Capitoline Museums in the context of "Dying Gaul"

⭐ In the context of *The Dying Gaul*, the Capitoline Museums’ initial interpretation of the sculpture as a gladiator was ultimately revised due to the identification of specific cultural details. What key element contributed most significantly to this re-evaluation?

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⭐ Core Definition: Capitoline Museums

The Capitoline Museums (Italian: Musei Capitolini) are a group of art and archaeological museums located on the Capitoline Hill in Rome, Italy. Their principal buildings are the Palazzo dei Conservatori and the Palazzo Nuovo, which face each other across Piazza del Campidoglio, the square designed by Michelangelo in 1536 and completed over the course of the following centuries.

The museums are primarily dedicated to the art and history of ancient Rome, with a particular emphasis on Roman sculpture. The collection include celebrated works such as the Equestrian Statue of Marcus Aurelius, the Capitoline Wolf and the Dying Gaul, alongside inscriptions, coins, and other artifacts illustrating the civic and religious life of the city. The museums also include Renaissance and Baroque paintings, as well as the richly frescoed walls of the Conservators' Apartment in the Palazzo dei Conservatori, which depict scenes from Rome's early history.

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👉 Capitoline Museums in the context of Dying Gaul

The Dying Gaul, also called The Dying Galatian (Italian: Galata Morente) or The Dying Gladiator, is an ancient Roman marble semi-recumbent statue now in the Capitoline Museums in Rome. It is a copy of a now lost Greek sculpture from the Hellenistic period (323–31 BC) thought to have been made in bronze. The original may have been commissioned at 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. The original sculptor is believed to have been Epigonus, a court sculptor of the Attalid dynasty of Pergamon.

Until the 20th century, the marble statue was usually known as The Dying Gladiator, on the assumption that it depicted a wounded gladiator in a Roman amphitheatre. However, in the mid-19th century it was re-identified as a Gaul or Galatian and the present name "Dying Gaul" gradually achieved popular acceptance. The identification as a "barbarian" was evidenced for the figure's neck torc, thick hair and moustache, weapons and shield carved on the floor, and a type of Gallic horn, a carnyx, between his legs.

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Capitoline Museums in the context of Sculpture

Sculpture is the branch of the visual arts that operates in three dimensions. Sculpture is the three-dimensional art work which is physically presented in the dimensions of height, width and depth. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since Modernism, there has been almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast.

Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. In addition, most ancient sculpture was painted, which has been lost.

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Capitoline Museums in the context of Celts

The Celts (/kɛlts/ KELTS, see pronunciation for different usages) or Celtic peoples (/ˈkɛltɪk/ KEL-tik) were a collection of Indo-European peoples in Europe and Anatolia, identified by their use of Celtic languages and other cultural similarities. Major Celtic groups included the Gauls; the Celtiberians and Gallaeci of Iberia; the Britons, Picts, and Gaels of Britain and Ireland; the Boii; and the Galatians. The interrelationships of ethnicity, language and culture in the Celtic world are unclear and debated; for example over the ways in which the Iron Age people of Britain and Ireland should be called Celts. In current scholarship, 'Celt' primarily refers to 'speakers of Celtic languages' rather than to a single ethnic group.

The history of pre-Celtic Europe and Celtic origins is debated. The traditional "Celtic from the East" theory, says the proto-Celtic language arose in the late Bronze Age Urnfield culture of central Europe, named after grave sites in southern Germany, which flourished from around 1200 BC. This theory links the Celts with the Iron Age Hallstatt culture which followed it (c. 1200–500 BC), named for the rich grave finds in Hallstatt, Austria, and with the following La Tène culture (c. 450 BC onward), named after the La Tène site in Switzerland. It proposes that Celtic culture spread westward and southward from these areas by diffusion or migration. A newer theory, "Celtic from the West", suggests proto-Celtic arose earlier, was a lingua franca in the Atlantic Bronze Age coastal zone, and spread eastward. Another newer theory, "Celtic from the Centre", suggests proto-Celtic arose between these two zones, in Bronze Age Gaul, then spread in various directions. After the Celtic settlement of Southeast Europe in the 3rd century BC, Celtic culture reached as far east as central Anatolia, Turkey.

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Capitoline Museums in the context of Fasti Capitolini

The Fasti Capitolini, or Capitoline Fasti, are a list of the chief magistrates of the Roman Republic, extending from the early fifth century BC down to the reign of Augustus, the first Roman emperor. Together with similar lists found at Rome and elsewhere, they form part of a chronology referred to as the Fasti Annales, Fasti Consulares, or Consular Fasti, or occasionally just the fasti.

