It may well be asked what has become of the tall, fair-haired Celts who in the fourth century B.C. were the terror of Europe? The answer seems to be that being numerically inferior to the races which they conquered, but did not exterminate, they after a time became absorbed by the small, dark Iberians, who were the aborigines of France and Spain in the later Stone Age. In Great Britain the once warlike Celt at last became so effete that he fell an easy prey to the Picts, the Scots, the Angles, and the Saxons. THE CELTS AS REPRESENTED IN GREEK AND ROMAN ART The physical type of the Celt in Classical Sculpture was fixed by the artists of Pergamos, who were commissioned to perpetuate the victories of Attalus I. (B.C. 241-197) and Eumenes II. (B.C. 197-159) over the Galatians of Asia Minor.[21] The originals of the statues executed at this period to decorate the acropolis at Pergamon and at Athens have since been popularised by means of numerous copies. The statue most familiar to everyone is that wrongly called the Dying Gladiator,[22] but which is really a Gaulish warrior mortally wounded, as may be seen by the twisted torque round his neck, and the shape of his shield and trumpet. The other statues of the same class are the group formerly known as Arria and Paetus[23] (representing a Gaul committing suicide after having killed his wife) and the figures of an old man with a young man dead[24] and a young man wounded[25] from the defeat of the Gauls by Attalus. In all these works of art the Gaulish type is the same, the men being tall and muscular, with abundant unkempt locks, and an energetic, almost brutal, physiognomy, the very opposite of the intellectual beauty of the ideal Greek. The type thus fixed by eminent artists was handed down from generation to generation, until the last years of the Roman empire. It may be recognised on the Triumphal Arch at Orange[26] (Vaucluse), in the south of France, and at the sarcophagus of Ammendola[27] in the museum of the Capitol at Rome, both of which have derived their inspiration from the works of art of the time of the kings of Pergamon. Latterly the Gaulish type became that of barbarians generally.[28] [21] _Les Celtes_, p. 37; H. B. Walters’ _Greek Art_, p. 91; and Dr. A. S. Murray’s _History of Greek Sculpture_, vol. ii., p. 376. [22] In the Museum of the Capitol at Rome; cast in the South Kensington Museum. [23] Prof. Ernest Gardner’s _Handbook of Greek Sculpture_, pt. ii., p. 456; and A. Baumeister’s _Denkmäler_, p. 1237. [24] At Venice. [25] In the Louvre. [26] A. de Caumont’s _Abécédaire d’Archéologie_ (Ère Gallo-Romaine), Second edition, p. 194. [27] S. Reinach’s _Les Gaulois dans l’art antique_. [28] S. Reinach’s _Les Celtes_, p. 38. THE CELT AS REVEALED BY ARCHÆOLOGICAL RESEARCH