Battle of Issus Essay

The Battle of Issus Sometime around 310 BCE an artisan by the name of Philoxenus of Eretria created amosaic (creating images with an company of small pieces of colored material) of the Battle ofIssus that has long been considered one of the greatest artworks of antiquity. Found at theHouse of the Faun in Pompeii in 1831 the mosaic is composed of about one and a half milliontiny individual colored tiles called tesserae.The artwork illustrates the mesh in whichinvading troops led by Alexander of Macedonia defeated the army led by tycoon Darius III ofPersia. When looking at the piece the viewer bathnot help but be impressed by the psychologicalintensity of the drama taking place. On the Persian side of the piece the viewers eye isimmediately drawn to the prominent figure of Darius shown in his chariot. A look of puredesperation, and maybe even affright, is etched in Darius construction as victory slips through his hands.As his steely eyed charioteer turns to rein his horses for a fast hash over to safety Darius stretchesout his hand toward Alexander either in disbelief that Alexander has beaten him, or perhaps ingrief over the death of one of his immortals. Around him are his Persian soldiers who mill inconfusion in the background, their faces filled with fear and determination. On the same side,there are two other figures that are quite notable and demonstrate the artists technicalmastery. The first is the artists photo of the rearing horse right below Darius which is seenin a three-quarter rear view.The rider, his terror evident upon his face, glances back at thebattle as he attempts to control his horse. This kind of depiction is very impressive and is very much more accomplished then other similar attempts such as the shading in the Pella mosaic orthe Vergina mural (Kleiner 142). The second, perhaps even more impressive, is the artistsportrayal of the Persian in the play up who has fallen onto the ground and raises a smallshield in a pathetic atte mpt to prevent being trampled. The macrocosms terrified face is reflected onthe polished surface of the shield moments before the chariot crushes him under its ornatewheels.On the Macedonian side of things the viewers eye is of course drawn to Alexander. Thisportrait of Alexander is one of his around famous. His breastplate depicts Medusa the Gorgon. He leads the charge into battle on his horse Bucephalus, without even a helmet to protecthim, and maintains an annulus of unshaken confidence in direct contrast to Darius. As Alexandersurges forward in a sovereign effort he drives his spear straight through one of Dariuss trustedimmortals who puts himself between him and the mogul of Persia. As the impaled Persiancollapses to the ground, Alexander fixes his gaze upon Darius in utter hatred.Although thedeteriorated condition of the mosaic makes it difficult to distinguish much on the Macedonianside a cavalryman wearing a Boeotian helmet with a golden wreath can been seen behindAlexan der. Looking at the mosaic as a whole there are a fewer important details that grab onesattention. First is the fact that the landscape is very minimal, only one gnarl tree trunkappearing in the background and a few discarded weapons and rocks in the foreground. Secondly, everywhere in the paroxysm men, animals, and weapons cast shadows on the ground.This unusual attention to detail is what enhances the intensity of the piece and gives it anaspect of realism that truly shows the disgust and confusion of battle. The viewer cannot helpbut be drawn into the conflict and become a part of the drama as it unfolds. To me this mosaicis not only a truly great piece of art but also has furthered my correspondence of Roman artwork,Macedonian warfare and the emotion in Hellenistic-styled mosaics. It is easy tounderstand how Roman author and natural philosopher Pliny the Elder cerebrate thatPhiloxenus depiction of the Battle of Issus was inferior to none (Kleiner 142).