The Capitoline Fasti were originally engraved on marble tablets erected in the Roman forum. The main portions were discovered in a fragmentary condition, and removed from the forum in 1546, as ancient structures were dismantled to produce material for the construction of St. Peter's Basilica. They were brought to the Palazzo dei Conservatori on the adjacent Capitoline Hill, where they remain as part of the collection of the Capitoline Museums, together with other Roman antiquities. Together with the histories of writers such as Livy and Dionysius of Halicarnassus, the Capitoline Fasti form one of the primary sources for Roman chronology.

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Capitoline Museums in the context of Piazza del Campidoglio

Piazza del Campidoglio ("Capitoline Square") is a public square (piazza) on the top of the ancient Capitoline Hill, between the Roman Forum and the Campus Martius in Rome, Italy. The square includes three main buildings, the Palazzo Senatorio (Senatorial Palace) also known as the Comune di Roma Capitale (City Hall), and the two palaces that make up the Capitoline Museums, the Palazzo dei Conservatori and the Palazzo Nuovo, considered to be one of the oldest national museums, founded in 1471 when Pope Sixtus IV donated some of the museum's most impressive statues, the She-wolf, the Spinario, the Camillus and the colossal head of emperor Constantine. Over the centuries the museums' collection has grown to include many of ancient Roman's finest artworks and artifacts. If something was considered too valuable or fragile in Rome and a copy was made in its place for display, the original is likely now on display in the Capitoline Museum. The hilltop square was designed by Michelangelo in the 16th century. at the behest of Pope Paul III.

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Capitoline Museums in the context of Gauls

The Gauls (Latin: Galli; Ancient Greek: Γαλάται, Galátai) were a group of Celtic peoples of mainland Europe in the Iron Age and the Roman period (roughly 5th century BC to 5th century AD). Their homeland was known as Gaul (Gallia). They spoke Gaulish, a continental Celtic language.

The Gauls emerged around the 5th century BC as bearers of La Tène culture north and west of the Alps. By the 4th century BC, they were spread over much of what is now France, Belgium, Switzerland, Southern Germany, Austria, and the Czech Republic, by virtue of controlling the trade routes along the river systems of the Rhône, Seine, Rhine, and Danube. They reached the peak of their power in the 3rd century BC. During the 4th and 3rd centuries BC, the Gauls expanded into Northern Italy (Cisalpine Gaul), leading to the Roman–Gallic wars, and into the Balkans, leading to war with the Greeks. These latter Gauls eventually settled in Anatolia (contemporary Turkey), becoming known as Galatians.

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Capitoline Museums in the context of Galatians (people)

The Galatians (Ancient Greek: Γαλάται, romanized: Galátai; Latin: Galatae, Galati, Gallograeci; Greek: Γαλάτες, romanized: Galátes, lit. 'Gauls') were a Celtic people dwelling in Galatia, a region of central Anatolia in modern-day Turkey surrounding Ankara during the Hellenistic period. They spoke the Galatian language, which was closely related to Gaulish, a contemporary Celtic language spoken in Gaul.

The Galatians were descended from Celts who had invaded Greece in the 3rd century BC. The original settlers of Galatia came through Thrace under the leadership of Leogarios and Leonnorios c. 278 BC. They consisted mainly of three Gaulish tribes, the Tectosages, the Trocmii, and the Tolistobogii, but there were also other minor tribes. In 25 BC, Galatia became a province of the Roman Empire, with Ankara (Ancyra) as its capital.

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Capitoline Museums in the context of Heroic nudity

Heroic nudity or ideal nudity is a concept in classical scholarship to describe the un-realist use of nudity in classical sculpture to show figures who may be heroes, deities, or semi-divine beings. This convention began in Archaic and Classical Greece and continued in Hellenistic and Roman sculpture. The existence or place of the convention is the subject of scholarly argument.

In ancient Greek art, warriors on reliefs and painted vases were often shown as nude in combat, which was not in fact the Greek custom, and in other contexts. Idealized young men (but not women) were carved in kouros figures, and cult images in the temples of some male deities were nude. Later, portrait statues of the rich, including Roman imperial families, were given idealized nude bodies; by now this included women. The bodies were always young and athletic; old bodies are never seen. Pliny the Elder noted the introduction of the Greek style to Rome.

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