Though this fine figure generally goes by the name of the fighting Gladiator, some antiquarians cannot allow, that ever it was intended to represent a person of that profession, but a Victor at the Olympic games; and allege, that Agasias of Ephesus, the sculptor’s name, being inscribed upon the pedestal, supports their opinion, because the Greeks never used gladiators. But I fear this argument has little weight; for the Greek slaves at Rome put their name to their work; and the free Greek artists, working in Greece, in public works, found difficulty in obtaining the same indulgence. Those who wish to rescue this statue from the ignoble condition of a common Gladiator, say further, that he looks up as if his adversary were on horseback, adding, that gladiators never fought on foot against horsemen on the Arena. Here again, I am afraid, they are mistaken. He looks no higher than the eye of an enemy on foot; the head must have a much greater degree of elevation to look up to the eye of an horseman, which is the part of your adversary which you always fix. Some learned gentlemen, not satisfied that this statue should be thrown indiscriminately among Gladiators and Victors of the Olympic games, have given it a particular and lasting character; they roundly assert, that it is the identical statue, made by order of the Athenian State, in honour of their countryman Chabrias; and that it is precisely in the attitude which, according to Cornelius Nepos, that hero assumed, when he repulsed the army of Agesilaus. This idea is in the true spirit of an antiquary. If, upon turning to that author, you remain unconvinced, and are interested in the honour of the statue, I can furnish you with no presumptive proof of its original dignity, except, that the character of the face is noble and haughty, unlike that of a slave and mercenary Gladiator. And there is no rope around the neck, as the Gladiator Moriens has, whom that circumstance sufficiently indicates to have been in that unfortunate situation. LETTER XLVI. Rome.