Dying Gaul
The Dying Gaul,also calledThe Dying Galatian[1](Italian:Galata Morente) orThe Dying Gladiator,is anancient Romanmarblesemi-recumbent statue now in theCapitoline MuseumsinRome.It is a copy of a now lost Greek sculpture from theHellenistic period(323–31 BC) thought to have been made inbronze.[2]The original may have been commissioned at some time between 230 and 220 BC byAttalus IofPergamonto celebrate his victory over theGalatians,theCelticorGaulishpeople of parts ofAnatolia.The original sculptor is believed to have beenEpigonus,acourt sculptorof theAttalid dynastyof Pergamon.
Until the 20th century, the marble statue was usually known asThe Dying Gladiator,on the assumption that it depicted a wounded gladiator in a Roman amphitheatre.[3]However, in the mid-19th century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's necktorc,thick hair and moustache, weapons and shield carved on the floor, and a type of Galliccarnyxbetween his legs.[4]
Description
[edit]The white marble statue, which may originally have been painted, depicts a wounded, slumped Gaulish or GalatianCelt,shown with remarkable realism andpathos,particularly as regards the face. A bleeding sword puncture is visible in his lower right chest. The warrior is represented with characteristic Celtic hairstyle and moustache with a Celtictorcaround his neck. He sits on his shield while his sword, belt and curved trumpet lie beside him. The sword hilt bears a lion's head. The present base is a 17th-century addition. The nose and left arm restorations upon the discovery of the statue in the 17th century are contested (the right arm would be pushed even more behind his back).[5]
Discovery and expatriation
[edit]
The Dying Gaulstatue is thought to have been re-discovered in the early 17th century during excavations for the building of theVilla Ludovisi(commissioned by CardinalLudovico Ludovisi,nephew ofPope Gregory XV), on the site of the ancientGardens of Salluston thePincian HillinRome.Many other antiquities (most notably the "Ludovisi Throne") were subsequently discovered[6]on the site in the late 19th century when the Ludovisi's estate was redeveloped and built over. TheDying Gaulwas first recorded in a 1623 inventory of the collections of theLudovisi familyand in 1633 was in thePalazzo Grande,part of the Villa Ludovisi.Pope Clement XII(ruled 1730–1740) acquired it for theCapitoline collections.It was later taken by Napoleon's forces under the terms of theTreaty of Tolentinoand was displayed with other Italian works of art in theLouvre Museumuntil 1816 when it was returned to Rome.
Portrayal of Celts
[edit]
The statue serves both as a reminder of the Celts' defeat, thus demonstrating the might of the people who defeated them, and a memorial to their bravery as worthy adversaries. The statue may also provide evidence to corroborate ancient accounts of the fighting style—Diodorus Siculusreported that "Some of them have iron breastplates or chainmail while others fight naked".[7]Polybiuswrote an evocative account of Galatian tactics against a Roman army at theBattle of Telamonof 225 BC:
TheInsubresand theBoiiwore trousers and light cloaks, but theGaesatae,in their love of glory and defiant spirit, had thrown off their garments and taken up their position in front of the whole army naked and wearing nothing but their arms... The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.
— Polybius,HistoriesII.28
The Roman historianLivyrecorded that the Celts ofAsia Minorfought naked and their wounds were plain to see on the whiteness of their bodies.[8]The Greek historianDionysius of Halicarnassusregarded this as a foolish tactic:
Our enemies fight naked. What injury could their long hair, their fierce looks, their clashing arms do us? These are mere symbols of barbarian boastfulness.
— Dionysius of Halicarnassus,History of RomeXIV.9
The depiction of this particular Galatian as naked may also have been intended to lend him the dignity ofheroic nudityorpatheticnudity. It was not infrequent for Greek warriors to be likewise depicted as heroic nudes, as exemplified by thepedimental sculptures of the Temple of AphaeaatAegina.The message conveyed by the sculpture, asH. W. Jansoncomments, is that "they knew how to die, barbarians that they were".[9]
Influence
[edit]TheDying Galatianbecame one of the most celebrated works to have survived from antiquity and was engraved[10]and endlessly copied by artists, for whom it was a classic model for depiction of strong emotion, and by sculptors. It shows signs of having been repaired, with the head seemingly having been broken off at the neck, though it is unclear whether the repairs were carried out in Roman times or after the statue's 17th-century rediscovery.[11]As discovered, theproper leftleg was in three pieces. They are now pinned together with the pin concealed by the left kneecap. The Gaul's "spiky" hair is a 17th-century reworking of longer hair found as broken upon discovery.[12]
During this period, the statue was widely interpreted as representing a defeatedgladiator,rather than a Galatian warrior. Hence it was known as the 'Dying' or 'Wounded Gladiator', 'Roman Gladiator', and 'MurmilloDying'. It has also been called the 'Dying Trumpeter' because one of the scattered objects lying beside the figure is a horn.
