Washington sentinel. [volume] (Washington [D.C.]) 1853-1855, 1854-12-09
THE STATUE OF THE DYING
~GLADIAT0R


From billiards Six Months in Italy we take III,
following description Of the celebrated antiqa,
statue of +" The Dying Gladiator in the Capitolin,
Museum az Rome, Italy an accurate copy o
which, IN marble, BY j. Gotl, distinguished sculp
tor, is now on exhibition at Morrisons building
A street, near Pennsylvania avenue 44te4
"Ihe last room into which the traveller passe,
contains several works OF The highest excellence
and, above ALL the Dying Gladiator, statue d
such surprising merit as this should have a room
by ITSELF for in Its presence il difficult TO look al
anything else. II is now admitted by the best au
thorilies that the statue is dying Gaul and not q
gladiator; but TO the popular mind the old appea-
ton will cling forever. Byrons immortal stanza-
an exquisite creation Of genius, equal TO the theme
which inspired tits alone enough TO fasten II
there with associations that can never be severed
But there is mo work Of art respecting which such
discussions are more intrusive or unnecessary.
We do not ask whomiit represents because we
are so wholly absorbed with what II is Its power
and pathos are independent OF time, place, and
condition. siCf af is53M DAs "a IN
What is il we see before us A man dying
nothing more. II is that which happens 10 all
men---the only inevitable fact in every life Nor
Is II a marked or conspicuous person. lie 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
touch of beauty ever thrill along those coarse
fbres. But the charm and power of the statue
consists in the amazing truth with which the Two
great elements Of humanity and mortality are de-
lineated.9 Avigorous annual life is suddenly stop
ped be the. touch of DEATH and the sensible warm
motion becomes a kneaded clod' before our
eyes. The artist gives US all the pathos and the
tragedy death without its ghasliness and horror
The dying manis no longera trivial person, stain
ed with coarse empoyments and vulgar associa-
-
walls of clay. The rags of life fall away from him,
and he puts on the dignity and grandeurof death
NJ" We feel ourselves in the presence of that
Awful Power before whose icy sceptre all mortal
distinctions are levelled Life and death are all
that for time we can admit into the mind. g
sAs the sentiment and expression OF this statue
are admirable, so is The mechanical execution OF
the highest merit. The skill with which the phys
ical effects ofdeath upon the human frame rep
resented is most strongly fell by those whose pro-
fesssional training and experience make thelrJudg-
ment upon such points The most valuable. The
hair short and crisp and matted by the sweat ofthe
death struggle, the wrinkled brow, The dropping
lid the lips distended with pain, and the sinking
anguor of the whole frame, give proof Of a pa
tient eye and skilful hand. No statue was ever
more marked by simplicity, or more free from any
thing like extravaganza or caricature. Such a
subject presents many temptations, and unless
an artists taste and judgment were equal 10 his ge
MUS he would hardly have escaped falling into the
weakness Of OVERRIDING the tragic element and Of
laying such weight upon oursympathies that they
would have given way under the pressure. But
here nothing has been done for effect. No vulgar
applause is courted, and the decency and dignity
of truth are scrupulously observed.
"lf il be right TO Judge of works of art sublec-
lively, and not objectivey-lhat is, exclusively by
the effect which they leave upon the individual
who contemplaies ihen-l should put this work
al the head OF all the statues in the world. To me-
none others were SO expressive, SO significant so
full of deep meaning AT each successive visit il
seemed 10 be new work, TO reveal something
which. before had been unspoken, to- awaken
echoes which before had been silent. Though a
solitary figure, taken in and comprehended by the
eye al spgle glance, il involves broad circle OF
experience and suggestion. y
"Such is ever the case with the creations which
genius gives us when il walks in the way oftruh
and, disdaining the morbid, the fantastic and the
grotesque, gives shape 10 our common visions,
and reality TO the universal dream. 'si.,e ress
"Ths statue is indssoubly associated with By
ron's immortal sianza,* which, familiar as il is,
can no more become hackneyed than The relations
of husband and father on which il is founded.
From lines like these, which everybody reads
and everybody ENTHUSIASTICALLY when con-
nected with objects of permanent and general in
terest--we learn how much we owe 10 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 blief duration of sensual
pleasures which Burns has drawn from it 2
s,"' Or like the snowfall in the river lss
moment white, then melts forever
aWho thai has ever beheld a scarlet maple in
our autumn woods has not felt that new charm
was given 10 il by the lovely image which il sug-
gested 10 Bryant ~
asBut meath yon crimson tree
Lover 10 listening maid might breathe his fame,
Nor mark, within its roseate canopy,
Her blush OF maiden shame y
=, q So we, who look upon the statue since the
stanza was written, see il by afner light than ever
shonel upon il belore.,-For us alone the rude
hut by The Danube is reared, and those young
barbsrians are sporting upon its banks. We may
form some notion Of our obligations by mag ming
what would have been the emotions of a man of
cultivation and sensibility if the poet had sudden
~ put the lines into his hands while he was stand
ing before the statue Would not something like
the miracle of Pygmalion have taken place before
his eyess Would not the marble breast have APP
peared 10 heaye with emotion. and the dropping
brow 10 be darkened with suffering
*ssI see before me the Gladiator lie
He leans Upon his hand-his manly brow
Consents 10 death, but conquers agony,
And his droop'd head sinks gradually low
And through his side the last drops, ebbing
slow
From The red cash, fall heavy, one by one,
Like the first Of a thunder-shower; and now
The arena swims around him-he is gone.
Ere ceased the inhamsn shout which haiId The
wretch who won,
80 He heard il, but he needed not--his eyes 'tii
Were with his heart, and that was faf away; Z.
He reck'd not ofthe life he lost nor prize .l
But where his rude hut by the Danube lay
There were his young barbarians all at play,
There was their Dscian mother---he their sire
Butcherd 90 make Roman holiday
All thrs rush'd with his blood. Shall he expire,
And uuayengede Arise ye Goths, and glui
your irep" eH1 ~ 7pa
DARKER's FANCY sToRE.-we arc
IL just receiving = full supply of goods suitable