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On this page: Pergamene Sculptures (continued)

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PERGAMENE SCULPTURES.

astonishing maacery of form and technique, and a vivid realism that is often terrible, combined with a truly grand style, and are among the most important productions of ancient art. Only fragmentary portions of the names of the sculptors in marble belonging to the Pergameue school (see sculpture) have been found. [SogSnus, Phyromachus, Stratonicus, and AntlgSnus, mentioned in Pliny, N. H. xxxiv 34, were sculptors in bronze. The name of Mene-crates in the genitive case has been traced in one of the inscriptions, and has led to

has sunk to the earth. In his left he shakes his aegis over a second oppon who writhes on the ground in pain, snake-legged Giant holds out his left arm, i wrapped round with the skin of a wild beast, to protect him from the onslaught of the god. By the side of Zeus, and taking part in the conflict, hovers his eagle.

The counterpart to this was presumably the group with Athens in the centre (fig. '2i. The goddess appears in full armour, with the heavy round shield on her left arm ; 011 her head, the front portion of which is un-

(2) ATHENE IN THE BATTLE OF THE GIANTS. (Relief from Pergamon; Berlin Museum.)

the conjecture that his sons Apollonius and Tauriscus, the sculptors of the Farnese Bull, were among the artists who worked at Pergamon. The " great marble altar, 40 ft. high, with colossal figures, compris­ing a battle of the Giants," is mentioned in the Liber MlmSrlalis of Ampellus (q.v.).]

The most important parts of the work are shown in the cuts. The powerful figure of Zeus (fig. 1), wrapped in flowing drapery, is most impressive. With his thunderbolt of triple fork and flaming crest, he has already transfixed the thigh of a Giant, who

fortunately destroyed, is the tall Corinthian helmet; and on her breast, the segis, carved with the greatest care. She is advancing with fierce strides towards the right, drag­ging along with her by the hair a young Giant with a vast pair of wings. Her sacred serpent is also fighting for her. The motive of the piece vividly reminds one of the Laficoon group, which is closely allied in form and expression. The group of Athene and the Giants is most effectively completed by the figure of Nike with outspread wings flying up to the victorious goddess, and by

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