without what we call culture, without varied learning, without any adventitious aids, has written a book for all time, because, more directly than in any other book, the soul of a good man has spoken to the souls of his fellow-men.

ART. VI.-The Sculptures of Pergamon in the Berlin Museum.

IF we try to picture to ourselves in their entirety the cities of classical antiquity, we see brilliant temples, halls, and market-places thronged with works of art of every kind. But when we compare with this picture, which though arbitrary is substantially correct, the actual remains of ancient art, we are apt to regard these as but a scanty remnant of once abundant wealth. If, however, we then reflect by what an interval of time we are separated from the period in question, and what terrible scourges have since overswept these very homes of ancient culture, to me at least it has always seemed matter for astonishment that so much has been preserved. Consider, too, how each new find comes just at the time it was wanted, and what a reward attends earnest search and effort! At the very time when men in Italy were beginning to turn again towards ancient art there sprung up from the soil on every side the ancient works which still form the chief treasure of the Roman museums. When, again, in Winckelmann's day, it began to be seen that we must go higher than the world-renowned works in Rome, the sculptures of the Parthenon, the incomparable Elgin marbles were just then first discovered and conveyed to the British Museum. These are but a few examples out of many.

And now again in these days we have just realized that a kindly Fate watches wisely and systematically over the remains of ancient art. Our investigations had already reached the threshold of a new discovery-namely, that even in antiquity there was a distinct and highly pathetic development of art to which the general conception which we express by the term 'antique' did not apply-when, behold! there are discovered in Pergamon and conveyed to the Berlin Museum the remains of an enormous altar, which confirm in the most striking manner the assumptions based upon our previous researches.

The following particulars of the discovery and of the objects

found are intended to prepare my readers for the pleasure which the sight of the works themselves, or of reproductions of them, cannot fail to give to every intelligent observer.

It was in consequence of our first journey to Asia Minor in 1871 that an old resident in Pergamon, the engineer, Mr. Charles Humann, whose acquaintance we had made, conveyed to Berlin two marble fragments of alto relievo which he had remarked in a wall built at a later period. They were the colossal upper parts of two fighters, an older and a younger man, who by their rhetorical pathos and lifelike expression justly excited the attention of all students of ancient art; for, apart from their intrinsic value, special attention had some years ago been drawn to the Pergamene school of art, by Mr. Brunn having discovered in the dying gladiator of the Capitol, in the so-called Arria and Paetus group of the Villa Ludovisi, and in several statues in Venice, in the Vatican, in Naples and France, works of the Pergamene period; most probably parts of large groups of fighters, dedicated to the gods by the kings of Pergamon.*

It was then felt that in Pergamon a new principle had developed itself and penetrated into art, which we will briefly call rhetorical pathos, while the style of execution we may term picturesque. The general idea conveyed by the word 'antique' sufficed as little for these as for the still enigmatical Laokoon, the Farnesan bull, and so many other works of art, whose pathos is still full of real life and to whose peculiarities we were gradually beginning to awake.

In consequence of these discoveries, the directors of the Berlin Museum requested me to make some researches during my longer journey in Asia Minor in 1874, and in July of the same year I executed the commission.

Three hours eastward of the Eolian coast, above the rich valley of the Kaikos, the most northern of the parallel rivers on the western shore of Asia Minor, rises an oblong coneὄρος στροβιλοειδὲς εἰς ὀξεῖαν κορυφὴν ἀπολῆγον, as Strabo says -nearly a thousand feet high; sloping gradually towards the south, it is isolated by two small rivers, the Selinus and Ketios, while it descends precipitately towards the north, where a ridge connects it with the mountain masses which belong, we may say, to the ancient Temnos. Such is the airy castle of Pergamon, the refuge of fugitive Greeks under the Persians (Xenophon, Anab. vii. 8, 8), yasopvλákιov, the treasury of Lysimachos, who confided the guardianship of Compare 'Annali dell' Instituto di Corrispondenza Archeologica,' 1870;

p. 292.

9000 talents deposited there to Philetairos of Pontus, who, abandoning the suspicious old king, turned to good account the circumstances and the excellent situation of his rocky dwelling, and became the founder of a dynasty which owed its gradual extension and prosperity partly to its unity and prudence, but above all, to its faithful alliance with the Romans, to whose share the whole empire fell in 183 B.C.

During the 150 years of its existence, the city spread gradually southward beneath the citadel, over both banks of the Selinus, and probably reached as far towards the southeast as the old sanctuary of Asklepios. In the first place, Eumenes II. adorned his capital with temples and other buildings; and the king not only vied with Alexandria in collecting treasures of books, but also imported the works of ancient and Athenian artists into his capital, and promoted contemporary art by putting high and worthy problems. Dynasties with Greek civilization flourished during this time in several other countries, particularly in Syria and Egypt; but even if this latter surpassed Pergamon in its scientific efforts and success, it still remained faithful to the native Egyptian traditions of art; so that science and art were fostered at Pergamon, but nowhere else, at this period, with the same care as in Greece.

