it seems unnecessary to search further for an explanation of the absence of a vigorous impulse seeking expression in sculpture in any country controlled by the Seleucidæ. [Illustration: THE DYING GAUL Capitoline Museum, Rome] THE KINGDOM OF PERGAMUS (283 B.C. TO 133 B.C.) But it was otherwise in the second great centre of Greek influence in Asia Minor—the kingdom of Pergamus. The course of Pergamene history led to one of those emotional outbursts which always find an outlet in national action and often in art. In consequence, evidence remains of a far greater body of sculptural achievement in Pergamus than we find in the Empire of the Seleucidæ. Indeed, the force and originality of Pergamene sculpture raises it far above any artistic effort of its age. This will be granted directly we recall that “The Dying Gaul,” of the Vatican, is a work in the finest Pergamene style. When Byron wrote the two cantos in “Childe Harold” the statue was known as the “Dying Gladiator.” “I see before me the gladiator lie: He leans upon his hand—his manly brow Consents to death, but conquers agony, And his droop’d head sinks gradually low— And through his side the last drops, ebbing slow. * * * * * He reck’d not of the life he lost nor prize, But where his rude hut by the Danube lay, _There_ were his young barbarians all at play, _There_ was their Dacian mother—he, their sire, Butchered to make a Roman holiday.” We now know that the Pergamene sculptor sought to show one of his country’s Gaulish enemies in the agony of death. The barbarian sinks back on to the narrow shield of his race. At his side is his battle-horn. Round his neck the Gallic torques. The shaggy eyebrows and the matted hair all identify the figure with one of the rude savages whom the Latin and Greek historians describe as fighting naked and ignorant of the elements of military science. Another work that undoubtedly belongs to the school of Pergamus is the well-known group in the Villa Ludovisi, often called “Paetus and Arria.” A more correct title is “The Gaul killing his Wife.” The warrior realizes his defeat and has just plunged his sword into his breast. He still supports the woman who sinks in death at his side. The matted hair of the wife and the dress edged with fur are sufficient proof of her race. But there is other evidence that “The Dying Gaul” and the “Gaul killing his Wife” have a similar origin. Both appear together in an inventory of Cardinal Ludovisi, dated 1633. Both are made from a marble found on the island of Furni near Samos. It is evident that the two sculptures are copies of Pergamene bronzes which stood in the open square surrounding the temple of Athena Polias on the Acropolis of Pergamus.