In this world of “the Successors,” as they are called, the ancient states of Greece are not altogether negligible. Rhodes continued to be free, rich, and happy. Athens, as I have remarked, was occasionally oppressed and sometimes enslaved by the Macedonian rulers to the north, but for the most part she continued as a free democracy, conducting her own affairs as vehemently as ever, though now, of course, as a second-class power. Sparta stood sullenly aloof, joining no confederacies,
Plate LXXXIII. “THE SARCOPHAGUS OF ALEXANDER” FROM SIDON: LION-HUNT
Seban & Joaillier
but dreadfully shrunken in population. I have alluded to her notable experiments at reform in the third century under Agis and Cleomenes. It was ended by the crushing defeat at Sellasia from the Achæan League and the Macedonians. Towns like Argos and Corinth preserved their liberties by joining the Leagues. Epirus was a new Power rising to fame by the same road as Macedon under an adventurous king called Pyrrhus. He unfortunately turned west instead of east in his search for worlds to conquer, and there met another rising power, a race of real soldiers who made short work of the Greek phalanx, even when supported by heavy cavalry in the form of Indian elephants. It was these Romans who, when they came in due course to return his visit, put “Finis” to this chapter of Greek history, and proceeded themselves to undertake the task of writing the next.
Alexander in Art
We have numerous works of art which portray Alexander the Great, and as he is said to have granted the sole right of depicting his royal form to Lysippus the sculptor, and to have commissioned Apelles as his royal painter, we may presume that most of the portraits go back to an original by one of these artists. We have enough description of the pictures by Apelles to show that he treated his model with all the obsequiousness of a court painter. There was Alexander in the guise of Zeus wielding the thunderbolt, Alexander in the company of Nike and the Heavenly Twins, Alexander leading the god of war in triumph, Alexander mounted on Bucephalus. The only relic which may give us an idea of the treatment of such subjects in pictorial art is a very fine mosaic floor at Pompeii.[107] It represents the conqueror charging bareheaded into the press of the Persian bodyguard at Issus, his greatest victory. You see Darius in his Oriental “mitre” anxious and terrified, just turning his chariot out of the battle. The scene is represented with great spirit, and Alexander’s face is happily preserved. The horses in particular are most faithfully rendered. As part of the mosaic depicts a Nile scene, with crocodiles, ibis, snakes, and a hippopotamus, we must infer that the original picture was made in Alexandria.
The same scene is depicted with greater brilliance on the famous sarcophagus from Sidon. On one side of it Alexander and Parmenio are fighting the Persians at Issus, and on the other side they are engaged in a lion hunt.[108] Few works of art can compare with this monument in magnificence or in historical interest. It is especially interesting in the history of art because it gives us the best example of the application of colour to sculpture, and completely justifies that process.[109] It also affords fine specimens of Greek mouldings and designs. The material is Pentelic marble imported from Athens. This sarcophagus is now in the museum at Constantinople.