In this sense we may consider the Pergamene period as the real continuation of Hellenic culture, and Pergamon after Greece itself, by its continual contact with Rome, as one of the most important links and mediators between Greek and Roman civilization. To this the Pergamene discoveries owe their relative in addition to their positive value. That we are at last able to follow the steady development of Greek art from its beginning down to its Roman offshoots is not one of the least merits of the Pergamene find.

We seldom find antique works in their original position. Continual rebuilding, even in ancient times-a point which strikes one particularly now in Olympia-and an extensive use of the old materials after the decadence of the ancient world, have destroyed the original connection, even where man and the course of nature have allowed considerable remains to survive of the original materials. One cross wall rises above the other to the summit of the castle of Pergamon, fortifications built in times of danger out of the materials lying ready to hand, to protect the diminished number of inhabitants. When one has reached a height of 900 feet, just beneath the topmost pinnacle, there is built almost in the middle of the whole castle a Byzantine wall from thirteen to nineteen feet

found are intended to prepare my readers for the pleasure which the sight of the works themselves, or of reproductions of them, cannot fail to give to every intelligent observer.

It was in consequence of our first journey to Asia Minor in 1871 that an old resident in Pergamon, the engineer, Mr. Charles Humann, whose acquaintance we had made, conveyed to Berlin two marble fragments of alto relievo which he had remarked in a wall built at a later period. They were the colossal upper parts of two fighters, an older and a younger man, who by their rhetorical pathos and lifelike expression justly excited the attention of all students of ancient art; for, apart from their intrinsic value, special attention had some years ago been drawn to the Pergamene school of art, by Mr. Brunn having discovered in the dying gladiator of the Capitol, in the so-called Arria and Paetus group of the Villa Ludovisi, and in several statues in Venice, in the Vatican, in Naples and France, works of the Pergamene period; most probably parts of large groups of fighters, dedicated to the gods by the kings of Pergamon.*

It was then felt that in Pergamon a new principle had developed itself and penetrated into art, which we will briefly call rhetorical pathos, while the style of execution we may term picturesque. The general idea conveyed by the word antique' sufficed as little for these as for the still enigmatical Laokoon, the Farnesan bull, and so many other works of art, whose pathos is still full of real life and to whose peculiarities we were gradually beginning to awake.

In consequence of these discoveries, the directors of the Berlin Museum requested me to make some researches during my longer journey in Asia Minor in 1874, and in July of the same year I executed the commission.

Three hours eastward of the Eolian coast, above the rich valley of the Kaikos, the most northern of the parallel rivers on the western shore of Asia Minor, rises an oblong coneὄρος στροβιλοειδὲς εἰς ὀξεῖαν κορυφὴν ἀπολῆγον, as Strabo says -nearly a thousand feet high; sloping gradually towards the south, it is isolated by two small rivers, the Selinus and Ketios, while it descends precipitately towards the north, where a ridge connects it with the mountain masses which belong, we may say, to the ancient Temnos. Such is the airy castle of Pergamon, the refuge of fugitive Greeks under the Persians (Xenophon, Anab. vii. 8, 8), yasopvλáriov, the treasury of Lysimachos, who confided the guardianship of Compare 'Annali dell' Instituto di Corrispondenza Archeologica,' 1870;

p. 292.

9000 talents deposited there to Philetairos of Pontus, who, abandoning the suspicious old king, turned to good account the circumstances and the excellent situation of his rocky dwelling, and became the founder of a dynasty which owed its gradual extension and prosperity partly to its unity and prudence, but above all, to its faithful alliance with the Romans, to whose share the whole empire fell in 133 B.C.

During the 150 years of its existence, the city spread gradually southward beneath the citadel, over both banks of the Selinus, and probably reached as far towards the southeast as the old sanctuary of Asklepios. In the first place, Eumenes II. adorned his capital with temples and other buildings; and the king not only vied with Alexandria in collecting treasures of books, but also imported the works of ancient and Athenian artists into his capital, and promoted contemporary art by putting high and worthy problems. Dynasties with Greek civilization flourished during this time in several other countries, particularly in Syria and Egypt; but even if this latter surpassed Pergamon in its scientific efforts and success, it still remained faithful to the native Egyptian traditions of art; so that science and art were fostered at Pergamon, but nowhere else, at this period, with the same care as in Greece.

In this sense we may consider the Pergamene period as the real continuation of Hellenic culture, and Pergamon after Greece itself, by its continual contact with Rome, as one of the most important links and mediators between Greek and Roman civilization. To this the Pergamene discoveries owe their relative in addition to their positive value. That we are at last able to follow the steady development of Greek art from its beginning down to its Roman offshoots is not one of the least merits of the Pergamene find.

We seldom find antique works in their original position. Continual rebuilding, even in ancient times-a point which strikes one particularly now in Olympia-and an extensive use of the old materials after the decadence of the ancient world, have destroyed the original connection, even where man and the course of nature have allowed considerable remains to survive of the original materials. One cross wall rises above the other to the summit of the castle of Pergamon, fortifications built in times of danger out of the materials lying ready to hand, to protect the diminished number of inhabitants. When one has reached a height of 900 feet, just beneath the topmost pinnacle, there is built almost in the middle of the whole castle a Byzantine wall from thirteen to nineteen feet