SCULPTURE. . 23 
and perhaps of a somewhat theatrical character. At all events pathos is 
carried in this work as high as the nature of the plastic art admits, and 
especially much higher than it was ventured to carry it in the time of 
Phidias. The group of Zaocoén, who with his two sons is encircled and 
killed by two serpents, and of which Pliny speaks with great admiration, 
was found in the year 1506 in the Baths of Titus, and now stands in the 
Vatican. It consists of six pieces: the right arm is new, and was restored 
after a model by Giovanni Agnolo; a portion also of thefeet is new. The 
group known by the name of the Farnese Bull, and which in ancient 
times was much admired and frequently copied, belongs also to this 
period. 
Here too we must mention Pyromachus of Pergamus, who celebrated 
the victories of Attalus I. and Eumenes II. over the Celts by groups of 
warriors cast in bronze; for to these groups some celebrated statues owe 
their origin, as the Ephesian sculptors then likewise engaged in the execu- 
tion of such works. Here belongs in all probability the Dying Gladiator 
(pl. 5, jig. 5), which was formerly attributed to Ctesilaus, but which the 
arrangement of the hair, the chain about the neck, and other peculiarities 
manifestly show to be a Celt. Accordingly we must regard it as a produc- 
tion of Pyromachus. Its affecting character, together with the accurateness 
of design and the profound study of anatomy which this statue evinces, has 
made it in all times an especial favorite with artists and connoisseurs. 
In Ephesus the three Agasiases were celebrated as sculptors, and we 
possess from the hands of one of them, the son of Dositheos, the celebrated 
statue of the Louvre in Paris known by the name of the Borghese Gladiator. 
That this statue represents a warrior (although Lessing took it for a Chabrias, 
Mongez for an athlete, Hirt for a foot-ball player, and Quatremére de 
Quincy for a racer) is certainly the most probable supposition, if we assume 
that this warrior was engaged in defending himself with spear and shield 
against the attack of a horseman. This statue probably formed part of a 
large group by Agasias. 
In the cities where the Macedonian rulers resided statues were executed 
for the temples about this time; but they exhibited little that was new in 
the way of invention, being for the most part mere copies of celebrated 
earlier works. Still the custom of glorifying the kings by portrait-statues 
and busts produced many new and spirited masterpieces, especially since 
artists carried their flattery so far as to represent the rulers in the form and 
costume and with the attributes of certain deities. Thus Alexander appeared 
at one time adorned with the dress and the horns of Zeus Ammon, and at 
another with the lion’s skin and club of Hercules. Busts of kings, poets, 
philosophers, orators, &c., were made at this period in countless numbers, 
and not a few of them have been preserved even to our day. On pl. 3 we 
have copied some of them, in order to show their style and mode of treat- 
ment: of these jig. 12 is a bust of the poet Homer; jig. 13, that of the 
philosopher Periander; and jig. 15, that of Thales of Miletus. We have 
given in jig. 14 the bust of Theophrastus, and in fig. 17 that of Hippocrates ; 
jig. 16 is the bust of the famous orator A¢schines. Besides the portrait- 
407 
