The Dying Gaul

Possibly my favourite ancient artwork is the “Capotoline Gaul,” better known as the “Dying Gaul.” It was originally cast in bronze during the Hellenistic Classical period (late Classical Greek period), but was copied into marble by the Romans. It is believed to have been commissioned by King Attalus I of Pergamon, probably best known for his involvement in the Macedonian Wars, but also for his victory over the Galatian Celts. It was in celebration of his victory over these Gallic warriors that he commissioned this statue, depicting a fallen Gaul, mortally wounded and dying.

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Yet what we see is not what one would expect—not a defeated, disgraced, barbarian. Instead, the Gaul supports his body with one arm, pushing himself from his reclined position, still in these last moments fighting his inevitable death. But he is not fighting death itself, merely the humiliation of an undignified death. There is nothing undignified about this warrior. He has bravely fought for his people against the Roman onslaught. He had charged into battle naked as the Gauls were known to do—probably only clad with body paint and his Celtic torc, the neck ring. They wore no armour, showing their fearlessness and defiance.

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The historian Polibius wrote: “The Insubres and the Boii wore trousers and light cloaks, but the Gaesatae [Gauls], in their love of glory and defiant spirit, had thrown off their garments and taken up their position in front of the whole army naked and wearing nothing but their arms... The appearance of these naked warriors was a terrifying spectacle, for they were all men of splendid physique and in the prime of life.” In contrast, the Roman soldiers wore iron and leather breastplates and metal helmets. I would venture a guess that had a great Gaulic warrior and a great Roman soldier met each other in battle, naked and weaponless, the Gaul would have won—not because of fighting technique, but purely because of his virile will-power and determination.

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So impressed was Attalus I with his enemy that he commissioned this sculpture. A sculpture that although it depicts a defeated foe doesn't depict a humiliated foe; although it depicts a dying man, it still emphasises his potency, his athletic body and lithe limbs. This sculpture may be a trophy of Attalus's victory over the Galatians, but it is at the same time a tribute to the greatness of the Galatian-warriors.

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I'm still not sure what exactly it is about the sculpture that so resonates with me. When I studied History of Art I often found myself paging through my textbook and stopping at the picture of the “Dying Gual,” just staring at it pensively, admiring the dignity of this dying man. Years later and nothing has changed. The sculpture still speaks to me as it did back then. I guess that is the power of great art.



You can see a beautiful detailed close-up of the sculpture at the Google Art Project.