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Right: Freestanding male statue from the Mausoleum at Halikarnassos Below: Drawing of the Mausoleum at Halikarnassos, c. 350-340 BC Altar of Zeus (Pergamon, Turkey), c. 175 BCE Attalos I and the Gauls/ gigantomachy/ Pergamon in Asia Minor high relief/ violent movement Epigonos (?). Gallic chieftain killing himself and his wife, Roman copy after a bronze original from Pergamon, c. 230-220 BCE, marble Epigonos (?). Dying Gaul, Roman copy of a bronze original from Pergamon, c. 230-220 BCE, marble theatrical moving, and noble representations of an enemy/ pathos/ tubicen with a torque Compare with dying warrior from the Temple of Aphaia Reconstruction drawing of an Attalid group of Gauls at Pergamon Nike of Samothrace, c. 190 BCE, marble suggestion of movement/ effect of statuary amplified by its setting Alexandros of Antioch-onthe-Meander. Venus de Milo (Melos, Greece), c. 150-125 BCE, marble teasing the spectator Aphrodite, Eros, and Pan (Delos), c. 100 BCE, marble Barberini Faun (Rome), c. 230-200 BCE, marble Seated boxer (Rome), c. 100-50 BCE, bronze using art to appeal to the emotions rather than the intellect/ addressing the subject of defeat Old market woman, c. 150100 BCE, marble Polyeuktos. Demosthenes, Roman copy after a bronze original of c. 280 BCE, marble using art to capture a likeness and personality/ Demosthenes/ realistic depiction vs. an idealized one Athanadoros, Hagesandros, and Polydoros of Rhodes. Laocoon and his sons (Rome) early 1st century CE, marble Virgil’s Aeneid/ Laocoon/ art as a theatrical device Jean-Baptiste Carpeaux. Ugolino and his Children, 1865-67, marble fascination with torture and despair/ Dante’s Inferno