Sidon an example of the kind of workthat was done for Oriental princes by the pupils ofLysippus. At Pergamum we have on a monumentalscale the sculptures made to commemorate the greatvictories of Attalus and Eumenes over the Gauls whohad invaded Asia. It would lead us too far from our subject to discussall these sculptures; one figure, that of the well-knownDying Gaul in the Capitoline Museum at Rome, mustsuffice to show the relation of the Pergamene sculpturesto what had preceded them. A wounded warrior isnothing new in Greek art, nor is the representation of
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HELLENISTIC SCULPTURE 249 a barbarian; but as we find them in this statue, theyshow an immense difference from the work of the fourthcentury. Curiously enough, this Dying Gaul resemblesin pose the Dying Warrior of the iEginetan pediment,both alike contrasting with such figures, graceful evenin death, as we see among the Niobids. Nor is theresemblance altogether accidental; in the Hellenisticwork we see a return to the realism which is to be foundin much of the finest archaic work, and which had beento some extent submerged during the great period ofHellenic sculpture. In the study both of the physicaltype and of the character of the Northern barbarianthe quality of Pergamene art is most clearly shown ;there is abundant knowledge both of anatomy andethnology, and that not merely superficial, but deepand sympathetic. The Persian warriors on the SidonSarcophagus showed, indeed, an appreciation of a non-Hellenic type in expression of face as well as in racialcharacteristics; but the style

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