:• the markedly individual are the sculptures which adorned the foundation of the great altar at Pergamon erected by Eumenes II. (197-159 n.e.), a portion of which we have illustrated on Plate 7 3). The altar was dedicated to Zeus and Athena, the frieze representing the struggle of the gods with the giants. In the fragment before us we see the goddess Athena overcoming the giant Enkelados, while the winged Victory flies to greet her with a crown. Below rises the figure of Gaia, the mother of the giants, hopelessly seeking to rescue her defeated sons. A vigor of conception and dexterity, both in composition and in execution, makes these sculptures wonderfully striking in spite of a sonic what clumsy handling of details.
Farnesc Hera•les and Romans carried even farther the exhibition of muscularity, as we see in the Faruese Herakles (p1. 6, ji;-. 7) and the Belvedere torso (fig. To). The former, although it bears the name of a Greek sculptor, Glykon of Athens, retains little of the Greek feeling for beauty of form and proportion; even the torso lacks the freshness of the Pergamon sculptures.
Eros and Psyche arid the Sleeping group of Eros kiss ing Psyche (fig. xi) is of Roman workmanship, and is now in the Capitol Museum. Ariadne, deserted by Theseus, asleep in her sorrow, is repre
sented in Figure 12. The subject was taken from a painting in the Theatre of I)ionysos, in Athens, where Theseus is represented as about to leave Ariadne, and Dionysos, who afterward marries her, is making his appear ance. Possibly the original statue of which this is a copy belonged to such a group. The Romans, who inherited from the Etruscans the cus tom of placing reclining figures upon their sarcophagi, adapted this figure to such a purpose, sometimes giving to the Sleeping Ariadne the features of the departed.
I 'rims de' .1Iedici and Altus —In the Venus de' Medici (fig. 13) we see, not an original by Kleomenes, as the inscription (added later) implies, but a Roman variation of the Aphrodite of Kuidos, far removed from the pure and graceful beauty of Praxiteles. The little cupid riding the dolphin is but one of the signs that the sentiment of human passion bad replaced the ideal of the beautiful goddess who sprang from the sea. Associated with Venus was the god Mars, who is represented in Figure 14—a statue which in its thick-set proportions follows the canon of Polykleitos rather than the slender type of Lysippos.