220 Outlines of European History The decision after Issus, and Alex- ander's fric- tion with his friends in Greece. He says too that with Darius behind the Euphrates, as proposed in the letter, Persia will be at a safe distance from Europe and the Greek world. The campaign against the Great King, he urges, has secured all that could reasonably be ex- pected. Undoubtedly he adds that Philip himself, the young king's father, had at the utmost no further plans against Persia than those already successfully carried out. There is nothing to do, says Parmenio, but to accept the terms offered by the Great King. In this critical decision lay the parting of the ways. Before the kindling eyes of the young Alexander there rose a vision of world-empire dominated by Greek civilization — a vision to which the duller eyes about him were entirely closed. He waved aside his father's old counselors and decided to press on in pursuit of the Persian king. In this far-reaching decision he disclosed at once the powerful personality which represented a new ao:e. Thus arose the conflict which never ends — the
- The artist who designed this great work has selected the supreme
moment when the Persians (at the right) are endeavoring to rescue their king from the onset of the Macedonians (at the left). Alexan- der, the bareheaded figure on horseback at the left, charges furiously against the Persian king (Darius HI), who stands in his chariot (at the right). The Macedonian attack is so impetuous that the Persian king's life is endangered. A Persian noble dismounts and offers his riderless horse, that the king may quickly mount and escape. De- voted Persian nobles heroically ride in between their king and the Macedonian onset, to give Darius an opportunity to mount. But Alexander's spear has passed entirely through the body of one of these Persian nobles, who has thus given his life for his king. Darius throws out his hand in grief and horror at the awful death of his noble friend. The driver of the royal chariot (behind the king) lashes his three horses, endeavoring to carry Darius from the field in flight (p. 219). This magnificent battle scene is put together from bits of colored glass (mosaic) forming a floor pavement, discovered in 183 1 at the Roman town of Pompeii (Fig. 128). It has been injured in places, especially at the left, where parts of the figures of Alexander and his horse have disappeared. It is a Roman copy of an older Hellenistic work, probably a painting done at Alexandria (p. 233). It is one of the greatest scenes of heroism in battle ever painted, and illustrates the splendor of Hellenistic art.
