Apart from the general spirit of Pergamene work there are several definite technical peculiarities which enable us to postulate a Pergamene origin for many unclassed works of the Hellenistic age. These can be gathered from the definitely Pergamene Gallic statues, which we have yet to discuss, and from the satyr types already mentioned. One is the hair tossed up off the forehead and falling in lank matted locks of wild disordered type. The eyebrows are usually straight and shaggy, with a heavy bulge of the frontal sinus over the nose. The cheekbones are prominent, and the lips thick and parted. In the body the most marked feature is the desire to get away from the old-fashioned straight plane for the front of the torso. The lower part of the chest usually projects strongly, while the waist is drawn in, so that the profile of the torso is shaped like a very obtuse _z_. In the female body there is a general affection for rather heavy forms with a good envelope of flesh. The artist’s skill is here devoted mainly to the delineation of surface. The heads of such female figures as we can attribute to Pergamene art show very little expression. The hair is done on the Praxitelean model, but the locks tend to become more rope-like and twisted as time goes on. We cannot point to any great peculiarities in the Pergamene treatment of women. Neither Lysippos nor Scopas seems to have had much effect on the feminine types of Greek sculpture. The whole Hellenistic age is in servitude to Praxitelean ideals of women whether in Alexandria, Rhodes, or Pergamon. The differences are only in the details of execution, the Pergamenes tending always towards clear cutting of hair and features, while the Alexandrines preferred an impressionist smoothing away of all sharp edges. [Illustration: 3] [Illustration: 4] We come now to the two great dedications of Attalos for his victories over the Gauls.[20] These were made at some time later than 241 B.C., and consist of two series of statues. One is life-size or larger, and is represented by some of the best-known examples of Hellenistic sculpture, such as the Dying Gaul[21] and the Ludovisi group of a Gaul slaying his wife and himself (Fig. 4). The other consisted of a number of small figures about three feet high, and was dedicated by Attalos in Athens, where they stood on the parapet of the south wall of the Acropolis. Four battle-groups were included--a gigantomachy, an Amazonomachy, a battle of Greeks and Persians, and a battle of Greeks and Gauls. Several copies from this smaller group are in existence, the best known being in Naples.[22] The originals of both groups were probably in bronze, and we have the names of some of the artists of the larger group, Phyromachos, Antigonos, and Epigonos or Isigonos. Stratonicos and Niceratos of Athens may also have taken part.[23]