which is shown in the death
scenes of some of the Periclean statue heroes; here it is only a rude,
barbarous Gaul, suffering death as a brute might; it is very realistic,
and when we are near the marble itself we see the coarseness of the
skin, the hardened soles of the feet, the coarse hand, and we are sure
the artist must have made a true representation of this wild, savage
man, who yet had the nobility of nature which would not live to be
enslaved (Fig. 54).

[Illustration: FIG. 55.--BOY AND GOOSE.]

These illustrations and remarks will give you some idea of the art of
Pergamon, and I shall now leave the subject of Greek sculpture after
some account of BOETHUS OF CHALCEDON. His date is very uncertain, though
we have accounts of his works by ancient writers. Some scholars believe
that he lived about B.C. 275. Many works in chased silver made by
Boethus were in the temple of Athena in Lindus in the time of the
historian Pliny; there are accounts of a figure of a boy made in gold
and one of the youthful Asclepius; but the Boy Strangling a Goose, in
the gallery of the Louvre, is his most interesting work for us (Fig.
55). You will remember that even the ancient Egyptians made caricatures
and playful, mocking pictures not unlike some of our own day. This boy
and goose are of the same spirit, and is intended as a parody on the
representations of Hercules struggling with the Nemean lion, which had
been represented many times by Greek artists. The boy seems to be
working as hard as any giant could do. The execution of this work is
fine. It was probably made for a fountain, the water coming through the
beak of the goose. There are several works of ancient sculpture which
are of the same spirit, and for this reason are attributed to Boethus.
The Spinario, or Thorn-extractor, in the museum of the Capitol, at Rome,
is one of the most charming pieces of _genre_ statuary in existence
(Fig. 56).

[Illustration: FIG. 56.--SPINARIO.]

It represents a boy taking a thorn from his foot. His attitude is
natural and graceful, and the purity and simplicity of its style places
it on an equality with works of the best period of sculpture. The
expression of the face is that of perfect absorption in what he is
doing, and is given with great skill and truthfulness. The treatment of
the hair is like that of the archaic period, and there will always be
some critics who cannot think that such perfection could exist in the
sculpture of what we