The little figures in Naples, the Louvre, Venice, and elsewhere are partly recumbent dead figures of Persians, giants, and Amazons, and partly crouching figures defending themselves. None of the victorious Greeks seems to have survived, except possibly the torso of a horseman in the Terme Museum. They are dry, rather hard figures, much inferior in skill to the larger group and much closer to the bronze originals which they represent. The head of a dead Persian in the Terme Museum (Fig. 5) is probably a more worthy copy (on a larger scale) of one of the figures of this series. Its type of features and its moustache resemble the Ludovisi Gaul. Another fine Gallic head is in the Gizeh Museum at Cairo (Fig. 6). This has been often called an original, an Alexandrian variant of the Gallic dedications. There is, however, no need to separate it from the others. If it shows more emotion, that only brings it rather closer to what we know of earlier Pergamene art. The provenance of the Gizeh head is disputed, and it may be only a recent importation into Egypt.[24] We now come to the frieze of the great altar at Pergamon (Fig. 7), the contribution of Eumenes II to the series of monuments commemorating the defeats of the barbarians. Here again we have several inscriptions of artists,[25] which are especially interesting as showing that four foreign artists of Attic, Ephesian, and Rhodian origin all contributed to the great monument. It is, however, quite uniform and unique in character, and shows a _baroque_ exaggeration of expression and of muscular detail, which in the end becomes monotonous and overpowering. The slight tendency towards a histrionic attitude, which we noticed in the Ludovisi Gaul, has now become much more pronounced. Most of the figures are in stage attitudes of fright, ferocity, attack, or defence. Their bodies are covered either with drapery in wild disorder, or, if naked, with massive rolls and lumps of muscle, which are almost comical in their exaggeration. Their hair is in unrestrained twisted snaky locks; their faces are distorted in fierce expressions of anger or alarm; they are in every conceivable attitude of attack or defence. When we add to this the colossal size of the monument and its figures, we can well understand how its remains became known to early Christian writers as the throne of Satan.[26] [Illustration: 5] [Illustration: 6] [Illustration: 7] [Illustration: 8]