The Dying Slave

In the two «Slaves» in the Louvre, which precede those in the Accademia, the «non-finito» is limited to the accessory parts, and the «concept» is fully expressed in the correspondence of the serpentine figure, taut in the rhythm of sculptural contrapposto, to the unquenched aspiration towards a form that might gather and enclose the tormented awareness of human contradictions.