Dying Gaul
 Dying Gaul, Smarthistory
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The Dying Gaul, also called The Dying Galatian (in Italian: Galata Morente) or The Dying Gladiator, is an Ancient Roman marble copy of a lost Hellenistic sculpture, thought to have been executed in bronze. The original may have been commissioned some time between 230 and 220 BC by Attalus I of Pergamon to celebrate his victory over the Galatians, the Celtic or Gaulish people of parts of Anatolia (modern Turkey). The identity of the sculptor of the original is unknown, but it has been suggested that Epigonus, a court sculptor of the Attalid dynasty of Pergamon, may have been the creator.
The copy was most commonly known as The Dying Gladiator until the 20th century on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. Scholars had identified it as a Gaul or Galatian by the mid-19th century, but it took many decades for the new title to achieve popular acceptance.
The white marble statue which may have originally been painted depicts a wounded, slumping Celt with remarkable realism and pathos, particularly as regards the face. A bleeding sword puncture is visible in his lower right chest. The figure is represented as a Celtic warrior with characteristic hairstyle and moustache and has a torc around his neck. He lies on his fallen shield while his sword, belt, and a curved trumpet lie beside him. The sword hilt bears a lion head. The present base was added after its 17th-century rediscovery.
The Dying Galatian is thought to have been rediscovered in the early 17th century during some excavations for the foundations of the Villa Ludovisi, then a suburban villa in Rome. It was first recorded in a 1623 inventory of the collections of the powerful Ludovisi family. The villa was built in the area of the ancient Gardens of Sallust where, when the Ludovisi property was built over in the late 19th century, many other antiquities were discovered, most notably the "Ludovisi Throne". By 1633 it was in the Ludovisi Palazzo Grande on the Pincio. Pope Clement XII acquired it for the Capitoline collections. It was then taken by Napoleon's forces under the terms of the Treaty of Tolentino, and displayed with other Italian works of art in the Louvre Museum until 1816, when it was returned to Rome.
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