Mitchell, Lucy M.: A history of ancient sculpture (New York, 1883)

RELIEFS ON SARCOPHAGI.

691

Rome, and, as we have seen, also on those of Etruria, the sculpture runs riot,
blotting out every line which could give framing and character to the composi-
tion. Sometimes around all four sides, but most frequently around but three, —
one being set up against the wall of the grave-chamber,—run the exuberant
reliefs; the subjects being taken from mythology, daily life, and war. We see
prisoners led before the emperor, or a battle-scene raging between Romans
and Gauls, apparently a bit transferred from some triumphal arch or column
to the tomb. Such is the scene (Fig. 292) on the body of the sarcophagus,

Fig. 292.. Sarcophagus. A Battle between Barbarians and Romans, and mourning or bound Prisoners. Capitol,

Rome.

now in the Capitol at Rome, found in the field of Amendola, showing us a
barbarian king killing himself, under the legs of his enemy's horse, as in a
relief on Trajan's Column, while above, on the cover, are mourning and bound
prisoners. A very few scenes from daily life, such as reaping, baking, manu-
facturing of oil, building, and maritime trade, or scenes from the games or the
circus, appear on these resting-places of the dead.

By far the greater part of the subjects are from Greek mythology; for their
instruction in which, the late sculptors, it is thought, had hand-books contain-
ing the purport of ancient epics and tragedy. It is noticeable, that Roman
myth is most rarely represented, and, when so, it is usually in a thoroughly
Greek garb. Among the most fruitful subjects are the stories of Adonis, the
Amazons, Ares, Aphrodite, Eros, and other gods. Ares is frequently changed