hosen for the guiding star of his art. It is the
modest remnant of the group in which Hermon perpetuated in marble the
two Gallic brothers whom he saw before his last meeting with Ledscha, as
they offered their breasts to the fatal shafts.

One had gazed defiantly at the arrows of the conquerors; the other,
whose head has been preserved, feeling the inevitable approach of
death, anticipates, with sorrowful emotion, the end so close at hand.
Philetaerus had sent this touching work to King Ptolemy to thank him for
the severity with which he had chastised the daring of the barbarians,
who had not spared his kingdom also. The Gaul's head was again found on
Egyptian soil.

[Copied in Th. Schrieber's The Head of the Gaul in the Museum of
Ghizeh in Cairo. Leipsic, 1896. With appendix. By H. Curschmann.]

Hermon also took other subjects in Pergamus from the domain of real
life, though, in most of his work he crossed the limits which he had
formerly imposed upon himself. But one barrier, often as he rushed
forward to its outermost verge, he never dared to pass--moderation, the
noblest demand, to which his liberty-loving race subjected themselves
willingly in life as well as in art. The whole infinite, limitless world
of the ideal had opened itself to the blind man.

He made himself at home in it by remaining faithful to the rule which he
had found in the desert for his creative work, and the genuine happiness
which he enjoyed through Daphne's love and the great fame his sculptures
brought him increased the strong individuality of his power.

The fruits of his tireless industry, the much-admired god of light,
Phoebus Apollo, slaying the dragons of darkness, as well as his
bewitching Arachne, gazing proudly at the fabric with which she
thinks she has surpassed the skill of the goddess, were overtaken by
destruction. In this statue Bias recognised his countrywoman Ledscha,
and often gazed long at it with devout ecstasy. Even Hermon's works of
colossal size vanished from the earth: the Battle of the Amazons and
the relief containing numerous figures: the Sea Gods, which the Regent
Eumenes ordered for the Temple of Poseidon in Pergamus.

The works of his grandson and grandson's pupils, however, are preserved
on the great altar of victory in Pergamus.

The power and energy natural to Hermon, the skill he had acquired in
Rhodes, everything in the changeful life of Alexandria which had induced
him to consecrate his art to r