Daily American organ. [volume] (Washington, D.C.) 1854-1856, 1854-12-05
The Dying Gladiator.

The Dying Gladiator.
This exquisite work of art has at length
reached Washington, and is now on exhibition
at Morrison's buildings, on Four-and-a-half
street. near the corner of Pennsylvania avenue.
Through the politeness Of its owner Mr..
Risque, we enjoyed the privilege Of seeing it
yesterday afternoon, and we can truly say that
it seemed to us the most perfect representation
of nature ever imbodied by the genius Of
sculpture. We are no critic, and have no ac-
quaintance with the phraseology Of criticism,
appropriate to such subject. We can, there
fore, only give expression to the feelings of I'M
alleged pleasure and admiration experienced by
us. The longer we gazed upon it the more
perfect did it appear, and every moment seemed
to invest it with new beauties. #
Our readers are aware that this statue is CO.
pied from the celebrated antique at Rome. 1t
was executed by Mr.. Gott, very distinguished
European sculptor, and is represented by emf
nent judges to be most faithful copy Of the
original We have seen certificates from Wolff
Gibson, and our own American artist, Craw-
ford, which speak in high terms Of its excel
lence, and attest its perfect fidelity to the orr
ginal.
In very entertaining book, styled six
Months in Italy," written by Mr.. Hillard an
American gentleman, there appears q very ele-
CANT criticism of the original at Rome, which
we are sure will be read with pleasure by all
who take any interest in subjects of this char
acter. 1t supplies, very appropriately, what
we feel our own inability to furnish. We there
fore copy it at length:
The last room into which the traveller passes con-
tains several works of the highest excellence, and
above all, the Dying Gladiator A statue Of such
surprising merit as this should have a room by
ITSELF for in its presence it is difficult to look at any
thing else. 1t Is now admitted by the best authori
ties that the statue is dying Gaul and not gladi
ator, but to the popular mind the old appellation
will cling forever. Byron'simmortal stanza-an ex-
quisite creation Of genius equal to the theme which
inspired it's alone enough to fasten it there with
associations that can never be severed. But there
is work of art respecting which such discussions
are more intrusive or unnecessary. We do not ask
whom 1t represents, because we are so wholly alb
sorbed with what 1t Is. Its power and pathos arc
independent Of time, place, and condition.
What is it we see before usg A man dying;
nothing more. It is that which happens to all
men; the only inevitable fact In every life. Nor
is IL marked or conspicuous person. He is not a
hero, or poet, or an orator. The form is not
IDEAL the head is not intellectual the lips are not
refined The shadows of great thoughts never
darkened that commonplace brow, nor did the
touch of beauty ever thrill along those coarse fbres
But the charm and power Of the statue consist in
the amazing truth with which the two great ec-
mcnts Of humanity and mortality are delincated.
A vigorous animal life is suddenly stopped by the
touch of death, and the " sensible, warm motion
becomes "kneaded cod" before our eyes. The
artist gives US all the pathos and the tragedy Of
death, without its ghastiness and horror. The
dying man is no longer trivial person, stained
with coarse employments and vulgar associations,
but an immortal spirit breaking through its walls
Of clay. The rags of life fall away from him, and
he puts on the dignity and grandeur of death. We
feel ourselves in the presence of that awful power,
before whose icy sceptre all mortal distinctions
levelled Life and death are all that, for time,
we can admit into the mind.
As the sentiment and expression of this statue
are admirable, 80 is the mechanical execution of
the highest merit. The skill with which the physi
cal effects Of death upon the human frame rep
resented Is most strongly felt by those whose pro-
fessional training and experience make their judy
ment on such points the most valuable. The hair
short and crisp and matted by the sweat Of the
deathstruggle, the wrinkled brow, the dropping
lid, the lips distended with pain and the sinking
anguor of the whole frame, give proof Of patient
eye and skilful hand No statue was ever more
marked by simplicity, or more free from anything
like extravaganza or caricature. Such subject
presents many temptations, and unless an artists
taste and Judgment were equal to his genius, he
would hardly have escaped falling into the weak
ness Of OVERRIDING the tragic element, and Of laying
such a weight upon our sympathes that they would
have given way under the pressure. But here
nothing has been done for effect No vulgar APP
plause Is courted, and the decency and dignity of
truth are scrupulously observed.
If be right TO judge Of works Of art subject
lively, and not objectively-that Is exclusively by
the effect which they leave upon the individual who
contemplates them-I should put this work at the
head Of all the statues in the world. To me, none
others were so expressive, significant so full OF
deep meaning. At each successive visit il seemed
to be new work; to reveal something which be-
fore had been unspoken; to awaken echoes which
before had been silent. Though solitary figure,
taken in and comprehended by the eye at a single
glance IL involves broad circle of experience and
suggestion.
Such is ever the case with the creations which
genius gives US when il walks in the way Of truth,
and, dsdaining the morbid, the fantastic, and tho
grotesque gives shape TO our common Visions and
reality to the universal dream.
This statue Is indssolubly associated with BY
ron's immortal stanza, which, familiar as II is, can
no more become hackneyed than the relations Of
husband and father in which it is founded. From
lines like these, which everybody reads and every.
body emembcrs-espccialy when connected with
objects Of permanent and general interest--wo
learn how much We owe to the poets. Who, that
has ever seen snow falling upon water has not
had distinct pleasure in the sight, from the fine
illustration Of the brief duration Of sensual plea
sures, which Burns has drawn from il:
COR, like the snowfall in the river
A moment wbite-then lost forever"
Who, that has ever beheld a scarlet maple In our
autumn woods, has not felt that new charm was
given TO Il by the lovely image which Il suggested
TO Bryant?
But meath yon crimson tree
Lover 10 listening maid might breathe his fame,
Nor mark, within It's roseate canopy,
Her blush OF maiden shame"
SO we, who look upon the statue since the stances
written, see Il by finer light than ever shone
upon Il before. For us alone tho rude hut by the
Danube Is reared, and those young barbarians arc
sporting upon its banks. We may form some mo-
ton Of our obligations, by imagining what would
have been the emotions Of man OF cultivation and
sensbility II the poet had suddenly put the limos