The artistic quality and expressivepathosof the statue aroused great admiration among the educated classes in the 17th and 18th centuries and was a "must-see" sight on theGrand Tourof Europe undertaken by young men of the day.Byronwas one such visitor, commemorating the statue in his poemChilde Harold's Pilgrimage:
I see before me the Gladiator lie
He leans upon his hand—his manly brow
Consents to death, but conquers agony,
And his drooped head sinks gradually low—
And through his side, the last drops, ebbing slow
From the red gash, fall heavy, one by one...[13]
It was widely copied, with kings,[14]academics and wealthy landowners[15]commissioning their own reproductions of theDying Gaul.Thomas Jeffersonwanted the original or a reproduction atMonticello.[16]The less well-off could purchase copies of the statue in miniature for use as ornaments and paperweights. Full-size plaster copies were also studied by art students.
It was requisitioned byNapoleon Bonaparteby terms of theTreaty of Campoformio(1797) during hisinvasion of Italyand taken in triumph toParis,where it was put on display. The piece was returned to Rome in 1816.[16]From December 12, 2013, until March 16, 2014, the work was on display in the main rotunda of the west wing of theNational Gallery of ArtinWashington D.C.This temporary tenure marked the first time the statue had left Italy since it was returned in the second decade of the nineteenth century.[16]
References
[edit]- ^Capitoline Museums."Hall of the Galatian".
The centre of the room features the so-called 'Dying Galatian', one of the best-known and most important works in the museum. It is a replica of one of the sculptures in the ex-voto group dedicated to Pergamon by Attalus I to commemorate the victories over the Galatians in the III and II centuries BC.
- ^Wolfgang Helbig,Führer durch die öffentlichen Sammlungen klassischer Altertümer in Rom(Tubingen 1963–71) vol. II, pp. 240–42.
- ^Henry Beauchamp Walters,The Art of the Greeks,The Macmillan Company, 1906, p. 130 notes that it is still most commonly called that because of the popularity of Byron's description.
- ^Peixoto, Gabriel B. (2022-01-01)."The Great Attalid Dedication at Pergamon".
- ^Peixoto, Gabriel B. (2022)."The Great Attalid Dedication at Pergamon".doi:10.13140/RG.2.2.14508.54405.
{{cite journal}}:Cite journal requires|journal=(help) - ^Haskell and Penny 1981:224 provide the history of this sculpture.
- ^Diodorus in Stephen Allen (Author), Wayne Reynolds (Illustrator),Celtic Warrior: 300 BCE – 100 CE(Osprey: 25 April 2001),ISBN1-84176-143-5.p. 22
- ^Livy,HistoryXXII.46 and XXXVIII.21
- ^H. W. Janson, "History of Art: A survey of the major visual arts from the dawn of history to the present day", p. 141. H. N. Abrams, 1977.ISBN0-13-389296-4
- ^First by François Perrier,Segmenta nobilium signorum et statuarum que temporis dentem invidium evase(Rome and Paris 1638) plate 91 (noted by Haskell and Penny 225 and note 15).
- ^Kim J. Hartswick,The Gardens of Sallust: a Changing Landscape,p. 107. University of Texas Press, 2004
- ^Grout, James."The Dying Gaul".Encyclopædia Romana.Chicago, IL:University of Chicago.Retrieved16 December2013.
- ^Byron,Childe Harold,Canto IV (1818), stanzas 140–141.
- ^A plaster cast was made for the King of Spain in 1650, and a marble copy byMichel Monnierfor Louis XIV remains atVersailles(Haskell and Penny 1981:22).
- ^A black marble copy for the Duke of Northumberland is in the entrance hall ofSyon House,designed byRobert Adam;there are copies in several gardens in England, includingRousham,Oxfordshire (byPeter Scheemakers,1743, according toRupert Gunnis,Dictionary of British Sculptors 1660–1851,rev.ed. 1968,s.v."Scheemakers, Peter" ) andWilton House,Wiltshire (Simon Vierpyl, before 1769).
- ^abcKennicott, Philip (12 December 2013)."Dying Gaul on view at National Gallery of Art".The Washington Post.Washington, DC.Retrieved16 December2013.
Further reading
[edit]- Art in the Hellenistic Age,Pollitt, J. J., 1986
- Hellenistic Sculpture,Smith, R.R.R. London, 1991
- Taste and the Antique,Haskell, F. and N. Penny. New Haven and London, 1981. Cat. no. 44, pp 224ff.
External links
[edit]
| ||||
Media related toDying Gaulat Wikimedia Commons
| Authority control databases:National |
|---|
